The creation of a water color mural for the dining room of a large residence of modern design

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THE CREATION OP A WATER COLOR MURAL FOR THE DINING ROOM OF A LARGE RESIDENCE OF MODERN DESIGN

A Thesis Presented to the Faculty of the Department of Fine Arts The University of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts

by Helen Dedeaux September 1942

UMI Number: EP57848

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T h i s thesis, w r i t t e n by

u n d e r the d i r e c t i o n o f h

F a c u lty Committee,

a n d a p p r o v e d by a l l i t s m e m b e r s , has been p resent ed to a n d acc ep ted by the C o u n c i l on G r a d u a t e S t u d y a n d Research in p a r t i a l f u l f i l l ­ m e n t o f the r e q u ir e m e n t s f o r the degree o f

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Secretary D ate.

F a c u lty Com m ittee

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TABLE OF CONTENTS CHAPTER I.

PAGE

THE PROBLEM AND DEFINITIONS OF TERMS USED . . .

1

The p r o b l e m .................................

1

Statement of the problem

.................

1

Importance of the s t u d y ...................

2

Definitions of terms used ...................

3

M u r a l .............. .......................

4

Dining r o o m ...............................

4

Modern design .............................

4

Organization of remainder of the thesis . . .

5

REVIEW OF THE L I T E R A T U R E .....................

7

Water color . . .

II.

3

Literature on mural painting

..............

7

Literature on modern interior design and architecture

. . . . .

Limitations of previous studies ............ III.

20 23

THE METHOD OF PROCEDURE BEFORE DETERMINING SIZE AND STYLE OF MURAL .....................

26

The architectural style of the h o m e ........

27

The furnishings u s e d .......................

30

The color scheme employed In the room. . . .

32

Illumination of the r o o m .............. . Dimensions necessary for the mural

........

. .

34 34

iii CHAPTER

PAGE Photographs of the r o o m .................... .

IV.

PRELIMINARY SKETCHES

55

...................

58

Scale drawings of wall area and various sized rectangular units toward selection of size of mural

..................

59

Style and subject m a t t e r ..............

41

Various sketches for design of mural panel

V.

.

First approval of p a t r o n s ...................

52

Second approval of patrons

55

.................

THE PAINTING OF THE M U R A L ..................... Color scheme e v o l v e d

58

58

.

Third approval of p a t r o n s ................... Cartoon transferred to water color paper

VI.

.

60 .

61

The type of art materials u s e d ............

62

Painting of m u r a l ...........................

65

THE COMPLETION OF THE MURAL

...........

Type of protection or framing of mural

VII.

42

66

...

66

The mural in p l a c e .........................

70

Final a p p r o v a l .............................

70

SUMMARY M B C O N C L U SIONS .......................

72

Summary

...............................

72

C o n c l u s i o n s.................................

79

B I B L I O G R A P H Y ........................................

82

LIST OF PLATES PLATE

PAGE I.

A Section of the Dining Alcove and Living Room, Part of the HIspano Mooresque Table over Which the Mural Would Be Placed, Show­ ing How the Spectator if Seated In the Alcove Would View the Mural as Well as from the Viewpoint of the Living R o o m ..........

II.

88

A View of the Dining Alcove, Showing the Small Dining Tables, the Flowers, the Tapa Cloth on the Wall, the Ankor Vat, and Balinese Figures, All Imparting an Integral Character to the R o o m ....................

III.

89

A View of the Area to be Decorated, Showing the Overhead Lighting and the Hispano Mooresque Table.

The Characteristic

Decoration is Evident— the Polynesian War Shield, the Decorative Screen, the S a m o v a r ................................... IV.

90

A View of the Rounded Corner Fire Place, Showing the Informal Lounge, the Grass Rug, the Rattan Chairs, and the Use of Decorative Grey-Blue Acacia Leaves in the Spun Aluminum Jar

.............................

A View of the Living Room, Showing the

91

V

PLATE

PAGE Large Expanse of Windows and the Simple Modern Furniture as Well as the Contrast of the W a l l s ...............................

VI.

92

A View of the Adjoining Bedroom, Showing the Treatment of the Doorway and the Manner in Which one Room Flows into the Other, thus Affording a View of the Proposed Mural from Another R o o m ..........

VII.

93

Another View of a Section of the Wall to he Decorated, Showing the Strong Horizontal Lines of the Grass Rug in Relation to the

VIII. IX.

A

T a b l e .....................................

9k

Sketch of Fruit, Leaves, and T r e e s .......

95

A Sketch of Fruit, Leaves, Flowers, and Tree Trunks, with the Tree Trunks Kept in the B a c k g r o u n d .............................

X.

96

A Sketch of a Rather Surrealistic Landscape of Rolling Hills and a Winding Path, with Fruit and F l o w e r s .....................

XI.

97

The Sketch that Evolved out of the Previous Drawings.

A Dreamlike Fantasy of Fruit,

Flowers, Trees, Leaves, and Earth, to be Used as the Large Central P a n e l .......... XII.

A Sketch of Yellow Water-Iris with Fruit and

98

VI

PLATE

PAGE Leaves to be a Subsidiary Panel on One Side of the Large Central P a n e l ...........

XIII.

99

An Arrangement of Lemon Leaves, with Fruit and Leaves in the Foreground, to be Used as a Subsidiary Panel to the Large Central Panel

XIV.

...............

100

A Sketch for the large Central Panel, Showing Some Phases of the Everyday Pursuits of the Balinese, and the Tropical V e g e t a t i o n ................................. 101

XV.

A Sketch of Two Balinese Dancers Performing the " l e g o n g " .................................. 102

XVI.

A Sketch of a Male Dancer Performing the Hkebiyar,*’ Supported by Two Balinese Musicians with Their TypicalInstruments . .

X VII.

A Sample of Reeves1 French Water Color Paper

XVIII.

103

. .

.................................. 104

A Sample of Finely Woven Grass Cloth, Off White C o l o r ..............................105

XIX.

A Sample of Grass Cloth Very Finely Woven and of Cream C o l o r ............................106

XX.

A Sample of a New Wall Material Called "Fab-Hi-Kan*1 Wall Canvas, Showing the Appearance of Water Color onI t .............. 107

V JL..L

PLATE XXI.

PAGE A Sample of the Grass Cloth with a Small Painted Pattern and an Edge Bound in Cellophane T a p e ..............................108

XXII.

The Corrected Sketch of the Central Panel, Showing an Arrangement of Larger Pagodas on the Left, Masses of Leaves Across the Sky, and Added Vegetation.

The Palm;

Trees Were O m i t t e d ........................... 109 XXIII.

The Corrected

Sketch for the f,legong,,T

Showing Intricate, Formalized Plants and the Change in Position of the Dancer on the Right, Also the Elaborately Designed C o s t u m e s ...................................... 110 XXIV.

The Corrected Showing the

Sketch of the f*kebiyar," Change in Facial Position and

the More Architectonic F o l i a g e ............... Ill XXV.

A View of the Revised Sketches Pinned on the Wall, Showing How the Size and Design Carried in the Room.

XXVI.

. .

..j ..................112

A Photograph of the Completed Color Sketch, Showing the Values but Unfortunately not the C o l o r .................................... 113

XXVII.

A View of the Color Sketch in Relation to the Wall Area and the T a b l e ..........

114

V I 11

PLATE XXVIII.

PAGE A View of the Chalk Sketch Planked by the Two Finished Water Color Panels.

A Sense

of Heightened Value is Evident in the Water Colors. Definite.

The Chalk is Softer, Less

The Relationship of the Over­

head Lighting to the Panel is S e e n ........... 115 XXIX.

The Completed and Framed Mural Hung in Place on the W a l l ............................116

XXX.

A Photograph of the Framed Mural, Showing the Type of F r a m i n g ......................

117

CHAPTER I THE PROBLEM AND DEFINITIONS OF TERMS USED During the last few years the art of water color has taken on new life.

It is no longer a subsidiary to oil

painting, but is now recognized as a first rank medium of expression.

Although "water colors” are hung in the home

as embellishments, it could not be ascertained that employ­ ing this medium on water color paper had ever been done as a planned mural decoration. THE PROBLEM Statement of the problem.

The problem was (l) to

create a water color mural for the dining room of a large residence of modern design; (2) to plan the mural according to certain existing conditions such as the architectural style of the room, the furnishings used, the combination of colors employed, the lighting of the room, and the wall space measurement on which the mural would be placed; (3) to integrate the design of the mural as a decoration suit­ able to the character and purpose of an informal room in which living and dining room are one, carrying out the idea of spaciousness with light and air; (^) to determine size, subject matter, style, and color scheme of the mural by making numerous sketches and scale drawings;

(5) to preserve

the innate individuality of the artist as well as to express the character of the patrons and the room for which the mural was designed ; (6) to hang the mural with the proper framing or protective covering due to the fragility of water color painting; and (7) to determine the merit of using water color as a method of mural decoration. Importance of the study.

Functionalism in modern

architecture and furnishings has to a certain degree ban­ ished the work of the artist in regard to paintings in the modern home.

The stern functionalist desires an unbroken

wall space with nothing on the wall to distract from the eye as it restfully glides from one undecorated wall to another.

The design of the room itself is supposed to pro­

vide adequate stimulation, abetted by useful, simply de­ signed furniture in which the color and design desired by the spectator is supplied by textured contrasts and richly designed textiles. The general art minded public has found these, ideals to be too cold and grim, however, for domestic use, and too much like an impersonal hospital ward.

They appreciate

functionalism’s elimination of clutter, the ease and economy of upkeep which it brings with it, but they like it accompan­ ied by something that may exist merely for beauty’s sake and not for any functional reason.

Consequently, there is a

growing return to more colorful and personal interiors and much greater attention is being paid to the decoration of the actual wall area.

Mural painting is turned to in an

increasing number of instances as the chief decorative fea­ ture of a room. Modern mural painting is immensely varied in style and content, and ranges from work designed on a monumental scale to a more informal and personal type of decoration. As yet, however, very little has been done in the more in­ timate type of mural design for residential enjoyment, and it presents a field of unlimited experiments.

Mural tech­

niques employed are usually those of oil painting on canvas, tempera painting on gesso ground, or fresco.

The technique

of water color on water color paper presents a new technique for mural design which has not been used before as far as could be determined from written accounts.

In this creation

of a mural an attempt was made to use the sparkling, modern medium of water color rather than any of the older and more accepted mediums, and also to achieve a design of beauty that is compatible with the spirit of the contemporary home and its occupants. DEFINITIONS OF TERMS USED Mural.

The term, f,mural decoration,11 was interpreted

as meaning a painting commissioned for a particular space in

which the architectural setting, the use of the room, defin­ ite dimensions, and suitable subject-matter are determining factors.

A schematic use of color is considered necessary.

Water color.

The use of water color was interpreted

as meaning the employment of pigments made semi-fluid by the use of water.

During the painting of the mural only trans­

lucent water color has been used on a cold-pressed paper. Chinese white pigment has been avoided as its mixture with other colors would produce an opaque effect which in this instance was not desired. Dining room.

Throughout this report the term, "dining

r o o m 11 has been interpreted as meaning living room and din­ ing room flowing one into the other.

Each does not shut off

the view of the other and they are drawn together into a single architectural unit, this arrangement being one of the ideals of modern functionalism— permitting more space, sun­ shine, and air. Modern design.

The interpretation of "modern design"

in furniture and architecture has been the employment of simplicity of line, usefulness of purpose, contrast in tex­ tures for dramatic effects, exploitation of window space to permit the maximum of light and air, the spaciousness of rooms flowing one into the other with unbroken wall spaces,

and finally meaning the close interrelationship between the architect, the interior decorator, and the artist painter or sculptor. ORGANIZATION OP REMAINDER OF THE THESIS Chapter Two, "The Review of the Literature,” contains an account of what could be found locally on the subject of mural decorations and also on the related subjects of modern interior design and architecture. ten matter- were expounded.

Limitations of the writ­

Chapter Three, f,The Method of

Procedure in Determining Size and Style of the Mural,” di­ vulges the steps taken to make an intelligent approach to the problems of the mural in relationship to the room to be decorated.

These problems consisted of wall space measure­

ment, the architectural style of the room, the furnishings used, the color scheme of the room, the lighting, and finally photographs of the room.

