English brothers, who weren’t brothers, revolutionized art. Meteors, they blasted through accepted, even delightful, traditions at the end of the 19th century. Loved by collectors, critics and fellow artists (even those persnickety ones across the channel) and embraced sporadically by that then new breed of advertizing directors, they baffled and left emotionally unengaged too many consumers of the general public to be commercially successful. The partnership, founded in the summer of 1894, petered out by mid 1900, and the two brothers-in-law went their separate ways, professionally and personally. Who were they? The Beggarstaff brothers, of course!...More......
I came across this mind-boggling pair of artists during my M.A. research for a paper on poster art (I won’t say when…that would date me too easily). Their advances were only more fully understood in the Art Deco period, characterized by the stream-lined simplification necessary for their approach, and probably again in the 1960s, though the double-edged sword of their lessons are still timely.
Their mature designs created with stencils, though ultimately reproduced in lithograph, use broad flat expanses of color functioning actively both as background and foreground figure. Believe me, it’s a lot harder to do than it sounds, or than the stunningly simple results belie. (See their awe-inspiring “Girl reading”: http://thefindesiecle.com/post/529037331/this-is-striking-example-of-one-of-the-beggarstaff, and, while you’re at it, sign up to this marvelous blog dedicated to the Fin-de-Siècle.)
Why, then, “double-edged sword?” Their commercial failure should be a clue.
They most often worked “on spec,” meaning that—as had increasingly become the case for artists, at least since the Baroque period, though also practiced, earlier—they first did the work, speculating, and peddled it, hoping to get paid, later.
So?
So their generic designs didn’t always express the specific products as effectively as expected by their viewers, and their understated emotion didn’t grab the consumers by the…throat.
Sometimes the tenuous link between design and product was sufficient, as the case in the “KASSAMA CORN FLOUR” poster (http://cs.nga.gov.au/Detail.cfm?IRN=116139). The enigmatic and typically emotionally distant image of a young girl carrying a market basket was sufficiently related by the lettering (also planned by the ‘brothers’) expressing the name of the brand and, in breath-taking simplicity, the WHAT. No long text detailing the innumerable superb qualities, the excellent price-quality ratio and the easy availability of the product (there’s a lesson in this for me, if I would just absorb it…). Just the gut impact of the sunny yellow and starkly simplified graphics—readily visible from afar and through polluted heavy fog, both essential characteristics—and the almost neutral image of the young shopper. (Who is she? A young servant, well or badly treated? The older child of a numerous poor family, whose father had died recently in a mining accident, whose mother was dying of TB, and whose fellow siblings, all under the age of 8, now weighed on her fragile slightly bowed shoulders for their survival, or was she from an up-and-coming middle class family, excited but intimidated by her first grown up chore all alone?) The poster was a success.
The disconnect between the product and the image was loudly criticized for the commercially and critically popular “Beefeater” poster, whose avant-garde bright red and black merged gradually in the viewers’ brains into the image of the guard, as if filtered through a heavy London fog, though this effect hadn’t been intended (http://media.vam.ac.uk/media/thira/collection_images/2006AM/2006AM3301_jpg_ds.jpg). Produced “on spec” and intended for a beef extract product, for which it would have been humorously perfect at that time (the association of these historic guards and beef products was typical at the time), the poster’s radical simplification defied the powers of comprehension of the advertizing directors to whom it first had been proposed (after the artistically and commercially successful release of the poster lasting years, I can hear the presidents of the those companies, “You &%*£°§ idiot! You’re fired!”), luckily for the American magazine Harper’s, which wanted to break into the European market with startling graphics, already more advanced on their side of the great watery divide.
Lack of comprehension on the part of the general public and their ever (and rightly) sensitive commercial caretakers, the advertizing directors, lead first to the disconnect between product and poster and then to the financial impracticality and dissolution of the artistic team. James Pryde and William Nicholson, who had adopted “J. and W. Beggarstaff” as a full blooded English pseudonym, went their separate artistic ways, which also became personal, after the death of the artistically gifted Mabel, sister of the former and wife of the latter.
‘Leave them wanting more.’ That old show business adage applies equally as well to the Beggarstaffs and to the marvelous, but much too short book (even at 120 odd pages of well illustrated text), The Beggarstaff Posters by Colin Campbell (Barrie & Jenkins, 1990). I wish the book had added just a few more pages, giving at least hints of their painting and art, before and after (there are a few, but much too few).
Campbell’s book gives a well-rounded idea of these artists’ fundamental contribution to the birth of the modern poster, is a delightful read, and has served as mid-wife for the long awaited birth of my Beggarstaff-inspired needlepoint idea. Get in line, girl, there are at least 3, or 4, ahead of you, but now that you’re born, you needn’t fret. It will be your turn, too.
