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THE  INTERNATIONAL 

STUDIO   AN  ILLUSTRATED 
MAGAZINE  OF   FINE  AND 
APPLIED  ART 
VOLUME   FORTY-EIGHT 

COMPRISING    NOVEMBER,  DECEMBER,  1912, 
JANUARY  AND    FEBRUARY,  1913 
NUMBERS    189  TO    192 


NEW   YORK   OFFICES    OF   THE    INTER- 
NATIONAL   STUDIO 

JOHN    LANE   COMPANY,    116-120  WEST   32d    ST. 
MCMXIII 


^J 
I 


Xy  .  '-t-< 


Index 


Aall,  Hans 123 

Abdul-Aziz.  Sultan.     Four  Illus.  .162 

.\ckley.  Floyd  X Ixviii 

Adam,  P.  \V 238,  32s 

Adams.  Miss  K.     One  Illus.      ....     297 

Affleck,  A.  F 16 

Airy,  Miss  A.     Four  Illus .si.  53.  55 

Alexander,  Herbert 242 

Alison.  David.     One  Illus.  325 

Allan.  Robert  242 

Allen,  R.  W 338 

Almond.  W.  Douglas      .      .  155 

Amboise -     251 

Angermann.  Armgard.     Si.\  Illus.  4g.  51 

Anshuu.  T.  P.  342 

Armfield,  Maxwell  245 

Armington,  Mrs.  C.        .  16 

Armington,  F.  M.     One  Illus.  16,  20 

Armitage,  Edgar.     One  Illus.  298 

Armitage.  Joseph.     Three  Illus.  298 

.\mdt.  Mina .340 

Arts  and   Crafts  Society   Exhibition  at   the 

Grosvenor  Gallery.     Twenty-eight  Illus. 

By  \V.  T.  WTiitley 290 

.\rts  and  Crafts  Exhibition  Society  (Tenth) 

London 226 

.Associated  Artists.  Third  .\nnual  Exhibition. 

Two  Illus Ivi 

.\tomi,  tee  Tai.     One  Illus 235 

Azayle-Rideau .      .     251 


Bacchantes  

Backhausen  &  Sohine.     One  Illus 
Bacon,  Henry.     One  lUus. 
Baiso,  Yamamoto     .      .      ■ 
Baldr>'.  A.  L.     George  Sheringhai 

lUus 

Ballin,  Hugo.     One  Illus. 

Baluschek 

Banks,  George 

Barkas,  H.  D. 

Barker.  A.  R. 

Basel.  A 


Batik 

Bayes.  Miss  E.     One  Illus. 
Bayes,  Miss  Jesse.     One  Illus. 
Bayes.  Walter      .      . 
Beach,  Chester.     One  Illus. 
Beardsley.  Aubrey    .      . 

Beatty.  J.  W 

Beaux.  Miss  C 

Beechy.  Sir  W.     . 
Beerbohm.  Max  ... 
Beiot,  Eugene.     One  Illus. 
Belcher,  George  .... 
Belcher,  John.  Two  Illus. 
Bell,  Robert  .\.     One  Illus. 
BeU-Smith.  F.  M.      . 
Bellini.  GentUe.     Two  Illus. 
Belnet.  Georges-.Mbert  E.    .  . 

Bern,  Rudolf.      By  H.  Schanzlr.     Fivi 

Benczur,  Prof 

Benda,  VV.  T 

Berger.  Betty.     Three  Illus. 

Bergeret 

Bergh,  Richard 
Bernard 
Beurdeley.  Jacques 

Bevan.  R.  P 

Bewlay.  E.  C.     One  Illus. 

Birch,  Lamoma 

Birkbeck  School  of  .\rt  E.xhibition 

Birley,  Oswald 

Bishop,  H.     One  Illus 

Biun,  Hayashi.     One  Illus. 

Black  Frame  Club's  191 2  Exhibition 

Blanche,  M.  J.  E.     One  Illus. 

Blois 

Blumenschein.  Mar>*  G.     One  Illus. 
Boggs.  F.      Three  Illus. 
Bol.  Ferdinand.     One  Illus. 
Bolek.  Hans   . 


148,153 
246 


226 
330 


.     338 

ISS.  238 

345 


PAGE 

Bone,  Muirhead 148,316 

Bonsignori,  Francesco.     One  Illus.       .  .     30S 

Booth,  Hanson.     One  Illus xlii,  xl 

Boss,  A.  M 174 

Boulanger 63 

Bouroux.  Paul-.Adrien  10 

Bracht.  Eugen  170 

Bradley.  W.  H.    .      .  xlii 

Brangwyn,  Frank.     One  Illus.  170.  245.  339 

.xxiv.  x.xvi.  Ivi,  Ixix,  Ixxi,  civ 

Branson,  Miss  E.  M.  0 18 

Brehra,  Worth xli 

Brierley.  W.  H.     One  Illus 33,  35 

Brigden,  F.  H.     One  Illus.  .  245.  246 

Briggs.  R.  A.     Three  Illus.  31.32 

BriU.  G.  R.     One  Illus.  Ivi.  Iv 

Brinkmann,  Maria.     Two  Illus.  40.  48 

Brinton.  Christian: 

Standardized   Sentiment    in    Current   .-Vrt. 

Eleven  Illus.       ......         bcxxi 

Scandinavian  Painting.     Seven  Illus.    .  Ivii 

Brinton,  Christian xxiii 

British  Society  of  Graver- Printers  in  Color 

Exhibition Ivi 

Britton,  H 250 

Brochner,     Georg.     Open-.\ir     Museum     in 

Norway.     Twenty-sLx  Illustrations    .  108 

Brown xl 

Brown,  Austen     ....  ^i'i 

Brown.  Ernest     ....  156 

Brown,  Prof.  F .ii7 

Bruck.  Miksa.     One  Illus.  j30 

Brush.  De  Forest      .      .  Ixx 

Bo-mner.  William  246 

Brsn-Mawr  College.     One  Illus.  xlv 

Bucci,  Anselmo    ...  civ 

Budapest  Academy  Exhibition  .53" 

Bull,  Rene      ....  .523 

Surge,  Mrs 340 

Burne-Jones  Exhibition  53 

Burnett,  C.  Ross       ...  155 

Burroughs-Fowler,  Walter  155 

Cadell,  F.  C.  B.      .  325 

Cadenhead,  James    .  -      -  325 

Calkins,  Earnest  Elmo.  "The  Principles  of 
Advertising  Arrangement.  By  Frank 
A.  Parsons    .      .  Ixvii 

Cameron.  D.  Y.  .      .  238,261 

Canadian  National  Exhibition  24S 

Canaletto  132 

Carcano 69 

Caro-Delvaille,  Heiu^y.     By  .\rthur  Hoeber. 

Three  lUus Ixv 

Carozzi,  Giuseppe.     Six  Illus.  69.71 

Carpaccio,  Vittore.     One  Illus 304 

Cathelin  .65 

Cavaliers  74 

Cazin  'xxi 

Cezanne    ...  330 

Chahine,  Edgar  -'' 

Chambord -5i 

Chase,  W.  M.     One  Illus  c 

Cheffer,  Henry     . 
Chenonseaux 
Cherry,  Mrs.  K.  E. 

Cheston,  Mrs.  E 

Chicharro.  Eduardo.     Four  Illus. 
Chikuha,  Otake.     One  Illus. 
Chinon      .... 
Chlebowski,  Stanislaw 
Choffard.     One  Illus. 
Choim,  Vamazaki 

Cima 

Ciolkowski,  H.  S.     Nine  Illus. 
Clarke.  Brairford 
Claude      .... 
Clausen,  George 
Clausen,  George.  R.  .\. 
Cockerell,  Douglas.     One  Illus. 

Colin.  Paul  E 

Coll,  J.  Clement.     Two  Illus. 


64 

Ixix.  xc,  xcv 

148,  338,  xlii 

.      .      IS6 

.       242 


College  Etchings.    Stevens  Series.     By  Aldcn 

Noble.     Nine  Illus xliii 

Collings,  C.  J.     By  Val  Davis.     R.    B.   A. 

One  Illus 21 

Collings,  C.  J.     One  Illus 156 

Columbia  University.     One  Illus.  .      .      xlv 

Conant.  Miss  L.  S.     One  Illus 342 

Connard,    Philip.     By    .Marion    H.     Dixon. 

Ten  Illus.  269 

Connard.  Philip  238.  316 

Conrad,  Gyula  330 

Coover.  Miss  Nell  .18 

Copley.  John  24s 

Corcoran  Gallery  Exhibition  Ixxxvi 

Corinth      ...  .80 

Comelissen  134 

Corot.  J.  B.    .      .  .hex 

Corot  iii 

Costa.  J.  da 148 

Country     Architecture.     By     C.     Matlack. 

Price.     Six  Illus xi 

Courvoisier.  J.     One  Illus. 

Couse.  E.  I.     One  Illus. 

Craig.  F.  One  Illus. 

Craig.  Gordon 

Crane.  Walter 

Crawhall  .148 

Crowell.  Miss  Ixviii 

CuUen.  Maurice  249 

Cunz.  Martha      ...  .80 

Cutts.  W.  M.       .      .      .  249 

Czeschka.  Prof.  CO.  222 

DA  Brescia.  Moretto  307 

Dabo.  Leon    ....  .      l.xx 

Dtungerfield .  .     Ixix 

Daingerfield,  Eliot xxiv 

Daubigny Ixx 

Davis,    \'al.     Charles    John    Collings.     One 

Illus 21 

Davison,  G.  D 155 

Davison.  H.  J.     One  Illus .xxxix 

Dawson,  G.  W 342 

Dawson,  Nelson         338 

de  .-Vrtistes  Francais  Societe.     Two  Illus.  15 

de  Beule.  A.     One  Illus 332.  33S 

de  Chavannes ci 

Degas ci 

de  Kay,     Charles.     Evans      Collection      of 
.American  Paintings  at  Wash.     Twelve 

Illus Ixxxix 

de  Latenay.  Gaston  .  .  21 
de  la  Mare.  Miss.  One  Illus.  300 
DelaviUa.  F.  Two  Illus.  40 
De  Maupassant  xli 
Denchu,  Hiraguslii  345 
Dengg,  Gertud  224 
Deri-Winter.  Frau  F.  One  Illus.  .  .  43,  Si 
de  Sauty.  Alfred.  Two  Illus.  .  293.  294,  297 
Desouches,  Robert  ...,..■  16 
Deubner,  L.  German  Embroidery.  Twenty- 
seven  Illus 39 

Deutsche    Kunstlerbund    Exhibition.    Chem- 
nitz     7« 

Deutsche  WerkstSttcn  fur  Handwerkskunst. 

Two  Illus 44 

Dickens ^' 

Diemer,  Prof.  Zeno.     Two  Illus 329 

Dicterle ^^^ 

Diriks,  Edvard l^iv 

Dismore,  Miss  Jessie '59 

Dittrich,  Oswald ^^4 

Dixon,    Marion    H.     Philip   Connard.     Ten 

lUus 2*9 

Dixon-Spain,  J.  E.     Two  Illus.      .      .         127.129 
Domestic  .Architecture.   Recent   Designs  in. 

Thirty-one  Illus 31.123.  309 

Dougherty.  Paul  Ixx 

Douglas.  Sholto.     One  Illus.  ci.  ciii 

Driver.     Two  Illus "3.  124 

du  Bois.  Guy  P*ne  Annual  Exhibition  of  the 

Society    of    Illustrators.     Five    Illus  il 


I  fid  ex 


du  Boi*.  Guy  Pcnr.     Six  IIluv  xiiii 

Dudits.  Andor  no 

du  Gardicr,  Rooul  xt> 
DuKdalt.  T.  (.'.     t>nr  IIIus.                                 -\tS.  J4.' 

Dunklrv.  \'iola  D.  174 

Duputjt.  Toon.     One  lllus.  79 

Du\iil- Lev-am  u<  f»3 

D>er.  \V.  B.  xxvi 

D>na*ty.  T  anc-     f>nc  lllus.  Ixxi 

Dyonnri.  K.  JS'' 

Eame.  Mi»s  Katf  M.      Two  lllus,  390.  297 

Ea.1t.  Sir  Alfri-d  ...    155.  3  J9 

Edu^d».  A.  C.  .      .    xxvi 

Edwards.  Miss  G.     One  lllu^.  .^0.1.  307 

Eldh.  Carl      ....  358 

ElCrero         ....  Ixxii 

EUioll.  Mrei.  E.  S.  C.  340 

Elphin^tonr.  .\.  H.    .  ....  155 

Embroidro'.     German.     By     L.      Dfubncr. 

Tweniy-scvcn  lUus. 
Em«r9on.  R.  J.     One  lllut;. 
Ericks«>n.  Christian.     One  lllu: 
Etchings  from  the   Recent   Salonj:  in   Pari 

By  E.  A.  Taylor.     Seven  IIIus. 
E\-ans  Collcv'tion  of  American  Paintings  at 

Waslunitton.      By      ("liarU's      »k*      Kay. 

