DOI Heft:
No. 234 (September 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21157#0340
Studio-Talk
COLOURED GESSO PANELS BY MRS. MEREDITH WILLIAMS
Irish notabilities were contributed by the president,
Mr. Dermod O’Brien, and Miss Sarah Purser,
H.R.H.A. _
The Water Colour Society of Ireland always
manages to make its annual exhibitions in the Lein-
ster Hall attractive, and that of the present year was
no exception to the rule. Amongst the exhibitors
were Mr. Lee Hankey, who sent some interesting
studies of Etaples, Mr. Bingham MacGuinness,
Miss Rose Barton, Miss Clara Irwin, Miss May
Hamilton, and Mr. R. C. Orpen. E. D.
GLASGOW.—Confident assertions are at
times made to the effect that modern
decorative art is dead. The libel has
been disproved again and again; it is
revived solely in the interests of commercialism.
Dead ? Why, a hundred studios and craft-shops in
Glasgow would be closed if modem art and craft
activity ceased, and the busy School of Art would
lose one of its chief titles to individuality. Periodic
exhibitions there and at the Ladies’ Art Club, as
well as elsewhere, would cease, or take on an
altogether different complexion. The movement
is largely controlled by women, and as we all
know it is not a habit of the modern woman to
desert a cause in which she is actively interested.
3i8
Modern decorative art is in no danger
of extinction, but if in practice it was in-
terrupted the Modern Renaissance would
have served a good purpose, since it
rescued art and craft from the state of
degradation to which they ingloriously fell
during the Victorian era, by reuniting in a
bond of closest fellowship the artist and
the craftsman. If the example and in-
fluence of the talented impressionists of
the seventies have “permeated and
dominated Scottish painting ” in great
degree, the new interest in art and craft
has revivified the decorative and industrial
arts. Architecture owes more than an
ordinary debt to it; interior decoration has
been revolutionised; furniture has assumed
the character of a new design ; metal and
glass work, textiles and book-binding now
receive more careful attention than at any
period since art and craft were pursued
with love and devotion, and all this has
happened because the most remarkable
artist and craftsman the nineteenth century
produced led the people from indifference
and ugliness back to affectionate regard for the
beautiful. _
When William Morris first visited Glasgow to
LEVANT MOROCCO BINDING. BY ANN MACBETH
AND GEORGE TURNBULL
COLOURED GESSO PANELS BY MRS. MEREDITH WILLIAMS
Irish notabilities were contributed by the president,
Mr. Dermod O’Brien, and Miss Sarah Purser,
H.R.H.A. _
The Water Colour Society of Ireland always
manages to make its annual exhibitions in the Lein-
ster Hall attractive, and that of the present year was
no exception to the rule. Amongst the exhibitors
were Mr. Lee Hankey, who sent some interesting
studies of Etaples, Mr. Bingham MacGuinness,
Miss Rose Barton, Miss Clara Irwin, Miss May
Hamilton, and Mr. R. C. Orpen. E. D.
GLASGOW.—Confident assertions are at
times made to the effect that modern
decorative art is dead. The libel has
been disproved again and again; it is
revived solely in the interests of commercialism.
Dead ? Why, a hundred studios and craft-shops in
Glasgow would be closed if modem art and craft
activity ceased, and the busy School of Art would
lose one of its chief titles to individuality. Periodic
exhibitions there and at the Ladies’ Art Club, as
well as elsewhere, would cease, or take on an
altogether different complexion. The movement
is largely controlled by women, and as we all
know it is not a habit of the modern woman to
desert a cause in which she is actively interested.
3i8
Modern decorative art is in no danger
of extinction, but if in practice it was in-
terrupted the Modern Renaissance would
have served a good purpose, since it
rescued art and craft from the state of
degradation to which they ingloriously fell
during the Victorian era, by reuniting in a
bond of closest fellowship the artist and
the craftsman. If the example and in-
fluence of the talented impressionists of
the seventies have “permeated and
dominated Scottish painting ” in great
degree, the new interest in art and craft
has revivified the decorative and industrial
arts. Architecture owes more than an
ordinary debt to it; interior decoration has
been revolutionised; furniture has assumed
the character of a new design ; metal and
glass work, textiles and book-binding now
receive more careful attention than at any
period since art and craft were pursued
with love and devotion, and all this has
happened because the most remarkable
artist and craftsman the nineteenth century
produced led the people from indifference
and ugliness back to affectionate regard for the
beautiful. _
When William Morris first visited Glasgow to
LEVANT MOROCCO BINDING. BY ANN MACBETH
AND GEORGE TURNBULL