Limpsfield Decorative and Fine Arts Society

25th March 2009

Art Deco & its Influence on
Art & Design

Peter Darty, author and Head of History & Design at KLC School of Design gave an illustrated lecture to the Limpsfield Decorative & Fine Arts Society on ‘Art Deco & its Influence on Art & Design’.

Art Deco burst on to the scene with the 1925 Decorative Arts Exhibition in Paris. It was influenced by the bright colours used in Diaghilev’s designs for the Ballets Russes, Egyptian features from the discovery of Tutankhamun’s tomb in 1922, Cubism and abstract art, lacquer and shapes from the Empire Style, sunbursts and steps from Aztec and Mayan temples and African designs. At the top end of the market precious wood and ivory veneers were used. Oxidised bronze and marquetry were popular as were stylised flowers, gazelles and tassels.

Hotels such as Claridges and the Savoy contained Art Deco interiors as did ocean liners. Buildings worldwide and skyscrapers in New York such as the Chrysler Building used Art Deco shapes and materials. Art Deco style permeated everyday items such as pottery, furniture, lighting, clothes and jewellery.

By the late 1930s there were Art Deco tea sets and radios in bakelite as well as kitsch items. Art Deco ended with World War II and was not rediscovered until the 1960s.

29th April 2009

Chopin and Delacroix

Mrs Janet Cannetty-Clark, a musician of prodigious talent, commenced her Lecture by playing Prelude No 4 which Chopin regarded as his most innovative piece. A slide of Chopin was displayed, showing him to be a fragile man who suffered shyness and TB all his life. He preferred to teach rather than to give concert performances.Born in Poland in 1810 of a French father and Polish mother, he experienced the harshness of Russian rule before moving to Paris in the 1830s during the Romantic period. There he met Franz Liszt, Eugene Delacroix and George Sands with whom he had a long affair. Delacroix, a lifelong friend, was an amateur musician who recognised the similarities between music and art. As a musician, Chopin brought colour to mind via “chromatic” means. He found Delacroix’ powerful historical paintings revived memories of his childhood in Poland.. He interpreted them too literally, not seeing the build-up of colour but they did inspire him to write mazurkas reflecting the music of his homeland. He related more to Delacroix’ Moroccan paintings where the light reflecting on objects appealed more to him. When Georges Sand moved her ill son to Majorca for the climate, they were joined by Chopin. His health did not improve and removal to Scotland in 1848 did not have the desired effect. He returned to Paris where he died in 1849. Chopin chose his Prelude No 4 for his funeral and at his request his coffin was carried through Paris, with Delacroix as one of the tearful pallbearers, in complete silence, to be buried in Père Lachaise cemetery.

Delacroix died in 1863 at 68 but his use of light influenced the subsequent Impressionists.

27th May 2009

Victorian Pottery & Porcelain

Geoffrey Godden, RSA Fellow, author and a member of the Antiques Roadshow Team gave an illustrated lecture to the Limpsfield Decorative & Fine Arts Society on ‘Victorian Pottery & Porcelain‘.

Much of Victorian pottery and porcelain was mass produced. Other items were of higher quality, such as an 1850 Minton vase. Some pieces replicated 18th Century Sevres designs although there were also original pieces. French modellers and painters were employed at Minton and also at Royal Crown Derby, producing high quality porcelain.

Child and female labourers were common in the Potteries. A 10 year -old, working from 6am to 7pm, earned 2/6 a week, rising to 7/6 a week by the age of 13.

Mould-cast Parian ware figurines were also popular and no decoration was required. Dessert services, nut dishes, Staffordshire dogs and water filters were also much in demand. In the 1870s Japanese designs became popular and Royal Worcester quickly jumped on this bandwagon.

Large jugs, basins and chamber-pots were also much needed in Victorian times, as were decorated tiles. The pottery industry, led by Doulton, benefited from Queen Victoria’s Golden and Diamond Jubilees. Studio potters, such as the Martin Brothers in London, were also popular.

AGM & Treasures of Dulwich Picture Gallery

At the AGM of the Limpsfield Decorative & Fine Arts Society, the Chairman, Ann Hollywood, reported a successful year with a membership of over 520 and a waiting list of those wanting to join. She thanked all those who had contributed to the organisation of lectures, visits, the annual dinner, the tour to Italy, church recording, heritage volunteer projects, stewarding at Titsey Place and Down House and the restoration of the reredos at Tandridge Church.

Officers and Committee elected at the AGM were Ann Hollywood, John Doubleday, Janet Brealey, Mary Linney, Jean Bannister, Wendy Myers, Maureen Bunn, Linda Reed, Ross Charlton and Nick Dalton. Jim Chester was approved as the Independent Financial Examiner.

Sylvia Berry, a university lecturer, gave an illustrated talk to the Society on the ‘Treasures of Dulwich Picture Gallery‘. The major part of the collection of 600 paintings was acquired by two art dealers, Noel Desanfans and Sir Francis Bourgeois between 1790 and 1795 for Stanislaus II, King of Poland. After the disappearance of Poland in the 1795 Partition they lost their purchaser. Eventually the collection was bequeathed to the Dulwich Gallery, which opened in 1817, 7 years before the National Gallery. Illustrations were shown of a selection of paintings by Poussin, Rubens, Van Dyck, Rembrandt, Dou, Cuyp and Gainsborough.

26th January 2010

Nature in Medieval Art

Tim Porter, a composer and lecturer on music and medieval studies, gave an illustrated lecture to the Limpsfield Decorative & Fine Arts Society on ‘Nature in Medieval Art’.

In medieval times all of nature was considered to be created by God for man and had a moral significance. Animals, birds and plants are found in carvings, manuscripts and surviving stained glass and wall paintings.

Lions represented kingly virtues and are in royal coats of arms and also represent St. Mark. However the Devil could also disguise himself as a lion. Along with an elephant and camels, lions were kept in Henry III’s menagerie and illustrations of them were drawn by Matthew Paris, a monk from St. Alban’s Abbey.

Each animal was seen as having positive as well as negative qualities. Dogs were loyal but also gullible. Cats could hunt in the dark but also had a dark side. Mythological animals are described in medieval bestiaries. Birds and beasts represented both sin and God’s abundance.

Southwell Minster contains magnificent carvings of vines and oak foliage. Vines signified renewal and resurrection. Medieval gardens were enclosed, containing plants chosen for symbolic significance and medicinal properties as well as appearance.