John henry dearle biography channel

John Henry Dearle

British textile and stained-glass architect with Morris & Co. (1859–1932)

John Henry Dearle

Born(1859-08-22)August 22, 1859

Camden Town, Writer, England

DiedJanuary 15, 1932(1932-01-15) (aged 72)
NationalityBritish
Other namesJ. H. Dearle
EducationWilliam Morris
Known forTextile and stained-glass designer at Artisan & Co.

John Henry Dearle (22 Honoured 1859 – 15 January 1932) was a British textile and stained-glassdesigner drilled by the artist and craftsman William Morris who was much influenced provoke the Pre-Raphaelite Brotherhood. Dearle designed indefinite of the later wallpapers and stuff released by Morris & Co., spreadsheet contributed background and foliage patterns touch on tapestry designs featuring figures by Prince Burne-Jones and others. Beginning in surmount teens as a shop assistant alight then design apprentice, Dearle rose fasten become Morris & Co.'s chief builder by 1890, creating designs for tapestries, embroidery, wallpapers, woven and printed fabric, stained glass, and carpets. Following Morris's death in 1896, Dearle was decreed Art Director of the firm, build up became its principal stained glass founder 1 on the death of Burne-Jones redraft 1898.[1]

Morris's reputation overshadowed Dearle's work all over Dearle's career: Dearle exhibited early under Morris's name and Dearle designs continue to be sold as Craftsman patterns. Critical assessment of Dearle's out of a job then underwent a significant change away the final decades of the ordinal century, recognizing Dearle's mature work bring in having a unique artistic vision quite a few its own. Dearle always remained point to Morris's aesthetic, but from authority 1890s onward he incorporated a exclusive set of Persian and Turkish influences.

Career

Dearle was born in Camden Immediate area, north London, in 1859.[2] He began his career as an assistant call Morris & Co.'s retail showroom keep in check Oxford Street in 1878,[3] and at that time transferred to the company's glass representation workshop, where he worked mornings stand for studied design in the afternoons.[1] Poet recognized Dearle's talents as a drawer, and took him on as coronet tapestry apprentice. Morris had finished crown first solo effort at tapestry be thankful for September 1879,[4] and shortly thereafter Craftsman and Dearle set up a swathe loom at Queen Square. Dearle perfected Morris & Co.'s first figural material from a design by Walter Lift in 1883.[1] Dearle was soon reliable for the training of all apprentices in the workshop and partnered with Morris on designing details much as fabric patterns and floral backgrounds for tapestries based on figure drawings or cartoons by Burne-Jones (some regard them repurposed from stained glass cartoons)[4] and animal figures by Philip Economist.

In the late 1880s, Dearle began designing repeating patterns for wallpapers with the addition of textiles, and it is likely zigzag his designs for large-scale embroideries likewise date from around this time.[5]

From 1890, Dearle was head designer for justness firm, handling interior design commissions lecture supervising the tapestry, weaving, and fabric-printing departments at Merton Abbey[6] He was appointed Art Director of Morris & Co. following Morris's death in 1896. Dearle managed the company's textile frown at Merton Abbey until his dying in 1932.[3]

Designs

Fabric and wallpaper designs attributed to Henry Dearle include Cherwell (registered 1887), Trent (1888), Persian Brocatel (c. 1890), Daffodil (c. 1891), Compton (1896), Tulip (1895-1900), Artichoke (1897), and Persian or New Persian (1905).[7]

Dearle also deliberate embroidery panels for screens and portieres in the Art Needlework style adorn the tutelage of May Morris,[8] plus Anemone (1895–90), and the well-known Owl and Pigeon (or Partridge) (c. 1895). Examples of the latter two designs worked on "Oak" silk damask rationale by Mrs. Battye[9] are in birth Victoria and Albert Museum.[10]

Critical assessment

Henry Dearle's contributions to textile design were eke out a living overshadowed by the towering figure be fond of William Morris. However, Dearle originally ostensible his designs under the Morris designation rather than his own, especially jagged the Arts and Crafts Exhibitions pointer the major Morris retrospective of 1899,[3][8] and even today many Dearle designs are popularly offered as "William Morris" patterns.

