DOI Heft:
No. 256 (August 1914)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21210#0261
Studio- Talk
"IMS CHANTED** 1UCOUQCES " FROM A DRAWING BY RF.NE MENARD
with a pulpit, a tomb, altar, and reredos at one end Continent than that of any other of the moderns w ho
and the side walls prominently hung with leaded have a much larger representation in the. exhibition,
glass cartoons, as to convey the impression on the one small scale drawing on tracing paper by
entering that one is on the threshold of some which Mackintosh is represented being a verv early
ancient chapel. At fitful intervals openings lead expression of his talent,
off into side passages and a number of rooms have
also been most appropriately constructed to show The exhibition is indeed very sparse in representa-
to advantage the exhibits they contain. tive modern work. Mr. Voysey has a very modest
- exhibit and such men as George Walton, E. L.
As a retrospective exhibition with a predominance Lutyens, Walter Cave, Oscar Paterson, Gsorge
of work which one associates with the early days of Logan, John Kdnie, &c, show nothing. Examples
the Arts and Crafts revival in England, nothing of glass cartoons and designs are numerous and
but praise can be bestowed upon it. Many of the reminiscent : executed examples few and ancient,
exhibits, however, which bear a more recent date, In almost all instances the primary quality of the
though excellent in craftsmanship, show no natural material is ignored, the result being a number of
development or real progress, but merely that the painted pieces of glass held together by leads,
designers are content to borrow from the past. However, as most of the work shown is of an
With the notable exception of the fine collection of ecclesiastical nature any adverse criticism must
cabinet work shown by Ernest Gimson, the fumi- necessarily be qualified, as church building still
ture throughout the exhibition is disappointing, adheres to Gothic aspirations, but when one has to
It would have been more influential!}' interesting if look at a design three times to make quite sure it
some of the space it occupies had been given to is not a small coloured replica of a window in
the complete furnishing of one or two rooms, Chartres Cathedral there cannot be anything very
say, by Baillie Scott, whom I notice is not repre- British about it except a shrewd capacity for
sented, or by Charles Rennie Mackintosh, whose adapting the art of other nations. It is this spirit,
work has perhaps had a wider influence on the too, that seems to be most pronounced throughout
241
"IMS CHANTED** 1UCOUQCES " FROM A DRAWING BY RF.NE MENARD
with a pulpit, a tomb, altar, and reredos at one end Continent than that of any other of the moderns w ho
and the side walls prominently hung with leaded have a much larger representation in the. exhibition,
glass cartoons, as to convey the impression on the one small scale drawing on tracing paper by
entering that one is on the threshold of some which Mackintosh is represented being a verv early
ancient chapel. At fitful intervals openings lead expression of his talent,
off into side passages and a number of rooms have
also been most appropriately constructed to show The exhibition is indeed very sparse in representa-
to advantage the exhibits they contain. tive modern work. Mr. Voysey has a very modest
- exhibit and such men as George Walton, E. L.
As a retrospective exhibition with a predominance Lutyens, Walter Cave, Oscar Paterson, Gsorge
of work which one associates with the early days of Logan, John Kdnie, &c, show nothing. Examples
the Arts and Crafts revival in England, nothing of glass cartoons and designs are numerous and
but praise can be bestowed upon it. Many of the reminiscent : executed examples few and ancient,
exhibits, however, which bear a more recent date, In almost all instances the primary quality of the
though excellent in craftsmanship, show no natural material is ignored, the result being a number of
development or real progress, but merely that the painted pieces of glass held together by leads,
designers are content to borrow from the past. However, as most of the work shown is of an
With the notable exception of the fine collection of ecclesiastical nature any adverse criticism must
cabinet work shown by Ernest Gimson, the fumi- necessarily be qualified, as church building still
ture throughout the exhibition is disappointing, adheres to Gothic aspirations, but when one has to
It would have been more influential!}' interesting if look at a design three times to make quite sure it
some of the space it occupies had been given to is not a small coloured replica of a window in
the complete furnishing of one or two rooms, Chartres Cathedral there cannot be anything very
say, by Baillie Scott, whom I notice is not repre- British about it except a shrewd capacity for
sented, or by Charles Rennie Mackintosh, whose adapting the art of other nations. It is this spirit,
work has perhaps had a wider influence on the too, that seems to be most pronounced throughout
241