to the fullest advantage the spaces which it was destined to occupy. I make a point of this, for such is not by any means always the case with " New Art" inlay, whose design very often bears no relation whatsoever to its surroundings. Further examples are presented on Plate II., the arm-chair and small circular table on which (Figs. 5 and 7) again convey the idea of growth. All the studies I have referred to are from designs by the brothers Majorelle, who, I need hardly say, were among the pioneers, and rank with the leaders, of the " New Art" movement in France.
In the small chair, Fig. 1, Plate II., there is strong indication that the designer from whose pencil it comes is either unable, or has not the inclination, to forsake the 4t Louis - Quinze " alto-A "New Art" Chair (German) gether, so he has intro duced a familiar form ; but, instead of falling back upon the usual hackneyed scrolls and coquillage for his enrichment, he has dressed up the " Louis-Quinze" frame with il New Art" tendrils and leaves, and with no small success. While writing of this chair, I may mention that the furniture manufacturers of this new school are not content to cut-into " lengths" of ordinary woven or printed patterns in order to provide their seat and chair coverings,
Reference in Text. See pages 310, 311
the "new art" in france 305
but they make a great point of having special designs prepared for them, to accord exactly with those of the article upon which they are to find a place, and to fit perfectly the shapes of the portions to be covered. That is altogether as it should be, and I wish that the same plan were more generally adopted. The consequent outlay is not very great, while the effect of chairs and similar articles so treated is vastly enhanced.
Quasi-naturalesque enrichment predominates again in Figs. 2 and 4, Plate II., though the forms of the two pieces are comparatively commonplace ; and we have it yet once more, but displaying greater taste in conception and skill in arrangement, in the remaining illustration on the same plate—
f t A "New Art" Chair (German)
an exceptional and altogether admirable piece of work. As an illustration of the lengths to which the « New Art" designers and craftsmen are prepared to go in the direction of overcoming technical difficulties in order to attain the object upon which they have set their mind, the unquestionably original mantel, by M. Charles Plumet, shown on Plate III., ^ remarkably striking. The underlying idea is, obviously,
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