Alexander Fisher
British, 1864-1936
Bhanavar the Beautiful, 1903-1904 ca.
hand-painted enamel on copper plaque with free-standing frame of hand-wrought bronze with gilt and patinated surface
24 1/2 x 19 1/8 x 4 1/4 in.
SBMA, Museum purchase with funds provided by the SBMA Women's Board in honor of the 50th Anniversary of the Women's Board
2000.42
“Even the humblest article of utility deserves to be made beautiful--yes, and ought to be made beautiful; and every student should be acquainted with the full significance of that fact.” - Alexander Fisher, 1906
RESEARCH PAPER
aRTS & cRAFTS
In 1880, the Arts and Crafts movement began in Europe as a reaction to the effects of the Industrial Revolution on design, the environment and people's working lives. Arts and Crafts style encompassed simplicity of form, honesty to materials, and the enhancement of natural textures. The .guild system was developed to bring together designers and craftsmen who were determined to produce beautiful objects using hand crafting processes that dated back to medieval times. Alexander Fisher helped to found the Birmingham Guild of Handicraft. Fisher's contemporaries from this period include Ruskin, Ashbee, Morris, Mackmurdo, and Tiffany. They were all influential in various ways by promoting the movement, creating artistic objects, and establishing the important craft guilds.
Gradually, the period moved towards a more sinuous, flowing, sculptural style called Art Nouveau. The essence of this decorative approach was a single extended line, tendril, or exuberant curve. Subjects were more naturalistic, including insects, flowers, and the female form. The Arts and Crafts movement encouraged a proliferation of painted enamels; artists such as Phoebe Tranquair, and Kate M. Eadie as well as the workshops of Omar Ramsden and others whose works were sponsored by the firm of Liberty of London produced fine enamels during the Art Nouveau period, but by the 1920s the vogue had passed (Benjamin, English Enamel Boxes, 27).
aLEXANDER fISHER
Alexander Fisher was a leading innovator in art enameling. He was born in 1864, the son of a potter in Staffordshire, England, and died in 1936. Fisher attended a lecture by a French enameler, Louis Dalpayrat, in 1885, at the South Kensington Museum. (Benjamin, Enamels, 102) So taken by the craft, he enthusiastically began to study enameling in Paris and Italy. He experimented and developed new methods that surpassed prior teachings. He disproved the myth that enamel must be retained within constricting partitions. (see appendix for more information on enamel techniques) His technique, “painted enamels", was popularized through his teachings. An inspired teacher, he taught at the LCC Central School of the Arts and Crafts from 1896-1899, and had many private students. Fisher set up a school of enameling in his Kensington studio in 1904. His pupils followed his painterly technique, and used multiple layers of different-colored translucent enamels over silver or copper covered foils. He advocated that every piece of artwork should be designed and hand-crafted completely through all stages by the same artist, an idea embraced by the guilds, in protest of the Industrial Revolution.
Fisher wrote extensively in "The Studio", and wrote a book, in 1906, entitled "The Art of Enameling upon Metal". He is the perfect example of the artist-craftsman disseminating his ideas through his work, his teaching, and his writing. (Anscombe, Arts and Crafts in Britain and America, 92) Fisher made specimen pieces that demonstrated his mastery of the varieties of enamels. Examples range from jewelry, book covers in gold repousse’, a silver and enamel chalice, and triptychs executed in his famous painted enamels. He wrote in 1906, “..enamels should never be copies of anything in nature nor of any other processes of painting in art. They should be creations. They are for the representation and embodiment of thoughts, ideas, imaginings, and for those parts of a world which exists only in our minds." (Speel) Fisher's favorite composition was to illustrate a central figure portraying a specific theme; Bhanavar is a typical example. His figural compositions were graceful and romantic. He often worked with blue, green and purple which would complement the faces and flesh done in soft pink or white opalescent enamels. His works were designed as pieces of fine art.
