wares . In fact , the tiles they did produce were few , and remained outside the mainstream of development in this field . And , unlike their prototypes , the English craftsmen and women , members of the Tile Club never truly addressed the very special nature of tile design . Rather than treating their works in a decorative manner fully conceived in a patternlike way , they merely used the tile as another surface on which to paint . They continued to employ the usual devices of perspective and modulation of form to depict their subjects , whether landscape , portrait , or otherwise . In spite of their lack of adherence to the standard methods of this decorative form , they realized the special effects they could achieve in this medium ; and those members who were most receptive and sophisticated used this knowledge to improve their own work as fine artists . The square format alone challenged new thought among future American Impressionist painters . 144
Within a couple of years , however , the major proponents of tile painting left the group and the contingent of illustrators became stronger ; the emphasis shifted to illustration , a focus that was sharpened by the success the group had with articles it produced for Scribner ’ s Monthly and The Century Magazine . These popular periodicals provided a vehicle by which the artists could gain greater renown for themselves and for American artists in general . By maintaining , and even emphasizing , the exclusivity of the group — through limited membership , code names , and an elusive format — and continuing to produce entertaining stories accompanied by cleverly conceived and expertly executed illustrations , they generated invaluable publicity .
An unpremeditated benefit of the Tilers ’ summer sketching trips was their experience in plein-air painting , which proved to be invaluable to artists such as Chase , Weir , and Twachtman , who would ultimately
Figure 28 . George Willoughby Maynard ( American , 1843 – 1923 ), Francis Davis Millet , 1878 , oil on canvas , National Portrait Gallery , Smithsonian Institution , bequest of Dr . John A . P . Millet , NPG . 78.205
Figure 29 . William Merritt Chase ( American , 1849 – 1916 ), A Summer Afternoon in Holland ( Sunlight and Shadow ), 1884 , oil on canvas , 65 1 / 5 x 77 3/4 in ., Joslyn Art Museum , gift of the Friends of Art , 1932.4
Decorative Age or Decorative Craze ? 35