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considered
Travers' later interiors, "freed from the demands of his more extreme Anglo-Catholic Congress patrons", to have aged better than the earlier furnishings. Hayward nonetheless believes that Travers' enduring legacy lies in his stained glass, which has "so much more vitality" than that of his
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Regarding Whall's approach to stained glass design as over-personal, Travers developed a sophisticated, refined style which can appear at once both modern and traditional. His long-standing chief assistant John E Crawford wrote that, as features of architectural decoration, Travers' windows were
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designed and made to harmonise with their surroundings, and that "his glass was of no fixed period, but became one with architecture of every different period". Significant large five-light and tracery windows may be seen at St George's, Headstone, Harrow and the Great Hall of
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former master, Comper. He contends that this is partly due to
Travers being "essentially a two-dimensional artist": a quality evident in his carefully designed sanctuary arrangements, conceived as liturgical scenery for "the theatre of the proscenium arch".
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Art historian Peter
Cormack comments that Travers "translated the style of his graphic work into an urbane, eclectic idiom applicable to stained glass and several other forms of ecclesiastical decoration".
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to achieve the desired effect; which has meant that some of this work has not weathered well. The most notable examples of these furnishings are in central London: the re-fashioned
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Martin
Travers was one of the most influential British stained glass artists of the twentieth century. From around 1918 until 1926 he rented a studio from
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Buildings designed by
Travers include St Cuthman's Church, Brighton and, in collaboration with architect Thomas F W Grant, The Good Shepherd,
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378:(glass-painting, 1922–24), John E Crawford (glass-painting, sculpting, carving and decorating furnishings, some designing, 1924–1948), and
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in Paris (French: Exposition internationale des Arts décoratifs et industriels modernes) – the exhibition which gave rise to the term '
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in 1927: such was the "Travers baroque" under which, in those "waking days", the "Faith was taught and fanned to a golden blaze".
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in 1922. The original drawings are displayed in St George's, Headstone, Harrow. Illustrations he produced for the
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in 1904, and was awarded its
Diploma in Architecture in 1908. At the RCA his teachers included
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style of church furnishing. In the 1920s he designed and constructed a number of spectacular
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As a graphic artist
Travers is best known for his illustrations for publications by the
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255:(originally Canterbury College), New Zealand, installed in 1937 and 1938 respectively.
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149:(19 February 1886 – 25 July 1948) was a leading English church artist and designer.
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His agnosticism notwithstanding, Martin
Travers' name is often connected with the
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for this constituency, often employing affordable materials such as
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International
Exposition of Modern Industrial and Decorative Arts
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Martin
Travers stained glass window of St Patrick, 1932. In the
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movement, especially the ultramontane wing which favoured a
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224:, which gives expression to Anglican Catholic patrimony.
184:(stained glass). He worked for a time as an assistant to
402:, 2015, Paul Mellon Centre/Yale University Press, p 280
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Church furnishing designer and stained glass artist
195:(SSPP). Perhaps his most celebrated work for SSPP,
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424:John E Crawford, 'The Travers School of Glass',
298:, Pimlico, c. 1920, and the remarkable Art Deco
554:English stained glass artists and manufacturers
466:"Coat of arms of the Royal Society of Medicine"
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464:Emery, Alan EH; Emery, Marcia L. H. (2006).
450:John Hayward, 'Martin Travers (1886-1948)',
437:John Betjeman, 'Anglo-Catholic Congresses',
500:Martin Travers, 1886–1948: An Appreciation
109:Learn how and when to remove this message
497:Rodney Warrener; Michael Yelton (2003).
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370:Martin Travers' chief assistants were
328:Interior of Emmanuel Parish Church in
313:, Travers' stage sets included a huge
589:Academics of the Royal College of Art
470:Surgical and Medical Treatment in Art
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47:adding citations to reliable sources
579:People educated at Tonbridge School
584:Alumni of the Royal College of Art
16:English church artist and designer
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521:Martin Travers: His Life and Work
428:, vol XIV, no 2, 1965, p 102 ff.
201:, was published in two volumes:
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439:John Betjeman's Collected Poems
413:Arts & Crafts Stained Glass
400:Arts & Crafts Stained Glass
374:(glass-painting, c 1920–1922),
198:Pictures of the English Liturgy
34:needs additional citations for
350:Emmanuel Parish Church, Leyton
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382:(glass-painting, 1946–1948).
193:Society of SS. Peter and Paul
426:The Journal of Stained Glass
307:St Augustine's, Queen's Gate
454:, issue 84, 2003, pp 52-54.
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222:Divine Worship: The Missal
147:Howard Martin Otho Travers
365:Royal Society of Medicine
213:are included in the 2015
472:. Taylor & Francis.
359:In 1927 he designed the
296:St Mary's, Bourne Street
253:Christchurch Arts Centre
549:English Anglo-Catholics
518:Michael Yelton (2016).
286:, and tinted varnished
237:the Glass House, Fulham
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218:personal ordinariates
178:Arthur Beresford Pite
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441:, 1958, John Murray.
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574:People from Margate
233:Lowndes & Drury
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559:English designers
531:978-1-904965-52-7
510:978-0-906290-70-5
503:. Unicorn Press.
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372:Joseph E Nuttgens
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569:1948 deaths
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282:, embossed
141:East Sussex
543:Categories
386:References
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276:whitewood
207:High Mass
99:July 2023
363:for the
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