Twelve  lUus.  Ix 

EvM.  R.  G. 

Fancher.  Louis.     One  lllu.-*. 
Fanner.  Miss  Alice.     One  IlIn- 

Fanlo.  Prof 

Farquharson.  Davi<l 

Fearon.  Miss  Hilda 

Feau,  Ameder 

Fercnciy  . 

Ferguson.  }.  D.    . 

Ficquct 

Fidler.  Harr>        .  . 

FiKSis.  Ml>^s  K.     One  lllus. 

Fiiippo     ... 

Fine  Art  Society  Exhibition 

Fink.  Denman 

Fischel.  Ilarlwig 

Ftacher  ... 

Fisher,  Melton 

Fitton.  Hedlcy 

FJKStad.  Gustaf.     Seven  lllus 

Reming.  A.  M 

Fochler.  Frau 

Foike  Mu*<eum 

Fontanesi.  Antonio 

Foottet.  F.  F. 

Forbes.  Mrs.  S. 

Foresticr.  Marius 

Forstner.  Leopold 

Fortuny.  Marianito.     One  Illi 

Foster,  Will  . 

Fott'eraker.  A.  M.      . 

Frampton.  Sir  Geori;*- 

Francken  . 

Frank,  Dr.  J. 

Frankenlhal    Porcelain    Kxhii 

berg.     Two  lllus 
Frant2.  K.     Two  IIIus. 

Friescke.  F.  C 

Fromel-Fochler,  Lotte.     Two 
Fuller.  II.  B.     One  lllus.     . 
Fulper 


■     338 
155.238 


,  Ix,  Ixiv 

■     249 

224 


245 
339 


Ixvi 


Gajten.  R.  F.     One  lllus.  246 

Gaigher.  Dr.  H.     One  lllus.  331.332 

Gajnsboroueh  boci 

Galle 224 

Garber.  Daniel.     One  lllus.  ...       Uxxiv 

Garden  and  Terraces  at  the  Hill.  Hampstead 

Heath.     Photographed  by   H.  N.  King. 

Nine  lllus. 208 

Garstin.  Norman.    Harold  and  Laura  Knight. 

Fourteen  lllus 183 

Gartner.  Fritz.     Two  lllus.  252 


P.\GE 

Gaskin.  .\rthur.     Four  lllus 390.  294 

Gaskin.  G.  C.     Four  lllus 290.  394 

Gauffin.  Dr.  .\xel.     .\nders  2om.     Ten  lllus.       89 

Gavarni.     One  lllus O3.65 

Gay.  Walter.     One  !Uus 342.bcxxviii 

Geiringer,  Helene 225 

Genthe.  Dr.  A. xxvi 

Gere.  C.  M.     One  IIIus 3I7 

German      Embroiden*-     By      L.      Dcubncr. 

Twenty-seven  lllu.*; 39 

Geyling,  Rcmisius.     One  lllus 225 

Giambellino 300 

Gibbs.  Percy  W 245 

Gibson,  F.  W.     David  Muirliead.    Nine  lllus.       97 

Gibson  xli 

Gibson.  W.  .\.     One  lUus.         ....    156.  iS9 

Gimson.  E.  W.  .      .      .  .      .     300 

Glackcns.  Wm.  ...        xl 

Glattor.  Gyula  332 

Glatz.  Oszkar  33o 

Glen  Tor  .  Ixviii 

Gloag.  J.  L. 338 

GloaR.  Miss  M.  I I55 

Groundener  Keramik-Werksiatte.    One  lllus.     225 
Gobo.  George  .18 

Gordon.  Jan.     One  lllus  16,  18 

Gordoni     .      .  Ixxii 

Gore.  H.  M.  .     338 

Gore.  Spencer  F.  318 

Gore.  W.  C.  238 

Gothic  Window  in  the  Lawyers"  Club  of  New 

York.   By  G.  Leland  Hunter.  One  lUus.  xxxviii 

Gould,  A.  Carruthers 155 

Greaves.  Walter  .  146 

Greer.  Miss  B.     .      .  340 

GreifTenhagcn,  Maurice  148 

Grier.  E.  W.     One  llhi^.  249.  250 

Gries.  Mary  P.     .      .  Ixviii 

Groll .      .     Ixix 

Gronvald.  Didrik 122 

Grosvenor  Gallery.  New: 

Inaugural  Exhibition.     Fourteen  lllus.  143 

.-Vrts  and   Crafts  Society   Exhibition.     By 

W.  T.  \\*hitley.     Twenty-eight  lllus.  290 

Grouiller.  R.  P iS 

Grozer  riii 

Gruber  xl 

Grut.  Torben  -'53 

Guardi 132 

Gussmann.  Prof.  Otto.     Six  IIIus  .      .  49.  Si 

Guthrie.  J.  Gordon.     One  lllus .xxxix 

Gyokai.  Ishimoto.     Two  IIIus.  .\.\^ 

Gyokusho,  Kawabata  J34 

Hachiro,  Nakagawa.     One  lllus.  .   235.236 

Hadcn civ 

Haden,  Sir  Seymour  civ 

Hahn,  Gustav  250 

Haig.  .\xel  Ivi 

Haite.  G.  C.  330 

Hakurei.  Voshida      ...  ,^45 

Hale.  Lilian  W.     One  lllus.       .  .i44 

Hall,  Fred 339 

Hall.  Oliver.     One  IIIus.      .      .      .        146.150.338 

Hallstrom,  Gunnar.     One  lllus lix 

Hals.  Franz 250.  ciii 

Hamilton,  J.  McL 342 

Hammershoi.  Vilhelm.     One  lllus.  Ixiii.  Ixiv 

Hankey.  W.  Lee 15s.  338 

Hardenbergh        .      .  .      .  Ixviii 

Harding,  George  340.  xlii 

Hardy.  Dudley  323 

Hardy-Syms.  Gladys 174 

Harmar,  Fairlie 317 

Harpigny Ixx.  cii 

Harris,  Lawren  S.     One  lllus 247.249 

Hartley.  Alfred 155 

Hartrick.  A.  S 148,  242,  24s 

Har\'ey,  A.  E 174 

Hasi,  Saru.     Two  lllus xxii 

Hassall 323 

Hassam.  Childe.     One  lllus Ixxxiv 


PAGE 

Haughton,  Benjamin      ....  245 

Hawksworth.  W.  T.  M.        .      .  is6 

Hawthorne.  Charles  W.     One  lllus.  xxiv 

Hayashi.  set  Biun.     One  lllus.  345 

Haydcn,  Seymour Ivi. 

Hsal,  .\mbrose 29B 

Heem.  Jan  dc Ixxii 

Herburger  and  Rhomberg.     One  lllus.  225 

Hermann.  Hans         xxvi! 

Herrburger  &  Rhomberg.     One  lllus.  224 

Heyenbrock.  H i7" 

Hibler.  Mrs Ixviii 

Hicks.  Miss  E 155 

Hill.  James  S iS5 

Hind.  C.  Lewis.     W.  Elmer  Scholield.     Nine 

lllus jSo 

Hiragushi.  see  Denchu    ,  ,i.i5 

Hiroshige.     One  lllus.    .  xxi 

Hodgson.  Mrs Ixviii 

Hitchcock.  Lucius xlii 

Hoeber,    Arthur.     Henry     Caro-Delvaille. 


Thn 


Itlu 


17.  220,  222,  224,  314 


Hoffman.  Prof.     Two  lllus, 

Hofmann.  \'lastimil.     Two  lllus 81 

Hokkai.  Takashima.     One  IIIus 232 

Hokusai.     Two  lllus 3i9,xx 

Holme.  C.  G 156 

Holub.  Adolf  0 222 

Homer,  Winslow.     One  lUus c.xviii 

Hope  Lodge.     One  lllus.      .      .  li 

Hope.  Robert.     One  lllus.  54.  57 

Iloppncr Ixxi 

Hornby,  Lester  G.     .  .        i8 

Hort.  Edmund     .      .  265 

Hosei,  Mori.     One  lllus.  344.345 

Houdon.     One  lllus.  .66 

House  Beautiful  of  Japan.     Five  lllus.     .  xv 

Houston,  George ^^i?, 

Howitt,  William         174 

Hudson,  Grace  M.  .      .      .      ,      174 

Hughes-Stanton,  11.  144.  238.338 

Hunter.  Edmund  ....     302 

Hunter,  G.  Leland: 

Gothic  Window  in  the  Lawyers'   Club  of 
New  York.     One  lllus xxxviii 

Tapestries.     Eight  lllus Ixxiii 

Hunter.  G.  L.     One  lllus xlix 

Hunter.  G.  Young 339 

Hunter.  Mary  Y.       .      .  338 

Huot.  E.     One  lllus.  ^3.64 

Hyre.  Laurent  de  la  ci 

Ili.cs.  Ede  A 330 

Inaugural  Exhibition  at  the  New  Grosvenor 

Galler>'.     Fourteen  lllus. 143 

Industrial  Art  School,  Bielefeld.     One  lllus.         48 

Inness.  George.     One  lllus Ixxxix,  c 

Innes.J.  D 316 

Isenbrant.  .Adrian.     One  lllus.  Ixxi,  Lxxii 

Ishimoto,  see  Gyokai.     Two  lllus.  345 

Ivanyi-Grunwald.  Bela  .  .     330 

Izzard.  J.     One  lllus.  295 

Jack.  George       ...  298 

James,  Francis     ...  148 

Jamieson.  Alexander  146.  23R 

Jansson.  Eugcn 254.  256 

Japanese   Painting.     By    Ilarada  Jiro.     Ten 

lllus 231 

Jcanniot,  Pierre-Georges 21 

Jeffery,  Charles 250 

Jiro.  see  Harada.     Old  and   New  Schools  of 

Japanese  Painting.     Ten  lllus,     .  231 

Joass,  J.  J.     Two  IIIus.        .      .  125.  127.  129 

John.  Augustus  E. 143.316 

Johnova.  Helene 224 

Johnson.  E.  Borough 242 

Johnston,  R.  F.     Four  lllus 30Q 

Jones.  H.  Bolton.     One  lllus l.xxxi 

Jungnickel,  L.  H 224 

Jurres.     Johannes     Hendricus.     By    W.     (i. 

Peckham.     Eleven  IIIus iii 


Index 


Kaesebier,  Mrs.  G.  xxvi 

Kampf.  Prof.  A.  252 

Kampf  xxvii 

Karsten.  Ludvig  .  Ixiv 

Kaufman,  Oskar.     Four  Illns.  129 

Kavli,  Arne Ixiv 

Kawabata.  see  Gyokusho  234 

Kayser.  Edmond       ...  21 

Kellar.  A.  I.     One  IHus.  xli 

Keller.  Alfred  225 

Kendall,  Sergeant.      One  Illii>.  xcv 

Kemp-Welch,  Lucy  338 

Keramic-Werkstatte  .      ,  .224 

Keramische  Werkgenossenschaft    ....      224 

Kesdi-Kovacs.  L. 330 

Khnopff.  M.   F.      By  Helene  Laillet.      Eight 

iilus .201 

Kimball.  Alonzo.     One  Illus  .      ,        Ixxxii 

Kimball.  F.  H.     One  Illiis.  xxxviii 

Kimball.  Miss  K.       ,      .  18 

Kimpo,  Mochizuki  233 

King,   H.   N.     Garden  and  Terraces  at   the 

Hill,  Hampstead  Heath.     Nine  Illus.      .      20S 

Kirsch.  Hugo 224 

Kiss.  Rezso 330 

Kitano,  see  Tsunetomi.     One  Illus.  233.  234 

Klaus .      224 

Klemm.  Walter    .  So.  170 

Klimt,  Gustav  222 

Klinger      ...  79 

Knight.  Buxton 146 

Knight.      Harold.     By      Norman      Garstin. 

Fourteen  Illus.  .....      183 

Knight.  Harold 338 

Knight.  Mrs.  Laura 242.339 

Knight,  Laura.     By  Norman  Garstin.     Four- 
teen Illus. 
Knight.  Ridgway 
Knowles,  Mrs. 
Knowles,  F.  McG.     ... 
Koboyachi.  see  Shokichi.     One  Illus. 
Kofukai  Exhibition.     Two  Illus. 

Konig,  Leopoldine 

Konoshima.  see  Okoku.     One  Illus 

Konstnarsfdrbundet 

Koopman.  A.     One  Illus.     . 