Chapter Pour, "Preliminary Sketches,

is primarily a discussion of the scale drawings, various sketches for the mural panel, the arrival at a decision as to subject matter and composition, and lastly the approval of the patrons.

In Chapter Five, "The Painting of the Mural,"

a description is given of the transfer of the cartoon to the final water color paper, the color scheme evolved and approved, the type of brushes and paint decided upon, and the actual painting of the mural.

Chapter Six, "The Completed

u

Mural/1 ascertains the type of protection or framing of the mural after it was finished.

The mural was hung on the wall,

the final approval was given, and the mural was photographed. The seventh or final chapter, 11Summary and Conclusions,” con­ tains an account of the more important findings of the study and the conclusions of the investigator.

CHAPTER II REVIEW OF THE LITERATURE Very little has been written on contemporary mural decoration as such, and no literature can be found on the water color mural.

However, a brief summary of what has

been discovered on the subject of murals and closely re­ lated fields of Inquiry are given. Literature on mural painting.

Fraser1 tells of the

growing interest and rebirth of mural decoration in the home.

Greater attention is being paid to the actual wall

area of a room and its accompanying glowing color and good design.

People are tiring of false functionalism repre­

sented by grim interiors in which "every gracious expres­ sion of fancy or ornament is banished as redundant if not actually s i n f u l . B y employing mural painting to the walls as a means of decoration, an air of permanence is achieved which is very satisfying if the rest of the room is in fine accord with the depiction.

There may be quite different

expressions of a modern mural.

The author draws attention

to the fact that one type might be simply a piece of decora­ tive background which should not be considered apart from 1 Grace L. Fraser, "Furnishings in the Past Year,” Decorative Art, The Studio Year Book, 36:43-48, 1941. 2 Ibid., p. 44.

the room which it enlivens.

The attention is not centered

upon any one spot, and the design flows around the walls of the room.

It consequently presents no special problem to

the decorator as Its continual movement does not arrest the eye, so that the presence of furniture Is not resented. Another type of mural might be part of a well planned room. It could be set into a slight recess of the wall space and given full value by overhead lighting and the sweep of plain walls up to it. Delving further into the subject of decoration, It is worthy of note to listen to the words of Prank Lloyd Wright, Decoration Is dangerous unless you understand it thoroughly and are satisfied that it means something good In the scheme as a whole, for the present you are usually better off without it. Merely that it ”looks rich” is no justification for the use of ornament.3 He

statesalso that flPIctures deface walls oftener than they

decorate them.

Pictures should be decorative and incorpor­

ated in the general scheme as decoration. It is only too true that paintings are often detri­ mental to the appearance of a room.

Hot enough consideration

is taken as to the problems of the room itself, only the in­ dividual art piece is deemed of importance.

Wright constant­

ly refers to the need for allied art; a sense of Hthe

^ Frank Lloyd Wright, On Architecture (New York: Duell, Sloan and Pearce, 194l"J7 P* 33 • ^ Loc. cit.

altogether” that is essential to culture.

And further, he

is of the opinion that the only hope of existing the artist, painter, and sculptor have is in the architecture of the future when there is whole-hearted cooperation between painter, sculptor, and architect.

A true expression of

contemporary life would then be apparent. Frankl states along similar lines: . . . the new type of house should from the outset be planned in close cooperation between the architect and decorator. Unfortunately, this is rarely done, as in this age of specialization we find most experts working on their own without the proper coordination. The com­ plete coordination of all the arts and crafts was responsible for the greatness of architecture in the past.5 It has been emphasized time and time again by vari­ ous authors of the need for coordination in the arts and Watson is no exception.

He writes,

If we are to assist in bringing about the cooperation between the art of building and the art of murals, which is happiest for the production of both, there has to be as sympathetic as approach by the painter toward the problem^ of the architect as by the latter toward the former.6 It is a matter of fact that there is a growing cooperation with the architects which has become invaluable in matters

5 Paul T. Frankl, Space for Living (New York: Doubleday, Doran and Company, Inc., 193b)> P* 28. ^ E. Bruce and F. Watson, Art in Federal Buildings (Washington, D. C-: Art in Federal Buildings Incorporated, 1936), p. 9-

10 both of scale and design and this has helped many a painter of today to Improve his mural.

It Is foolish, however, to

say that an artist cannot do a good mural without complete collaboration between himself and the architect of the building.

Often the architect is no longer living at the

time the painter is given the commission, or the painter lives a great distance away from the building to be decorat­ ed.

The great success of the murals painted by Puvis de

Chavannes in Prance for the Boston Library prove this to be so, for he never saw the library.

His sole guides were

plans and elevations and a specimen of the yellow marble in the entrance hall which was sent to him from Boston. It is obvious that there are conflicting opinions concerning the qualities and requirements of mural decora­ tion.

Among those expressed by the various authors are

that the decorator should recognize that his work is sub­ ordinate to the architecture; should make it harmonize with the latter in composition and color, preserve the flatness of the wall space, and have a distinctly structural or architectonic character.

The opposite field of thought holds

that the painter is not subservient to architecture, but that there should be cooperation between the painting of murals and the art of building; flatness of painting is not an absolute requisite of mural design, the field of mural art should not be limited to the conventional, the

archeological, the stylistic, and rather lukewarm idealis­ tic; but rather devoted to more freedom of expression, to belief in the world of today with its new social faith, its discovering,and its adventures.

Further, that it is

the genius of the artist that creates the fine mural, not set rule of formulas to follow.

The procedure of flat

pattern, quiet ease, with color reduced to neutral tints and tones, which is Puvis1 contribution to mural painting, might be the perfect ideal for one artist, while another would turn to a more dynamic master to follow. The purpose of this research was not to determine which field of thought is right, but merely to present the divergence of opinion as a necessary fact.

It is to be

noted, however, that in this study, the definition of a mural was not confined greatly to any hard and fast rules, but allowed more freedom of interpretation. Lewisohn, in considering unity in painting, states: Once the quality of unity has been emphasized, we realize that there are no special qualities that make up a work of art, but, as in life itself, it is all a question of appropriateness. For there is no one excellence that makes a successful painting. It all depends upon what the artist is attempting to achieve, and an emphasis important in one work is out of place in another.7

7 Sam A. Lewisohn, Painters and Personality (Harper and Brothers, Publishers, 1 9 3 7 ) * P* 4.

T M s is important for the muralist to remember, for too often he relies on the theories and formulas of another painter, afraid lest he err in expressing his own individual­ ism.

Thus, the results are often stilted and less expressive

of the artist’s true forte.

He will express himself fully

in easel painting, but let him undertake mural decoration and he fails.

One reason for this failure might very easily

be the fact that the artist is intrinsically a Delacroix while he is attempting to follow the theories of Puvis, or vice versa, thus causing a stalemate.

The author further

states: Thus the methods employed by the artist should not be a jumble of technical tricks put together to dis­ play his virtuosity, but should be consistent with both the mood and the style of the painting; and the mood and style should be appropriate to the personality of the painter.° These principles that are propounded are not limited to one phase of art, easel painting or mural decoration, but are universal.

They may be applied equally well to all

branches of the arts.

Stress is placed on the requisite

that the technique be appropriate to the subject matter. Interesting design and form, significant subject matter are not enough. The artist 'must not attempt a subject matter to handle in which he has neither style nor technique.

8 Ibid., p. 5-

And he must also possess a temperament fitted to ex­ press the content.9 It is shown how effective are Velasquez, Goya, and Rubens when they deal with subject matter appropriate to their temperaments, their real interests, and their techniques; and also how unsuccessful they are when they essayed topics foreign to their natures. Mayer,10 in his very useful book, states very clearly the problems of a mural.

He acquaints the reader with the

technical requirements for a mural such as its absolute permanency, Its appearance of a mat finish so that it may be viewed from all angles without undue glare or reflec­ tions, the necessity for a design that can be viewed equally well from all points in the room, and finally, there must be a certain degree of appropriateness to the architecture and function of the room.

Doerner’s11 book was also helpful in

this respect, dealing with the various mural'techniques. Blashfield1s1^ book also is an essential work that all

9 Ibid-■> P* 17^. -1-0 Ralph Meyer, The Artists1s Handbook of Materials and Techniques (New York: The Viking Press, 1941), 561 pp. H Max Doerner, The Materials of the Artist (New York: Harcourt, Brace and Company7~~1^32rrr ^32 pp. 12 Edwin H. Blashfield, Mural Painting in America (New York: Charles Scribner’s Sons, 1926), 512 pp.

J L 't

muralists should read, being beautifully written and clearly propounded.

It is chiefly concerned, however, with the

decoration of public buildings, not the home.

The real de­

mands of mural painting are explained, as well as its real value. In order to understand more clearly the problems and techniques involved In mural painting, a history of the subject was briefly reviewed by means of various books.

The

mural works of ancient Egypt, Crete, Home, Pompeii, and Catalonia were studied.

Halel3 related interesting accounts

of mural decoration in Egypt: In Egypt, in days of the Pharoahs, walls were decorated in water colors (due to dry climate, the moisture resistant qualities of fresco were not needed), so the simpler technique developed for painting on the papyrus was transferred to wall-pictures and pictures in the tombs.

Later, in the Egypt of the Ptolemies, probably

both encaustic and tempera were used in mural. More detailed Information was obtained, however, with the Renaissance period in Italy.

The book of Brown and

R a n k i n g was found to be very useful in following the manner

13 Gardner Hale, Fresco Painting (New York: William Edwin Rudge, 1933 ), 69 PP^ Alice V. Brown and William Rankin, A Short History of Italian Painting (London and New York: J. M. Dent and Sons, Ltd., and E. P. Dutton and Company, Inc., 1936), 414 pp.

of painting of the different Italian artists.

The spirit

of the time was expressed as well as the prevailing reli­ gious enthusiasm and humanism which dramatized a great deal of the murals done at that time. Berenson15

was also considered very fine as an

authority on the subject as were many others too numerous to mention here. Hale^-6 gave an interesting account of some of the Italian masters who painted their murals first and then presented their patrons with cartoons drawn from the finish­ ed work.

(in other words, some artists do a better job by

doing it all at once,

without a great many previous

Coming down to a later date in painting, one

sketches.) finds

an Interesting chapter on mural painting in the work by Mather.

^

Herein Rubens is referred to as the starting

point for modern mural painting.

Because Rubens was such a

strong force, separate styles were formed which followed the styles that he indulged in, such as pure symbolism, mythology, and historical narrative.

The author considered

that most modern decoration would conform to one or the other

15 Bernard Berenson, The Study and Criticism of Italian Art (London: G. Bell and Sons, Ltd., 1916), 155 PP* !6 Hale, lo£. pit. •*-' Frank J. Mather, Modern Painting (Hew York: Henry Holt and Company, 192?)> 3&5 PP*

of these categories. A point which Mather makes, worth remembering, is that the Italian fresco painters usually had a wall for en­ tire treatment controlling the whole decorative situation. This is something that the modern decorator very rarely has. As regarding wall painting in the American home, Watson1® relates a bit of history dealing with Colonial and early Republic days, showing the modest beginnings of the mural tradition in this country.

Also in regard to the

early murals done in America, Homer

Saint-Gaudens1^

relates

in an interesting manner the work done during the eighteenth and nineteenth centuries. Martha

C h e n e y ^ O

is an aid to the researcher in that

she covers the work of recent artists in America and briefly accounts the present characteristics of each.

The credos of

the various artists are a help in understanding more clearly their work: Benton, for instance, and Kent, Kroll, Sheetz, et cetera.

The belief In the American scene and the great

future of American art are expressed.

Watson, loc. cit. ^9 Homer Saint-Gaudens, The American Artist and His Times (New York: Dodd, Mead and Company, 1941), 552 pp. Martha C. Cheney, Modern Art in America (New York, London: Whittlesey House, McGray-Hlll Book Company, Inc.,

1959), 277 PP.

Lewisohn21 mentions several contemporary American artists who are known for their mural work.

The character­

istic art is clearly described of such men as Maurice Sterne, Edward Bruce, Leon Kroll, Arthur B. Davies, and Thomas Benton. Sheldon Cheney22 also covers the field of modern art ably.

