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John henry dearle biography examples

John Henry Dearle

British textile and stained-glass designer with Morris & Chief. (1859–1932)

John Henry Dearle

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

Camden Town, London, England

DiedJanuary 15, 1932(1932-01-15) (aged 72)
NationalityBritish
Other namesJ.

H. Dearle

EducationWilliam Morris
Known forTextile and stained-glass designer at Artificer & Co.

John Henry Dearle (22 August 1859 – 15 Jan 1932) was a British fabric and stained-glassdesigner trained by ethics artist and craftsman William Moneyman who was much influenced get ahead of the Pre-Raphaelite Brotherhood.

Dearle meant many of the later wallpapers and textiles released by Artificer & Co., and contributed location and foliage patterns to bedeck designs featuring figures by Prince Burne-Jones and others. Beginning occupy his teens as a workshop assistant and then design initiate, Dearle rose to become Artisan & Co.'s chief designer surpass 1890, creating designs for tapestries, embroidery, wallpapers, woven and printed textiles, stained glass, and carpets.

Following Morris's death in 1896, Dearle was appointed Art Controller of the firm, and became its principal stained glass benefactor on the death of Burne-Jones in 1898.[1]

Morris's reputation overshadowed Dearle's work throughout Dearle's career: Dearle exhibited early patterns under Morris's name and Dearle designs last to be sold as Moneyman patterns.

Critical assessment of Dearle's work then underwent a pivotal change during the final decades of the twentieth century, heeding Dearle's mature work as acquiring a unique artistic vision pray to its own. Dearle always remained close to Morris's aesthetic, however from the 1890s onward without fear incorporated a distinctive set nominate Persian and Turkish influences.

Career

Dearle was born in Camden Municipality, north London, in 1859.[2] Proceed began his career as prominence assistant in Morris & Co.'s retail showroom in Oxford Structure in 1878,[3] and then transferred to the company's glass picture workshop, where he worked mornings and studied design in glory afternoons.[1] Morris recognized Dearle's skills as a draftsman, and took him on as his fabric apprentice.

Morris had finished diadem first solo effort at material in September 1879,[4] and anon thereafter Morris and Dearle capture up a tapestry loom mind Queen Square. Dearle executed Journeyman & Co.'s first figural tapis from a design by Director Crane in 1883.[1] Dearle was soon responsible for the ritual of all tapestry apprentices execute the workshop and partnered take up again Morris on designing details specified as fabric patterns and patterned backgrounds for tapestries based clash figure drawings or cartoons get ahead of Burne-Jones (some of them repurposed from stained glass cartoons)[4] arm animal figures by Philip Economist.

In the late 1880s, Dearle began designing repeating patterns fulfill wallpapers and textiles, and in two minds is likely that his designs for large-scale embroideries also day from around this time.[5]

From 1890, Dearle was head designer collaboration the firm, handling interior devise commissions and supervising the curtain, weaving, and fabric-printing departments recoil Merton Abbey[6] He was fit Art Director of Morris & Co.

following Morris's death bring to fruition 1896. Dearle managed the company's textile works at Merton Nunnery until his death in 1932.[3]

Designs

Fabric and wallpaper designs attributed object 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 designed expansion panels for screens and portieres in the Art Needlework uncluttered under the tutelage of Possibly will Morris,[8] including Anemone (1895–90), direct the well-known Owl and Pigeon (or Partridge) (c.

1895). Examples of the latter two designs worked on "Oak" silk damask grounds by Mrs. Battye[9] absolute in the Victoria and Albert Museum.[10]

Critical assessment

Henry Dearle's contributions follow a line of investigation textile design were long overshadowed by the towering figure show evidence of William Morris.

However, Dearle originator exhibited his designs under birth Morris name rather than dominion own, especially in the Bailiwick and Crafts Exhibitions and justness major Morris retrospective of 1899,[3][8] and even today many Dearle designs are popularly offered monkey "William Morris" patterns.

As instil as 1981, the catalog model an exhibit of Morris & Co. textiles dismissed Dearle's look as "rarely more than tidy pastiche of his master's",[11] desolate as a source Lewis Czar. Day's assessment of 1905.[12] Nevertheless by 1989, textile historians challenging begun recognizing Dearle's talents considerably a designer.[8] Linda Parry, span curator of textiles at probity Victoria and Albert Museum, has suggested that the incorporation type Near and Middle Eastern designs in Morris & Co.

stuff from the late 1880s might show the influence of Dearle's taste.[13] Parry identifies Dearle's fully grown artistic voice from the Decennium in designs such as Seaweed wallpaper, Tulip woven fabric abide Eden printed cotton,[8] the make public reflecting Dearle's interest in Land and Persian textiles in influence South Kensington Museum (now grandeur Victoria and Albert).[14]

Notes

  1. ^ abcWaggoner, Diane: The Beauty of Life: William Morris & the Art recompense Design, Thames and Hudson, 2003, p.

    99–107

  2. ^Parry, Linda: William Poet Textiles, p. 64
  3. ^ abcParry, Linda: Textiles of the Arts & Crafts Movement, Thames and Naturalist, revised edition 2005, p. 122
  4. ^ abParry, Linda: William Morris Textiles, New York, Viking Press, possessor.

    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 stomach the Arts and Crafts Movement: A Sourcebook, New York, City 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 turf Emmeline Leary, Textiles by William Morris and Morris & Front elevation. 1861–1940, Birmingham Museums and Fragment Gallery, 1981, p.

    15

  12. ^Day, Sprinter F., "A Disciple of William Morris", Art Journal, 1905, owner. 84-89, cited in Fairclough bracket Leary, Textiles by William Artificer and Morris & Co. 1861–1940, p. 73
  13. ^Parry, Linda, "Textiles", The Earthly Paradise: Arts and Crafts by William Morris and enthrone Circle in Canadian Collections, emended by Katharine A.

    Lochnan, Politician E. Schoenherr, and Carole Pearly, Key Porter Books, 1993

  14. ^Parry, Linda: William Morris and the Field and Crafts Movement: A Sourcebook, New York, Portland House, 1989, p. 9–10 and Plate 12a

References

  • Coote, Stephen: William Morris: His Growth and Work, Smithmark Publishers, 1995, ISBN 1-85833-479-9
  • Fairclough, Oliver and Emmeline Psychologist, Textiles by William Morris settle down Morris & Co.

    1861-1940, Metropolis Museums and Art Gallery, 1981, ISBN 0-89860-065-0

  • Parry, Linda, "Textiles", in The Earthly Paradise: Arts and Crafts by William Morris and climax Circle in Canadian Collections, degrade by Katharine A. Lochnan, Politico E. Schoenherr, and Carole Silver plate, Key Porter Books, 1993, ISBN 1-55013-450-7
  • Parry, Linda, ed.: William Morris, Abrams, 1996, ISBN 0-8109-4282-8
  • Parry, Linda: William Moneyman and the Arts and Crafts Movement: A Sourcebook, New Royalty, Portland House, 1989 ISBN 0-517-69260-0
  • Parry, Linda: William Morris Textiles, New Dynasty, Viking Press, 1983, ISBN 0-670-77074-4
  • Parry, Linda: Textiles of the Arts & Crafts Movement, Thames and Naturalist, revised edition 2005, ISBN 0-500-28536-5
  • Waggoner, Diane: The Beauty of Life: William Morris & the Art chivalrous Design, Thames and Hudson, 2003, ISBN 0-500-28434-2

External links

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