bHANAVAR THE BEAUTIFUL
The lovely overmantel piece is a representation of Bhanavar the Beautiful from George Meredith's allegory entitled "The having of the Shagpat", published in1855. Bhanavar was the daughter of the emir of a tribe which lived near a lake in the Caucasus. On the bank of this lake, she often met her betrothed, Zurvan, the son of a neighboring emir. Their marriage was to be a union of the two tribes. One night Bhanavar saw what seemed to be the reflection of a large star in the water. Zurvan cautioned her not to look, telling her that it was the serpent of the lake who was old, wise and powerful, and who wore upon her forehead a great jewel. Desire for the jewel overcame Bhanavar and she persuaded Zurvan to get it for her, despite his warning that the jewel was evil and that evil would follow whoever had it. He told her to meet him again at the end of the quarter moon. At the appointed time, Bhanavar went to the lake. In the darkness, Zurvan came and held up the jewel. Bhanavar leapt forward and grabbed it from him, at which point she saw that he had been bitten. He died at dawn. The tale of Bhanavar's misfortune continues in the written story; however, it is this initial tragic episode to which the overmantel relates. (The View, 10) Fisher wrote that human nature is a sort of Pandora box, filled with winged banes and blessings. To open this box in art, and set free its winged agents of good and evil, you must know yourself. (Fisher, 7) Bhanavar herself, becomes the queen of the evil serpents because she retains the jewel. Eventually, the dark powers that possess it, cause her to lose her beauty and her life.
OVERMANTEL
The painted enamel is crafted on a copper plate, and encased in a free-standing frame of gilded handwrought bronze. It was designed to reside above the fireplace, resting on the mantel shelf. Therefore, the back is left plain. If placed in a typical Arts and Crafts house, it would be on a cobblestone hearth, amongst Stickley tables and Rookwood pottery, with a Tiffany lamp beside a William and Morris chair, in the living room of a Greene and Greene bungalow in Pasadena.
The enamel image depicts the heroine standing beside the lake, with a diaphanous dress and billowing robe. The quarter moon's glow illuminates the profile of Bhanavar and shimmers in the lake, casting an eerie glow. It captures the moment when the young couple secretly rendezvous. The prized jewel is in her hand, yet reflects in the water where the serpent resides. The significance of the serpent is repeated with the body entwining around the frame. Animals such as serpents, were often used during the Art Nouveau period to provide the curvilinear lines that were so popular during the time period.
However, this interlacing serpent is the wise and ancient queen from the story, and has wrapped around a blister pearl that is inset in the frame. Blister pearls are a unique formation in the oyster. They attach to the inside of the shell, and the nacre or shine extends to the shell, requiring that the shell be cut, leaving the outer surface of the shell visible. Perhaps this was significant to Fisher, demonstrating the sacrifice that Zurvan made, giving his life for the jewel. Bhanavar's youthful beauty is gained at another’s expense. Nevertheless, the wings on the baneful serpent foretell the tragic consequences.
sUMMARY
Alexander Fisher hand crafted every detail of this fine artwork, and captures Bhanavar's great beauty. He created an image from his imaginings of an exotic Arabian princess. This lovely piece of decorative art was purchased by the Museum Women's board in celebration of their 50th anniversary, a tribute to the collection from some equally persuasive, powerful, and beautiful women.
aPPENDIX: a bRIEF SUMMARY OF ENAMELS
Enameling is an ancient and fascinating craft, dating back 3000 years. Patience and great skill are required, with a combination of science and intuition, to achieve successful results. Enameling is an exacting craft: once fired, it's not possible to eradicate or change the color and design as one can in drawing and painting. Considered an outstanding example of human skill, it has been patronized by the wealthy. Throughout history enameling techniques have scarcely changed.
Enamel is chemically identical to glass, consisting of a mixture of silica (from quartz or sand), soda or potash, and lead. This vitreous substance is fused with heat to objects of metal (occasionally glass, ceramic, or china), which must be completely cleaned first to allow the enamel to adhere. In the making of enamel, the ingredients are first formed into lumps or cakes, which are then ground to a fine powder. They are mixed with water or oil, and applied by hand. The enameled piece is fired in a furnace at 1000 degrees C. until the enamel fuses with the surface of the object. Here is a brief summary of the various techniques:
Champleve' (French, “raised field”). This technique involves excavating the metal by scratching, gouging, or etching the surface, leaving hollows with raised lines between the depressions. The hollows are filled with the pulverized enamel, and then fired. The opaque enamel fuses to the metal upon cooling. Lastly, the glossy enamel and metal surface are polished together to create a smooth surface.