Theodore Chasseriau and Puvis de Chavannes, two

great French muralists of the nineteenth century, were par­ ticularly considered.

It was the opinion of the author that

the qualities of Puvis, his flatness and simplification, had a great influence on truly modern painting. The author also presents the field of recent mural and easel painting in America clearly. work relief, is evaluated.

Government aid,

The author considers that in

1935 when the Federal Art Project was instigated, the begin­ ning date of twentieth century flowering of American paint­ ing took place.

By the choice of Edward Bruce, himself an

artist, as the head of this project, and the rest of the personnel, the United States Government ensured equal oppor­ tunity to the liberals and the radicals as well as to the conservatives.

2^ Lewisohn, loc. cit. 22 Sheldon Cheney, The Story of Modern Art (New York: The Viking Press, 19^1;, 645 pp.

XU

The gain made by artists and artistic output was in­ creased greatly. Best of all from the modernists1 point of view, no line was drawn against the radical because he wanted to paint fauvishly or expressionistically or even abstractly. The Government was interested primarily in the human problem of keeping these people alive and at work in the fields they had been trained for, and it was not interested in upholding the forms of the past as against the problematic ones of the future. In short, the Government officials were gloriously open-minded.23 The author considers that the better American art has leaned somewhat on the Mexicans.

Because Orozco,

Rivera, and Sequeiros all painted in the United States, their style naturally affected many painters who were either assistants or merely admirers.

John Carrol, he considers

to be an independent spirit as well as Boardman Robinson. George Biddle, another muralist, is a solid painter. His murals have a flat, architectural, simplified style. Cheney does not think Henry Varnum Poor very successful in his mural work nor does he laud Thomas Benton.

His belief

Is that Benton’s color is uncontrolled plastically and that there is too much of a nervous quality, a supercharged linear movement.

This is one m a n ’s belief, however, and not

the consensus of opinion, as the subject of Benton has been a bone of contention for many years.

25 Ibid., p. 564.

xy The conclusion is that . . . in general, up to 19^ 1 * the artists concerned were still on their way to artistic maturity, to in­ spiring mastery of the mural means, and so they belong to the future rather than to history.2^ Turning to Mexico and the great mural art that is flourishing there, Cheney emphasizes that the Government’s genuine socialistic attitude toward artists has been most fortunate for the flowering of mural decoration. Diego Rivera, the well known Mexican muralist, is noted for his monumental style, his simplicity, and strength. There is an earthy solid color to his work, as well as rich decorative feeling.

His murals are liberal in idealogy

and depict the daily life of the peasant. Other well known muralists of the Mexican school of art are Orozco, Siqueiros, the Frenchman— Jean Chariot, Revueltas, Montenegro, Castellanos, Cantu, Amero, Tamayo, Romero, and Carlos Merido. The Mexican modern school of art has been national, single, Unitarian, as has no other existing school. Its expression has been racial and unmistakable. It has served the cause of international modernism well by proving that the lessons of form-organization learned by the succession of pioneers from Cezanne to the group of abstractionists have a universal validity; that the formal means uncovered in these lessons comprise a typi­ cal twentieth-century language of art which can be utilized by painters operating in their own separated territory, whenever they have something to say. One

Ibid., p. 605.

distinction of the Mexicans is that they have had something to say. They have proven the adaptability of a simplified, form-enriched method to themes of magnitude and profundity. They have done this while restoring to common use one of the oldest of painting mediums, murals in fresco. The North American Contin­ ent in the early nineteen-forties is richer in modern mural than any other, and the better part of the dis­ play, in quality, is in M e x i c o . A brief account.of the great mural work in Mexico is given also by

Lewisohn,2^

with Rivera as the chief figure.

It is emphasized that the race saga and the idealogy of revolution are the topical pictorial expressions of the Mexicans, but in technique they have fortunately drawn upon traditional European sources.

The fact that Rivera pains­

takingly studied the art of the Italian epic masters as well as Byzantine decoration at Ravenna is stressed, although it is shown that this knowledge only served as a tool to better pictorial expression. Literature on modern interior design and architecture. Because modern interior design and architecture are so closely allied they have been grouped together In this in­ stance.

As the research was not intended to delve deeply

into the subject of architecture and its allie, it was considered only necessary to determine the characteristics of modern architecture and interior design through a few

25 Ibid., p. 556. Lewisohn, loo. clt.

authoritive sources. Paul Frankl and Frank Lloyd Wright have already been mentioned as sources of reliable information in regard to wall decoration.

It was interesting to note, however, that

the same books mentioned were also keys to the spirit and character of modern architecture and interior design.

There

was shown most clearly in this instance the close relation­ ship between the arts, the dependency of one upon another. Brownell and Wright27 have written an excellent book in which It is emphasized that modern architecture Is ex­ pressive and plastic.

It Is clean.

Nothing Is stuck on.

Nothing is present that does not contribute.

It is honest,

no pretending, no false fronts, no material made to look like other material.

It is functional, never ashamed to

confess its purpose.

It is organic, form and function are

one.

It has beauty in its inherent structure. G i e d i o n ^

has written a beautifully planned and in­

tellectual book that explains how the new architecture evolved.

Human needs were considered important in the plan­

ning of architecture.

It was considered that there was an

^ Baker Brownell and Frank Lloyd Wright, Architecture and Modern Life (New York: Harper and Brothers, Publishers,

1957TT339 PPT" pp Sigfried. Giedion, Space, Time and Architecture (Cambridge: The Harvard University Press, 1941), 601 pp.

interrelation of the new tradition in architecture with other human activities; also that there are similarity of methods that are In use today in architecture, construction, painting, city planning, and science. Cheney29 was also found to be most helpful in his clear delineation of the subject of modern architecture. The home and its problems was particularly well handled. The point is stressed that color makes the house human and intimate.

And again the need for cooperation between the

architect and the interior designer is stressed. In the field of interior design Kahle^O emphasized the appreciation of simple design and the theory of color harmony as a necessity in the creating of modern interiors. That this has brought about a rationalization of form, a purity of line, and an absence of excessive ornament Is also emphasized.

The use of textiles was considered an

important decorative asset. The interrelationship of the arts are expressed by Todd and Mortimer in their very fine

b o o k . 31

Interior decor­

ation Is said to be one branch or function of the august art

Sheldon Cheney, The Hew World Architecture (New York: Tudor Publishing Company, 1936), 404 pp. 30 Katharine M. Kahle, Modern French Decoration (New York: G. P. Putnam’s Sons, 1930), 219 PPDorothy Todd and Raymond Mortimer, The New Interior Decoration (New York: Charles Scribner’s Sons, 1929),"42 pp.

of architecture.

It was interesting to note that it was

considered that everything interesting in decoration today is a result of the contemporary movement in painting and sculpture.

The Illustrations of the hook were enlightening

also, for the work of such outstanding modernists as William Lescaze, Richard Neutra, Mies Van Der Rohe, and others are shown. The book of Moholy-Nagy^2 was useful in that it handled the modern fundamentals of design, painting, sculp­ ture, and architecture.

Also Bel Geddes33 with his very

interesting book on interior design and industrial design was found to be very stimulating in the, new ideas expressed. Limitations of previous studies.

The relatively

small amount of material that was locally available on modern mural decoration was utilized, but as no material could be found on the specialized subject of water color mural, there can be no criticism of the inadequacies in investiga­ tions of the past in this regard.

However, it was to be re­

gretted that more information was not available on the subject of contemporary mural decoration and its principles

52 Moholy-Nagy, The New Vision (New York: W. W. Norton and Company, Inc., 193&)> 20? PP* 53 Norman Bel Geddes, Horizons (Boston: Little, Brown and Company, 1932), 293 PP*

as a whole. The related subject of architecture and interior design was fully covered as far as needed.

As this paper

was not a research on modern architecture and interior decoration, concern over adequate literature on this sub­ ject was not necessary. It was hoped that this investigation would abet the knowledge of mural procedure and its needs.

Residential

mural painting is in many respects very different from the more monumental type mural don© in public buildings which in the past v i s

employed to express religious belief and

In recent years has attempted to depict a social belief. The mural decoration for the home, however, is necessarily more intimate, more personal in appeal.

It must be, for

the individual could not live day after day with the paint­ ing that was done for the observation of great masses of people.

The mural for the home must necessarily be simpler

and broader In appeal.

A client commissioning the artist

probably does not want a painting depicting a social vir­ tue, an historical event, or similar subject.

It Is also

possible that large simple design which is advocated as a principle of mural art would not at all be suitable to the spirit of the private home nor to the preference of the client. There was no problem of pleasing a civic committee such as those chosen to judge the work of an artist for a

public building.

Probably only the members of the immedi­

ate family would approve or disapprove the design submitted by the painter for the mural in the home. The history of mural painting was considered neces­ sary for a clear understanding of the problems and techniques involved.

Thus the bibliography included histories of mural

painting up to the present day.

It was not the purpose of

this study, however, to discuss the merits of a Giotto, a Della Francesca, and an El Greco.

Of course, to know these

artists and their contemporaries is essential to the muralist of today.

CHAPTER III THE METHOD OF PROCEDURE BEFORE DETERMINING SIZE AND STYLE OF MURAL The first step taken on the work of the mural con­ sisted of several visits to the home of the patrons who wished to have a wall decoration created that was suitable for both living room and dining room as the painting would be viewed from each room.

A logical examination of the

outstanding features of the home was necessary before any intelligent or correct estimation of the future style, sub­ ject matter, or size of the mural could be acquired. It was considered necessary to understand and evalu­ ate the type of architecture employed in the design of the house, for it would undoubtedly effect the style of the mural.

Also the furnishings of the room were important,

for again, the size of the mural would depend to some de­ gree on the scale of the furniture.

.Also the subject matter

and the style must be related to the style of the furniture if there were to be significance, dramatizing. Consideration of the color scheme in the room was definitely a dictating force as to the future color scheme of the mural; for without a thorough analyzation of the color the mural might prove a distracting element in an otherwise well balanced home.

The lighting was important too, consid-

ing reflection and reaction on color.

Also the dimensions

of the room were important for they would he a key to the future size of the mural.

Whether the ceiling was nine

feet or twelve feet, and the wall space five feet or fifteen feet were necessary facts.

The distance from which the

painting would be viewed was important also, as well as measurements of furniture near the area to be decorated. Photographs of the room were necessary also; for they took the place of interior sketches, being a much faster medium of expression than sketches.

They could

graphically show the relationship of areas, different views of the room, and could aid in an ever present reminder of the general features of every section of the room. The architectural style of the home.

The architec­

ture of the home was of modern inspiration, simplicity, and functionalism the keynote.

The unadorned plainness of the

exterior was softened by an expedient use of tropical vines and plants,

which blended with the soft blue-green trim of

the walls.

The whole effect was that of a oneness

ground.

with the

The home was situated in a picturesque canyon near

the sea.

The tall eucalyptus and the gnarled oak were a

part of the landscape.

The constant pound of the water

could be heard as well as the sound of wind in the trees. The Interior of the home was a series of rooms flow-

£0

ing one into the other and giving an effect of greater space and freedom.

The specific room that was to be decor­

ated was a living and dining room that could be used as one.

The room was open on three sides to sunshine and air,

having over half of the wall space of the western exposure devoted to windows. The horizontal line was stressed in the room, in keeping with the modern feeling.

A large rounded corner

fireplace was a commanding feature of the room.

The walls

were smoothly plastered except for the windowless north wall which was papered in grasscloth, adding a rather exotic note to the room. The doorways were wide leading to the other rooms, and were shuttered.

However, the doors were seldom closed.

The

north wall had a slight projection in which overhead light­ ing had been arranged in order to light effectively a col­ lection of etchings which the patrons had planned to use on the wall as decoration.

It was there that they wished the

mural to be placed. After studying for some time the architectural fea­ tures of the room, it was determined that here was a room of rather austere simplicity, of unbroken space.

It was

thought, however, that reference should be made to authori­ ties in the field of modern architecture and interior design in order to understand more clearly the aspects, character-

istics, and theory expressed therein. Frankl says, ”In today’s house, every room should he a Living room and every room should be a Sun room.”1

Atten­

tion is paid to orientation for the warming rays of winter sunshine and protection from the more intense rays of the summer.