Korn 

Kotera.  Jan.     Five  Illus. 
Krehan,  Karl.     One  Illus.  222 

Kreuger,  Nils.     One  Illus.  258 

Krohg,  Christian  Ixiv 

Krohg.  Per Ixiv 

Kruell 66 

Kruse,  Frau  K.     One  Illus.  252 

Kumvald,  Caesar.     One  Ittus 329.330 

Kuroda 236 

Labev.  H.  C xxvi 

La  Farge,  John.     One  illus xcv 

Laidlay,  W.  J 245 

Laillet,  Helene.     M.  F.  Khnopff.    Eight  Illus.  201 

r.\llemand.  Margarete   .      -  225 

Lamb,  H 318 

Lambert.  G.  W.     One  Illus.  .    148,  154 

Langhammer.  Carl.     Twelve  Illus.  168 

Langlois ....  66 

Lanteri,  Edward.     By  I.  G.  Mc.VUister.     Six 

Illus 25 

Lanyi.  Dezso 332 

Lanz,  J.  W.     One  Illus.  74 

Larsson.  Carl        .      .  Ivii 

La  Thangue.  H.  H.     One  Ilhi^  321 

Latour.  Fantin oo,  xxiv 

Laurie,  Professor 1 74 

Laurvik,  J.  Nilsen.    Gari  Melchers.    SLx  Illus. 


vii.  Ix 


Lave 


.  Illus. 
144.  140.  5 


,  John. 

261,  323.  xlvii,  ci 
Layard    Collection    in    Wnice.     By    .-Mfredo 

Melani.     Nine  Illus.  ...     303 

Lay  Figure: 

On  Practical  Art  Teaching  S6 


On  the  Disappearance  of  .Art  160 

On  the  Art  of  Illustration 266 

On  Art  Crazes  and  Tlieir  Meanini;  350 

Learned.  A.  (i.  cii 

Le  Barbier  ^j 

Lee.  T.  StcrUnj;  159 

Legrand.  Louis     .      .  1 .  63 

Leheutre,  Gustave  21 

Lehmann.  Ida  ,'24 

Lehr  und  \*ersuch — Ateliers   fiir    Frcie  und 

Angewandte,  Kunst.     Two  Illus.  39 

Leibl 330 

Ic  Jeune,  Moreau 63 

le  Mains,  Gaston.     One  Ilhis.  ,  .   339.342 

Le  Maistre.  F.  W 155 

Lenfestey,  G.  H 156 

Lepere.  Auguste.     One  Illus 17.  18 

Levetus.  A.  S.     Viennese  Exhibition  of  .\rts 

and  Crafts.     Fourteen  Illus.  .      217 

Levitski (>3 

Lev>-,  William  A 18 

Lewis.  W .315 

Lichtblau,  Ernst  218 

Liebermann    ...  80.  330 

Lietz.  Otto.     Three  Illus.    ,  41,45.50 

Liljefors,  Bruno.     One  Illus.     .  Ivii,  Iviii 

Lindner,  Moffat  ....  330 

Lindstrom,  Rikard.     One  Illus.  256 

Liotard.     One  Illus.  63 

Littret 06 

Livens.  H.  M.     One  Illus.  148 

Loches       ....  251 

Loffler,  Beithold  224 

LofSer,  Frau  Melitta.     One  Illus.  223.225 

Lorenz,  Gertrud.     Seven  Illus.  42,44,47 

Lorimer,  Sir  R 298 

Loudan,  Mouat    .  33S 

Loy.  Mina      .      .  159 

Luard,  L.  D.     Four  Illu>.  159 
Lucas,  Eugenic.     Two  Illus. 

Luciani.  Sebastian 

Ludovici 

Lum,  Mrs.  B.     Five  Illus.         ,      .      , 

Lund.  Henrik 

Lunois.  A 

McAllister.    I.    G.     Edward    Lanteri. 

Illus 

MacDonald.  James  E.  H.     One  Illus. 
Mackintosh,  Chas.     One  Illus. 


326,329 
.  303 
.      148 


Ma 


N. 


One  Illus 
One  Illus 


Maeterlinck    . 
Mann.  Harrington 
Manson.  J.  B.      . 
Manyai.  Jozsef 
Mann.  Harrington. 
Mantegna.  Andrea. 
Marblehead    ... 
March.  E.  W.     One  lllu^. 
Mariller     .      ,      .      . 
Marillier.  Cochin 
Maris.  J.   . 
Maris,  W. 

Martin.  B.  J 

Martin.  Dr.     One  Illus. 

Masao,  see  Tanimori 

Master  of  Frankfort.     One  Illu 


238.  31S 
.     330 


Ma 


,  F.  B. 


•  Shunnan.     One  Illu 


Masuzu, 
Matisse 
Maufra 
May,  Phil 

Mazo 

Mazzanovitch,  Lawrence 
Mednyansky.  Baron 

Meid,  Hans 

Melani.  Alfredo.     Layard  Collection  in 

ice.     Nine  lUus 

Melchers,  Gari.     By  J.  Nilsen  I^urvik. 

lUus 

Meltzer,  C.  II 

\|.*rrill,  H.  C.     One  Illus.    . 


302 

62.66 

.      234 

iii,  XXV 

xlii 


Ivi,  civ 
■     330 


PAGE 

Merton.  Owen  3^0 

Meryon  13^,1^ 

Mesdag  Ixx 

Mctscher,  Toni.     One  lllu>  42 

Mcunier.  Constantin  132 

Meyer,  Martha.     One  Illus.  50 

Millet,  Francis  Davis.     Decorative  Panels  in 

the   Cleveland    Post-Oflfice.     By   C.    M. 

Price.     Six  Illus .  xxxiv 

Millet 132 

Milner.  Fred  ....  155 

Miranda,  Carreno  de  cii 

Mochizuki,  see  Kimpo    .  232 

Moinar,  J.  P.  330 

Monsiau 63 

Montagna.  Bartolommco.     One  Illus.  305 

Monticelli cii 

Montrcuil-Bellay  .251 

Mooney.  R.  J.  E.  155 

Moore,  Henry  338 

Moran  .  Ixix 

Moran.  Thomas  .  xxiv 

Moreeke,  Paulu  ciii 

Morgan.  Wallace  xlii 

Mori,  see  Hosei.     One  Illus 344.  345 

Mori.  S.     Five  Illus xv 

Moro,  Ant.     One  Illus ciii 

Moroni 307 

Morrice.  J.  W.     One  Illus.  238.  241 

Morris.  Miss  P.  P.  16 

Morris,  William  313 

Morrow.  George  ^2^ 

Mouchon,  Georges  21 

Mowbray,  H.  S.     One  Illus.      .      .      .        xciii.  xcv 

Mrkvitchka.  J.  \'.     Seven  Illus 164 

Muirhead,  David.     By  F.  W.  Gibson.     Nine 

Illus.  97 

Muirhead.  J.  iss 

Munch,  Edvaid  330.  Ixiv 

Murillo.  B.  E.     Om-  llhis.  Ixxii,  Ixix 

Murillo cii 

Murray.  David zy^ 

N.^DLER.  Robert       330 

Naito.  see  Shin 345 

N'akagawa.  see  Hachiro.     One  Illus.    .      .   235.  23*^ 

Nanteuil,  Robert Ivi 

Nationale  des  Beaux-Arts  Socictc  Exhibition. 

Five  Illus i.S 

National  Society  of  Craftsmen,  Sixth  .Annual 

Exhibition,  1913 Ixviii 

Neuwirth,  Rosa 224 

Xew  English  Art  Club.  Forty-eighth  Exhibi- 
tion. Two  Illus 316 

Xew  Zealand  Academy  of  Fine  .ArU  33^ 

New  Zealand  .Academy  of  Fine  .Arts.  Twenty- 
fourth  .Annual  Exhibition  340 

Nicholson.  W 237 

Noble.    Alden.     Stevens    Scries    of    College 

Etchings.     Nine  Illus xliii 

Noble,  Mis.     One  Illus.  294.  297 

Nochez ^ 

Nocturnes       ....  ^32 

Nonnote 64 

Nordell.  C.  J.     One  Illus.  Ixxxvi 

Nordstrom,  Karl  -'>4.  256 

Norsfeldt.  B.  J.  O.    .      .  »vi 

North,  J.  W..  A.R.A.      .  242 

Nourse,  Miss  E.     One  Illu-  342 

Nuger.  J Ixviii 

Oakley.  Thornton.     One  llhis.  340.  Uxxviii 

Obrist,  Hermann       ...  30. 44 

O'Hara.  Dorothea  W '^tviii 

Okoku,  Konoshima.     One  Illus.  2^:^ 

Olbrich.  Josef  3"4 

Oliver.  Basil.     One  Illus.  **3.  84 

Olsson,  Julius  IS5 

Onsager.  SJircn  *'^'** 

Open-Air    Museum   in    Norway.  By    (rforu 

Brochner.     Twenty-six  Illus.  ...      108 

Orley.  Robert.     One  Illus.  218.  222.  22s 


Im/cx 


PACE 

OiUk  80 

Orpm.  WOliam.     Two  lllus.  14S.  ISL  338. 316 

0«tmeicbrr,  FraQIrin.     One  IHus.  »5 

Otakr.  ut  Chikuha.     One  Illut.  .     J33 

Oven  .  cii 

Pabschu.  Paul  s  '.  i:n 

Palmer.  Hrtbert  i-jn 

Palroeujno.  Marco  .  -        ci 

Panama  Canal.     By  Joseph  Pennell.     Eisht 

lUus.  .  133 

ParihaU  IxU 

Panhall.  Dc  Witt  xxiv 

Poraons,  AUted  H3 

PaTMinj,  Frank  .\l\-ah.  "The  Principles  of 
AdveniMnjc  .■Vrranuemenl."  Reviewed 
by  Earnest  Elmo  Calkins  .  -    \xvi\ 

Partridie.  P.  Roy  16 

Pantor.  Jano>.     One  Illu>.  330,331 

Patenon  J4J 

Patervon.  Jame«  335 

Paton.  Iluch.     One  illui.  iS.it> 

Paulsen.  Ine^-er.     Two  Illu5.  74.  75 

Pawlikowtki.  M.  i6j 

Peclutein  330 

Peckham.  \V.  Cf.     Johannes  Mrmlricns  Jtlire?. 

Eleven  lUus.  iii 

Peixetto.  Ernest  xhi 

Peller-HoUmann.  Fmu  -*.'> 

Pellini.  Eugenio.     rhie  lUu<.  81 

Penman  &  llardenberfth       ....  bcviii 

Pennell.  Joseph.    Panama  Canal.    Eisht  lllus. 

133.  34.S.344 
Pennell                   .       .             .      .                   .    I7«.3I7 
Pennjr>-l\'ania  Academy  of  Fine  .\it5.  Exhibi- 
tion   8j 

Penn5>-lvania  Society  of  Miniature  Painters. 

Exhibition Ivi^ 

Pennell.  Jo^ph,     One  lUus.  xxiii,  xlii 

Pepj>ercom,  A.  D.     One  lllus.  146.  iso 

Peptoe.  S.  J 150 

Petenaen.  EUif  Ixiv 

Petter.  \'alerie     ....  .      .  22s 

Philadelphia  Watei-Color  Club  Exhibition 

Ivi.  Ixxxiv 
Philadelphia  Water-Cotor  Club.  Tenth  Annual 

Exhibition  ...  340 

Phillips  ijO 

Philpot.  Glyn  W.  148. 338 

Pietro.  C.  S.     One  lllu-.  Ixxxii 

Piranesi  132 

Pissaro  ci 

Plowman.  G.  18 

Pollaiulo  Ixxii 

PoUak.  Fritx  224 

Pollak.  Hedwin.     One  lllus.  224.  22s 

Poore.  H.  R.     One  lllus.  Ixxxiii 

^pe.  John  Russell.     Six  lUus.  xii 

Poppovits,  Cesar       ....  218,220 

Porter.  Miss  II 16 

Potthast  xxiv.  Ixix 

Po«-otny,  Michael.     One  lllus.  220.  324.  226 

Pradiet 64 

Prax-Rudniker  Korbwaienfabrication.       One 

lllus.  218.220 

Preston.  May  W xli 

Price.  C.  .Matlack.  Francis  Davis  .Millet. 
Decoratii*c  Panels  in  the  Cleveland  Post 

Oflicr.     Six  lllus xxxiv 

Price.   C.    Matlack.     Country  Architecture. 

Six  lllus. xi 

Price,  R.  C.     One  lllus.  ...  292. 297 

Priestman.  Bertram 338 

Princeton  Vniversity.     One  lllus.  xliii 

Prutscher.  Otto.     Two  lllus.  21S.  220.  222.  225 

PO'de.  James.     One  lllus.    .  2.17 

P>e.  Mus  Sybil.     Two  lUus.  297 


PAGE 

RaflafUi.  Je.in  K. 

Raleigh 

Ramsa)'     .      .  ... 

