DOI Heft:
No. 323 (February 1920)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21359#0213
STUDIO-TALK
Frank W. Benson a group of realistic
motion studies of water-fowl. Nothing,
however, in the show was quite as effective
as a group of ten etchings and lithographs,
views in Cambrai, Ypres, Dixmude, and
other places in the war zone, the work of
Mr. Frank Brangwyn. Studies for mural
decorations, one of them for the State
Capitol of Pennsylvania, were exhibited by
Miss Violet Oakley, and Miss Edith Emer-
son showed a study in colour for the Roose-
velt Memorial Window in Keneseth Israel
Temple. 00000
The display of miniatures seemed to be
rather more numerous than at the last
show, but it could not be said to be better.
Among the 112 little portraits, that of Eliza-
beth Rutter, by Miss Laura Coombs Hills,
was undoubtedly the chief. 0 E. C.
PARIS.—Of all the applied arts, that of
the worker in the precious metals—
and pre-eminently that of the silversmith
has perhaps shown the greatest resistance
to the action of the modern spirit—has
BOTTLE-STAND
BY GEORG JENSEN
most successfully evaded the influence of
the new ideas which for thirty years past
have modified so intimately the aspect of
our social life. The manufacture of glass-
ware, pottery and porcelain, and textiles,
the leather, paper, metal, and other indus-
tries, have brought forth day by day, and
in great variety and number, productions
which bear the impress of the epoch in
which we live, but when we come to the
art of the goldsmith and silversmith,
whether in England, France, Italy, Bel-
gium, or elsewhere, the list of new creations
to which this art has given birth is soon
exhausted. 00000
It is for this reason that one cannot
attach enough importance to the admirable
efforts made by that excellent Danish artist,
Georg Jensen, to stimulate in this branch
of decorative art, which in times gone by
was so fecund and rich in bloom of perfect
beauty, a fresh flow of sap. Indeed, I am
not aware of any one who, at this moment,
might be compared with him—no one who
in regard either to form or to technique
has perhaps achieved results so thorough,
so harmonious, and so original, in the best
sense of the word, as those which M.
Jensen has arrived at. 0 0 0
In the first place, as regards form, the
preconceptions which he adopts are never
of a linear or graphic order—never those
of the draughtsman or designer who is
content to conceive in an abstract way, if
one may so say, a work of applied art, with-
out taking thought of the possibilities of
carrying out his ideas. M. Jensen knows
thoroughly all the resources of his metier;
207
Frank W. Benson a group of realistic
motion studies of water-fowl. Nothing,
however, in the show was quite as effective
as a group of ten etchings and lithographs,
views in Cambrai, Ypres, Dixmude, and
other places in the war zone, the work of
Mr. Frank Brangwyn. Studies for mural
decorations, one of them for the State
Capitol of Pennsylvania, were exhibited by
Miss Violet Oakley, and Miss Edith Emer-
son showed a study in colour for the Roose-
velt Memorial Window in Keneseth Israel
Temple. 00000
The display of miniatures seemed to be
rather more numerous than at the last
show, but it could not be said to be better.
Among the 112 little portraits, that of Eliza-
beth Rutter, by Miss Laura Coombs Hills,
was undoubtedly the chief. 0 E. C.
PARIS.—Of all the applied arts, that of
the worker in the precious metals—
and pre-eminently that of the silversmith
has perhaps shown the greatest resistance
to the action of the modern spirit—has
BOTTLE-STAND
BY GEORG JENSEN
most successfully evaded the influence of
the new ideas which for thirty years past
have modified so intimately the aspect of
our social life. The manufacture of glass-
ware, pottery and porcelain, and textiles,
the leather, paper, metal, and other indus-
tries, have brought forth day by day, and
in great variety and number, productions
which bear the impress of the epoch in
which we live, but when we come to the
art of the goldsmith and silversmith,
whether in England, France, Italy, Bel-
gium, or elsewhere, the list of new creations
to which this art has given birth is soon
exhausted. 00000
It is for this reason that one cannot
attach enough importance to the admirable
efforts made by that excellent Danish artist,
Georg Jensen, to stimulate in this branch
of decorative art, which in times gone by
was so fecund and rich in bloom of perfect
beauty, a fresh flow of sap. Indeed, I am
not aware of any one who, at this moment,
might be compared with him—no one who
in regard either to form or to technique
has perhaps achieved results so thorough,
so harmonious, and so original, in the best
sense of the word, as those which M.
Jensen has arrived at. 0 0 0
In the first place, as regards form, the
preconceptions which he adopts are never
of a linear or graphic order—never those
of the draughtsman or designer who is
content to conceive in an abstract way, if
one may so say, a work of applied art, with-
out taking thought of the possibilities of
carrying out his ideas. M. Jensen knows
thoroughly all the resources of his metier;
207