I gave myself a treat last night, and looked through another of the books I got from Linn Skinner: This time her reprint of Hiersemann's reprint (1882) of Quentel (1527 - 1529).
Of course I am already working on another bookmark. (I'd better find a source of band I like here fast! I only picked up 4 of these when I was in the US. Mostly because the store I found them at had a lousy selection.)
The pattern I picked out was only one of several that I would not have hesitated at dating to the late 19th century. Very 'Art nouveau.' Of course I was aware that that period was also full of reworkings of historical patterns. How could I not be, living here in Vienna and seeing the Ringstrasse buildings so constantly. And I knew that William Morris had referred back to old traditions in his writings. But it did stop me in my tracks when in the middle of so many traditional blackwork patterns beloved of the sampler crowd there were designs that shouted Art nouveau at me. Even a border of facing birds that is very reminiscent of Morris's 'Strawberry thief'. I had never seen before how the old designs had been brought out and refurbished. Just a reminder that for all the refurbishing we do, good design is good design is good design; What is new is not in the basics, but how we interpret them for our own time and needs.
Speaking of Art nouveau: If you are ever in Bern (Switzerland), try to get a look at the ceiling of the Old Catholic cathedral there. The panels are painted with lovely Art nouveau floral designs. I had to laugh, though. After admiring a group of lilies, I moved on to the next panel. It took me ages to figure out what flower was being depicted: Edelweiss. But instead of being the little retiring squat plants they have to be to survive the Alpine heights, they were as tall and as full of the same foliage as the neighbouring lilies. Very fun!
No comments:
Post a Comment