A sense of confinement in the home is eliminated

by unobstructed views of the out-of-doors.

Frankl further

states, The wall today is but a partition, dividing space from space. Our aim is a house where space flows into . space, where rooms flooded with sunshine connect with each other through wide openings, arches without doors rather than the old time building with its many cubi­ cles breaking up spacious areas into somber compart­ ments. Wide open arches connect the entrance hall to the living room. That space called ”dining room” may now adjourn the space called 11living room11 without being shut off from v i e w . 2 This author favors a simplified type of interior decoration in which contrast in textures is employed.

Utilitarian

standards are considered necessary as well as a considera­ tion and understanding of the character of the room before a room can be successfully decorated. The Fords^ have contributed to a clearer understand­ ing of the aims of modern architecture.

The purpose and

spirit, as well as the techniques of the modern home, are

1 Paul T. Frankl, Space for Living (New York: Doubleday, Doran and Company, Inc., 193&7, P- 28. 2 Ibid., p. 26. ^ J. Ford and K.-M. Ford, The Modern House in America (New York: Architectural Book Publishing Co., Inc., 1940), 134 pp.

ably explained by them.

By examining each illustrated

house plan they make clear how each house grows out of the life and interests of its owner or tenant.

These authors

answer the often asked question, ”What is modern?11 by re­ plying, The essence of the new residential architecture is revealed in its twofold purpose, to base its plans upon the organic life of the family to be housed, and to make logical use of the products of invention. It has elected to make a fresh approach, to free itself of constraints, by consciously ignoring tradition and the expectations which the latter imposes with regard to facade and plan. The outer form of the modern house becomes the outgrowth of a plan built about the interest, routine activities, and aspirations of the client and his family expressed in terms of materials employed. Thus human need comes first. In skilful hands new appropriate and beautiful forms may emerge from an architecture which, discarding styles, lets the house grow from the inside outwardly to express the life within.^ Prom the various sources studied, it was ascertained that modern architecture and interior decoration stand for rational simplicity, breaking away from standard designs and plans, and the study and Application of new social trends.

Exponents of these arts also advocate the exploita­

tion of the potential use of new materials and processes as well as an intensive study of the client and the members of the household. The furnishings used.

Ibid., p. 8.

Continuing with a complete

absorption of the character of the room, the furnishings were considered.

Against the west wall and continuing

around the eastern exposure was a sofa of extreme simplicity. It was sectional and could be divided If desired.

The con­

struction was somewhat box-like with the pillows or back rest leaning against the wall area beneath the windows. The arm rests on either end were also sectional and were of wood painted white. cork top.

They were decorated with amber colored

These were used as shelves for books or small

magazines and were quite functional.

The sofa as well as

other pieces of furniture had been designed by Paul T. Frankl, the eminent modernist. In keeping with the sofa was another lounge across the room similar to a chaise lounge, the utmost In comfort, with a reading light readily accessible for reading while reclining.

The lamp base was done in grey reptile skin

which added a modern note. Two small dining tables In black lacquer with chro­ mium legs and supports were used in the small alcove which was used for dining when a few guests were present.

The

tables were also used as card tables. Against the grass cloth area was placed a very beautiful HIspano Mooresque table.

The table when not in

use for a large dining party was a decorative asset to the room.

Books were placed on It, objects of art, a batik

runner, and a Balinese figure. It was a room in which batiks, Balinese and Javanese art objects, as well as pieces from French Indo-China, formed an integral part of the character of the room.

Rattan

barrel chairs with cushions in colors of rust and blue-green were used for dining as well as for comfortable seating. Rugs of striped grass in warm brown and beige were on the dark brown oak floor. The impression received was that here was a room in which the modern met the East in fine accord.

A head from

Ankor Vat of ancient antiquity, a nest of teakwood tables, simply but beautifully carved, merged with Paul Frankl*s modern furniture, and a clean cut vitralite and chromium coffee table, and a reading lamp of chrome and brown linen. The color scheme employed in the room.

Attention was

paid to the color scheme of the room for it would be im­ portant in the planning of the color areas of the mural. The predominate color in the room was that of the plastered walls, a soft blue-green that reduced the glare that would have come from white walls in conjunction with so many win­ dows.

The window sofa and the reclining couch were done

in a light beige.

The rugs were in a warm brown and beige

as mentioned previously; and, of course, the grass cloth wall space was of deeper, more golden beige.

The woodwork

was finished in oyster white as were the Venetian blinds which were taped with rust brown that matched the cushions of the rattan chairs and blended with the brick work of the fireplace. The dark brown of the floor merged with the warm walnut of the Hispano Mooresque table.

Black notes were

supplied by the coffee table, and dining table, and the teakwood.

The blue-green of the walls were reflected in

some of the rattan chair cushions.

Also, the browns, rusts,

and beiges were picked up in the batik runners, and cushions on the sofas, as well as on a tapa cloth that was hung in the dining alcove.

A small amount of chartreuse green was

effectively used in the decoration by means of small rec­ tangular Chinese grass mats which were placed on the dark tables.

The only brilliant color in the room was supplied

by flowers from the garden, glowing zinnias, red, yellow, orange, pink, and white; petunias in rich magentus.and violets; the hibiscus flower of a pure white with a deep red stamen.

Two perennial flowers most frequently seen in

the house were a Japanese maple and a rare variety of ger­ anium.

Both flowers were of an intense cadmium red, diffi­

cult to describe as to color, but most dramatic in their effect against the blues, browns, and beiges. Accents of copper were used in bowls for the flowers as well as spun aluminum which was well related to the

chromium of the furniture.

Other flower containers that

added color notes were several large vases with a distinc­ tive celadon crackle glaze done "by the outstanding ceramist Glen Lukens. Illumination of the room.

As was mentioned previous­

ly, the room was open on three sides to sunlight. came in from the south, east, and west.

Light

Over half of the

wall of the western exposure was a continuous row of windows. Thus a great deal of light reflection on the north wall and its future mural was to he expected.

The overhead lighting,

of course, would take care of its illumination at night.

It

was felt that due to the great amount of light, the color value of the mural would he important, and also that glass as a protection could not he used. Dimensions necessary for the mural.

The next step was

to take the dimensions necessary for the mural.

The grass

cloth area heneath the overhead lighting was measured and found to he fourteen feet in length, not including a doorway which hroke the entire wall line; from floor to ceiling measured nine feet, four inches; from the floor to the over­ head lighting measured eight feet; length of the overhead lighting was ten feet; the overhang in which the lighting was placed, sixteen inches; the HIspano Mooresque .table, seven feet long and two feet, seven inches high; the living room,

twenty-two feet by sixteen; and the dining alcove, ten and a half feet by nine. These dimensions were considered the most important in evolving a relationship between them and the actual size of the mural.

It was obvious that the length and height of

the table in relation with the dimensions of the grass cloth wall and the overhead lighting were to be determining factors. The distance from which the painting would be viewed was also important, as well as the domineering note of the fireplace which would require an arresting piece of work on the wall in order to compete. Photographs of the room.

With all of this in mind,

the necessity for photographs of the room was obvious.

The

photographs would serve as graphic representations of the relationships between furniture and architecture and would be of unestimable aid in keeping fresh a visual remainder of its distinctive character. A most able photographer was engaged to record the views of the room that would be of the most help.

The re­

sults were excellent and Plates I to VII show the different shots of the room. Plate I is a view of a section of the dining alcove and living room and part of the Hispano Mooresque table. It shows how the spectator, seated In the alcove, as well

as those seated in the living room, could view the mural. Plate II is a view of the dining alcove including a visual reminder of the dining tables, the flowers, the tapa cloth on the wall and the Ankor Vat figure— all such an in­ tegral part of the character of the room. Plate III is a view of the area to he decorated, showing the relationship between the overhead lighting and the table. Plate IV reveals the corner fireplace, showing the informal lounge, the grass rug, the rattan chairs, and the use of decorative grey-blue acacia leaves in the spun alum­ inum jar. Plate V is a view of the living room taken from the main entrance, showing the large expanse of windows and the modern furniture, such as the sofa, the coffee table, et cetera. Plate VI, taken from in front of the fireplace, shows a view of the adjoining bedroom as well as the treat­ ment of the doorway and the flowing quality of the rooms. The mural would also be viewed from the other room. Plate VII gives a view of a section of the wall to be decorated.

It Is similar to the preceding plate, but

shows the strong horizontal lines of the grass rug in rela­ tion to the table. Thus, having concluded the complete analysis of the

31 room, it was felt that an awareness of the problems pre­ sented had been achieved and that an intelligent approach toward determining the size and subject matter of the mural could be handled with less difficulty.

CHAPTER IV PRELIMINARY SKETCHES Preliminary sketches including different steps in the evolution of the mural were considered essential and quite indispensable in the logical determining of size, subject matter, composition, and in acquiring a fair approval. Before any sketches of subject matter were even at­ tempted it was considered necessary to determine the exact dimensions of the mural as it would appear when finished. This was done by numerous scale drawings of the wall area, and various sized rectangles representing the mural panels. Having determined the appropriate size, the style and sub­ ject matter were considered.

By analyzing the spirit, the

character of the home, and the room to be decorated, the style was suggested as well as two congenial subjects. Various sketches for the design of the mural panel were then attempted and reference to authoritative books was found necessary for the pursuance of one of the subjects. Following this, the first approval of the patrons was ob­ tained as to size and subject matter. position were suggested.

Changes in the com­

The subject of framing and the

paper to be used was discussed.

A second approval was given

when the corrected drawings were shown; and a sample of paper was chosen on which to paint the mural.

39 Scale drawings of wall area and various sized rec­ tangular units toward selection of size of mural.

Sketches

were to be done by drawing to scale, one inch to one .foot, the area to be decorated, including the table, the wall space, the overhead lighting, and different sized rectangles. It occurred to the artist, while she was in the midst of starting the scale drawings, that perhaps it would be wise to check the available sizes of the water color paper that was to be used.

She discovered that the largest size pro­

curable was forty-four inches by thirty inches.

This was in

a very heavy weight French paper with a decided texture. Therefore, a definite limitation as to size was a factor. The scale drawings were then continued in a more constructive manner, as follows:

(l) The first drawing

showed the horizontal single panel measuring 44” x 30” in relation to the other areas, with lines indicating some type of frame; (2) Then three panels were employed, each 44” x 30”, and were placed vertically on the wall; (3) Fol­ lowing -this, three horizontal panels were drawn, each 44” x 30” ; (4) The three panels were used again, with the center panel, 44” x 30”, placed horizontally with the other two panels, 22” x 30”, two sides touching the edges of the middle piece, giving the appearance of one large panel; The same panels as the preceding were used again, but separated and placed in a continuous five-inch matting.

(5)

40 The relationship of areas in the last drawing at first appeared to he the most pleasing, for a feeling of horizontality was maintained in keeping with the room, as well as balance.

Wot content, however, with merely seeing

the.,satisfactory scale drawing, white detail paper was cut to the actual size and then pinned on the wall of the room to he decorated, allowing a five-inch margin between each panel.

When viewed from all angles the white areas seemed

to carry very well, hut it was feared that the mounting would he too heavy in appearance. The three sheets of paper were then pinned on the wall to conform with the drawings 1, 2,

and 4.

The

single panel of drawing 1 did not carry in the room, appear­ ing lost on the large area of the wall.

Drawing 2 was

found to he too heavy, the relationship being disturbing, for the vertical panels destroyed the calmness of the hori­ zontal line in the room.

Drawing 3* using the three forty-

four inch panels horizontally, was definitely overpowering; the panels extended beyond the confines of the overhead lighting and overbalanced the lines of the table; it also drew too much attention to the wall at the expense of the rest of the room.

The fourth sketch with its three panels

placed side by side was rather pleasing, but it was felt by the artist that a slight separation of the sketches would make a more subtle difference between the length of the

41 table and the length of the mural.

According to the fourth

sketch, the mural would measure only four inches longer than the table.

Thus it was determined that the fifth sketch,

which was then made, was the most satisfactory size for the mural, for it separated the panels.

Following this, work

was then begun on the subject matter. Style and subject matter.