Ramsay,  Miss  Frances.     One  lllus.     .      .   292,297 

Ramsay,  Miss  \"iolct.     Two  lllus.        .      .    293. 397 

Rankcn.  W.  B.  I  148.  ISS.  237 

Raphael 

Ratcliffc.  \V.  318 

Redlield.  Helulso  C.uillou.     Miniatures.     Two 

lUus. 
Reid.  G.  .\. 
Rcid.  G.  O. 
Reid.  Robert 
Rembrandt 
Renoir 
Reynolds  . 
Reutcrdahl 

Reynolds,  Sir  Joshua.     Dm-  lllus. 
Rhomberg.     Two  lllus. 
Rice,  Miss  .Vnne 

Rich,  A.  \V 

Richards.  \V.  T.     One  lllus. 
Richardson   H.  L. 
Rttleng,  George 
Robertson.  \V.  ('.. 
Robetta    . 
Robinson,  Cayley 
Robinson.  F.  C.     One  lllus. 

Romeny 

Roqueplan      ... 
Rosenficld.  Lister 
Rossetti     .... 
Rousseau.  J.  J..  Societe 

Roux,  Maicel 

Royal  .\cademy  of  Alts.  East  Asiatic  Art 
Royal  College  of  .■Vrt,  Sketch  Club  Exhibition. 

London 261 

Royal  Institute  of  Oil  Painters,  Exhibition  155 

Royal   Porcelain   Factorj-  at   Meissen.     One 

lllus 73 

Royal  Saxon  Porcelain  Factory  at  Meissen. 

One  lllus 73 

Royal  Society  of  British  Artists.     One  lllus.     15s 
Ro>-al  Society  of  Painters  in  Water  Coloss, 

Autumn  Exhibition 238 

Rubens .      .        cii 

Ruscheweijh.  M.     One  lllus. 39 

Rusino,  Santiago.     Two  lllus.  .      .      170 

Ruskin,  John 


250. Iv 


XXIV.  CII 

224.225 

.    159 

317 

.  xlviii 
340 

.  148 
.  Ixxil 
.  316 
M.S.  148 
Ixxi 
63 


252 


Russell.  W.  W.     One  lllus. 
Ryoichi,  Kimura.     One  lllus 


313 

144. 146.316 
236 


QiAKEa  Road  . 

Quennell.  C.  H.  B.     Two  lUus. 


R\CKii>iAN.  Mrs.     One  lllus. 


Ixv 


Sabain,  Miss  Ethel  245 
Sachs,  Alfred  ...  .225 
St.  Aubin        ...                                            .66 

Sakuma,  set  Tetsuen  232 

Salon  Schulte  Exhibition  327 

Sander,  Sofie  225 

Sandvig,  M.   .  108 

Sargent,  J.  S.                                                    • .  316 

Sargent,  Louis 15s 

Saumur 251 

Scandinavian  Painting.     By  Christian  Brin- 

ton.     Seven  lllus Ivii 

Schall 63 

Schanzfr,  H.     Rudolf  Bem.     Five  lllus.  .  226 

Schille.  .Miss  A 342 

Schleiss.  Frank.     One  lllus.                   ...  224 

Schleiss-Simandl,  Frau 224 

Schofield,   W.   Elmer.     By   C.   Lewis   Hind. 

Nine  lllus 280 

Scholt.  P.     One  lllus 39 

School  of  .Art.  London.     One  lllus.  82,  174,  261 

School  of  .\rt  Students'  Club 346 

School  of  Art.  Wood-Carving 83 

Schuch.  Carl.     One  lllus.     .      .  327 

Scott,  Septimus  E 245 

Sculpture  by  .\merican  Artists'  Exhibition  Ivi 

Sedding.  G.  E.     One  lllus 292 

Seeley.  G.  H xxvi 

Segantini  .69.  132 

Seifert,  Dora  81 


Sciho,  Takenouchi.     One  lllus. 

Seiii,  Shimomura 

Seiun,  Sekino.     One  lllus    . 

Sekino.  ste  Se'wm.     One  lllus. 

Seliginilller.  Dorothea 

Shannon,  Charles  345 

Sharp,  Miss  D 1S5 

Shepherd,  F.  H.  S.    .      .      .  316 
Sheringham,  George  323 
Sheringham.  George.     By  A.  L.  Baldry.   Six- 
teen lllus 3 

Shimomura,  see  Seiji 345 

Shin,  Naito 345 

Shiner,  A.  M '74 

Shokichi,  Koboyashi.     One  lllus.  .  23s.  236 

Shore.  Miss  M 250 

Shunnan.  Masuzu.     One  lllus 233 

Sicken,  W 318 

.Simmons,  Noel.     Three  lllu-^  323 

Simon.  T.  F.        .      .  -'  1 .  Ivi 

Simpson,  .A.  B I55 

Simpson,  Joseph "56,159 

-Sims,  Charles.     One  lllus.  .           147.148.24^.338 
Sinclair.  A.  G 325 


\ 


Two  lllus. 


Sinsteden.  M 

Sitte,  Olga      .  . 

Sjoberg,  A.\el.     One  lllus 

Skauma.  see  Tetsuen 

Skovgaard.  Joakim    . 

Slevogt 

Sloan,  John 

Smith,  D.  M. 

Smith,  F.  II 

Smith,  Hely    . 

Smith.  H.  T.  .      . 

Smith.  Miss  Jessie  W.     . 


45,50 
224 
-'.i4.  256 
-'34 
-54 
80 


20i 
340 


Snell,  H.  B 342 

Society  of  Humorous  Art,  First  Exhibition  321 

Society  of  Illustrators  Exhibition.     By  Guy 

Pfine  du  Bois.     Five  lllus xl 

Sohne.     One  lllus 217 

Sonn.  A.  H 342 

SoroUa  Exhibition  Ivii 

Soulange-Tessiet        .      .  63 

Soulek,  J.     Two  lllus.   .  ^\i.z2n 

Southall.  J.  E.     One  lllus.  300 

Spencer.  Edward.     One  lllus  20S 

Spencer-Pryse.  G.      .      .      .  245 

Spenlovc-Spenlove     ...  338 

Spooner,  Mrs.  M.  D.  .  302 

Staatliche  Kunstgewerbe-Schulc.     Four  lllus. 

40,42,  so 

Stanley- Barrett.     Two  lllus 123,  124 

Staschus    .      .  80 

Stcen,  Jan  .        ci 

Steer,  P.  W.  .261 

Steer,  Wilson  237,  339 

Sterl,  Robert 170 

Stevens    Series    of    College    Etchings.     By 

Alden  Noble.     Nine  lllus.  .     xliii 

Stokes.  Mrs.  A.  302 

Stratton.  Fred  338 

Streeton.  A.    .      .  IS5 

Strnad,  Prof.  Oskar.     One  lllus.  .    221,222 

Stubchen-Kirschner,  Elsa 22s 

Studio  Talk.     One  Hundred  and  Twenty-two 

lllus 51.155,236,316 

Stultig,  F 298 

Sullivan,  Sir  Edwaid.     One  lllus.         ...      297 

Sullivan.  E.  J 242 

Sumner.  Ileywood.     One  lUus 300 

Svcnska  Konstnarernas  ForcninR  33s 

Swane,  Sigurd  Ixiv 

Swynneiton,  Mrs.  316 

Symons,  Gardnei  Ixx 

Tai.  .Atomi.     One  lllus 235 

Taiheiyogakai  Exhibition.     Two  lllus.  234 

Takashima,  see  Hokkai.     One  lllus.    .  232 

Takenouchi.  see  Seiho.     One  lllus.  234 

Talmage.  Algernon 155.  238 

Tamemori,  Viscount 234 


Index 


PAGE 

Tanimori,  Masao 234 

Tapestries.  The    Acts  of    the  Apostles.     By 

George  Leland  Hunter.     Eight  Illus.       .  Ixxiii 

Tatz.  Laszlo 330 

Taylor,  D.  C I5S 

Taylor.  E.  A.     Etchings  from  Recent  Salons 

in  Paris.     Seven  Illus 15 

Teed.  H 33S 

Teles,  Ede 332 

Tenth  Annual  Art  Exhibition.  Tokyo  171 

Terraces  and  Garden  at  the  Hill.  Hampstead 

Heath.     Photographed  by  H.   N.  King. 

Nine  Illus 20S 

Tetsuen,  Sakuma 232.  J34 

Thackeray.  W.  M.  iii 

Thames,  Whistler  132 

Thegerstrom  .  254 

Thibaudeau.  A .x.xvi 

Thielmann.  Wilhelm       .  79 

Thomas.  E.  H.     One  Illus.  51 

Thomas.  G.     One  Illus.  T44.  153.339 

Thomson.  Leslie  .155 

Thurber.  W.  Scott     ,  Ivi 

Tonks,  Prof 316 

Townsend.  Harry      ...  xli 

Travers.  H.  M.     One  Ilh[s.  207 

Triggs,  Inigo.     One  Illus.    ,  313 

Tripe.  Mrs 340 

Tronchin 63 

Trotter.  Mrs.  A.  P.     Two  Illus.     .  29».3i2 

Triibner.  Wilhelm  330 

Tsunetomi.  Kitano.     One  Illus.  233.  234 

Tuke,  H.  S 338 

Tura,  Cosimo.     One  Illus.  .      .  .   307. 309 

Tyrwhitt.  Miss  U 317 

Underwood.  L 261 

University  of  Chicago.     One  Illus.  xliv 

University  of  Pennsylvania.     One  Illus.  xliii 

University  of  Virginia.     One  Illus.  -     .xliv 

Unsworth,  Son.     One  Illus.  313 

Valdec,  Rudolf.     One  Illus.     .  161.  162 

V'allotton.  M.  Felix  ...  ,238 

Van  Briggle    .      .      ,      .  .  Lxviii 

van  der  Goes.  Hugo.     One  Illus.  ,             ,   307,  308 

\'an  der  Weele     ....  Ixx 

Van  Dyck       .      .  xxiv 

Van  Gogh 330 

Van  Goyen     ...  .    xxiv 

van  Haarlem.  Gerardo 307 


PAGE 

van  Loo.  Carle  ...    Ixxii 

\'an  Muyden  .      .       66 

X'ecchio.  Palma 307 

Velasquez 132.  cii 

Viennese  Exhibition  of  Arts  and  Crafts.     By 

A.  S.  Levetus.     Fourteen  Illus.    .  217 

\'enice  Exhibition  of  Art 71 

Verpilleux,  M.  Emile 317 

Viala.  Eugene       . 21 

\'ickers.  .Alfred ixxi 

\'igers.  .■Ulan  F.     One  Illus.  300 

\'iscount.  see  Tameraori  .      234 

\'ivarini.  Luigi.     One  Illus.  306.  309 

Vogel         .  xxvii 

von  Debschitz.  W.     Two  Illus.       ...        39 

von  Glehn.  W.  G 97.  148 

Von  Glehn.  Mrs ,48 

von  Hennigs.  Gosta  2.S6 

von  Kalmar.  Louise  225 

von  Krauss.  Freiherr  225 

von  Salzmann.  Alexander.     Two  Illus.       44.  4.5,  50 
von  Stark.  Fraulein  .      .  .      ,      .      ,      .     225 

Voysey.  C.  F.       .      .      .  ....     300 

Vrankovic.  Frau  Sretna  .      225 

Vyboud -64 


Wagner.  Fred     ... 
Wagner.  H.  H.     Six  Illus.   , 
Walcott,  H.  M.     One  Illus. 
Walker.  H.  O.     One  Illus. 

■\Valrath 

Waltl.  Wilfert       .      . 
Walton.  E.  A. 
Warndorfer 
Warner.  E.  L.       . 
Washburn,  Cadwallader.     K 

kampf.     Two  Illus. 
Waterlow.  Sir  Ernest 
Watson,  C.  J.       . 
Watson.  Homer 
Watson.  Spencer 
Watts        .      . 
Way,  T.  R.     . 
Webster.  H.  A.     One  Illus. 
Weihe.  Edward    . 
Weir.  J.  Alden.     One  Illus. 
,  H^ 


342 
35.38 
Lxxxvii 


We 

Weitenkampf.  Frank  Cadwallader  W'ashburi 

Two  Illus 

Wellesley  College.     One  Illus. 

Wells.  R.  F.    .      .      .  


PAGE 

Weltmann.  Milla j^- 

Wenckebach,  L.  W.  R.     One  Illus.  .77 

Werenskiold,  Erik  Ltiv 

Wertheimer,  Charles ^^iy 

West  Point  Old  Cadet  Barracks.     One  Illus.       xlv 

^^'h'stl" Iii,  Ivi,  Ixxi.  cii 

Whistler  Exhibition e. 

