Patterns and textiles of Lucienne Day

Patterns and Textiles of Lucienne Day.  

Here are a small collection of Lucienne Day's creations, some you might recognise but, I hope, some that are new to you.

It is very difficult to critique someone's work whom you admire and respect. So far, I haven't found any work I downright dislike; there are many I have a natural affinity for whether in shape, colour or production methods and others less so for the same reasons. I prefer fine lines like scratchy pen nib marks as opposed to thick marker shapes, greens, blues, purples as opposed to red, pink,orange colours and space around motifs. ( I prefer tubes of blue smarties to pink ones.)

Art and pattern are very much in the eye of the beholder. (A good thing, I believe, or we'd all have the same pictures on the wall and very little work as creators; if at times, the public or critics choices seem hard to comprehend.) Whether a work stands or falls can also be about being in the right place at the right time. A well executed piece worthy of artistic merit can sometimes fall initially due to outside influences or impatience on the part of viewers particularly if a new innovation or you may be fortunate and catch the imagination of the public, your work be what the world is waiting for and receive the accolades you deserve.

So here are a few samples and my own opinions.

Calyx, Heals, 1951. (origininteriors.org)

 

Calyx (Blue) (www.classictextiles.com)

 This is one of my favourite patterns. I love the original olive green version as it comes in other colourways but they don't have the same wow factor for me. It has a large repeat which lends itself to not being visually tiring and has an open aspect, space to move if you will. It must have been such a surprise to see it first at the Festival of Britain.

Spectators, Heals, 1953 (www.classictextiles.co.uk)

 This is a bold image with the striking contrast of red and white on a black ground. The long thin stylised people draw your eye the length of the piece. I think, as the red and black are quite strong, you wouldn't require anything more than neutral wall-coverings. As a spectacle wearer myself you've got to love the spiky haired guy.

Larch, Heals, 1961 (blog.modernica)

Larch ,Heals, 1961 (www.classictextiles)

 There are a number of tree study patterns in her collection which I find enjoyable. Larch is quite a realistic representation. I like the spiky quality of each tree stretching forth and leaving the confines of it's block of colour just like a grove of trees.

Sequoia, Heals, 1959 (www.classictextiles)

 This pattern is another favourite and comes in many colourways, eg blue and green. This pattern has large simple blocks of colour and the black line marks tell the whole story of trees growing.

Maquis, Heals, 1959 (www.ebay.co.uk)

This also came in different colourways. As a contrast to the Sequioa pattern the blocks are much thinner with many more varieties of marks representing the bark in a more abstract fluid form. I do like this pattern but would perhaps have liked to see the individual bark motifs on their own rather than a combination on some of them.

Quarto, Heals, 1960 (www.ebay.co.uk)

 This pattern appeals to the 'zentangle' in me. There is a design style of art, come to the fore in recent years, called 'zentangling' which is like fine line doodles , filling in shapes with more shapes and colours in a random fashion. Looking at some of Day's designs she seems to have been doing this before it was fashionable. In Quarto I love the vibrant blue colour and the almost crossword like  ( another personal favourite) motif shape. The small dash of teal green and white adding zing to the whole image.

Hope you like her work as much as I do.