As the modern home, the

room to be decorated, and the occupants became more familiar, ideas as to appropriate subject matter began to evolve. Concentrating on the spirit of the home, it was found that it carried throughout a uniform neatness; there was nothing fluffy or feminine about any of the rooms.

Without the art

objects in the living room it would have been rather bare and cold.

They added the necessary relief.

Somewhat of an

exotic note was supplied by the Ankor Vat sculptured heads, the Polynesian war shield, the islands screen, the Balinese carving, and the batiks.

In other words it was a room in

which order and a sense of design were integral. It was felt that a realistic approach toward the decoration of the wall would ruin the entire effect of the room.

An impersonal painting based .on design, well balanced

areas of masses and color with a decided decorative effect were requisites; for on the other hand, if a dynamic per­ sonal painting were done in a realistic manner it would

Yd

clash with the spirit of the home and also become difficult to live with as a constant decoration. The subject of fruit and flowers presented itself; and the artist felt that the impersonality of such a paint­ ing would not evoke too much thought, great attention, or speculation; it would therefore be restful and serve as a part of the whole design of the room.

Also, the fruit and

flowers were considered beautiful parts of essential nature, and designed in the right manner could be as effective as any figure drawing.

Another thought was that of the romantic

subject of Bali, with its temple dancers, its idyllic life, its tropical color.

Such a subject would be very effective

and in keeping with the motifs of the room. Pure abstraction of design was not considered, for the estimation of the room had been that it needed warmth; and certainly the formality of pattern alone would have only repeated the tapa cloth, the batiks.

Therefore, with the

subject matter somewhat in mind, work was begun on the sketches. Various sketches for the design of the mural panel. As the time had come to apply the considered subject matter to various sketches and designs for the mural panel, thought was given to the manner of handling the sketches.

Some

artists do a better job of painting if their sketches are

4^

done on the actual sized paper rather than small drawings done to scale.

As this was the case in this instance, large

sketches on inexpensive detail paper were drawn.

The prac­

tice of doing small drawings was considered too cramped, as it did not allow for enough expression, freedom of line, or ability to put over to the spectator what the artist was try­ ing to portray. The first drawing was roughly sketched in with pencil and was an arrangement of fruit, leaves, and trees.

Pome­

granates, persimmons, pears, quince, and apples were ob­ tained and used as models for size and shape.

The yellow

and yellow-green of the pears in conjunction with the rich red of the pomegranates appealed and led the imagination on to create a fantasy of tree trunks, writhing leaves, and scattered fruit.

Plate VIII shows this sketch.

Another sketch was done, incorporating the same idea but with a different composition- the tree trunks serving only as a background with a slender vine of trumpet flowers winding in and out of the massed fruit and leaves. indicates this drawing.

Plate IX

A further sketch showed a rather

surrealistic landscape of rolling hills with a winding path. Fruit cascaded and rested in the folds of the land.

Bare

tree trunks in the background, and a 11Cup of Gold*’ flower, and buds in the foreground concluded the drawing. shows the result.

Plate X

These sketches were only considered

44

fragments of an approach, however. Gradually, out of the work done, an idea evolved, to create a dreamlike fantasy of fruit, flowers, trees, leaves, and earth; letting the swirls and folds of the earth be treated as though they were part of the drapery effects in still life in which the objects would be placed in and out of the folds of material. The design was planned, and an utterly unreal effect was obtained; for nothing could be less real than fruits piled at the base of bare tree trunks, winding flowers that bloomed and appeared from nowhere; and yet the desire was to show in a somewhat symbolic way the close relationship in nature of the trees, fruit, flowers, and earth.

One

could dream such a scene and it would seem right, but it could never be actually viewed and believed.

It was vision­

ed that around the edges of the drawing, if it were painted, the color would gradually fade to white, giving a further appearance of unreality and a dreamlike quality.

Plate XI

shows a sketch of the proposed panel carrying out this idea. Two subsidiary panels were then designed for each side of the larger drawing. yellow water-iris with fruit,

One sketch showed sprays of Plate XII; and the other was

an arrangement of long branches of lemon with fruit and leaves in the foreground, Plate XIII. Having completed the sketches of fruit and flowers,

the artist turned to the subject of Bali.

Although other

subjects might have been equally appropriate, such as Java, Africa with its bushtnen and jungle, French Indo-Ohlna, yet the romantic appeal of Bali seemed to be more fitting. Before attempting a sketch, however, it was necessary to gain a. background as to the life, customs, appearance, et cetera of the Balinese.

Of all the books that were in­

vestigated the most scholarly, fascinating, and complete volume was that of Miguel Covarrubias.1

The traditions of

the Balinese are presented and explained as well as their rites and festivals, death and cremation; their drama, including music and the dance; and their everyday life. The illustrations and photographs in the books in­ vestigated were most instructive as to the appearance of the Balinese, their clothing, the different types of the dance, their cremation ceremonies, the appearance of their temples. It was not until a more thorough understanding of the Balinese and an appreciation of their culture had been achieved that work was begun on further sketches.

For it

was contended that the mural must not be superficial and merely poster pretty, but that it should to a certain degree

1 Miguel Covarrubias, Island of Bali (New York: Alfred A. Knopf, 1937), 417 pp.

46 present accuracy though not necessarily reality as to the method of depiction.

Therefore, it was held that although a

dancing figure might he drawn in an exaggerated manner not entirely real, still the pose and the costume should he essentially true. After due thought it was decided that of all the aspects of Balinese life that could he chosen, a center panel showing some phases of the everyday pursuits of the Balinese would be most interesting and that the flanking panels would depict two spectacles of the dance. Sketching was then begun on the larger center panel on detail paper.

Charcoal was found to he a better medium

than pencil due to its easy erasure quality.

As a picture

is not visioned in its complete entirety, a slow process of composing began. The impression gained by a study of Bali was that it is a land of beautiful ceremonial music, admirable dances-in which the people center their life around their religion, a beautiful mixture of Animism and Hinduism. ese, man or woman, is an artist.

Every Balin­

As leisure and wealth

exist, the people turn to art as a pastime.

Whether sculp­

ture, painting, music, or dancing--they simply have to produce or to give breath to all this, since they cannot help themselves. Thus the idea was slowly conceived to present a pic-

ture in which half clothed Balinese women were tending their children, weaving, carrying offerings to the temples or the market place, et cetera.

Also it was desired to design a

closely knit background of tropical foliage with high pagodas, called nmerus,fl in the midst of the thick vegeta­ tion.

The merus always have an odd number of superimposed

receding roofs (from three to eleven) made of thick layers of ■’idjuk,*1 the everlasting fibre of the sugar palm.

As

the design progressed fantastic foliage partly real, partly imaginative evolved. ated.

Tall swaying palm trees were incorpor­

Volcanic peaks reached upward in the background. As the Balinese like to be free of excessive clothing,

the dress of both men and women ordinarily consists simply of a skirt called ,fkambenf* of Javanese batik of hand woven material, and a head cloth.

The women wear this skirt

wrapped tightly around the hips, reaching down to the feet and held at the waist by a sash.

Thus the drawing of the

figures for the mural followed closely the authentic cos­ tume for everyday pursuits.

However, one of the figures

in the design, that of a noblewoman wears the dignified, elegant ceremonial costume, in which the torso is bound from the hips to the armpits, also the underskirt drags on the ground in a train of silk and gold; her headdress is composed of a great crown of real and gold flowers.

All of

the women wear flowers in their hair, as do the men, and

there is great variety in their headdresses. It is customary for the women to walk for miles carry­ ing heavy loads on their heads, resulting in a great co­ ordination of movement, a poised walk, and bodily fitness. Baskets, or shiny black clay pots piled with coconuts, bananas, vegetables, or flowers, rice cakes, et cetera are carried to the market place; or elaborately prepared offerings for temple feasts are borne, including great pyramids of fruit, flowers, roast chicken, cooked p i g ’s meat, and lacy garlands.

These beautiful offerings to the

gods constitute the main artistic activity of the women, arranged with splendid taste— masterpieces of composition— In which the relative form of the elements employed, their color, and texture are taken into consideration. Therefore, the sketch showed a Balinese woman crouched before a basket which she is preparing and another young girl carrying a load of fruit and flowers on her head. A young mother in a kneeling position, her basket on the ground, and a child resting against her legs, watches a weaver at her loom weaving beautiful stuffs for which some sections of Bali are famous.

Also a young man sits near the

weaver, admiring his long fingernails, for it is a sign of distinction to wear the fingernails long, often four Inches or more, showing that the wearer does not have to do manual work.

49 It was noted that although the Balinese women love jewellery, outside of dancers or children, they are one of the rare people in the world that do not wear necklaces. The sketch showed them, however, wearing in the distended holes of their ear lobes, large rolls of dry leaf or their replicas of gold called ^subang” ; the latter worn for feasts. It Is not considered proper to wear them after marrying, although married women of high caste may wear them at feasts. Thus the mother in the sketch was shown without rolls In her ears. When the design on the center panel was concluded, as shown in Plate XIV, work was begun on the remaining two. panels.

As mentioned before, the Balinese dances had been

planned as motifs.

It was finally decided that one panel

would be devoted to the nlegong,f’ one of the finest of Balinese dances; and the other would depict the individual­ istic ”k e b i y a r A n

expression of their love for beauty is

so perfectly expressed in their dance and it is so much a part of everything they do that Bali would be. hard to imagine without it.

All the dance of Bali Is expressed in the inter­

pretative words of Hickman Powell, describing a dancer: She crouches, in rhythmic postures beyond all probability, she stands erect In diminutive grandeur. Her hands are like the fairy branches of the frangipani, poetry of angles, mutable geometry. Each motion Is part of a balanced surprise, implausible Q.E.D. of equilibrium. Her dance is of' human lines compacted In a sonnet, as sexless as a page of corollaries.

50 Now shafts She is little

her steps are longer. She weaves amidst uneven of light. She is a faint dimness in the shadow. a shining, glaring goddess. Her sharp-cut face is graven ecstasy in s t o n e . 2

These words were remembered when considering the effect of the legong.

The legong is danced by little girls

under fourteen years of age.

It is danced in the village

square under an enormous sacred tree of the Hindus, a giant banyan that drips aerial roots like tentacles.

The bodies

of the little dancers are annointed and powdered, their eye­ brows shaved and painted, and a white dot--the mark of beauty in dancers--is also painted between the eyebrows.

They are

dressed in silk overlaid with shining goldleaf and on their heads they wear great crowns of gold parchment, ornamented with rows of fresh frangipani blossoms. The rich costume of the two principal dancers, the legongs, consists of a wrapped skirt, a tight-sleeved vest, from which hangs a long, narrow apron, and yards of strong cloth cut in a narrow strip that binds their torsos mercilessly from the breast to the hips. This is in turn covered by another sash of gilt cloth. The tight, corset-like binding gives line to the dancer’s bodies and supports their backs. The costume is com­ pleted by a stiff short vest of tooled and gilt leather worn over the shoulders, a collar set with coloured stones and little mirrors, a silver belt, and scarfs and orna­ ments of tooled leather hanging from each hip.3 In the sketch of these dancers an attempt was made to

^ Hickman Powell, The Last Paradise (New York: Jonathan Cape and Harrison Smith, 1930), pp. 253-5^* 2 Covarrubias, op. cit., pp. 225-26.

51 retain this authentic dress and also to represent typical gestures, quivering fingers, eloquent use of the fan, and correct position of the body.

Plate XV shows a very rough

sketch of the proposed panel.

The banyan tree was used as

a back drop to the dancers and it was thought that an inter­ esting pattern of leaves and hanging tentacles could be worked out. Plate XVI presents a sketch of the kebiyar, a modern dance purely demonstrative in character, performed by a boy dancer who uses his body to interpret musical moods. It is a novel dance in that the dancer never raises himself from the ground.

Facial expression, movements of the arms

and hands are important. As the dance interprets music, two musicians were included in the sketch as important units, one a drummer and another a flute player, although the tfgamelantf or Balin­ ese full orchestra actually accompanies the dancer. It was of interest to note in drawing the drum that they are wrapped in black and white chequered cloth, a protection against evil vibrations, for black and white cloth is considered magical; also in another dance, a ritual war dance, this cloth is worn as protection against evil.