(Searching for “Beggarstaff” in Google images turns up skads of examples, not all originals. To train your eye to quality, try skipping over the sites advertizing reproductions, and go straight to the museum sites of poster collections, such as that of the V&A: http://collections.vam.ac.uk/.)
Showing posts with label Books. Show all posts
Showing posts with label Books. Show all posts
Thursday, August 26, 2010
Thursday, August 19, 2010
Library mouse (04): Beth Russell's William Morris Needlepoint
Oh, happiness. Yesterday, Beth Russell’s William Morris Needlepoint (Conran Octopus, 1995) arrived. Apart from only whishing close to a reference to his leonine bursts of rage and tickling an interest in his poetry, the book gives a good biographical picture of (fascinating) Morris, while it explores examples of his work and Russell’s adaptations of them (complete with diagrams to follow), which was the point, anyway. (For more about Morris, see my: http://arsacupicturaestellae.blogspot.com/2010/08/library-mouse-02-again.html#0) Apart from delighting in all the images, I also learned two interesting things, and the seed of a much desired future project was planted....More...
What did I learn? First, as I had been coming to suspect, William Morris detested my other design inspiration, Owen Jones, as too rigid (though they do have in common at least their original reliance on natural principles, I can understand Morris’ opinion, but there still are lots and lots of inspirational, helpful and challenging things to be had from Jones, who would have had—I suspect—a few criticisms of his own for Morris, so I’ll be writing about Jones, later). Next, in line with Morris’ own wishes to avoid copying for himself and for his clients doing their own handwork, Russell more actively adapts Morris’ designs to the project at hand (and rightfully so) than the faithful Morris spirit might imply at first.
What about the seeds of my much desired future needlepoint project?
I don’t love, I *adore* William Morris, and *really* want to do a Morris needlepoint. Whenever I went into a bookstore, even for something entirely different, I would pass through the hobby section, hunting for a book on Morris in needlepoint. Found one, but it seemed much too costly. Sigh. Back it went onto the shelf. This went on for years and years. Why not try in eBay? Great idea, but it would flash into my head when I was away from the computer. This, too, went on for years. Recently, the two finally coincided, and I found this and other books, snapped up on the spot.
Ahhhh, finally Morris designs to caress and needlepoint. So many beautiful designs, but one I liked for something, another for something else, and—because the designs are quite complicated—my desire to lazily work up a pre-existing pattern warred unsuccessfully with my urge to be creative. Results? Stasis. The inner “Yes!” switch just wasn’t flipping. It finally did last night.
My future Morris project flashed into existence in my head. Now I “just” have to translate it into a StitchPainter diagram. The line forms at the back, Mr. Project, there are at least three other needlepoint projects already waiting patiently.
What did I learn? First, as I had been coming to suspect, William Morris detested my other design inspiration, Owen Jones, as too rigid (though they do have in common at least their original reliance on natural principles, I can understand Morris’ opinion, but there still are lots and lots of inspirational, helpful and challenging things to be had from Jones, who would have had—I suspect—a few criticisms of his own for Morris, so I’ll be writing about Jones, later). Next, in line with Morris’ own wishes to avoid copying for himself and for his clients doing their own handwork, Russell more actively adapts Morris’ designs to the project at hand (and rightfully so) than the faithful Morris spirit might imply at first.
What about the seeds of my much desired future needlepoint project?
I don’t love, I *adore* William Morris, and *really* want to do a Morris needlepoint. Whenever I went into a bookstore, even for something entirely different, I would pass through the hobby section, hunting for a book on Morris in needlepoint. Found one, but it seemed much too costly. Sigh. Back it went onto the shelf. This went on for years and years. Why not try in eBay? Great idea, but it would flash into my head when I was away from the computer. This, too, went on for years. Recently, the two finally coincided, and I found this and other books, snapped up on the spot.
Ahhhh, finally Morris designs to caress and needlepoint. So many beautiful designs, but one I liked for something, another for something else, and—because the designs are quite complicated—my desire to lazily work up a pre-existing pattern warred unsuccessfully with my urge to be creative. Results? Stasis. The inner “Yes!” switch just wasn’t flipping. It finally did last night.
My future Morris project flashed into existence in my head. Now I “just” have to translate it into a StitchPainter diagram. The line forms at the back, Mr. Project, there are at least three other needlepoint projects already waiting patiently.
Monday, August 16, 2010
Library mouse (03): Beth Russell's "Traditional Needlepoint"
Just arrived, and already gobbled up: that's the fate of Beth Russell's Traditional Needlepoint (David & Charles, 1992)...More......Most of the inspiration for her designs comes directly from the work of William Morris and collaborators (don't know who William Morris was? See my: http://arsacupicturaestellae.blogspot.com/2010/07/library-mouse-02.html). This means that the charted designs are not only gorgeous, but also complicated...too much so for a beginner, I'd say, but for someone with a bit of needlepoint experience and a lot of patience, the results will be gorgeous.
