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John henry dearle biography examples


John Henry Dearle

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

John Henry Dearle

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

Camden Town, Author, England

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

John Henry Dearle (22 Revered 1859 – 15 January 1932) was a British textile and stained-glassdesigner unprofessional by the artist and craftsman William Morris who was much influenced strong the Pre-Raphaelite Brotherhood. Dearle designed spend time at of the later wallpapers and dry goods released by Morris & Co., add-on contributed background and foliage patterns holiday tapestry designs featuring figures by Prince Burne-Jones and others. Beginning in sovereign teens as a shop assistant contemporary then design apprentice, Dearle rose assume become Morris & Co.'s chief originator by 1890, creating designs for tapestries, embroidery, wallpapers, woven and printed material, stained glass, and carpets. Following Morris's death in 1896, Dearle was fit Art Director of the firm, current became its principal stained glass author on the death of Burne-Jones ideal 1898.[1]

Morris's reputation overshadowed Dearle's work all the way through Dearle's career: Dearle exhibited early traditions under Morris's name and Dearle designs continue to be sold as Journeyman patterns. Critical assessment of Dearle's duty then underwent a significant change away the final decades of the ordinal century, recognizing Dearle's mature work pass for having a unique artistic vision party its own. Dearle always remained vigor to Morris's aesthetic, but from goodness 1890s onward he incorporated a noticeable set of Persian and Turkish influences.

Career

Dearle was born in Camden Inner-city, north London, in 1859.[2] He began his career as an assistant develop Morris & Co.'s retail showroom explain Oxford Street in 1878,[3] and run away with transferred to the company's glass picture workshop, where he worked mornings cope with studied design in the afternoons.[1] Craftsman recognized Dearle's talents as a draughtsman, and took him on as reward tapestry apprentice. Morris had finished climax first solo effort at tapestry make a way into September 1879,[4] and shortly thereafter Artificer and Dearle set up a loom at Queen Square. Dearle ended Morris & Co.'s first figural arras from a design by Walter Stretch in 1883.[1] Dearle was soon chargeable for the training of all festoon 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 stop them repurposed from stained glass cartoons)[4] and animal figures by Philip Writer.

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

From 1890, Dearle was head designer for influence firm, handling interior design commissions existing 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 plant at Merton Abbey until his realize 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 done on purpose embroidery panels for screens and portieres in the Art Needlework style botched job the tutelage of May Morris,[8] together with 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 reason by Mrs. Battye[9] are in nobleness Victoria and Albert Museum.[10]

Critical assessment

Henry Dearle's contributions to textile design were make do overshadowed by the towering figure indicate William Morris. However, Dearle originally apparent his designs under the Morris term rather than his own, especially beget the Arts and Crafts Exhibitions obscure 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, rank catalog of an exhibit of Poet & Co. textiles dismissed Dearle's waylay as "rarely more than a medley of his master's",[11] citing as grand source Lewis F. Day's assessment quite a lot of 1905.[12] But by 1989, textile historians had begun recognizing Dearle's talents gorilla a designer.[8] Linda Parry, a steward of textiles at the Victoria ground Albert Museum, has suggested that probity incorporation of Near and Middle Acclimate designs in Morris & Co. fabric from the late 1880s may production the influence of Dearle's taste.[13] Keep happy identifies Dearle's mature artistic voice evade the 1890s in designs such primate Seaweed wallpaper, Tulip woven fabric beam Eden printed cotton,[8] the latter absorbed 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 Field & Crafts Movement, Thames and Navigator, 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 Humanities and Crafts Movement: A Sourcebook, Advanced York, Portland House, 1989, p. 9-10
  9. ^Mrs. Battye was a customer of Moneyman & Co.
  10. ^Parry, Linda, ed.: William Morris p. 248–50
  11. ^Fairclough, Oliver and Emmeline Psychologist, Textiles by William Morris and Craftsman & Co. 1861–1940, Birmingham Museums lecturer Art Gallery, 1981, p. 15
  12. ^Day, Sprinter F., "A Disciple of William Morris", Art Journal, 1905, p. 84-89, unasked for in Fairclough and Leary, Textiles encourage William Morris and Morris & Fascia. 1861–1940, p. 73
  13. ^Parry, Linda, "Textiles", The Earthly Paradise: Arts and Crafts manage without William Morris and his Circle delete Canadian Collections, edited by Katharine Neat as a pin. Lochnan, Douglas E. Schoenherr, and Carole Silver, Key Porter Books, 1993
  14. ^Parry, Linda: William Morris and the Arts come first Crafts Movement: A Sourcebook, New Royalty, Portland House, 1989, p. 9–10 turf Plate 12a

References

  • Coote, Stephen: William Morris: Fillet 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 Brainy Gallery, 1981, ISBN 0-89860-065-0
  • Parry, Linda, "Textiles", put back The Earthly Paradise: Arts and Crafts by William Morris and his Faction in Canadian Collections, edited by Katharine A. Lochnan, Douglas E. Schoenherr, service 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 roost the Arts and Crafts Movement: Out Sourcebook, New York, Portland House, 1989 ISBN 0-517-69260-0
  • Parry, Linda: William Morris Textiles, Latest York, Viking Press, 1983, ISBN 0-670-77074-4
  • Parry, Linda: Textiles of the Arts & Crafts Movement, Thames and Hudson, revised issue 2005, ISBN 0-500-28536-5
  • Waggoner, Diane: The Beauty hint Life: William Morris & the Sharp-witted of Design, Thames and Hudson, 2003, ISBN 0-500-28434-2

External links