. Frank Brangwyn and his work. 1911 . this was themode introduced by Puvis de Chavannes. There was areal fear about ten years ago that Puvis had turned hismerited vogue into a tradition, but French critics of to-dayrealise that his method in decoration is not final; theymention Brangwyn now with enthusiasm, and wish thathe had his home in Paris. Several have said so inplain words, like Maurice Guillemot {Art et Decoration,October 1909), who cries: On pent regretter que FrankBrangwyn ne soitpas de chez nans. Puvis de Chavannesdid noble works, but they appear to be slipping away intothe past, fa
. Frank Brangwyn and his work. 1911 . this was themode introduced by Puvis de Chavannes. There was areal fear about ten years ago that Puvis had turned hismerited vogue into a tradition, but French critics of to-dayrealise that his method in decoration is not final; theymention Brangwyn now with enthusiasm, and wish thathe had his home in Paris. Several have said so inplain words, like Maurice Guillemot {Art et Decoration,October 1909), who cries: On pent regretter que FrankBrangwyn ne soitpas de chez nans. Puvis de Chavannesdid noble works, but they appear to be slipping away intothe past, faint in colour and rather spectral in are not fecund in their greatness; they do nottriumph through this life into those living traditions thatgive permanent inspiration; and the future will belongto a more virile manner, richer and more vital. Whatthat manner will be at its maturity we cannot guess, butBrangwyns art marks a period in its A STUDY OF by permission ofR. H. Kitson, Esq., A STUDY OF ,>/ A, //. Kitson, Jist/., Lt\ ^Decorative T^ainting Flatness of colour—namely, pigments that dry withouta gloss and lighter than when they are put on—is a dis-tinguishing quality of fresco work, whether you paint whilethe ground is wet, or employ tempera-pigments ground inwater and used with size, or with ;g<g—the yoke or thewhite. Both these methods need swift, direct workman-ship, and therefore the practice and skill that enable youto finish as the work proceeds. The painting dries withoutlustre, and possesses a kind of inner light, a peculiarluminous quality, that allies it with water-colour is very fond of tempera, believes that it mightbe varnished for easel-pictures, and suggests that if stu-dents were taught to work in it from the life model theywould gain in quick perception and in painter-like tech-nique. A colour plate in this book—a symbolistic decora-ti
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Keywords: ., bo, bookcentury1900, bookdecade1910, bookpublisherbostondanaestes