Whitehead,  Margaret.     One  Illus.       ...       |vi 

UTiiting.  Frederic i-- 

Whitley.  W.  T.     Arts  and  Crafts  Society  Ex- 
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Twenty-eight  Illus 290 

Wibrial.  Dora jjs 

Wiener  Werkstatte.     Two  Illus.  217.224.226 

Wiener  Kunstkeramische  Werkstatte.      One 

I"-'^ 222 

Wiese.  Frau  Edda.     One  Illus.       .      .      .       46  si 

Wildhack.  Robert \\^ 

Willumsen.  J.  F.     One  Illus Ixii,  Ixiv 

Wiles.  I.  R.     One  Illus '  xcv 

WUhelmson.  Carl.     One  Illus.         .      .      .    25s.  257 

Williams,  Ballard 'xxiv 

Williams,  F.  Ballard ivi 

WiUiams.  J.  A xlii 

Williams.  Terrick 155.323,338 

Willich.  .\delheid.     One  Illus '48 

Wilson.  Charles 340 

Wimmer.  Edward  ,     222 

Wittmann.  Thea.     One  Illus.    .  43, 5, 

VVitzmann.  Carl.     One  Illus  220  222 

Wrinch.  Miss       ...  .246 

Wolfsfeld.  Erich  ...  .80 

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Wright.  Miss  Ethel  159 

Wyeth.  N.  C.       ...  .340 

Wyon. -Allan  G.     One  Illus 83.84 

Wysmuller.  J.  H.     One  Illus 335 

Wyzewa.  Teodor  de ci 


V.\.\L\MOTO.  see  Baiso 
Vamazaki.  see  Choun 
Vellin.  Samuel 
Voshida.  see  Hakurei 
Young.  .Arthur 
Young.  C.  M 


Illus, 


344 

lxviii 

345 

xli 
82,83 


Zador,  Istvan 330 

Zorn,  Anders.     By    Dr.    .Axel    Gauffin.     Ten 

Illus 89 

Zorn.  .Anders        ...  ciii 

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///(/('.\ 


CC)1A)K    INSERTS 


Al«v.  Anna.  A.R.E..  R.O.I.     "Willow  Pattern."     .\  Tinted  Reproduc- 

llon  of  the  Pen  .111.1  1  li.iik  Dr.iuiiie  S.? 

Belchkr.  J.     "Mor  vhc*ath.  Kent."     A  Colonpd  Rcpro- 

duv'tion  of  thr  1  ii: m 

Bm.Hvoois.     ".X  ^  r.irl."     .\  Colored  Reproduction  of 

the  Paintinx  Jao 

Bkuo^y.  Eknem  C.     "Near  Rotterdam."     A  Tinted  Reproduction  of 

the  Chalk  Drawinc -MJ 

BttlEun'.  \V.  H.     "Sion  Hill.  Thimk.  Yorkshire."     .\  Colored  Repro- 
duction of  Ihc  Per!ipecti\'e  Drawinc  .  3.1 
Collin..-   (      I 

■■■Lake."     A  Colortd  Reproduction  of  the  PaintinK-       2J 
Line."     A  Colored   Reptoduclion  of  the  Water- 

1S7 

CoNN.Ma..  riiiLlr-     "The  Supp<*r."     "  Baysw-aler."     A  Colori-d  Repro- 
duction of  two  (HI  PainlitiKd  Ixxiv.  .'76 
HuKoti          \  SirniL.M..  ..r  New  Year  Canl."     A  Colored  Reproduction 

.  !'  310 

Jo.v--  ■  .   Blackheath.  Kent."     .\  Colore<l  Repro- 

'■••  DrawinK i.'S 

Kmi.mi      ll\k (linn/."     "MominK    Sun."     "The    Beach."     .\ 

Colored  RrproductJon  of  Three  Paintinii.«  Ivi.  iSb.  19.' 


1».\GE 

LlM.  Bertha.     ".\  Winter  Day  in  .lapaii."     .-\  Colored  Reproduction  of 

the  Wood  Print I7S 

MriKlie.Mi.    Davip.     ".\    Woodland    Pool,"     ".\    Night    Piece."     .\ 

Colored  Reproduction  of  Two  Paintinijs  1111,105 

ORI'EN.    W..    A.R.A.     "An    .-Vrran    Islander."     "The    Blue    Hat,"     .\ 

,   Tinted  Reproduction  of  Two  Paintings  131.  .JJU 

ScilOElELD,  W.  Elmer.     ".\  Cornish  Cove."     .\  Colored  Reproduction 

of  the  Painting 287 

SiiERiNCHAM.  George:  "The  Green  Vase  Fan"  and  "The  Peacock  Kan" 

Colored   Reproduction  of  Two  Decorative  Panels  from  a    Pastel 

Drawing       ...  ii,  7 

A  Colored  Reproduction  Painted  on  Silk 13 

Triggs,     Inigo.     "Ashford     Chace,     Petersficld.     Hants."     .\     Colored 

Reproduction  of  the  Drawing 311 

rsiiFORD.  Son  &  Triggs.     ".-\shford   Chace,   IVtersfield,    Hants."     A 

Colored  Reproduction  of  the  Drawing 311 

Wbxckebacii,  L.  W.  R.     .\  Tinted  Reproduction  of  the  Pen  Drawing  77 

Wvsml'LLER.  J.  II.     ".\t  Kortenhoef."     .V  Colored  Reproduction  of  the 

Chalk  Drawing  332 

ZuRN.  .-Vnders.      "  Matins  on  Christmas  Day."     .\  Colored  Reproduction 

of  the  Painting v.\xi 


BOOKS    RFATKWED 


.W«>f  ^J^.V•       Hy  \.  S   \trnon  Jones  Jftj 

Am  Actoaml  0/  .WnJirruJ  Fiturr  SculplHre  in  England.     By  Edward  S.  Prior  348 

AnAn,-tinFr-fl      By  Walter  Tyndale.  R.I 174 

.-tr.*                                 iml  DrauihUmrn.     By  Reginald  Blonilield,  .\.R..\.  26j 

.•lr(  t                                     Maspero                     348 

Am^l'                            .n.i  Thfir  llomflanJs.     By  Jainr?i  Baker  349 

tialU^i  II '•' :  .111  II  unjrrfnl.     By  Vernon  Hill  346 

Mil  ami  Olhrr  Pormx.     By  Edgar  .Mien  Poe  263 

A  Poolt  lif  tttuats.  By  W.  Dacm  .Adams  178 
Book  01  Distatrry.      By  W.  B.  S>-nge          .       .                                                      .265 

Bytantinr  Cknrckrs  in  Constantinofle.      By  Alexander  Van  Millingen  349 

Canadmn  I'ulum.     By  Harold  Copping.      Descrilicd  by  Emily  P. Weaver  8s 

Cat-j!    ■■  '       ''-    '  '  '••'i  Work  f'f  Frank  Brangwyn 2(12 

Cla                                      By  Kenyon  Cox K3 

Col:  ■  .ijrlphia  and  lis  Srichhorhnt.     By  II.  Donald.son 

1..- L.face  Mather         ...  I 

CUor  in  Ikr  Hunu.     By  Edward  J.  Duveen    .  177 

Dit  Ideair  Landuhall.      By  Dr.  J.  Gtamm  263 

EntJii*  Firtplair.  By  L.  A.  ShulTrey  347 
Epothi  ofCkinrii  and  Japanrse  An.     .An  Outline  History  of  East  .Asiatic 

Design.     By  Eroe»t  EranciKO  Fenollosa  .  .     xx,  262 

Fablts  0/ Arjop.     Illuitrated  by  Edward  J.  Detmold 178 

Folk  Tatt$  of  Btntal.     By  Rev.  Lai  Bchari 26s 

Grrmany.     Painted  by  E.  T.  Compton  and  E.  Harrison  Compton     .      .  178 

Oondotifrs                                      26s 

Crtdt  and  Human  I'orlrailt.     By  Dr.  Anton  Hekler 8s 

llrratUl  Brahazon  Brabazon.  Iln  Arl  and  Lift.  By  C.  Lewis  Hind  .  .  261 
Hailatr  of  lliroskitt:  .4  Climpu  of  Japaneie  Landscape  Art.     By  Dora 

Arosden xx 

llrrots.  or  Crttk  Fairy  Talis  far  My  Children.     By  Charles  Kingsley. 

Illuitrated  by  W.  Ruuell  Flint 177 

lliiUry  of  Painlint  in  .Vor<A  /laly.      By  J.  A.  Crowe  and  G.  B.  Cavalcaselle  347 

lloimer.  Harriet.  Lelleri  and  Memories.     By  Cornelia  Carr     .      .      .      .  xxi 

Hours  of  Gladness.     By  M.  Maeterlinck                263 

La  Decima  Fjposizione  d'.\rtt  a  Venezia.  l()ii.     By  L'go  Ojetti  179 


L,i  l-,urme  el  la  I'orcelain  de  .Marseille.     Par  I'Abbe  Arnaud  d'Ag 
Lavery,  John,  and  His  Work.     By  Walter  Shaw  Sparrow 

Life  and  Letters  of  Frederic  Shields.     By  Ernestine  Mills 

Life  in  the  West  of  Ireland.     By  Jack  B.  Yeats 

Little  Songs  of  Long  .Ago ... 

Little  Women.     By  Louisa  Alcot    ....  ... 

Lives  of  the  Most  Eminent  Painters.  .Sculptors  ami  .\rthiletts.     By  Giorgio 

Vasari 

.Magic  World.     By  E.  Nesbit 

.Mary,  the  Mother  of  Jesus.     An  Essay  by  Alice  Meynell 

Moscow.     Painted  by  F.  de  Haenen 

Sursery  History  of  England.     By  Mrs.  E.  O'Neill 

Our  Island  Saints.     By  Miss  Steednian 

Parsifal,  or  the  Legend  of  the  Holy  Grail 

Pnems  of  Passion  and  Pleasure.     By  Ella  Wheeler  Wilcox        .... 
Portrait  Medals  of  Italian  Artists  of  the  Renaissance.     By  G.  F.  Hill      .      . 

Princess  Ida 

Prints  and  Their  Makers.     By  FitzRoy  Carrington 

Richards:  Masterpieces  of  the  Sea.     By  HarrLson  S.  Morris       .... 

Robin  Hood.     By  Walter  Crane 

Ruddigore 

Sacred  Shrine.     By  Vrjo  Him 

She  Sloops  to  Conquer.     By  Oliver  Goldsmith 

Shakespeare's  Romeo  and  Juliet.     By  W.  Hatherell 

Stitches  from  Old  English  Embroideries.     By  Louisa  F.  Pescl 

Story  of  a  Hida  Craftsman   -. 

Story  of  Rome 

Studio  Year  Book  of  Decorative  Art,  igi3         

Tapestries,  their  Origin,   History  and  Renaissance.     By   George   Leland 

Hunter 

Vffizi  Gallery.     By  P.  G.  Konody.     Edited  by  T.  Uman  Hare     .      .      . 

tVhite-Ear  and  Peter.     By  Neils  Ileiberg 

Whitman's  Print.Collerl„r'  t  I  In  mil.,,,, I:       U,.vis,-,l  bv  Malcolm  C.  Salaman 
Yeomen  of  the  Guard  


xlvii 
346 
340 
349 
26s 


26s 
265 
264 
265 
263 


<C5 
CL  EC 

,.,o 


Whe 

INTERNATIONAL 
STUDIO 


VOL.  XLVIll.       No.  Ifi9 


Copyright,  1912,  h))  John  Lane  Company 


NOVEMBER.  1912 


JOHANNES  HENDRICUS  JURRES 
BY  W.  G.  PECKHAM 
Genesis  recites  that  God  made  man  in 
his  image,  "to  have  dominion  over  the  fish 
of  the  sea  and  the  fowl  of  the  air  and  o\-er  the 
cattle  and  over  all  the  earth." 

Could  there  not  be  a  similar  gradation  of  sub- 
jects for  art,  so  far  as  the  spiritual  rank  of  the 
subject  goes? 

The  Dutch  painters  who  paint  vegetables  and 
those  who  paint  poultry  and  cattle  are  fine  techni- 
cal painters.  Claude  and  Corot  did  daintier 
work,  or  at  least  put  it  on  more  exquisite  back- 
grounds. But  Raphael  had  subjects  of  a  higher 
quality.  The  man  who  paints  his  brother-man 
has  the  noblest  subject.  Again,  the  figure  painter 
who  paints  the  spirit  and  the  flesh  of  the  real  man 


does  work  of  enduring  value,  even  though  the 
painter  who  paints  unreal  men  and  women,  crea- 
tures that  never  were,  satyrs,  fantastic  nymphs,  or 
such  as  are  not  kin  to  us  common  people  may  be  a 
painter  of  vain  things.  As  William  Makepeace 
Thackeray  wrote  of  an  impressionist  of  his  day: 

"Such  monsters  of  beauty  are  quite  out  of  the 
reach  of  human  sympathy." 

