DOI Heft:
No. 163 (October, 1906)
DOI Artikel:Taylor, J.: Modern decorative art at Glasgow: Some notes on Miss Cranston's Argyle Street tea house
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20716#0056
Modern Decorative Art at Glasgow
THE OLD KITCHEN AT MISS CRANSTON S DESIGNED BY C. R. MACKINTOSH
TEA HOUSE, ARGYLE STREET, GLASGOW
with leaded glass panels of rare beauty, all combine the emerald, an arrangement requiring the indivi-
to make a scheme of remarkable unity and charm, dualism of a Josephine or a Mackintosh.
The colour combination is black and white with It must not be supposed that the critic afore-
a mixing of emerald green, the only variation being mentioned would be unable to find points to
a faint suggestion of pink in the rose that forms the condemn in the latest Mackintosh creation. The
motif in the casement panel. Black and white myriads of tiny squares might affect his eye un-
with emerald green !—why, this was a favourite comfortably, nor might he be candid enough to
colour-scheme with Empress Josephine, a recollec- attribute this in chief part to the dazzling electric
tion that proves Napoleon's clever consort to have light, ineffectually shaded by the reflectors depend-
been artistically in advance of her time, or the ing from the ceiling. The shape of those reflectors
New Art to be less modern than we are inclined to too might cause the critic some uneasiness ; looked
believe. Excepting the rose, there is but one at from certain angles they suggest a deviation
figure of decoration in the room. Mackintosh from the vertical not altogether pleasing. Then
adopts the square, the simplest of all conceivable the brass mountings of the dark sideboard, and
forms, and makes this the theme of his latest the hinges of the wall cabinet would have fallen
decorative intent. It begins on the floor covering, in with the whole scheme more completely had
is continued in the mosaic on the hearth, is they been finished as white metal. The only
repeated all over the velvety dado, on the mother- exception he might take to the construction of the
of-pearl panel of the sideboard, and culminates on room is where one end of a heavy beam is made
the broad flat planes of the pillars that divide one to rest on a diminutive cabinet. But hypercriticism
end of the room into so many alcoves. In each is far from justifiable when dealing with the work of
case the black and white forms the ehequey pattern, an original-minded artist, and particularly in a case
the squares diminishing in size in the order named, where the tout ensemble is in the highest degree
Every chair in the room is bright with the tint of charming. J. T.
36
THE OLD KITCHEN AT MISS CRANSTON S DESIGNED BY C. R. MACKINTOSH
TEA HOUSE, ARGYLE STREET, GLASGOW
with leaded glass panels of rare beauty, all combine the emerald, an arrangement requiring the indivi-
to make a scheme of remarkable unity and charm, dualism of a Josephine or a Mackintosh.
The colour combination is black and white with It must not be supposed that the critic afore-
a mixing of emerald green, the only variation being mentioned would be unable to find points to
a faint suggestion of pink in the rose that forms the condemn in the latest Mackintosh creation. The
motif in the casement panel. Black and white myriads of tiny squares might affect his eye un-
with emerald green !—why, this was a favourite comfortably, nor might he be candid enough to
colour-scheme with Empress Josephine, a recollec- attribute this in chief part to the dazzling electric
tion that proves Napoleon's clever consort to have light, ineffectually shaded by the reflectors depend-
been artistically in advance of her time, or the ing from the ceiling. The shape of those reflectors
New Art to be less modern than we are inclined to too might cause the critic some uneasiness ; looked
believe. Excepting the rose, there is but one at from certain angles they suggest a deviation
figure of decoration in the room. Mackintosh from the vertical not altogether pleasing. Then
adopts the square, the simplest of all conceivable the brass mountings of the dark sideboard, and
forms, and makes this the theme of his latest the hinges of the wall cabinet would have fallen
decorative intent. It begins on the floor covering, in with the whole scheme more completely had
is continued in the mosaic on the hearth, is they been finished as white metal. The only
repeated all over the velvety dado, on the mother- exception he might take to the construction of the
of-pearl panel of the sideboard, and culminates on room is where one end of a heavy beam is made
the broad flat planes of the pillars that divide one to rest on a diminutive cabinet. But hypercriticism
end of the room into so many alcoves. In each is far from justifiable when dealing with the work of
case the black and white forms the ehequey pattern, an original-minded artist, and particularly in a case
the squares diminishing in size in the order named, where the tout ensemble is in the highest degree
Every chair in the room is bright with the tint of charming. J. T.
36