Studio international (1893) (14789686573)

Identifier: studiointernatio51lond (find matches)
Title: Studio international
Year: 1893 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: London, Cory, Adams & Mackay (etc.)
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto



Text Appearing Before Image:
ere should be put into a picture the things that are in nature—that is vitally important. But for Heavens sake do not ask thai all the things in nature should be crowded into one small canvas, and do not suggest that finish conns from profligacy of detail. Nature is nplex, so infinite, so full ol detail, that art cannot realise a tenth part ol her. All it can do is to record faithfully and sincerely one or other of her endless phases. The phase the artist > In- one which demands detail, or it on,- wim h can onl) be expressed by the broadest ol generalisations) but both records in equal right to b I as finished h is not the quantity ol detail bul the il effect tli.it i onstitutes ol .ni N oui friends ski t< Ins, unintelligible as th, \ are to you, may be ex , finishi d ii he has at hieved in them this ■• And how am I to know whether he is i ight ? p la i \in 11 you i annol judge foi ■ < iu will taki his word foi it, I (raid, la thi Man with thi Red fii l in i ii Figure
Text Appearing After Image:
s Painted Glass designed by Sir E. Bume-Jones IR EDWARD BURNE-JONESSDESIGNS FOR PAINTED GLASS.BY AYMER VALLANCE. The names of Burne-Jones as designer, andof the firm of Morris & Co. as executants, ofpainted glass have become so indissolubly con-nected together that the fact is not always realisedthat the artist began to design for glass in earlydays, before ever Morriss firm existed. It was Mr.Arthur Powell, of the firm of Messrs. Powell, ofWhitefriars, who first applied to Burne-Jones, onthe recommendation of Dante Gabriel Rossetti, fora design for glass. That was in 1857, and thedesign produced in response—the earliest one thatBurne-Jones ever furnished for glass-painting—represented the Good Shepherd. It was a mysticalcomposition in the rigid pre-Raphaelite manner, which,as Rossetti himself testified,drove Ruskin wild withjoy when he saw it. Thus encouraged, theartist made designs repre-senting the Call of St. Peterand of St. Paul; and thethree designs for BradfieldCollege,