The  noblest  value,  the  most  permanent  worth 
in  art  accrues  when  art  comes  home  to  all  man- 
kind, as  with  Cervantes,  Shakespeare,  Franz  Hals 
and  Mark  Twain,  each  in  his  way.  Rossetti's 
verses  and  his  paintings  fall  short,  even  as  did  the 
last  French  painter  who  painted  centaurs.  De- 
tail and  technical  execution  have  been,  perhaps, 
more  commonly  perfected  by  the  Dutch  painters, 
while  it  has  been  noted  of  late  that  the  Spanish 
school  has  put  upon  can\-as  the  richness  of  color 


Collection  of  Mr.  W.  C.  Pccklui 
SPANISH    BEGG.\RS 


BY   J()H.\NNES    H.   JIKRES 


Johannes  Heudricus  Jurres 


'a 

>3r, 

.■'•^' 

Xi^  4k 

2l 

^IL 

P 

% 

1 

1  ja 

1 

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H 

t:^k 

'     ^^ 

~  ^.^^^^^ 

•      .-^-^ 

ii 

^^7-^^ 

??  . 

THK    PROIIIC.AL    SON 


ll\    Jiill ANNKS    H.   JIRKK: 


and  the  splendor  of  li};hl  that  only  Spanish  artists 
find  at  home,  and  make  their  own. 

Now  comes  a  Dutch  painter,  Johannes  Hend- 
ricus  Jurres,  who  first  did  hard  work  in  Holland 
and  later  spent  years  of  faithful  study  in  Spain, 
and  who  paints  men  that  are  ([uite  human  and  un- 
artiticial.  His  creations  are  none  of  them  vanities. 
His  subjects  are  from  the  Bible,  Cervantes,  Shakes- 
peare and  the  cverj-day  life  of  the  common  folk. 
Sometimes  he  works  in  the  mist)' note  of  Holland 
and  sometimes  in  the  color  and  light  of  Spain  He 
makes  one  or  more  sketches  of  each  detail.  Jurres 
was  born  in  Holland  in  1875  and  is  in  his  prime 
and  at  work  in  Amsterdam. 

His  Don  Quixote  is  not  so  eccentric  as  was 
Dore's,  but  is  more  kin  to  us,  and  should  last  bet- 
ter. A  glance  at  it  makes  one  say:  "The  proper 
study  of  mankind  is  man." 

Is  this  the  reason  wh)'  Israels  is  the  true  leader 
among  many  of  equally  strong  technique?  Jur- 
res's  Don  Quixote  has  the  quality  of  a  gentleman, 
which  quality  Lowell  said  was  pre-eminently 
the  Don's.  That  horse  is  like  our  old  horse. 
Those  people  in  the  background  you  may  meet 
on  any  back  road  in  Spain.  How  frequent  is 
the  ability  to  paint  good  groups  of  real  men  in 
action  ? 

The  Spanish  Beggars,  also,  has  actuality  in  it. 
These  are  beggars  at  their  trade,  in  actual  busi- 


ness. There  is  no  advertising,  there  is  no  sensa- 
tion, but  there  is  true  valuation  and  good  work. 
Even  the  dog's  attitude  is  convincing.  So  is  each 
beggar's  snivel.  So  is  the  ironic  smirk  on  the 
rider's  face. 

Jurres  went  to  Spain  in  his  twenty-si.xth  year, 
worked  at  Granada  and  Madrid,  and  in  the 
mountains,  and  lived  with  the  herders  and  mine 
workers.     You  see  them  in  his  pictures. 

In  the  battle  scenes  he  likewise  makes  separate 
sketches  of  the  details,  and  works  them  over,  and 
finally  joins  them  in  the  large  work.  Again,  he 
takes  a  broad  subject  and  repeats  it  in  different 
phases.  Such,  for  instance,  arc  his  vigorous  Good 
Samaritan  and  his  Prodigal  Son  and  Father  and  his 
Peter  and  the  Cripple. 

A  Boston  artist  said:  "There  are  few  painters 
outside  of  the  States,  but  your  man  Jurres  does  a 
horse  better  than  Delacroi.x  or  Schreyer." 

His  horses  are  not  fanciful.  He  bought  old 
horses,  to  study  them  and  make  them  his  own  on 
the  canvas. 

It  is  a  little  curious  that  Jurres  was  sustained,  in 
his  youth,  by  a  Dutch  lawyer,  and  was  exploited 
in  Canada  by  a  canny  critic,  an  accomplished 
king's  counsel,  Johnston,  of  Toronto,  who  has 
written  of  Jurres: 

"The  greatness  of  an  artist  de[)ends  largely  on 


ColUilionc,/  Mr.  I!  . 
PETER  AND  THE 
CRIPPLE 


BY  JOHANNES   H. 
JURRES 


Johannes  Hendricus  Jtirres 


the  creative  power  of  the  artist,  the  power  to 
create  the  soul,  and  that  Jurres  can  do.  Young 
in  years  and  immature  in  art,  his  productions, 
nevertheless,  savor  more  of  the  glory  of  the  an- 
cients than  anything  in  the  modern  history  of 
painting,  and  Jurres  is  the  greatest  of  all  the 
younger  artists  of  the  day." 

The  comedian,  Francis  Wilson,  is  a  lover  of 
Jurres.  The  kind  of  picture  that  Wilson  favors  is 
in  the  Dutch  manner,  \\-ith  tones  that  are  rich  but 
dreamy  and  not  pronounced. 

A  very-  different  picture  is  the  Prodigal  Smi, 
formerly  owned  by  Alfred  Henry  Lewis,  the  writer. 
The  figures  of  the  last  are  m  the  overwhelming 
light  that  one  finds  only,  as  a  rule,  in  the  work  of 
the  artists  of  Andalusia.  It  will  be  hard  to  match 
this  picture  for  vivid  coloring.  The  remorse  of 
the  prodigal  and  the  nobility  of  the  father  are  ade- 
quate, and  the  figures  have  an  e.xcellent  dignity 
and  vitality. 

The  same  is  true  of  Pclcr  and  tin-  Cripple. 
And  "out  from  the  heart  of  nature  rolled,  the 
burdens  of  the  Bible  old." 

Can  one  tell  of  anybody  else  who  can  paint  a 
prophet  so  well  up  to  the  character  and  can  paint 
Bible  subjects  so  fitly?     Who  else  gives  us  as 


THE  MENDICANT 


BV  JOHANNES  II.  JURRR: 


solid   crimsons  and   such   anticiue  blocks  of  all 
colors? 

The  Stoning  of  St.  Stephen  in  the  private  collec- 
tion of  Mr.  Heaton,  of  Montreal,  is  rough  and  un- 


CoUfction  of  Mr.  II'.  G.  Pckhjn 
THE   BATTLE 


BY   JOHANNES   H.   JURRES 


Collf.l, on  of  Mr.  If.  c;.  I'r.kh 
THE   HALT 


n      I'  UIANM--    11.    Jl   KKli: 


DAVID   AND   SAUL 


UV   JuHANNl-S    11.    JUKRES 


Johannes  Hendricus  Jurres 


CUOD  SAMARITAN 


BV  JUUAN-NEs  U.  JLKKE^ 


finished,  but  it  is  more  real  and  dramatic  than  per- 
haps any  other  recent  artist's  work  in  painting. 

Also,  there  is  a  different  battle  scene  before  me 
in  the  original,  the  best  of  several,  and  he  who 
seeks  for  martial  glory  would  find  a  whole  epic  in 
the  canvas,  that  is  not  very  large.  A  squad  of 
marching,  frenzied  men  and  frantic  horses,  knights 


in  combat  and  cowards  running  away,  are  shown 
strongly  and  simply  in  the  right  atmosphere. 

A  magnificent  example  of  Mr.  Jurres'  work  has 
recently  been  imported  by  Messrs.  R.  C.  &  N.  M. 
Vose,  of  Boston.  It  is  a  veritable  masterpiece, 
in  Jurres'  best  manner,  superb  in  color  and 
technique. 


JEZABEL 

BY  JOHANNES  H.  JURRES 


z  3: 


si 


O  >c 
X  Z 


A  Study  in  Country  Architecture 


A 


STUDY    IN    COUNTRY    ARCHI- 
TECTURE 
BY   C.    MATLACK   PRICE 


In  the  United  States  there  has  al- 
ways been  an  elusive  quality  lacking  in  the  design 
of  small  country  houses.  Just  what  this  quality 
is  may  best  be  felt  by  studying  the  charm  of  the 
English  countr}'  house  of  the  same  tj^se.  There 
the  charm  and  interest  have  been  achieved  by  the 
essentially  artistic  point  of  \dew  of  the  architect 
and  the  temerity  of  the  cUent,  who,  between  them, 
evolve  a  dwelling  full  of  quaint  and  unexpected 
features,  yet  one  which  seems  ever  a  harmonious 
whole  in  itself  as  well  as  a  consistent  part  of  its 
surroundings.  The][Eng- 
lish  country-  house  is  full  r. 

of  an  architectural  indi- 
\-iduality  which  has  been 
approached  in  few  other 
tj-pes  of  house,  while  the 
Americanhouse  has  seemed 
always  a  little  forced,  as 
though  its  designer  had  felt 
bound  by  certain  con- 
straining conditions  and 
its  owner  had  felt  himself 
bound  by  unwritten  con- 
ventions. As  a  rule  we  do 
not  sanction  a  house  v\'ith 
a  quaintly  diversified  roof- 
Hne,  picturesque  chimneys 
and  variously  disposed 
leaded  casements  because 
we  are  afraid,  in  a  vague 
way,  that  somebody  will 
laugh  at  us.  Consequently 
we  look  first  at  our  neigh- 
bors house  before  we  think 
of  the  design  of  our  o^\'n, 
and  we  are  sometimes  dis- 
turbed with  a  wondering 
query  as  to  what  is  the 
matter  with  American  do- 
mestic architecture.  Why 
must  a  house  be  a  rephca 
of  a  French  Chateau  or  an 
English  countrj'  place  in 
order  to  be  good?  Our 
own  work  has  generally 
seemed  successful  only  in 
so  far  as  it  has  sho\Ma  a 
skilful  adaptation  of  some  ^^^^  ^^^^^  ^^  "deepdale' 
foreign    style.     When  we         great  neck,  l.  i. 


essayed  it  ourselves  the  "contractor  and  builder" 
gave  us  an  elaborated  packing-box  with  interior 
compartments,  and  Eastlake  inflicted  upon  us  his 
fantastic  vagaries  of  spindles,  rosettes  and  gener- 
ally weird  proportions  and  details  in  an  architec- 
tural chaos. 

The  trouble  in  the  matter,  perhaps,  lies  in 
American  self-consciousness  in  matters  of  personal 
expression.  The  Englishman  speaks  French  with 
considerable  practical  bravado  because  he  does 
not  mind  being  laughed  at  a  little,  while  the 
American  too  often  keeps  a  self-conscious  silence. 
The  English  architect  builds  a  house  which  is  a 
fearless  expression  of  his  personal  ideals  in  the 
matter,  while  in  this  country  we  are  ever  prone  to 


JOHN  RUSSELL  POPE 
ARCHITECT 


A  Study  in  Con )i try  Architecture 


DETAIL  OF  GROTESQIES.  GATE  LODGE 
AT  "DEEPDALE,"  GRKAT  NECK,  L.  I. 


lean  on  precedent,  or  if  original,  to  indulge  only 
in  ])lalitudes. 

With  such  a  deplorable  state  of  affairs  too 
generally  prevailing  it  is  interesting  to  find,  in 
John  Russell  Pope,  an  architect  with  the  strength 
of  his  con\-ictions,  and  to  discuss  the  qualities 
which  ha\e  been  achie\ed  in  his  mdixidual  ren- 
dering of  a  gate-lodge  on  the  estate  of  Mr.  W.  K. 
Vanderbilt,  Jr.,  on  Long  Island.  While  it  is  true 
that  the  feeling  in  this  house  is  of  a  distinctly 


JOHN   RUSSELL   POPE 
ARCHITECT 


Elizabethan  English  type,  it  is  of  importance  to 
observe  the  freedom  and  lack  of  restraint  with 
which  Mr.  Pope  has  carried  it  out. 

The  first  glance  will  indicate  that  the  lodge  is 
of  half-timber  construction.  This  does  not  mean 
that  a  thin  coat  of  stucco  has  been  applied  be- 
tween boards,  but  that  the  building  is  actually 
half  constructed  of  timber.  By  reason  of  the 
fact  that  the  modern  caqjenter  does  not  under- 
stand this  t}-pe  of  work,  Mr.  Pope  was  at  some 


GROTESQUES,  GATE  LODGE 
;  D.VLE."  GREAT  NECK,  L.  I. 