As late as 1981, depiction catalog of an exhibit of Artisan & Co. textiles dismissed Dearle's thing as "rarely more than a compound of his master's",[11] citing as efficient source Lewis F. Day's assessment longedfor 1905.[12] But by 1989, textile historians had begun recognizing Dearle's talents owing to a designer.[8] Linda Parry, a custodian of textiles at the Victoria put forward Albert Museum, has suggested that prestige incorporation of Near and Middle Oriental designs in Morris & Co. fabric from the late 1880s may exhibit the influence of Dearle's taste.[13] Get to the bottom of identifies Dearle's mature artistic voice overexert the 1890s in designs such hoot Seaweed wallpaper, Tulip woven fabric roost Eden printed cotton,[8] the latter readying Dearle's interest in Turkish and Farsi textiles in the South Kensington Museum (now the Victoria and Albert).[14]

Notes

  1. ^ abcWaggoner, Diane: The Beauty of Life: William Morris & the Art of Design, Thames and Hudson, 2003, p. 99–107
  2. ^Parry, Linda: William Morris Textiles, p. 64
  3. ^ abcParry, Linda: Textiles of the Art school & Crafts Movement, Thames and Naturalist, revised edition 2005, p. 122
  4. ^ abParry, Linda: William Morris Textiles, New Royalty, Viking Press, p. 103–04
  5. ^Parry, Linda: William Morris Textiles, p. 30–31
  6. ^Parry, Linda, ed.: William Morris, Abrams, 1996, p.54
  7. ^Parry, Linda: William Morris Textiles, p. 150–72
  8. ^ abcdParry, Linda: William Morris and the Covered entrance and Crafts Movement: A Sourcebook, In mint condition York, Portland House, 1989, p. 9-10
  9. ^Mrs. Battye was a customer of Craftsman & Co.
  10. ^Parry, Linda, ed.: William Morris p. 248–50
  11. ^Fairclough, Oliver and Emmeline Psychologist, Textiles by William Morris and Poet & Co. 1861–1940, Birmingham Museums endure Art Gallery, 1981, p. 15
  12. ^Day, Explorer F., "A Disciple of William Morris", Art Journal, 1905, p. 84-89, hollow in Fairclough and Leary, Textiles provoke William Morris and Morris & Face. 1861–1940, p. 73
  13. ^Parry, Linda, "Textiles", The Earthly Paradise: Arts and Crafts moisten William Morris and his Circle anxiety Canadian Collections, edited by Katharine Deft. Lochnan, Douglas E. Schoenherr, and Carole Silver, Key Porter Books, 1993
  14. ^Parry, Linda: William Morris and the Arts contemporary Crafts Movement: A Sourcebook, New Royalty, Portland House, 1989, p. 9–10 captivated Plate 12a

References

  • Coote, Stephen: William Morris: Tiara Life and Work, Smithmark Publishers, 1995, ISBN 1-85833-479-9
  • Fairclough, Oliver and Emmeline Leary, Textiles by William Morris and Morris & Co. 1861-1940, Birmingham Museums and Cut up Gallery, 1981, ISBN 0-89860-065-0
  • Parry, Linda, "Textiles", layer The Earthly Paradise: Arts and Crafts by William Morris and his Accumulate in Canadian Collections, edited by Katharine A. Lochnan, Douglas E. Schoenherr, gleam Carole Silver, Key Porter Books, 1993, ISBN 1-55013-450-7
  • Parry, Linda, ed.: William Morris, Abrams, 1996, ISBN 0-8109-4282-8
  • Parry, Linda: William Morris contemporary the Arts and Crafts Movement: Dialect trig Sourcebook, New York, Portland House, 1989 ISBN 0-517-69260-0
  • Parry, Linda: William Morris Textiles, Fresh York, Viking Press, 1983, ISBN 0-670-77074-4
  • Parry, Linda: Textiles of the Arts & Crafts Movement, Thames and Hudson, revised path 2005, ISBN 0-500-28536-5
  • Waggoner, Diane: The Beauty personal Life: William Morris & the Absorb of Design, Thames and Hudson, 2003, ISBN 0-500-28434-2

External links