A Hidden Gem in Boston

Incredible circular stairway leading up to a 30 foot diameter leaded glass dome

I recently visited the fine city of Boston for the first time, just last week,  and I spent a wonderful day squired about by local artist and blonde vivant, Mark Hänser.

Operating on a tip from my fellow ornamentalist Cleta,  we wandered off the  Freedom Trail and scoped out the New England College of Optometry, which is housed in part in a grand 1894 mansion in the historic  Back Bay district.   The staff obliged me by allowing me to snoop around with my camera.

Students crammed for exams in the splendid Victorian rooms, while we  tiptoed through some of the more fabulous parts of the house, gobsmacked at the beautiful oak paneling and magnificent ornamental painting.

above: superbly painted ornamental frieze over a gilt ground in the foyer/sitting area off the main stairway.  These murals are painted on canvas and glued to the walls.

 

Oak stairway topped with a gorgeous leaded glass dome and Italianate ornament painted over gold leaf.

The school campus was completely renovated in the late 1990’s and  has won local and national awards for outstanding preservation and adaptive use of historic buildings. The decorative painting remains in very good condition.

Detail of painted Italiante ornament with stenciled gilt background

A fantastic gold mosaic effect was created by stenciling a geometric pattern over the gold leaf base prior to painting the ornament. This breaks up the reflected light and really gives a marvelous impression, especially in the low winter light.  I fully intend to try this technique in a future project!

The school also has a cozy library and study area, with beautiful ornamental plaster ceilings and polychromed lincrusta on the walls. Look closely at the detail- how many times have I seen this fantastic material painted glossy white? Painted in this way it can emulate Renaissance-era  embossed leather wallcoverings.

detail of textured library walls

A florid bit of polychromed lincrusta with 12 karat gold accents,  in the NECO library

All images in this post by Lynne Rutter

please click on the images to see them at larger size!

Lynne Rutter Murals and Decorative Painting

Arabesque

An interior detail of the new Grand Mosque Abu Dhabi, photo by Imran Akram

My fascination with Arabesque ornament... may have begun in Prague many years ago, when I first saw the Španělské Synagogy "Spanish Synagogue", built in 1868 in the Moorish Revival style. Inside it is completely covered in geometric Arabesque designs. Seeing the architectural ornamentation on such a scale made me want to run home and encrust every surface I could find with pattern.

A plate from "Art arabe : mosquée de Qaouâm el-Dyn: détails du tombeau" (1877)


It's not just that it's pretty, but it resonates with the math geek in me. The division of space, the arrangement of color, the... fractals!

Arabesque art developed in regions where Islam has been dominant; such as Morocco, Moorish Spain, India, Turkey, and the Arab states; and embodies Muslim precepts in its themes, with the focus on patterns rather than on figures. The depiction of the human form is forbidden, considered too close to idolatry, and so the art tends to be decorative and ornamental in style - geometric, floral, calligraphy.
The style has inspired and influenced non-Islamic ornament and architecture in Europe and elsewhere, particularly in the 19th century with the trend towards in Orientalism in design, and romantic "revival" styles of architecture.

The incredible new Grand Mosque Abu Dhabi is a project that I have been watching with interest. It was completed in March, 2008, and I am especially gleeful over the work of British designer Kevin Dean included in the massive courtyard's inlaid marble floors (above) and archways, a fantastic modern take on the floral elements of this style. More gorgeous pictures of this splendid new mosque can be found on the photography site of Imran Akram.

"Islam Ornament" (mosaic ceilings) photographed in Pakistan by Judith Barath

Mosaics can also play a prominent role in the ornamentation of buildings. In addition to the overall appearance of a colorful pattern, the play of light over the surface of thousands of tiles adds another level to the message of this art: this all fits together in an infinite pattern... do you see now, how you too are part of a larger pattern, how you belong?


How envious I am of my friend and colleague Tania Seabock, for this incredible ceiling she created for a client in the arabesque style, which includes tens of thousands of gold faux mosaic tiles!

I have a room set aside for my own spin on arabesque ornament, and look forward to sharing my inspiration and progress.