JOHN  RUSSELL  POPE 
ARCHITECT 


A  Study  ill  Country  A rchitecture 


pains  to  obtain  the  services 
of  a  venerable  ship-carpen- 
ter, who,  pursuant  of  the 
training  of  his  craft,  hewed 
the  timbers  from  the  rough 
with  an  adze  and  morticed 
and  pegged  them  together. 
There  was  obtained  in  this 
manner  an  interesting 
irregularity  and  uneven- 
ness,  which  is  further  en- 
hanced by  the  visible  marks 
of  the  adze  on  the  wood. 
Here  was  the  first  bit  of 
finesse  in  detail  which  went 
to  make  up  the  unique  ap- 
pearance of  this  little  build- 
ing. The  feature,  however, 
which  strikes  the  most  sig- 
nificant note  of  difference  is 
the  introduction  of  the  car\-- 
ed   grotesc|ues,   which    run 

entirely  around  the  building  on  a  line  above  the 
windows. 

Each  one  of  the  gate-lodge  grotesques  is  different 
from  the  rest,  and  all  hold  an  excellent  similarity 
in  the  general  character  of  their  treatment.  At 
every  angle  and  on  every  side  the  eye  is  jovially 
accosted  by  a  fresh  variety  of  quaintly  bizarre 
corbells,  and  the  prevailing  sense  of  architectural 
fitness  is  admirable  throughout. 

In  no  part  did  the  lodge  suffer  from  inattention 
or  lack  of  careful  study.  The  roof  tiles  were 
sought  throughout  Europe  in  vain,  but  nowhere 


DET.\IL  OF  GROTESQUES,  GATE  LODGE 
AT  "dEEPDALE,"  great  NECK,  L.  I. 


JOHN  RUSSELL  POPE 
ARCHITECT 


detailJof  grotesques,  gate  lodge 
at  "deepdale,"  great  neck,  l.  i. 


could  the  exact  kind  that  were  wanted  be  found 
until  they  were  met  with  in  a  little  church  almost 
two  hundred  years  old,  in  Indiana.  The  church 
was  in  ruins,  so  the  old,  handmade  tiles  were 
secured  and  laid  here,  and  the  chimneys  were 
built  of  carefully  selected  brick.  Commonplace 
chimneys  would  have  marred  the  charming  en- 
semble of  this  unique  building,  so  Mr.  Pope  was 
at  no  small  pains  to  impart  to  their  design  the 
same  remarkable  individuality  which  he  had 
attained  in  the  hewii  timber  work  and  the 
carved  grotesques.  The  field  stone  used  in  the 
foundations  gave  occasion 
for  still  further  careful  selec- 
tion. Each  piece  was  i)icked 
from  old  walls  in  the  vicin- 
ity, and  each  was  chosen 
with  the  care  of  collector 
of  rare  specimens.  All  were 
required  to  show  grey  weath- 
ered faces,  mottled  with  dull 
green  lichens. 

Here,  in  values  not  to  be 
denied,  is  a  work  of  art — an 
assemblage  of  materials  and 
forms  so  woven  together  as 
lo  produce  a  ])erfect  whole — 
and  a  testimonial  that  an 
actual  building  that  shows 
European  ideals  of  sincerity 
in  architecture  can  be  real- 

JOHN    RUSSELL    POPE  .        ,   .         ,  • 

ARCHITECT  ized  m  this  country'. 


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■<  Er  Cii 
•J  M  O 


The  House  Beautiful  of  Japan 


T 


HE    HOUSE 
JAPAN 


lEAUTIFUL    OF 


There  are  certain  ideals  in  Japanese 
art  which  are  no  less  apparent  in 
Japanese  architecture  and  gardening,  yet  the  art 
of  Japan  only  as  embodied  in  prints,  paintings, 
porcelain,  cloisonne  and  ivorj-  has  found  a  wide 
popular  acceptance  in  this  countrj'.  WTiy  this 
should  be  so  is  very  difficult  to  imagine,  and  can 
only  be  ascribed  to  the  fact  that,  in  the  west, 
the  houses  and  gardens  of  Japan  are  virtually 
unknown. 

We  turned  with  relief  from  over-decorated  in- 
teriors to  the  simplicit}-  of  the  "Mission"  scheme 
of  decoration,  yet,  oddly  enough,  overlooked 
a  type  more  esthetically  satisfying,  and  more 
intrinsically  interesting. 

Perhaps  there  has  been  a  too  general  indul- 
gence in  the  idea  that  Oriental  art  is  "complex" — 
that  a  Japanese  interior  is  too  e.xotic,  too  alien  for 
successful  adaptation  in  this  country'.  As  a 
popular  idea  this  is  no  more  founded  on  fact  than 


most  popular  ideas,  nor  is  it  less  erroneous.  The 
complexity  of  oriental  art  is  that  baffling  quality 
which  results  from  carefully  studied  simplicity. 
The  interior  decoration  of  a  Japanese  house  is  the 
result  of  an  elimination  of  the  useless — an  elimina- 
tion lasting  over  many  centuries.  There  is  noth- 
ing experimental  about  it.  Upon  first  seeing  a 
marvellously  executed  Japanese  interior,  rich  in 
dull  gold  and  oiled  teak- wood,  yet  wonderfully 
subdued,  an  appreciative  lady  was  heard  to  re- 
mark: "The  Japanese  are  so  clever  to  do  such  a 
beautifully  novel  hall-way  I"  to  which  the  quiet 
Japanese  host  replied  that  he  regretted  its  lack 
of  any  strictly  up-to-date  qualities,  in  that  the 
houses  of  Japan  were  decorated  in  no  wise 
differently  four  thousand  years  ago  I 

In  the  western  life  of  varied  and  wear\-ing 
activities  the  restfulness  of  the  Japanese  idea  of 
an  interior  should  come  as  a  balm  to  over-WTOught 
nerves  and  tired  eyes.  There  are  broad,  cool 
spaces,  dull  and  subdued,  yet  interesting  colors. 
Little  furniture  is  wanted,  and  ornaments  are  few 
but   carefully   selected.    One   rare  porcelain   or 


CourUsy  of  Yamanaka  &  Company 

A  JAPANESE   GARDEN-   WITH   TEA-HOUSE   AT  TUXEDO   PARK,  X.  Y. 


DESIGNED   BY   S.    MORI 


The  House  Beautiful  of  Japan 


a  bit  of  cloisonne  may  grace  a  simple  teak-wood 
stand.  The  windows  are  treated  with  semi- 
opaque  paper  and  light  teak  lattice,  obscuring 
any  jarring  note  from  outside.  On  a  wall  of  soft 
gray  or  dull  gold,  delicately  decorated  with  grace- 
ful flowers  or  charming  landscape,  what  need  of 
picture?  On  a  wall  not  treated  thus,  let  there 
be  one  beautiful  print,  or  a  rare  kakemono.  If 
there  is  a  large  collection  of  porcelains,  ivories  or 
bronzes,  the  Japanese  does 
not  tire  himself  and  his 
friends  of  them  by  keeping 
the  entire  collection  con- 
stantly in  N-iew.  All  but 
one  or  two  are  put  away 
behind  invisible  sliding 
doors  in  the  wall,  or  in  the 
many  compartments  of  a 
closed  cabinet  and  taken 
out  only  for  those  who  may 
ap]>reciate. 

The  interior  illustrated, 
one  of  many  in  a  house  at 
Tuxedo  Park  recently  dec- 
orated by  a  Japanese  firm, 
well  known  for  its  taste, 
the  simplicity  and  adequac)' 
of  the  treatment  is  worthy 
of  serious  study.  The  wood- 
work, simple  and  free  of 
meaningless  mouldings,  is  of 
natural   mahogany.     The 


walls  are  of  a  curious  neutral 
tint,  somewhere  in  a  chro- 
matic \alue  between  gray 
and  tan,  while  the  i)anels  of 
the  ceiling  are  again  in  a 
neutral  between  green  and 
tan,  painted  with  dull  brown 
jjatterns.  The  walls  arc  deli- 
cately decorated,  and  the 
doors  do  not  disturb  the 
luiet  harmony  of  the  room, 
icing  treated  in  a  manner 
imilar  to  the  walls,  and  in 
the  same  colorings. 

Such  interiors  make  the 
instant  impression  that  is 
felt  at  the  sight  of  an\-  work 
of  art.  Here  is  the  tangible 
evidence  of  the  hand  of  a 
,  iv  master-decorator — and  who 
^    ^"""  in  the  historj' of  the  civilized 

world  ha\'e  pro\-ed  them- 
selves in  any  measure  equal  to  the  Jajianese  in 
this  art? 

Everj-thing  the  Japanese  touches  he  beautifies 
— in  no  case  has  his  handiwork  been  superficial, 
vulgar  or  stupid — and  in  these  three  detrimental 
particulars  many  other  schools  ha\'e  been  con- 
spicuous. And  that  all  things  Japanese  have 
this  quality  of  refined  and  delicate  beauty  is 
traceable  not  to  any  studied  effort  on  the  part  of 


DESIGNED   BY 
S.    MORI 


TJie  House  Beautiful  of  yapan 


Courtesy  of  Yamanaka  is*  Company 

A  JAPANESE   INTERIOR   IN    A   HOUSE   AT   TUXEDO   PARK, 

the  Japanese,  but  to  the  fact  that  he  comes  of  a 
race  of  artists,  whose  ideals  for  thousands  of  years 
back  have  been  ideals  of  beauty.  Physically  he 
lives  in  a  beautiful  countr\',  a  countrj'  aboundingly 
picturesque  in  its  conformation,  its  flora,  its 
costumes  and  its  customs.  .\rt  in  all  things  is  so 
inseparably  a  part  of  the  people  that  neither  can 
be  understood  without  the  other. 

Having,  with  a  superficiality  which  brevity  may 
pardon,  pointed  out  certain  salient  characteristics 
of  the  Japanese  idea  of  interior  decoration,  we 
find  that  the  principles  of  simplicity  in  the 
interior  are  reversed  in  the  garden,  and  that 
if  any  principle  is  followed,  it  is  complexity. 
More  accurately  stated,  the  Japanese  idea  of 
a  garden,  as  opposed  to  that  of  most  of  the 
great  Italian  and  English  garden  builders,  is  that 
the  garden  should  be  a  place  of  pleasant  suqjrises. 
It  must  not  be  laid  out  by  diagram,  with  obvious 
"axes"  and  "centres,'"  with  formal  planting  and 
the  like.  The  Japanese  garden  abounds  in  quaint 
turnings  and  une.xpected  little  bridges  over  pools 
of  aquatic  plants.  Here  and  there  are  stone 
lanterns,  miniature  rock-gardens  and  ri\ulet5. 


N.  V.  DESIGNED    BY   S.    MORI 

A  Japanese  wTiter,  who  is  by  way  of  being  an 
authority  on  the  matter,  says:  "In  the  western 
garden  one  walks,  for  that  seems  to  be  the  primary 
purpose  of  its  construction;  but  the  Japanese 
garden  is  planned  to  be  looked  at,  and  as  a  con- 
sequence, the  Japanese  house,  even  upon  the 
tiniest  plot  of  ground,  has  a  garden.  Attached  to 
the  dwellings  in  the  crowded  cities,  such  as  Tokio 
or  Osaka,  you  may  even  see  gardens  six  feet  by 
three;  and  even  in  such  a  bit  of  a  garden  will  be  a 
mountain  covered  with  woods,  a  lake  with  an 
island  and  a  tiny  bridge,  a  waterfall,  and  perhaps 
an  arbor  and  artistic  lanterns.  In  the  construction 
of  such  gardens  the  dwellers  in  the  crowded  cities 
seek  to  satisfy  their  longing  for  nature  by  looking 
at  a  landscape  which  appeals  to  them.  They 
consider  it  as  one  considers  a  miniature  by  Isabey, 
and  are  wonderfully  proud  of  it." 

.\nd  here,  as  in  most  things  Japanese,  is  an 
admirable  piece  of  general  philosophy  of  life, 
illustrating  not  only  a  theory  of  laying  out  gar- 
dens, but  of  deri\'ing  a  maximum  of  pleasure 
from  a  minimum  source. 

C.  M.  P. 


The  Miniatuyes  of  Heloise  Guilloit  Redfield 


T 


HE    MINIATURES    OF 
GUILLOU   REDFIELD 


HELOISE 


An  interesting  example  of  the  trend 
of  modern  study  of  painting  is  seen  in 
the  work  of  Heloise  Guillou  Redfield,  exhibited 
recently  at  the  Copley  Gallery  in  Boston.  These 
miniatures  are  remarkable  for  their  "paint 
quality"  and  a  carrying  force  equal  to  that  of 
life-size  painting.  It  is  interesting  to  trace  the 
influences  which  have  produced  this  unusual 
development. 

The  art  of  miniature  painting  has  departed 
from  the  traditions  which  made  it  what  it  was 
in  the  eighteenth  century  when  the  masters  of  that 
time  set  us  a  very  high  example  in  what  was, 
definitely  speaking,  "water-color  drawing."  In 
later  times  we  have  seen  a  great  deal  of  thin 
color,  uncertain  values,  and  hesitancy  between 
painting  and  water-color  drawing.  Miss  Red- 
field  has  developed  a  form  of  expression  which  is 
really  painting  although  the  medium  is  water- 
color  and  the  scale  miniature. 