She gives a lot of practical advice, too, as found in my own previous messages, but what I like best for you about this book is that Ms. Russell and her collaborators have not only chosen images and produced charted designs, but they also have devoted serious thought to how you can adapt each of the charted designs for different projects and with different colors, in order to encourage you to express your creativity.
She gives a lot of practical advice, too, as found in my own previous messages, but what I like best for you about this book is that Ms. Russell and her collaborators have not only chosen images and produced charted designs, but they also have devoted serious thought to how you can adapt each of the charted designs for different projects and with different colors, in order to encourage you to express your creativity.
Monday, August 2, 2010
Library mouse (02) (again)
I feel much richer as a person for having learned more about William Morris (1834-1896). I knew of him as a...More......multi-talented artist and craftsman, but never realized that his aspirations to improve and uplift our daily lives by insisting on beauty in the making and using of everyday things also had extended into poetry, narrative and political activism. (For more on Morris, click on the title of this post, or go directly to http://www.morrissociety.org.)
Arthur Clutton-Brock’s William Morris (New York: Parkstone Press International, 2007) is largely concerned with exploring Morris’ interests and beliefs, with particular attention to Morris’ own writings. The book is not dedicated to translating his art into needlepoint, or cross stitch, designs, though the ample and beautiful illustrations will be an inspiration for your work.
The book spends less time than I had hoped on analyzing Morris’ approach to art, in order to be able to apply it to our own work. Even if the style of his art may not please you, after learning about his goals, you may find that you like his art better, even if you already adored it before learning more about him, as I did.
The text, despite its in-depth attention to Morris’ writings, is not for scholars, who will lament the rambling text without footnotes and the too short bibliography, but it is suited for interested fans wishing to better understand Morris’ works, and is a good source of some beautiful images full of inspiration for your needlepoints.
Better understanding his goals helps us to better translate his art into designs. Unexpectedly, but more importantly, it helps us, like Morris, to be uplifted by making beautiful things and to insist on living surrounded by beauty, even in all our everyday objects, not just because it gives aesthetic pleasure, but also because it refines our spirits.
(Originally posted July 25, 2010, this message was skipped during Google’s retroactive indexing phase, which means that not only was it not available in internet, but also that the page was not available for the in-site search feature, so the message is being reposted to remedy these two problems. Thank you for your understanding.)
Arthur Clutton-Brock’s William Morris (New York: Parkstone Press International, 2007) is largely concerned with exploring Morris’ interests and beliefs, with particular attention to Morris’ own writings. The book is not dedicated to translating his art into needlepoint, or cross stitch, designs, though the ample and beautiful illustrations will be an inspiration for your work.
The book spends less time than I had hoped on analyzing Morris’ approach to art, in order to be able to apply it to our own work. Even if the style of his art may not please you, after learning about his goals, you may find that you like his art better, even if you already adored it before learning more about him, as I did.
The text, despite its in-depth attention to Morris’ writings, is not for scholars, who will lament the rambling text without footnotes and the too short bibliography, but it is suited for interested fans wishing to better understand Morris’ works, and is a good source of some beautiful images full of inspiration for your needlepoints.
Better understanding his goals helps us to better translate his art into designs. Unexpectedly, but more importantly, it helps us, like Morris, to be uplifted by making beautiful things and to insist on living surrounded by beauty, even in all our everyday objects, not just because it gives aesthetic pleasure, but also because it refines our spirits.
(Originally posted July 25, 2010, this message was skipped during Google’s retroactive indexing phase, which means that not only was it not available in internet, but also that the page was not available for the in-site search feature, so the message is being reposted to remedy these two problems. Thank you for your understanding.)
Sunday, July 25, 2010
Library mouse (02)
I feel much richer as a person for having learned more about William Morris (1834-1896). I knew of him as a...More......multi-talented artist and craftsman, but never realized that his aspirations to improve and uplift our daily lives by insisting on beauty in the making and using of everyday things also had extended into poetry, narrative and political activism. (For more on Morris, go directly to http://www.morrissociety.org.)
Arthur Clutton-Brock’s William Morris (New York: Parkstone Press International, 2007) is largely concerned with exploring Morris’ interests and beliefs, with particular attention to Morris’ own writings. The book is not dedicated to translating his art into needlepoint, or cross stitch, designs, though the ample and beautiful illustrations will be an inspiration for your work.
The book spends less time than I had hoped on analyzing Morris’ approach to art, in order to be able to apply it to our own work. Even if the style of his art may not please you, after learning about his goals, you may find that you like his art better, even if you already adored it before learning more about him, as I did.