Basse Taille (French “low-cutting"). A metal surface (usually silver or gold) is etched, carved, or hand engraved into a design which closely follows the champleve' process. The depressions are filled with transparent enamel, which reveals the design below it, creating a sense of sculptural modeling.
Cloisonne (French, “partition"). Small partitions are formed by soldering metal strips to the base which follow the outline of a pattern. The compartments are filled with the pulverized enamel and fired. Upon melting the opaque enamel shrinks and so the process is repeated until the surface is level and the cloisons are full. Then it is polished as above. Cloisonne’ is usually applied to silver.
Plique-a'-jour (French “open braid"). This technique was developed during the fourteenth century. The metal partitions are soldered to each other instead of the metal base, which is removed after firing. The remaining shell is transparent enamel, which gives the effect of stain glass, allowing light to shine through.
Painted enamels. This was the technique exquisitely executed by Alexander Fisher. The sophisticated skills required to create painted enamels were developed in 1470 in Limoges, France. Painted enamels resemble oil painting because there are no metal lines. The surface is burnished or hammered slightly concave, and then covered with a clear enamel on both sides and fired. Then transparent layers of enamels are built up through successive firings, to achieve pictorial depth and a deeper range of colors. Fisher stated, “Thus by very careful manipulation any degree of variety in strength, in brilliancy of luster, or depth of color can be obtained." For a complete lesson in enameling from the artist, consult his eloquently written book, "The Art of Enameling upon Metal", written in 1906.
Prepared for the Santa Barbara Museum of Art Docent Council by sONYA jOHNSON, mARCH 2001
bIBLIOGRAPHY
aDAMS, sTEVEN, The Arts and Crafts Movement, Quintet Publishing Ltd., London, 1987.
aNSCOMBE, iSABELLE, Arts and Craft Style, Phaidon Press, Ltd., London, 1991.
aNSCOMBE, iSABELLE and cHARLO‘l'l'E gEER, Arts and Crafts in Britain and America, Rizzoli Publishing, London, 1978.
bENJAMIN, sUSAN, Enamels, Smithsonian institution, U.S.A., 1983.
bENJAMIN, sUSAN, English Enamel Boxes, Orbis Publishing, London, 1978.
cONWAY, vALERIE, Introducing Enameling, B. T. Batsford Limited, London, 1972.
fISHER, aLEXANDER, The of Enamelling upon Metal, Bradbury, Agnew, & Co. Ld., London, MCMVI (1906).
hARDY, wILLIAM, The Enclyclopedia of Decorative Styles, Quintet Publishing Ltd., London, 1988.
kNOWLES, eRIC, 100 Years of the Decorative Arts, Miller, London, 1998.
mASSEY, jAMES and sHIRLEY mAXWELL, In America, Chronicle Books, San Francisco, 1998.
mCkECHNIE, jAMES, Meredith's Allegory The Shaving of Shagpat, Hodder and Stoughton, London, MCMX (1910).
mEREDITH, gEORGE, The Shaving of Shagpat, Charles Scribner's Sons, New York, 1909.
mEREDITH, gEORGE, The Story of Bhanavar the Beautiful, Archibald Constable and Co. Ltd., Westminster, 1900.
pRISANT, cAROL, Antiques Roadshow Primer, Workman Publishing, New York, 1999.
wRIGHT, wALTER f., Art and Substance in George Meredith, University of Nebraska Press, Lincoln, 1953.
zAPATA, jANET, The Jewlery and Enamels of Louis Comfort Tiffany, Harry N. Abrams, Inc., 1993.
ONLINE SOURCES
ALEXANDER FISHER
www.spee|.demon.co.uk/other/fisher.htm
ARTS AND CRAFTS MOVEMENT
www.cheItenhammuseum.org.uk/guide/artcraft.html
www. speel.demon.co.uk/other/aandc.htm
ENAMEL
http://encarta.msn.com/index/conciseindex/13/013EE000.htm?z=1
GEORGE MEREDITH
http://landow.stg.brown.edu/victorian/authors/meredith/biograph
SBMA SOURCES
Collection Highlight talk by Marilou Shiells
The View, Santa Barbara Museum of Art, Jan/Feb 2001