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Since my article in the April, 1956, Edition of THE
MARQUETARIAN, quite a lot has been written and said on the above subject.
This has prompted me to add further "coals to the fire"- having since that
date judged other displays of Marquetry and, I think, learned a little
more regarding this very controversial subject.
Two
esteemed colleagues have, in the Journal, expressed their views. both
saying, "For one person to judge an Exhibition is asking too much." I
disagree entirely; if that person is not governed by time, he should
arrive at a hundred per cent. correct result, without argument. The above
statement, of course, applies to present day Applied and Pictorial
Marquetry - "Why?" do you ask-because over the past 4 years the general
standard of the Craft has not improved. At each show I have attended it
has been " child's play " to cast aside seventy-five per cent. of the
exhibits because of some obvious fault, i.e.., brown paper backing;
twisted base board, brought about by too thin a ply being used; the back
of the picture not having been counter veneered; the edges having been
painted; the mixture of dyed with natural veneers, etc... etc..
One
writer asked why I didn't say more about the suitability of a subject for
Marquetry-we all have our own ideas on this, and mine were as stated, Atom
Plants, Sewage Farms, Gasworks and Railway Stations do not make for a
pleasing picture. To answer the question as to whether a judge could be
biased, the answer is NO, that is, a judge practising Marquetry himself
would be fully acquainted with all aspects of the Craft, and should be
open minded with regard to what he is looking at, even Gasworks!
This
brings me again to dyed veneers--which I don't like one little bit.
However, in my opinion if a piece of work executed completely, repeat
completely, in dyed woods is worthy, then it competes alongside it's
"natural brothers." A separate section for work of this nature is not
necessary, fortunately few people use these often ugly woods, but should
an outstanding piece of work come along, then it takes it's chance with
orthodox craftsmanship. Whilst the Society acknowledges "harewood," I find
it difficult to understand why it is used so extensively these days. Kit
sets use it for buildings-ridiculous I say-please in future restrict the
use of this coloured wood to the pond, stream or dustbin!
Another trend of the "modernists" is to make up a picture of as many small
pieces as is humanly possible to cut-this I assure you carries no weight
in a competition. The "old 'uns" used to say "let the wood do the work,"
and for good Marquetry this is still sound advice. Like everything else
these days, the commercial dealers are, 1 think, partly to blame. Every
month they advertise some newly imported exotic wood. The misinformed
enthusiast says to himself “I must have some of that" and can't wait to
use it, and so it goes on, month after month. Difficult woods to cut are
used, because the book says they are new. One of the cleverest and most
attractive pictures I have seen, was cut wholly from Walnut..
I
have been asked if it matters how a piece of Marquetry is assembled, that
is, the method of laying, gluing, cutting, polishing and so on. The answer
is NO all the Judge is interested in is the finished product.
Unfortunately he is not in a position to see this work in later years,
when good workmanship will tell.
To
sum up, here are some "do's" and "don'ts" for the future competitor.
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