DOI Heft:
No.129 (December, 1901)
DOI Artikel:Wood, Esther; Morris, G. L.: The metal work of John E. C. Carr
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19880#0241
J. E. C. Carr
restrained in the surface
treatment, more reticent
and suggestive than full and
robust in character, as in
Dutch work.
One feels, rightly or
wrongly, that the char-
acteristics of an indi-
vidual temperament will
determine to some extent
the kind of material in
which a man will choose
to work — that certain
constitutional types are
a life class at COLAROSSl's STUDIO from a PHOTOGRAPH , • . j ,.^
by m. colarossi \ associated with Afferent
species of talent, quite
apart from the influence
hanging lamp. Another is included here; and in which a man's daily avocations will have on his
both, the metal uprights are formed of ordinary small physique. But as the plastic arts become more
T-irons, bent to a graceful curve and then brightened, self-conscious in character and less dependent on
A fender of wrought steel or iron has the front rivet- technical tours-de-force, the old-world Titans of the
ted to a T-iron, which forms the lower edge; the chisel and the forge are re-incarnated in men who
rivet heads are part of the decoration. The ductile are, in a measure, scholars and scientists as well as
nature of wrought iron lends itself especially to craftsmen, and in whom the versatility so exceptional
being worked in scrolls, waving lines, and foliage in a Cellini is not wholly out of reach. The
that sweeps in the direction of the.
scroll; and although there are periods
in its history when wrought iron is
pierced, cut, and beaten, just as
copper and brass, its decorative
quality springs primarily out of its
malleable characteristics and fibrous
structure.
In late German work, when this, to
some extent, was lost sight of, and its
ornamentation became clever, in-
genious, and elaborate, rather than
beautiful, the suggestiveness of the
material was ignored, and in place of
simple beauty there is a tendency to
use architectural forms, such as
mullioned windows, and intricate
tracery, in a way that seems appropri-
ate to the material.
Reference has been made more
especially to wrought iron, but Mr.
Carr has produced one suitable lamp
in brass. The curving line recur-
ring in each panel is effective, the
original losing much of the attenuated
appearance of the sweeping line across
the glass. It is, perhaps, a little remi-
niscent of Dutch metal work of the
. . a corner of studio-land from a photograph
eighteenth century, but it is more by clive Holland
224
restrained in the surface
treatment, more reticent
and suggestive than full and
robust in character, as in
Dutch work.
One feels, rightly or
wrongly, that the char-
acteristics of an indi-
vidual temperament will
determine to some extent
the kind of material in
which a man will choose
to work — that certain
constitutional types are
a life class at COLAROSSl's STUDIO from a PHOTOGRAPH , • . j ,.^
by m. colarossi \ associated with Afferent
species of talent, quite
apart from the influence
hanging lamp. Another is included here; and in which a man's daily avocations will have on his
both, the metal uprights are formed of ordinary small physique. But as the plastic arts become more
T-irons, bent to a graceful curve and then brightened, self-conscious in character and less dependent on
A fender of wrought steel or iron has the front rivet- technical tours-de-force, the old-world Titans of the
ted to a T-iron, which forms the lower edge; the chisel and the forge are re-incarnated in men who
rivet heads are part of the decoration. The ductile are, in a measure, scholars and scientists as well as
nature of wrought iron lends itself especially to craftsmen, and in whom the versatility so exceptional
being worked in scrolls, waving lines, and foliage in a Cellini is not wholly out of reach. The
that sweeps in the direction of the.
scroll; and although there are periods
in its history when wrought iron is
pierced, cut, and beaten, just as
copper and brass, its decorative
quality springs primarily out of its
malleable characteristics and fibrous
structure.
In late German work, when this, to
some extent, was lost sight of, and its
ornamentation became clever, in-
genious, and elaborate, rather than
beautiful, the suggestiveness of the
material was ignored, and in place of
simple beauty there is a tendency to
use architectural forms, such as
mullioned windows, and intricate
tracery, in a way that seems appropri-
ate to the material.
Reference has been made more
especially to wrought iron, but Mr.
Carr has produced one suitable lamp
in brass. The curving line recur-
ring in each panel is effective, the
original losing much of the attenuated
appearance of the sweeping line across
the glass. It is, perhaps, a little remi-
niscent of Dutch metal work of the
. . a corner of studio-land from a photograph
eighteenth century, but it is more by clive Holland
224