File:International studio (1897) (14761887976).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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t to speakof the outlines of tables,bureaux and commodes. All of Cressents workis of a manly elegance,sterner in the treatment ofhis cabinets and medaillers,showing the gentle curvesand mounts of the most dis-creet motion, and full of forceful fan- MARQUETERIE GUERIDONBY NICHOLAS LANNVIEK, enriched with plaques tasy in his tables, commodes, armoires, OF SEVRES PORCELAIN able charm to the Style a. la Pompadour, thereaction subsequent to the Regence and itsexuberant evolution, the Rocaille. The vocabularv of the Regence is a veri- necessary distortion of a satisfying system olforms. But think of the effect of Debussy andCesar Franck upon the ears tilled with thedious airs of Meverbeer, Gounod and Mas table feast of the onomatopoetic gourmet; gon- and too much of sweet harmonj doler, rebondir, chantourner, contourner, Gauguinism on the eve blinded In Pleinains boursoufler, tarabiscoter are but a few of the and too much of the sun thus the Rocaille to JULY IQ22 -seten mueRHACionAL ._.:---
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the existing Style Regence. COMMODE OF coralwood, by claude- <The effect of these eccen. & J & CHARLE SAUNIER IN THE STYLE A . . -Ill With the last straight la grecque of the louis seize period trie experiments with the laws line, intolerable, and considered of symmetry was very grati- funereal, erased from the designers sketchbook fying. And though the purists of the time, led by and industrial designers vying in borrowing new Charles Nicholas Cochin, and those of today twists from the serpents seductive curves, we soon execrate the innovation, and assure us of the notice symptoms of impatience, a desire to dis- eternal harm done by these bad inventors ofguise the rounded form, which, though well-mannered, assumes a placid air of the sweet com-monplace. Why not distinguish one curve I nunanother, by juggling with their outlines, starting at the expected point, but turning suddenly to the foundation of all arts. It must have been a heaven ornament, we contend that it unbrid

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