. Frank Brangwyn and his work. 1911 . of applied art; and a good many criticshave refused to budge from their long submission to in-numerable shows of dainty pictures. Accustomed to thisroutine, they have looked upon modern decoration as aninterloper without refinement, without culture, andhave sneered at its technique, writing labyrinthine de-finitions of refinement, technique, and fanaticism is always perplexing, and I wish to givean example from the Spectator, May 25, 1895, becauseit tried to discredit modern decorative art by attacking apicture by Frank Brangwyn. The picture
. Frank Brangwyn and his work. 1911 . of applied art; and a good many criticshave refused to budge from their long submission to in-numerable shows of dainty pictures. Accustomed to thisroutine, they have looked upon modern decoration as aninterloper without refinement, without culture, andhave sneered at its technique, writing labyrinthine de-finitions of refinement, technique, and fanaticism is always perplexing, and I wish to givean example from the Spectator, May 25, 1895, becauseit tried to discredit modern decorative art by attacking apicture by Frank Brangwyn. The picture was Rest, andthe Standard had praised its modern sensitiveness oftechnique, and placed it in the vanguard of the artisticforces of the day. This annoyed the Spectator, whosecritic happened to be a young pupil to the principles ofFrench Impressionism. What is this mysterious affair, technique? It is notexactly simple, it is duplex; but no mystery if we do notmix it with the process of seeing, which results in an144 r< CO p Z OC/3. ai ■n Points of View in T^ecorative zArt image, and the process of designing, which results in apicture, but neither of which is technique. Think over that! We are to arrive at technique with-out help from seeing eyes, though blind men have neverbeen noted for any sort of facility with a brush. Still,let us listen again: Technique is the last, the phy-sical * step which ends each of these processes, each ofthese two games which make up pictorial imagination,and which the painter must carry on side by is here a restoration of sight; the blind eyes havebeen cured, and the critic runs on into new example:— This last physical * step on the decorative or designingside—the side that allies drawing to music, to dancing, toabstract pleasant lines and patches—is the getting of apleasant consistency and surface in the paint. The choiceof patterns is not technique—that is design. The choiceof colours is not technique—th
Size: 1017px × 2457px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bo, bookcentury1900, bookdecade1910, bookpublisherbostondanaestes