The text, despite its in-depth attention to Morris’ writings, is not for scholars, who will lament the rambling text without footnotes and the too short bibliography, but it is suited for interested fans wishing to understand Morris’ works, better, and is a good source of some beautiful images full of inspiration for your needlepoints.
Better understanding his goals helps us to better translate his art into designs. Unexpectedly, but more importantly, it helps us, like Morris, to be uplifted by making beautiful things and to insist on living surrounded by beauty, even in all our everyday objects, not just because it gives aesthetic pleasure, but also because it refines our spirits.
Arthur Clutton-Brock’s William Morris (New York: Parkstone Press International, 2007) is largely concerned with exploring Morris’ interests and beliefs, with particular attention to Morris’ own writings. The book is not dedicated to translating his art into needlepoint, or cross stitch, designs, though the ample and beautiful illustrations will be an inspiration for your work.
The book spends less time than I had hoped on analyzing Morris’ approach to art, in order to be able to apply it to our own work. Even if the style of his art may not please you, after learning about his goals, you may find that you like his art better, even if you already adored it before learning more about him, as I did.
The text, despite its in-depth attention to Morris’ writings, is not for scholars, who will lament the rambling text without footnotes and the too short bibliography, but it is suited for interested fans wishing to understand Morris’ works, better, and is a good source of some beautiful images full of inspiration for your needlepoints.
Better understanding his goals helps us to better translate his art into designs. Unexpectedly, but more importantly, it helps us, like Morris, to be uplifted by making beautiful things and to insist on living surrounded by beauty, even in all our everyday objects, not just because it gives aesthetic pleasure, but also because it refines our spirits.
Saturday, July 24, 2010
Library mouse (01)
Do you love books? Me, too. Real ones...More......that you can hold and touch and annotate and in which you easily can hold your place flipping back and forth to coordinate information on the various pages (that’s why books were invented in the first place; scrolls were good for from-start-to-stop reading, but not for page-to-page-in-the-same-book consultation…I haven’t tried digital books, as I just can’t focus my thoughts reading on a computer, as I can when reading a book, yet). Then, like me, you’re what the Italians call a “library mouse”…so much nicer than “bookworm,” I think. I recently found some needlepoint books that I can hardly wait to share with you one-by-one, as they arrive. (When they’ve all arrived, I’ll put them in the bibliography.)
The first one to be shared is Barbara Hammet’s The Art of William Morris in Cross Stitch, n.p.: David & Charles, 1996. It’s 128 pages packed with great photos, some basic information about the fascinating fellow William Morris (who wanted to fill everyone’s everyday lives with soul-uplifting beauty, bless him), and with about 50 charted designs for imaginative projects, complete with sewing instructions and some basic information for cross-stitch starters (though the complexity of most of the designs makes them suitable only for those with cross-stitching, or needlepoint, experience, in my opinion).
With some practice at interpreting charts for doing needlepoint, I think that most of the designs (those that don’t rely heavily on outlining) can be adapted for needlepoint fairly easily. I particularly like the way that she envisions the background as an active part of the design (more on that when I talk about the book on the Beggarstaffs, which I am awaiting eagerly).
Her approach to cross-stitch and the final effect of her designs are so akin to the look of needlepoint that I’m tempted to try cross-stitching one of her designs. Because the cloth background and final product of cross-stitch projects are so much thinner and flexible than needlepointed ones, cross-stitch also can be used for lots of things that needlepoint can’t, and that makes for happy gift-planning, for example, a personalized book marker. That’s tempting, too.
The first one to be shared is Barbara Hammet’s The Art of William Morris in Cross Stitch, n.p.: David & Charles, 1996. It’s 128 pages packed with great photos, some basic information about the fascinating fellow William Morris (who wanted to fill everyone’s everyday lives with soul-uplifting beauty, bless him), and with about 50 charted designs for imaginative projects, complete with sewing instructions and some basic information for cross-stitch starters (though the complexity of most of the designs makes them suitable only for those with cross-stitching, or needlepoint, experience, in my opinion).
With some practice at interpreting charts for doing needlepoint, I think that most of the designs (those that don’t rely heavily on outlining) can be adapted for needlepoint fairly easily. I particularly like the way that she envisions the background as an active part of the design (more on that when I talk about the book on the Beggarstaffs, which I am awaiting eagerly).
Her approach to cross-stitch and the final effect of her designs are so akin to the look of needlepoint that I’m tempted to try cross-stitching one of her designs. Because the cloth background and final product of cross-stitch projects are so much thinner and flexible than needlepointed ones, cross-stitch also can be used for lots of things that needlepoint can’t, and that makes for happy gift-planning, for example, a personalized book marker. That’s tempting, too.
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