Some internet resources:

New York Public Library Digital Gallery

Islamic Art photo set by Flickr member Sir Cam

The Columbia Electronic Encyclopedia

IAAO: Islamic Arts and Architecture





Some recommended books on Arabesque ornament:

Arabesques. Decorative Art in Morocco

The Majesty of Mughal Decoration: The Art and Architecture of Islamic India

The Art of the Islamic Tile

Ipek: The Crescent & the Rose: Imperial Ottoman Silks and Velvets

Iznik: The Artistry of Ottoman Ceramics

Islamic Art in Detail

Arabic Art in Color (Dover Pictorial Archive Series)

Lynne Rutter Murals & Decorative Painting

Landhaus Hexagonal Ceiling

Recently I completed a project three or more years in the making,
for a wonderful home in Orinda, California, built in the style of a Landhaus-Villa, combining elements from both Italian and Austrian hunting lodges, and detailed with custom polychromed ironwork, and antique handmade bricks stamped with the Hapsburg crest.

I was commissioned to design an ornamental painted ceiling for this fantastic hexagonal shaped room!

detail of the handpainted Florentine ceiling border

My patrons love the painted ornament of renaissance Italy as much as I do, so for its principal border element I took inspiration from the Basilica of Santa Croce in Florence. This element was adapted and hand-painted 66 times - a natural, hexagonal number, also a sphenic number, adding a mathematical stability and a sense of architectural symmetry to a slightly off-center space.

before- an unfinished white ceiling in a room with great bones...

after - 22karat gold leaf stars and accents glitter in a colorful ceiling from which grows a polychrome iron chandelier.

more details to follow.... stay tuned

Lynne Rutter Murals & Decorative Painting

Marouflage Ceiling in progress

122 hand painted ornaments, 28 canvases, 12 colors of paint, 5 rolls of 22k ribbon gold leaf...

This week we started to hang the "Italian Ceiling" which we have been painting on canvas in the studio for the last several months.









I am elated that my fabulous installer Peter Bridgman, who has been living in Florence the last year or more studying art restoration techniques, came home just in time to help me with this project.
Each ceiling panel is pasted with clay based adhesive and allowed to dry. The back of the canvas is then moistened with water, and a second, fat coat of paste put on the ceiling just before the canvas is applied.

In the longest panel we found that the chandelier electrical box was not actually in the center. Bad news, since an elaborate rosette was painted for the center. This is always a danger when painting canvases for ceilings that have not yet been framed. No matter what the carpenters tell you about how perfect their measurements are, they are never, ever correct. That's why the design of this ceiling incorporated a lot of "bleed" on the outside edges.

Peter's technique is to find the "priority" edge and work from there. Sometimes the priority is the "center", and sometimes is the spot that makes the ornament line up with the ornament in the next coffer. Some pulling and adjusting and language is usually needed. Most of the panels, however, seem to smooth out like butter on bread.
Once the canvases are smoothed into place they are left to rest while they tighten; they are then trimmed neatly to fit. My assistants and I paint the lighting trim, vent covers, etc. to match, and touch up or embellish wherever needed.

After today the false floor that allowed us access to this part of the 22 foot high ceiling is being removed, so we were in a crush to get that area finished.
Next week we will install the remaining 17 ceiling panels, and start working on the walls! stay tuned....


Marouflage is in the glossary!

Lynne Rutter Murals & Decorative Painting

Grotesque obsession

As an Ornamentalist (and posting this while currently traveling in Italy) I can't help but obsess just a bit about the grotesque ornamentation that covers entire ceilings and indeed whole rooms in some of the places I have visited recently.

Grotesque figures found in a window of the Gallery of Maps, Vatican Museum, Rome

I am also absolutely rapt with my newest aquisition, Les Grotesques by Allessandra Zamperini, a comprehensive and lavishly illustrated book that traces the history of the form, from ancient Pompeii to the bestiaries and drolleries of medieval manuscripts, to the discovery of the Domus Aurea in the 15th century that inspired Raphael and his contemporaries to create an entire system of "grottesche" ornamentation, which endured as a major influence in painted decor for centuries, including singerie, neo-classical, and 19th century revival interiors. I bought the French version of the book while in Florence and have only slightly minded its weight in my luggage this last week.

Rome: ground zero for Grotesca
In future travels I'd love to visit the Guila Romano, Palazzo Farnese, Villa d'Este and some of the other fabulous villas that sport this kind of painting.