This

fact was overlooked, however, in the sketch; and it was not until the painting of the mural took place that the mistake was rectified.

52 The dancer was sketched in an interpretative position as was possible with exaggerated expressions of arms and hands.

A rather lyrical curving line was desired in the

composition in keeping with the musical idea.

This was

done by carrying the lines of the dancer’s body on into the trunk of the banyan tree which was given a rhythmical waving line. At the conclusion of the third panel, it was decided that the time had arrived to present the sketches to the patrons, as further work on the sketches would have been a waste of time if they had not been approved. First approval of patrons.' An appointment was made with the patrons, and the sketches were taken to their home to be approved.

The different sketches were pinned on the

wall to gain a clearer picture of the thing as a whole.

The

panels dealing with fruit and flowers were shown first and then the Balinese subjects. An instant response from both husband and wife as to their preference for the Balinese was expressed.

They liked

the fruit and the flower drawings, but felt that the Balin­ ese sketches fitted into the general scheme of the room in a more exotic and subtle manner.

The decision was met with

pleasure by the artist, for her enthusiasm for the Balinese motif had been increasing as the research into the subject

53 continued.

It was felt that there were such excellent

opportunities for design— intricate pattern, brilliant color, and fascinating native figures. Several hours were devoted to discussion and sugges­ tions in regard to the sketches.

First the size was ap­

proved, then it was decided that a few changes should be made in the large center panel, Plate XIV.

The diagonal

lines of the palm trees were disturbing, and lessened the architectonic effect. omitted.

They would have to be changed or

Also the side of the sketch opposite the temple

pagodas required a balancing architectural unit.

Further­

more, to achieve a more tropical, dense feeling the back­ ground required more closed space. It was decided that the best way to achieve this was to omit the volcanic peaks, thus omitting an impression of going back into space, and also to Introduce the leaves of the banyan tree in great clusters across the top of the picture.

The leaf design would then serve as a motif unit­

ing the three panels as well as representing an integral part of the life of the Balinese, for It is under the shade of these tremendous trees that most of their daily pursuits take place.

Adding to the denseness of the scene, it was

planned to design additional tropical foliage--large banana leaves varying the smaller vegetation, plants springing up higher and higher, leaving only a small spot of tropical sky.

Attention was then called to the other two panels. The sketch of the legong, Plate XV, was considered too vacant in the foreground, and designed plants similar to the center panel were suggested to fill in the space.

Because

this panel was to be at the right of the central panel, the necessity of changing the position of the dancer on the right was evident.

She was facing outward, which was psy­

chologically bad, for this led the eye out of the picture as a whole rather than inward.

Also a more musical, rhythmical

expression could be gained by changing the position, direc­ tion of her steps. Richly designed costumes were recommended.

This, of

course, had been planned; but due to the roughness of the sketch had not been included. The other sketch of the kebiyar, Plate XVI, had in­ cluded some foliage in the foreground, but some of the leaves led the eye out of the picture, and it was decided to redesign the vegetation.

As this panel would appear on

the left of the center panel it was apparent that the dancer’s facial position must be changed to face inward. His face was too feminine, although that is not unusual with the Balinese for both sexes resemble each other.

It was

agreed to omit at the left of the paper the musical instru­ ment, the ’gender,” which was considered too architectural a note, as it had not been repeated elsewhere in either sub-

55 sidiary panels.

Flowers and plants could fill in the space

instead. Having determined the -corrections to be made on the sketches, the conversation led to the subject of framing and the paper to be used.A sample of the water Reeves’ French 500 weight, thought would be excellent. Plate XVII.

color paper,

was shown the patrons which they A sample of this is shown in

However, due to the fact that the patrons might

wish to make changes on the wall--use their etchings or other pictures--it was suggested that perhaps the painting could be done on grass cloth, then bound and made into a roll similar to a Chinese scroll painting.

The scrolls

could be tacked on the wall, thereby leaving no holes from large picture hooks, and they could be easily removed and stored when not in use. It sounded like an excellent idea as well as unusual. A fine water color varnish would protect the color and the paintings could be grouped as the patrons pleased.

So it

was felt at the conclusion of the discussion that a great deal had been accomplished. Second approval of patrons.

Grass cloth samples were

immediately obtained, only two of which were considered usable and they were of very finely woven material.

Plates

XVIII and XIX show the two samples, the first in an off

56 white, the second a more finely woven cream color.

While at

the wall paper shop, the artist observed a new wall canvas that was recommended by the salesman who felt there was some doubt as to the water color being satisfactory on grass cloth.

The new material was called ,fFab-Ri-Kan” wall canvas.

Plate XX gives an idea as to its textue

and appearance and

receptivity to water color paint. A small section of the grass cloth sample, that was considered more in keeping with the room, had a flower painted in water color and the results appeared to be success ful.

All the samples were then shown to the patrons and an

off white grass cloth was chosen.

The problem of binding

the paper had been solved also, for the wall paper shop had a machine that bound the paper in Cellophane tape.

Samples

of the grass cloth with the small painted pattern and the tape binding are seen in Plate XXI. Work had also been continued on the sketches.

Pencil

was used for these sketches as some of the detail was redone by tracing. carried out.

The suggestions that had been offered were The large central panel was changed.

An ar­

rangement of larger pagodas was drawn on the left side of the design, masses of leaves swept across the sky, much new vegetation was added, and the palm trees were completely omitted.

Plate XXII shows the corrected sketch.

other panels were changed as was suggested.

The two

Intricate

57 formalized plants were designed.

Positions of the figures

were changed and then the garments were patterned.

Plate

XXIII and Plate XXIV show the corrected and finished sketches. The three drawings were then pinned on the wall space to gain a better idea as to how the design carried and whether it was in keeping with the room. satisfactory.

They were found to be

Plate XXV shows rather indistinctly the de­

signs in place, for pencil drawings are very difficult to photograph. After these revisions had been made, the panels met with the approval of the patrons.

The time had thus come

to devise the color scheme of the paintings.

CHAPTER V THE PAINTING OP THE MURAL The painting of the mural was an Important step. All of the previous investigation and work had led to this point.

The success of the mural depended a great deal upon

the color in this particular instance, for the room to he decorated required a carefully worked out color scheme that did not depend on line.

Perhaps another home, on the

other hand, could have used the same design exactly; hut the peculiarities of a different type of home would have heen satisfied with more of a line drawing In which the color was secondary and more delicate. Thus a careful color scheme was planned In relation to the room, the color sketch heing done full size with the medium of pastels.

With the sketch finished, a third appro­

val of the patrons was obtained.

The cartoon was then

transferred to the water color paper that had heen origin­ ally planned, as the proposed grass cloth was later found to he unsatisfactory.

The hest of water color paint and

brushes were decided upon; and following closely the colored sketch, the mural was painted. Color scheme evolved.

Serious thought was given to

the presentation of the color sketch.

Usually a color

59 sketch was done to scale, a small uninspiring hit of work that as a rule was not too definite as to color.

It was b e ­

lieved that in this case, where the mural was not a tremen­ dous monumental piece of work, the sketch could be done actual size.

Following this line of thought the large panel

drawing was traced on to a clean sheet of detail paper. Rather than use water color, which would not have shown good results on such cheap paper nor have been as manageable, a type of pastel was used, called “Nupastels” made by Eberhard Faber.

This proved, most facile to work with as there

were a great variety of colors, and it was simple to work over a color that was not desired in the sketch. Having analyzed the color scheme of the room in rela­ tion to the mural, it was thought advisable to stress brilliant yellow-greens in the foreground, tropical bluegreens in the background, blending with a sky color similar to the walls of the room.

Due to the strong sense of value

In the room the painting was also to be based on value.

As

the sketch progressed the banyan leaves were colored a light olive green not too sharp in value.

The pagodas were

colored a dark brown in the shadowed section, and an ochre on the exposed tiers.

Brilliant reds and yellows were sup­

plied by the fruit and flowers and. the clothing on the figures.

A warm sienna color was flooded into the bottom

of the paper, thus holding in the yellow green of the

60 foreground. It was felt that the room required some very light, almost white notes in the mural, so that some of the vegeta­ tion was made almost white in dramatic contrast with the dark plants and leaves in hack and around it. The Balinese admire and have, as a rule, a smooth, clear skin the color of gold.

With this in mind, their

flesh was colored a golden brown.

Notes of black were

maintained in their hair, deeply contrasting with the flowers and headdress worn in the hair. Occasional brilliant greens were carried into the background of leaves and plants, thus breaking the monotony of the blue greens.

When the sketch was nearly finished

the artist decided that the lower left corner below the crouching girl, required some heavy leaves as it appeared a little too open and thin; so a correction was made that im­ proved the appearance of the entire sketch. shows the completed color sketch.

Plate XXVI

Without the color shown,

however, It is difficult to imagine the color though the values are easily seen.

With the sketch concluded, it was

time for another approval before proceeding further. Third approval of patrons♦

It had been decided that

if the central panel met with approval there would be no need for an additional color sketch of the other two panels.

61 The sketch did meet with the patrons’ approval, apart from a few minor changes, such as a darker brown value in the pagodas and a slightly darker skin for the Balinese figures. Plate XXVII shows the sketch as it was pinned on the wall for the patrons’ approval.

It was a feeling of elation that

the artist experienced when this point in the evolution of the mural was reached.

A disappointment was in store, how­

ever. Cartoon transferred to water color paper.

Before

tracing the drawings to the grass cloth it was thought ad­ visable to paint a larger sketch on the grass cloth in order to be sure that it would be satisfactory.

It was

then quite a shock to discover that the grass cloth would not absorb darks, and without darks there could be no value contrast.

The mistake had been made previously by experi­

menting with only brillant reds and greens on a very small area.

It was not considered necessary to go into the chemi­

cal reason why the paint did not agree with the paper.

The

fact remained that it did not and that was enough. The only alternative was to use the water color paper originally planned, for the wall canvas had been definitely discarded.

This information was given to the

patrons, but was not such a great disaster to them as they were just as well pleased with the water color paper.

Of

fc>2

course, the scroll idea had to be discarded and a more con­ servative type of frame devised later. The drawings were then traced on the water color paper.

Rather than use carbon paper, which is difficult to

erase, the backs of the finished sketches were rubbed with soft lead which served as the tracing medium. The type of art materials used.

The standard equip­

ment of any water colorist was used--a number 14 Windsor and Newton sable haired brush, a number 7 Lefebvre-Foinet sable, a number 13 Lucien Lefebvre-Foinet skunk haired brush, and a Windsor and Newton ^Finest Bristle” brush. Care had been taken to select the very best water color paint.

Newman's color in tubes had been chosen as

it was considered the finest produced.

Permanency of the

water color paint and its ability to resist the fading in­ fluence of light were absolute requisites as well as bril­ liancy. Colors used were--cadmium red number 3> Indian red, yellow ochre, cadmium yellow number 2, cadmium yellow pale, alizarin crimson, ultramarine blue, cerulean blue, monastral blue, viridian green, monastral green, burnt sienna, raw umber, burnt umber, Van Dyke brown, and lamp black. The paper used as mentioned before was Reeves' French, a rough textured, 300 pound, cold pressed linen paper.

As the

63 rough textured paper increases the brilliance of the color-due to the shadows thrown by the depressions in the paper-it was hoped that it would prove an excellent paper for the purpose desired. Fainting of the mural.

The panel showing the kebiyar

dance was the first to be painted.

The color scheme fol­

lowed that of the center panel chalk sketches: light yellowgreen foreground, dark brown for the trunk of the banyan tree, and light olive green bordering on ochre for the leaves of the tree.

The most brilliant color--a vibrant

red— was of course used on the garment of the dancer, while an almost white note was sustained in the patterning of his dress as well as the turban on his head, which deepened from white to rose.

Dark blue-green, varying with pale

blue-greens and intense yellow-greens, formed a pattern surrounding the seated figures.

An effect of rising mist

was shown in the background by the use of monastral blue and cerulean. Painting was then continued on the other side panel, that of the legong in which the same general color scheme was used.

Very brilliant yellow was used, however, in the

headdress and jewelled necklace of the dancers.

This

proved quite dramatic against the rich reds of their cos­ tumes.

Their faces.were painted a pale skin color so as to

O J+

indicate the use of rice powder to whiten their faces. After finishing this painting, however, it was neces­ sary to return to the kebiyar panel.

