By Robert Schmutzler
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Without the key provided by the title page, one would scarcely be able to detect a relationship to Rocaille in the pages de- sional relief as such into the effects of a two-dimensional plane surface. fused, painterly, this leveling also brings about other transformations, and Blake thereby rendered Rocaille signed only a short while later. In Cradle Song (plate 114), there a still is greater dispersion of forms appearing in the chaos of creation, whereas on the page entitled The Divine Image (plate 25) a great flaming tree surges with magnificent clarity.
What title page an ornament in addition to the he had reverted to Rocaille, which had been out he finally made of it seems at first to be nothing but an incredible vulgarization or simplification of Rocaille; but something What now are is else had also occurred. different and absolutely new here is that Rocaille forms united with lettering. Pure Rocaille could never be com- bined with lettering because the latter had always consisted of linear signs set on a one-dimensional surface whereas, in engravings or other prints, Rocaille had always been represented as relief in an three-dimensional style.
Palmer surrounds his hills, fields, and haystacks with simplifying black contours. He integrates similarly filled areas in his compositions, such as bushes, with the same foliage; or fields with the a single unit which, as a picture, all in is same crops, organized in flat sections looking like those of a stained glass window. Yet Palmer and Cal- more pictorial sense than Blake. Their tones are shaded and they sense space-values, though, like Blake, they both express space more or less in terms of a two-dimensional plane, juxtaposing or superimposing things upon it instead of showing them succesvert have sively in perspective.
Art Nouveau by Robert Schmutzler