File:International studio (1897) (14598067588).jpg

Identifier: internationalstu75newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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the domestic architecture of our Eastern cities—the authority of the architects who had studied inFrance and who were overcome by the externalornateness of the Late Renaissance. First makingits impression on the exterior of dwellings, thisdomination of the architect reached to the interior.And the easel picture disappeared from the moreformal rooms of such houses to be replaced byeither a period interior or by hangings or titries. Those paintings that remained were eitheressential elements in the decorative scheme or, inthe case of an important canvas, served as the key-note for the decoration of the room. But the true note had not yet been sounded.The architects knew it. The interior decoratorsknew it. The painters knew it. The missing ele-ment was the mural painting, that gloryof the Italian Renaissance interior. Our publicbuildings were not wholly strange to this enor- chairs. The humor of this picture is inimita- mously important decorative art A P K I L I922 i - 0 n e ilAtlOnAL
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approach to it in our most lux-urious homes was the decor-ated ceiling which gradually was replaced by thetimbered or coffered roof. The next step, ofcourse, was inevitable. The hour of the muralpainting in America had arrived at last. It is one of the curious phenomena of thegrowth and change of American interior decorationthat its mural paintings are less well known thanany other art form connected with it. In an age ofpublicity it is not easy to determine what forceoperated to muffle all reports of such work. Theopinion may be hazarded that the nature of thosewhose taste was line enough to encourage such anart form was likewise so reserved as to object torevelations of this kind. But whatever the motive,the fact remains that American mural paintings inprivate houses are almost wholly unknown, even tothe art world itself. The case of J. Alden Twachtman furnishesample proof. This painter passed through theYale Art School in 1897-1900 and the Ecole desBeaux Arts in the succeeding two

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