Some brilliant yellow

had to be added to the garments to balance with the legong and also the fan of the kebiyar dancer was painted a bril­ liant red, rather than letting it remain an undetermined light brown that lacked accent.

A few masses of the banyan

leaves were darkened also to give it more of a third dimen­ sional feeling. Having concluded the two panels it was found that although the color scheme of the sketch had been faithfully followed, a more brilliant luminous quality was evident in the painting.

This, of course, was the desired result as

well as a crispness that the soft blurring effect of the chalk could not obtain. Before painting the central panel, the chalk sketch and the two finished panels were taken to the patrons* home and pinned on the wall to be sure that the color and general effect was correct. that time.

Plate XXVIII shows how they appeared at

The difference between the clear cut side panels

and the chalk sketch are evident.

Also the relationship be­

tween the panels and the overhead lighting is clearly shown. The artist, having determined that the color was right for the room, that it carried well from all angles, not too obtrusive nor too retiring, the painting of the

central panel was started.

Following the color areas worked

out in the sketch, abetted by the two finished panels, the artist then painted the largest section of the mural.

Little

difficulty was encountered as the color areas had been planned so carefully, and the other two finished panels were of great aid in bridging the gap between the chalk sketch and the actual effect of the water color.

CHAPTER VI THE COMPLETION OF THE MURAL The mural had been painted and the next problem was to devise a suitable frame.

The use of glass as a protec­

tive medium was discarded due to its great reflection, and the use of water color varnish was planned instead.

The

type of frame to be used, however, was very important, for it could either enhance the appearance of the mural and the wall area or it could easily ruin the appearance of both. Various manners of framing were considered.

Having

made a final choice of the type most suitable, the artist sent the mural to one of the finest framing shops.

When

the mural had been appropriately framed it was then hung on the wall.

With the final approval of the patrons, the

work was finished. Type of protection or framing of the mural.

After

the painting of the mural was completed, the time had come to consider the proper framing.

The use of glass was to be

avoided, for the light reflection from the well aired room would be great on the glass.

Although the overhead light­

ing could take care of the reflection, it would surely not be practical to use them during the day. was definitely discarded.

Therefore, glass

w

(

Without glass, some type of protection was needed for the perishable water color medium.

The answer was to use

the fine French Soehnee water color varnish.

Due to the

war in Europe and the condition of France, the varnish was difficult to procure.

After calling many dealers in artists1

supplies, two bottles were finally located and purchased. This water color varnish protects the surface of the paint­ ing and also retains a desirable mat finish. The problem of framing still remained, however.

To

retain the flatness of the wall a deep protruding wood frame was not desired.

Something more unusual, more in keep­

ing with the subject and the modernity of the room was wanted. .It was thought that perhaps strips of bamboo would make an attractive frame, omitting a mat around the panels and framing each panel separately.

However, it was feared

that the bamboo might have a cheapening effect as it is so widely used in too many public places.

Whatever medium was

used, the fact had to be kept in mind that the panels must be held in place by a strong enough binder to prevent any warping of the paper or of the frame Itself. Whether to frame the three panels In one unit, one frame, or to frame each panel separately was a problem.

If

the panels were framed separately, they could be stored easily when not in use.

Also their length would not be un­

balanced with the wall space, even allowing a five-inch mat

uu

on each panel.

Variety could he attained also by separating

the panels in different ways, although the mural effect would be lessened. A more original approach, however, was the thought of matting the three panels in one unit. line would then be achieved.

A long, unbroken

The space on the wall would

not be broken by separate units, and a greater pulling to­ gether of relationship between the three panels would be attained by the oneness of the framing. After much thought, it was decided to attempt fram­ ing the mural in a continuous five-inch grass cloth mat that would include the three paintings, although each panel would be separated by a margin of the mat.

By taping the

panels in the desired position on a one-half inch, five-ply board, and then gluing the bristle board which had been covered with grass cloth on to the wood, it was hoped that an effective framing could be achieved.

The grass cloth

would be of dark brown, and would enhance the values in the mural. This type of framing, however, did not appeal to the patrons.

They felt that the dark brown grass cloth mat

would be too heavy against the grass cloth wall, and would detract from the mural.

The suggestion was made to omit the

matting of the panels and to substitute a narrow wood mold­ ing of about two inches of a color suitable to the color

uy scheme of the painting.

Also discussed was the feasibility

of hinging the three panels, thus permitting the folding of the three units, similar to the action of a folding screen. The hinges would not be visible and would permit an easier method of transportation as well as storage when not in use. With a general idea of the type of framing desired, the mural was then taken to the framers.

As framing is an

art in itself, the panels were sent to one of the finest art shops where framing is done in a modern, artistic, and thoroughly professional manner.

It was the opinion of the

framers that the proposed type of framing would be most successful; and they were judging it purely from the view­ point of the mural itself.

After studying the color scheme

employed in the painting, they recommended a two-inch mold­ ing of a warm grey tone with a half inch gold liner.

The

panels were to be permanently pressed on to plaster board and reinforced to prevent warping.

Japanese hinges would

be used to fasten the units together.

The separation of

the panels was to be handled by the use of strips of the gold liner, thus giving the appearance of a band of gold b e ­ tween each painting.

By using the hinges the two side

panels could be folded back, thereby facilitating transporta­ tion and storage and also offering a unique opportunity to use the mural as a low screen if ever desired. This plan of framing was approved and the mural was

then framed, the water color varnish applied, and the re­ sults were found to be as satisfying as had been anticipated for the gold liner complimented the yellow notes in the mural, and the soft grey of the outer moulding blended in a quiet manner with the tones of the painting. The mural in place. the home of the patrons.

The mural was then delivered to

It was centralized beneath the

lighting, exact measurements for the placing of two fiftypound picture hangers were taken.

For it had been decided

that two hangers should be used, thereby equalizing the weight and lessening any danger of the mural slipping from its correct position.

The painting was then hung on the

wall, ready for final approval.

Plate XXIX shows the mural

finally in place, and Plate XXX shows merely the framed mural, giving more of a close-up of the type of frame. Final approval.

With the mural hung, the patrons

viewed it for the final approval.

They found the effect of

the. painting on the room very pleasing.

So closely had they

followed the evolution of the mural that there was little chance of disappointment. completely satisfying.

The whole effect was completely

The framing added value to the

painting as well as to the room.

The color of the mural

supplied a brilliant note that was needed.

The subject

matter, the style, the design--all were in keeping with the

requirements of the room and the suggestions that had "been made by the patrons.

Thus the task was finished, and al­

though it had been a great pleasure to plan the mural and paint it, there was a greater joy in knowing that it had met with complete approval.

CHAPTER VII SUMMARY AND CONCLUSIONS Summary.

As a preliminary step before working on

the mural* an Investigation was made of literature on the subject.

Little was found on modern mural decoration and

nothing on water color murals.

A brief history on the sub­

ject of mural decoration was helpful as well as a brief re­ view of literature on the related subjects of architecture and interior design. It was found in the evolving of the mural that a com­ plete analysis of the room to be decorated was essential. By studying the architectural features of the room the con­ clusions were that it was a room of rather austere simplicity, imparting an effect of unbroken space and stressing the horizontal line.

These conclusions vitally affected the

future style and size of the mural. By studying the furnishings used, it was found that the room imparted a character of clear cut modernism, com­ fort, abetted by an exotic note from the art objects dis­ played.

Without this understanding of the furniture it

would have been most difficult to determine the style and subject matter of the mural in a logical manner.

The analy-

zation of the color scheme in the room was also essential. It was determined that the soft blue-green of the walls was

•

iy

the predominate color in the room and that browns and beiges were stressed.

A strong sense of value was evident

in the contrasts of oyster white walls and wood trim in con­ junction with the blue of the walls and the dark brown floor.

The only brilliant color in the room was that ob­

tained from the garden flowers.

Thus the color scheme of

the room would greatly influence the color used in the mural. Value in color would have to be considered as well as the need for some brilliant color accents to add a warmer note to the room. The illumination of the room was found to be impor­ tant.

The fact that there were a great many windows re­

sulted in determining that glass could not be used with the mural because of the reflection, and also that the color selected must be strong enough to carry in such a well lighted room.

Also, the overhead lighting solved the

problem of suitable night illumination of the painting. Preliminary sketches including various steps in the evolution of the mural were essential.

The size of the

mural had to be determined first by means of numerous scale drawings of the wall area and various sized rectangles representing the panel or panels of the mural.

Without

these drawings it would have been guess work as to the size of the final decoration.

Also by pinning the actual sized

rectangles on the wall a better result was achieved.

7^ With the appropriate size determined, it was neces­ sary to consider the style and subject matter of the mural. It was at this point that the previous analysis of the room proved indispensable, for by analyzing the spirit, the character of the home and the room to be decorated, the decorative style of the painting was suggested as well as two congenial subjects.

Various sketches for the design of

the mural panels were requisite before the final work was begun. Of course, taking the dimensions necessary for the mural was essential.

By measuring the area to be decorated

the recessed overhead lighting, the height of the ceiling, the long dining table placed below the future decoration, the length and breadth of the room--it was possible to evolve a relationship between the different areas and the actual size of the future mural. It was found that by taking photographs of the room, there was always available a graphic representation of the different relationships between furniture and architecture. The memory is often faulty and by having a constant reminder of the distinctive character of the room, work could be facilitated.

Photographs were also considered a much faster

medium than sketches which require more time and are often unsatisfactory. As was to be expected, in most mural work, some

IJ reference to authoritative hooks on the subject of Bali were found necessary.

The other subject that was considered,

that of fruit and flowers, was a more familiar subject and required no research.

It was considered important to know

the subject well, for most muralists leave themselves open for criticism if they depict some incorrect phase of the subject matter. Following the work on the sketches, the approval of the patrons was obtained.

It cannot be stressed too strongly

how very important this approval Is.

Size and subject

matter were decided, the Balinese subject was chosen, changes In the composition were suggested, the framing and the paper to be used were discussed.

The corrected draw­

ings were then shown again and approved as well as the paper to be used. It was found that the muralist must subject himself to a certain extent to the desires and influences of the patrons.

This does not mean, however, that the artist must

forego his sense of beauty or his individuality.

The artist

must know his own sense of beauty and must be able to evalu­ ate it.

Thus he can still compromise with the patrons and

in no way injure his own creative ability.

An uncompromis­

ing Individual should in all probability leave mural work alone and devote his time to easel painting. It was found that by submitting sketches from the

7b ■beginning to the patrons it lessened any disappointment or disagreement later on. The painting of the mural was one of the most impor­ tant steps.

Serious work was done on the presentation of

the color sketch as the room to be decorated required a carefully worked out color scheme that did not depend upon line.

Having analyzed the color scheme of the room in rela­

tion to the mural, certain colors were stressed, such as brilliant yellow-greens In the foreground, tropical bluegreen in the background, and sky color similar to the tone of the walls of the room.

A sense of value was added by

the dark brown pagodas and the off white of some of the vegetation.

Brilliant red and yellows were supplied by

the fruit and flowers and the clothing.

Colored chalk was

found to be an excellent color sketch medium. It was important then to obtain another approval from the patrons.

Apart from very minor changes, the

approval was given.

Work could then begin on the final

work without much fear of disapproval of the finished work later on. At the point of tracing the drawings to the grass cloth that had been selected, it was found that the paper would not be satisfactory.

A mistake had been made earlier

in not more thoroughly testing the material as to its absorption to colors.

It was found that the paper would

77 absorb the darks.

Of course, without darks, the sense of

strong value would be destroyed. often cause trouble later on.

Thus carelessness can

However, there was fortun­

ately little difficulty as the patrons were pleased with the water color paper that had been originally suggested, and the drawings were then traced on it. It was found in the painting of the mural that the art materials selected were excellent. were absolutely necessary.

The fine brushes

Due to the fine point of the

sable brushes much of the detail was done more facilely than if the brushes had been of a cheaper type.

Also, the

colors were excellent, very brilliant in line, and easy to work with. The water color paper also was found to be very suitable.

Being a three-hundred weight paper, it was not

necessary to stretch it as it did not buckle--merely tack­ ing it on the board was enough.