This time, I did get to spend a long day at the The Vatican Museum:

Renaissance "grottesche" ornamentation created by Raphael and his team of decorative painters in 1517-22.

Vatican - Museo Pio Clementino: details of ornamentation
by Christoforo Unterperger circa 1776

Santa Maria dell'Anima, Rome: detail of a chapel painted by Francesco Salviati, 1548.

Florence: The Uffizi

Spectacular painted ceilings in the main corridors, many of which were painted by Antonio Tempesta and Alessandro Allori around 1580

Detail of above ceiling

A small spandrel ornament on the lower floor of the Uffizi

note: photography is not permitted inside the Uffizi, so my images were taken by stealth.
Some of the other stealth photographers sharing this work on the web:
groenling's flickr set
MikevV

All of the images in this post photographed by Lynne Rutter, April 2008.
Select any image to view at larger size.

Les Grotesques is now available at amazon.com in English as: Ornament and the Grotesque: Fantastical Decoration from Antiquity to Art Nouveau
also recommended: "La grottesque" by Andre Chastel

Lynne Rutter Murals & Decorative Painting

Italian Painted Ceiling: work in progress

Our current project is a large ceiling divided into coffers, for our client's home being transformed with a Northern Italian look. We are painting the panels in the studio on medium weight canvas (Sierra and Melka, pictured above)
The design takes its inspiration from a mix of Florentine paper and grottesca ornament, and uses a cooler palette of roses and blues from our client's fabulous oriental carpet.

As each of the ceiling coffers are slightly different in size and shape, I designed a simple and colorful foliate ornament which when repeated (112 times!) will help make the ceiling look more symmetrical.

We started by developing the corner element. This sketch was copied to a master drawing, and then separated into a simple stencil design. We used the stencil to transfer the basic shape or the ornament to the canvas using four colors of matte acrylic paint.
Each element is then hand-shaded with four more colors, and lined with burnt sienna.

The canvases are then overglazed, and some areas gilt with a fine line of 22 karat gold, for that little glint of a highlight.
We hope to install this ceiling in early June.

Restoring a carved polychromed door

This is a beautifully carved door in Newport Beach, California, by the artist and master woodcarver Mogens Abel, from Laguna Beach.

<----coral and sea horse detail of door after restoration.

Everyone remembers this door as having been really brightly colored when it was new. I sure didn't mind seeing it aged and darkened, but it also became filthy, especially after the recent fires in Southern California, and had a fair number of gouges. The wood had become so dry a large crack was forming up one side, and there was a worry that the door would no longer close properly.

Last week, I cleaned and oiled the wood, and re-stained the ornament. Just cleaning the surface revealed a lot of the color and detail.


I remember visiting Mr. Abel in his studio in the mid 1970's; he showed me how he made this work, carving it in redwood, or fir, or some other California native wood, and then "staining" the elements with thinned artist oils.


There were enough traces of the original paint that I was able to match the colors. I also mixed up a seaweed green to touch up the gouges and scratches in the door. In the next few weeks much of the color will be absorbed into the wood. A light oiling every year or so should keep it from splitting further.


Abel also carved these redwood gates. After some repairs had been done about 5 years ago, I recreated the polychroming and left it fairly rough. These have since weathered and worn nicely.

Lynne Rutter Murals & Decorative Painting

Gothic Ornament: Église de Saint-Germain-des-Prés

How many different borders can you use in one springing arris?

There are few surviving examples of true Gothic decorative painting. Most of what we can see now is the result of the appreciation and revival of romantic and antique styles during the 19th Century.

Fortunately in the case of Église de Saint-Germain-des-Prés, the oldest church in Paris, there were significant amounts of original 13th and 14th century ornament to document, despite fires, the sacking of the church in 1789, and the ill use of the building during the next ten years which greatly damaged its interior.

The decorative painting as we see it now, was restored/recreated in 1845. It is remarkable how some of the oldest ornament looks the most modern. Those geometric borders (polka dots!) especially.
An interesting description of the history of this building can be found in this text of a 1921 guidebook.

While taking these photographs I had the pleasure of speaking with one of the priests in the church, who pointed out to me some of the better areas to photograph, and explained to me that areas of the interior had been scrubbed of its paint during more recent repairs. There is currently no plan for any restoration or cleaning.

photo by Lynne Rutter, 2007

Lynne Rutter Murals & Decorative Painting