The roughness of its tex­

ture increased the richness of the color also. During the painting of the mural, it was found that after each panel was painted a few modulations were to be made.

Color notes were too brilliant in one panel, while

in the other a slightly richer note was needed.

Thus a

fusing together of the color tones was facilitated at its conclusion, thereby eliminating any jarring spots of color that might ruin the effect as a whole.

78 Due to the fact that the patrons had not required three color sketches, only the central panel was done as they felt that it would give them a sufficient idea as to the rest of the decoration.

It was Interesting to note the

difference in the central chalk color sketch and the two finished side panels In water color.

The rather blurred

effect of the chalk gave the sketch a soft rather dreamy appearance.

The water color panels were darker, richer

in value, and had a typical water color crispness. As the painting of the central panel progressed, it was found that It was much easier to paint than the side panels, due to the fact that the color areas of the color sketch had been worked out so carefully, and also the two finished panels bridged the gap between the effect of the chalk and the water color. After the mural was painted the problem was to devise a suitable frame.

The type of frame to be used was impor­

tant, for it could make or mar the appearance of the mural. Various manners of framing were considered with a final decision being made by the patrons.

The mural was then

sent to the framers and a unique frame devised, In which the three panels could be folded like a screen, thus facili­ tating transportation and storage.

The finished mural was

found to be most effective In Its. frame which was of a narrow, warm grey moulding supplemented by a gold liner

entirely around each panel. It was found that the framing actually improved the mural.

Such is usually the case when paintings are proper­

ly framed by artist-framers who know how to bring out the salient points in a painting.

The mural was then hung in

the space designated in the home of the patrons; it was found to be satisfactory in color, subject matter, style, design, and the framing. Conclusions. 1.

The conclusions reached were as follows

The use of water color as a method of mural

decoration was very satisfactory. and rich.

The color was brilliant

The transparency of the water color gave the

painting a sparkle that is characteristic of the medium. 2.

The use of water color required a carefully

planned color scheme.

This is usually the case in murals,

but more so in this instance because the water color medium cannot be changed very greatly if the color is incorrect. Thus, additional care must be taken in planning and applying the color. 3.

The use of water color in a room of modern design

was appropriate because of its crispness and its sparkleall in accord with the spirit of modern design; the interior was made more colorful and personal as a result. 4.

It was absolutely necessary, In order to achieve

a pleasing decoration, to determine the characteristics of the home, to make numerous sketches and scale drawings, thereby intelligently ascertaining the size, subject matter, style, and color scheme of the proposed mural.

5.

The muralist must be cooperative, must subject

himself to the needs of the room, and the desires of the patron to a certain extent, although he can still express his individuality.

6.

The muralist must know where and how to get the

right research for the subject matter of the mural, as well as any other data necessary. 7-

It was essential that the artist submit sketches

from the very beginning to the patrons in order to determine when an agreement was reached.

8.

And finally, the framing of the mural was con­

sidered an important consideration as it could add or de­ tract from the particular picture in the particular setting. The results of the entire investigation were con­ sidered successful.

There was no doubt that the water

color medium is excellent for mural design in the home.

The

problem was considered, however, whether the medium could be used successfully in a public building.

It was feared

that the dirt and grime would soon ruin the delicate paper and the thin coat of protective varnish. the water color paper was a drawback.

Also, the size of

Fortunately, in the

81 case of this research, the available size was adequate, but in other cases it might not be.

Although most residences

would not require any larger mural than the panels in this study. It was gratifying, however, to ascertain from the investigation that water color is a charming medium for the decoration of a home, and that it is as desirable in a residential decoration as the use of the more accepted. mediums of oil, gesso, and fresco*.

BIBLIOGRAPHY

BIBLIOGRAPHY Baikie, James, Rev., The-Sea-Kings of Crete. and C. Black Ltd., 1926. 31? pp.

London: A.

Berenson, Bernard, The Study and Criticism of Italian Art. London: G. Bell and Sons, Ltd., 1916. 155 PP* Bernatzik, Hugo Adolf, South Seas. and Company, 1935* 167 PP*

New York: Henry Holt

Blashfield, Edwin H., Mural Painting in America. Charles Scribner’s Sons, 1926. 312 pp.

New York

Bode, Wilhelm, Sandro Botticelli. New York: Charles Scribners’ Sons, 1925• 183 p p • Borenius, Tancred, Florentine Frescoes. E. C. Jack, Ltd., n.d. 131 PP*

London: T. C. and

Born, Esther, The New Architecture in Mexico. New York: The Architectural Record, William Morrow and Company, 1937* 150pp. Brown, Alice V., and William Rankin, A Short History of Italian Painting. London and New York: J. M. Dent and Sons Ltd., and E. P. Dutton and Company Inc., 1939* ’ 4l4 pp. Brownell, Baker and Frank Lloyd Wright, Architecture and Modern Life. New York: Harper and Brothers Publishers 1937* 339 PP* Bruce, Edward and Watson, Forbes, Art in Federal Buildings Washington, D. C.: Art in Federal Buildings Incorpor­ ated, 1936 . 309 pp. Bunlm, Miriam Schild, Space in Medieval Painting and the Forerunner of Perspective. New York: Columbia Univer­ sity Press, 19^0. 261 pp. Cahill, Holger, and Alfred H. Barr, Jr., editors, Art in America. New York: Halcyon House, 1939* 162 pp. Chavez, Augustin V., Contemporary Mexican Artists. New York: Covici Friede, Publishers, 1937* 304 pp.

84 Cheney, Martha C., Modern Art in America. New York, London: Whittlesey House, McGraw-Hill Book Company, Inc., 1939* 190 pp. Cheney, Sheldon, The New World Architecture. Tudor Publishing Company, 1936- 4o4 pp. _______ , The Story of Modern Art. Press, 1941. 6W 3 pp*

New York:

New York: The Viking

Covarrubias, Miguel, Island of Bali. Knopf, 1937* 417 PP*

New York: Alfred A.

Davis, Hassoldt, Islands Under the Wind. Green and Co., 1933- 279 PP*

New York: Longmans,

Doerner, Max, The Materials of the Artist. New York: Harcourt, Brace and Company, 19345 4*32 pp. Ford, James, and Katherine Morrow Ford, The Modern House in America. New York: Architectural Book Publishing Co., Inc., 1940. 134 pp. Frankl, Paul T., Form and Reform. Brothers, 1930. 203 pp. _______ , Space for Living. Company Inc., 1 9 3 8 .

New York: Harper and

New York: Doubleday, Doran and

pp#

Fraser, Grace Lovat, "Furnishing In the Past Year," Decora­ tive Art, The Studio Year Book,36 :43-48, 1941. Gardner, Helen, Art Through the Ages. Brace and Company, 1936. 795 PP* Geddes, Norman Bel, Horizons. Company, 1932. 293 PP*

New York: Harcourt,

Boston: Little, Brown and

Giedion, Sigfried, Space, Time and Architecture. The Harvard University Press, 1941. 601 pp. Hale, Gardner, Fresco Painting. Rudge, 19335 W~VV-

Cambridge:

New York: William Edwin

Helm, MacKinley, Modern Mexican Painters. New York and London: Harper and Brothers Publishers, 1941. 205 PP* Hitchcock, Henry-Russell, Jr., Modern Architecture. York: Payson and Clarke, Ltd., 1929* 252 pp.

New

Kahle, Katharine Morrison, Modern French Decoration. York: G. P. Putnam’s Sons, 1930*^ 5T9 PP*

New

Kuhn, Charles L., Romanesque Mural Painting of Catalonia. Cambridge, Massachusetts: Harvard University Press, 1930. 102 pp. Lescaze, William Howard, On Being an Architect. G. P. Putnam’s Sons, 19*1-2. 287 PP* Lewisohn, Sam A., Painters and Personality. Brothers, Publishers, 1937* 277 PP*

New York:

Harper and

Macfall, Haldane, A History of Painting, Volume I, The Renaissance in Central Italy. Boston: D. D. Nickerson and Company, n.d. 253 PP* _______ , A History of Painting, Volume II, The Renaissance in Venice. Boston: D. D. Nickerson and Company, n.d. 231 PP* Man, August, Pompeii, Its Life and Art_. Macmillan~Company, 1899 . 509 PP* Mather, Frank J., Modern Painting. and Company, 1927* 3&5 PP*

New York: The

New York: Henry Holt

Mauclair, Camille, The Great French Painters. E. P. Dutton and Co., n.d5 167 pp.

New York:

Mayer, Ralph, The Artist’s Handbook of Materials and Tech­ niques . New York: The Viking Press, 1941. 561 pp. McClelland, Nancy, The Practical Book of Decorative WallTreatments. Philadelphia: J. B. Lippincott Company, 1926'. 273 PP* Modern Architecture. 199 PP *

New York: Museum of Modern Art, 1932.

Nagy-Moholy, L., The New Vision. New York: W. W. Norton and Company, Inc., 193&* 207 P P • Pach, Walter, Ingres. New York and London: Harper and Brothers Publishers, 1939* 290 pp. Patmore, Derek, Color Schemes for the Modern Home. The Studio Publications, Inc., 19353 37 PP*

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Petrie, W. M. Flinders, The Arts and Crafts of Ancient Egypt. Edinburgh and London: T. N. Foulis Ltd., 1923. T55 PP* Powell, Hickman, The Last Paradise. New York: Jonathan Cape and Harrison Smith, 1930. 292 pp. Powers, H. H., The Art of Florence. Company, 1918'. 4Fl pp.

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Mac­

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PLATES

PLATE I A SECTION OF THE DINING ALCOVE AND LIVING ROOM, PART OF THE HISPANO MOORESQUE TABLE OVER WHICH THE MURAL WOULD BE PLACED, SHOWING

.

HOW THE SPECTATOR IF SEATED:IN THE;ALCOVE ; v-■ WOULD VIEW THE MURAL AS WELL AS FROM THE :

VIEWPOINT OF THE LIVING ROOM

PLATE II A VIEW OF THE DINING ALCOVE, SHOWING THE SMALL DINING TABLES, THE FLOWERS, THE TAPA CLOTH ON THE WALL, THE ANKOR VAT, AND BALINESE FIGURES, ALL IMPARTING AN INTEGRAL CHARACTER TO THE ROOM

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PLATE III A VIEW OF THE AREA TO BE DECORATED, SHOWING THE OVERHEAD LIGHTING AND THE HISPAN0 MOORESQUE TABLE.

THE CHARACTERISTIC DECORATION IS EVIDENT

--THE POLYNESIAN WAR SHIELD, THE DECORATIVE SCREEN, THE SAMOVAR

PLATE IV A VIEW OF THE ROUNDED CORNER FIRE PLACE, SHOWING THE INFORMAL LOUNGE, THE GRASS RUG, THE RATTAN CHAIRS, AND THE USE OF DECORATIVE GREY-BLUE ACACIA LEAVES IN THE SPUN ALUMINUM JAR

PLATE V A VIEW OF THE LIVING ROOM, SHOWING THE LARGE EXPANSE OP WINDOWS AND SIMPLE MODERN FURNITURE AS WELL AS THE CONTRAST OF THE WALLS

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•••»•*!•»!»»

■I ■ —

KUMUIUHUUU: __________________________

#*♦» *

93

PLATE VI A VIEW OF THE ADJOINING BEDROOM, SHOWING THE TREATMENT OF THE DOORWAY AND THE MANNER IN WHICH ONE ROOM FLOWS INTO THE OTHER, THUS AFFORDING A VIEW OF THE PROPOSED MURAL FROM ANOTHER ROOM

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TABLE VII

ANOTHER VIEW OF A SECTION OF THE WALL TO BE DECORATED, SHOWING THE STRONG HORIZONTAL LINES OF THE GRASS RUG IN RELATION TO THE TABLE

PLATE VIII SKETCH OF FRUIT, LEAVES, AND TREE

PLATE IX

SKETCH OF FRUIT, LEAVES, FLOWERS, AND TREE TRUNKS, WITH THE TREE TRUNKS KEPT IN THE BACKGROUND

PLATE X SKETCH OF A RATHER SURREALISTIC LANDSCAPE OF ROLLING HILLS AND A WINDING PATH, WITH FRUIT AND FLOWERS