The  training  of  this  artist  has  been  broad  and 
varied  in  the  painting  academies  of  America  and 
Europe.  The  influence  of  no  modern  teacher 
predominates  but  an  appreciation  of  the  old  mas- 


MINIATURE   PORTRAIT 


BY   HELOISE   G.    REDFIELD 


MINIATURE   PORTRAIT        BY   HELOISE    O.    REDFIELD 

ters  such  as  Holbein,  and  the  later  English  and 
French  schools  has  made  the  years  spent  in 
Europe  the  period  of  greatest  growth  as  to  taste — 
that  which  is  rarest  of  all  qualities  in  modern 
painting  but  which  is  very  nearly  the  raison 
d'etre  of  art.  Under  William  Chase  and  Cecelia 
Beaux  at  the  Pennsylvania  Academy  of  the  Fine 
Arts  she  profited  by  the  wholesome  influence 
Hals  and  Velasquez  are  still  handing  down  to  us, 
later  in  Paris  coming  in  contact  with  Blanche, 
Cottet,  Desvaliere  and  Delecluse.  .■X  few  months 
only  were  devoted  to  working  under  mmiature 
painters  in  order  to  learn  the  technical  matters  of 
the  medium. 

But  Miss  Redfield  is  more  especially  an  intel- 
lectual painter  using  much  calculation  and  scienti- 
fic analysis  in  order  to  understand  the  phenomena 
of  beauty  and  our  means  of  expressing  it  in 
plastic  form.  Her  work  shows  that  she  has  a 
strong  mental  conception  at  the  outset,  virile 
enough  to  bend  the  means  of  expression  to  ser\-e 
the  artist's  will.  Her  miniatures  are  perfect 
l)ortraits  in  little,  showing  all  the  qualities  of 
composition  and  handling  of  accessories  that  one 
demands  in  a  large  portrait,  the  size  of  the  work 
in  no  way  limiting  beauty  of  design  or  character- 
istic posing  of  the  sitter.  This  breadth  of  con- 
ception and  paint  tonality  mark  the  ]>osition  of 
this  artist  as  unique  in  the  art  progress  of  the 
times. 


Some  Recent  Books 


SDMK  KIXKNT  BOOKS 
I  Epochs  of  Chinese  and  Japanese 
Art:  An  Outline  Hist  on-  of  East  Asiatic 
Design.  By  Ernest  FraTicisco  Fenol- 
losa,  formerly  Professor  of  Philosophy  in  the  Im- 
perial University  of  Tokio,  Commissioner  of  Fine 
Arts  for  Japan,  etc.  With  184  full-page  illustra- 
tions in  colors  and  black-and-white.  Two  vol- 
umes. 4to.  Pages  204  and  212.  (New  York: 
Frederick  .A.  Stokes  Company.)     Si 0.00  net. 

The  i)urpose  of  this  book  is  to  contribute  first- 
hand material  toward  a 
real  history-  of  East  Asi- 
atic art  in  an  interesting 
way  that  may  appeal  not 
only  to  scholars,  but  to 
art  collectors,  general 
readers  on  Oriental  to])- 
ics  and  travelers  in  Asia. 
Its  treatment  of  the  sub- 
ject is  no\el  in  several  re- 
spects. Heretofore  most 
books  on  Jajianese  Art 
have  dealt  rather  with 
the  technique  of  indus- 
tries than  with  the  es- 
thetic motive  in  schools 
of  design,  thus  producing 
a  false  classification  by 
materials  instead  of  by 
creative  periods.  This 
book  conceives  of  the  art 
of  each  epoch  as  a  pecu- 
liar beauty  of  line,  spac- 
ing and  color  which  could 

have  been  produced  at  no  -Enochs ../  ch,7,fu-  and  japam-s 
other  time,  and  which  thk  \vateki-.\i.l  of  yoro 
l)ermeates  all  the  indus- 

tr\'  of  its  day.  This  painting  and  sculpture,  in- 
stead of  being  relegated  to  separate  subordinate 
chapters,  are  showTi  to  ha\e  created  at  each  epoch 
a  great  national  school  of  design  that  uiiderlay  the 
whole  round  of  the  industrial  arts. 

.\gain,  the  writer  endea\ors  to  break  down  the 
old  fallacy  of  regarding  Chinese  ci\ilization  as 
standing  for  thousands  of  years  at  a  dead  level, 
by  ojienly  exhibiting  the  special  en\'ironing  culture 
and  the  special  structural  beauties  which  have 
rendered  the  art  of  each  period  unique. 

The  treatment  of  Chinese  and  Japanese  art 
together,  as  of  a  single  esthetic  movement,  is  a 
third  innovation.  It  is  shown  that  not  only  were 
they,  as  wholes,  almost  as  closely  inter-rela^ed  as 


Greek  art  and  Roman,  but  that  the  e\er-varying 
phases  interlock  into  a  sort  of  mosaic  pattern,  or, 
rather,  unfold  in  a  single  dramatic  movement. 

Mr.  Fenollosa  has  had  unique  opportunities  for 
the  study  of  Far  Eastern  art.  These  opportuni- 
ties came  in  a  most  interesting  transitional  period. 
The  strongholds  of  the  great  feudal  lords,  or 
'■  Daimyo,"  were  being  broken  up  and  their  ances- 
tral treasures  scattered.  In  Boston  he  had 
studied  art  as  a  philosopher,  and  had  also  at- 
temjjted  the  practice  of  it.  In  Japan  he  was 
looked  upon  as  an  antiquarian,  an  authority,  and 
before  many  years  was 
appointed  a  Japanese 
commissioner  for  re- 
search, administration 
and  art  education. 

The  Heritage  of  Hi- 
roshige:  a  Glimpse  of 
Japanese  Landscape  Art. 
By  Dora  Amsden,  with 
the  assistance  of  John 
Stewart  Happer.  Illus- 
trated with  prints  from 
the  Happer  Collection. 
8  v  o .  (San  Francisco : 
Paul  Elder  &  Co.)  $2.25 
net. 

Hiroshige  has  been 
termed  the  greatest  in- 
terpreter of  nature  in  all 
her  moods,  and  through 
his  master  art  his  mes- 
sage appeals  directly  to 
the  Occident  as  to  the 
Orient.  No  translation 
is  needed  to  appreciate 
his  beautiful  color  prints, 
for  he  here  speaks  a  universal  tongue.  In  Mrs. 
Amsden's  charming  volume  there  is  a  general  sur- 
vey of  Japanese  art  which  deals  successively  with 
its  earliest  expressions,  the  emergence  of  the  rival 
schools  of  Tosa  and  Kano,  and  with  the  influence 
that  led  to  color  printing.  This  is  followed  by  a 
consideration  of  the  work  of  the  great  master, 
Hiroshige,  and  (with  the  collaboration  of  Mr.  J.  S. 
Happer,  the  well-known  English  connoisseur  and 
collector  of  Japanese  prints)  by  the  presentation  of 
an  interesting  contribution  to  our  knowledge  con- 
cerning one  of  the  most  distinctive  artists  of 
Japan — namely,  the  seal-dating  of  the  Hiroshige 
prints  by  cycle-ciphers  discovered  by  Mr.  Hajiper 
and  confirmed  by  the  connoisseurs. 


BY    UOKl  SAI 


Some  Recent  Books 


The  illustrations  in  the  present  volume  are 
exquisite  reproductions  of  rare  prints  belonging  to 
the  Happer  and  Amsden  collections  and  are  iypi- 
cal  examples  of  the  versatile  master's  art.  An 
appendix  contains  facsimiles  of  Hiroshige  signa- 
tures, seals  and  marks  (including  the  cipher  char- 
acters referred  to  in  the  text),  facsimiles  of  other 
artists'  signatures  and  a  bibliographj'  of  important 
books  dealing  with  the  subject  of  Japanese  art. 

The  t}pographical  scheme  is  striking  and  most 
attractive  and,  together  with  the  unique  but 
tasteful  binding,  produces  a  characteristic  effect 
quite  appropriate  to  the  subject. 

H.\RRIET  HosMER :  Letters  and  Memories.  Ed- 
ited by  Cornelia  Carr.  With  thirty-one  illustra- 
tions. 8vo.  386  pages.  (New  York:  ^Moffatt, 
Yard  &  Company.)    §3.00  net. 

This  volume  consists  of  a  col- 
lection of  papers  arranged  in 
such  manner  as  to  show  how  an 
earnest  and  courageous  young 
artist  was  led  to  honor  and 
success. 

Miss  Hosmer  was  an  Amer- 
ican sculptress,  well  known  in 
Rome,  where  she  lived  a  great 
many  years.  She  was  a  friend 
of  the  Brownings,  William  Wet- 
more  Story,  John  Gibson  and 
many  others  of  their  standing. 
From  her  letters  an  outline  of 
her  busy  and  happy  career  will 
be  gleaned.  To  no  one  did  she 
WTite  so  freely  and  consecu- 
tively of  her  work  and  her  life 
abroad  as  to  her  early  friend, 
Mr.  Wayman  Crow,  to  whom 
the  majority  of  the  letters  in 
this  present  volume  are  ad- 
dressed. A  few  others,  to  and 
from  friends,  have  been  added 
by  way  of  giving  a  little  more 
fully  the  stor>-  of  a  life  that 
never  seemed  so  vi\-id  after  she 
lost  the  sympathy,  almost  the 
inspiration,  of  him  she  called 
' '  The  Pater. ' '  In  these  letters 
to  him  she  quotes  words  of 
praise  and  cheer  which  were 
given  to  her,  not  from  any 
moti\"e  of  vanity,  but  with  the 
desire  of  justifying  his  belief  in 
her  power  of  achievement.  The 


merry  joke  and  the  familiar  doggerel  which  were 
characteristic  of  her  have  been  left  unpruned  from 
these  letters,  for  badinage  and  rhyme  entered  so 
freely  into  her  conversation  that  it  seems  only 
natural  they  should  form  a  part  of  her  writings. 
Prominence  is  given  to  Old  World  hosts,  hostesses 
and  homes,  because  much  of  her  time  was  passed 
among  them,  not  onlj'  in  enjoying  the  cordial  hos- 
pitality of  the  owners,  but  in  studying  their  match- 
less treasures  of  art.  Forsaking  Italy,  with  its 
changing  life  and  scene,  she  spent  the  later  years 
of  her  Life  partly  in  England  and  partly  in  America. 
She  was  never  idle.  Her  busy  brain  was  unceas- 
ingly at  work  on  fa\^orite  designs.  The  end  came 
unexpectedly.  After  a  brief  Ulness,  with  mind 
undimmed,  on  the  21st  of  February,  1908,  she 
passed  into  the  Higher  Life. 


"Epochs  of  Ck 
BRIDGE    IN    R.\I 


An,"  /•".   1    Slnkis  o"  Co. 


BY    HIROSHIOE 
XXI 


"The  Heritage  of  liiroshige" 
Paul  Elder  &■  Company 


"The  Heritage  of  Hiroshige" 
Paul  Elder  &•  Company 


THE  SNOW  GORGE 


THE  MOONLIT  SARU  HASI 


In  the  Galleries 


I 


N  THE  GALLERIES 
BY  GUY  PENE   DU   BOIS 


Art  dealers  see  in  the  people,  and  particularly 
in  the  picture  buying  part  of  the  people,  a 
flurry  of  excitement,  fostered  by  uncertainty,  which 
will  keep  them  from  the  galleries  until  the  presiden- 
tial election  shall  have  been  decided.  They  predict, 
in  fact,  no  art  moves  of  importance  until  the  new  year. 

The  schedule  of  sales  at  the  American  Art  Galleries, 
for  example,  at  the  present  wTiting,  has  not  even  been 
made  out.  Meanwhile  the  old  entrance  to  the  galleries 
is  to  be  converted  into  a  flower  stand  possibly,  and  a 
new  entrance  which  cuts  into  the  old  Hotel  Bartholdi 
is  xmder  the  process  of  construction.  It  is  to  be  of 
marble.  The  upper  galleries  are  to  be  reached  now 
by  elevators.  The  preserves  of  the  old  hotel,  as  in 
the  instance  of  the  entrance,  have  jdelded  an  addi- 
tional gallerj'.  This  will  be  used,  exclusively,  for  the 
display  and  sale  of  books,  prints  and  manuscripts. 

The  first  sign  of  activity  in  these  galleries  will  come 
in  December  with  the  exhibition  of  the  work  of  Scandi- 
navian painters  arranged  by  Mr.  Christian  Brinton. 
This  show,  like  the  one  of  the  American  Painters  and 


Courtesy  o/  The  Eh. 
ONE    OF   TWO 
'A      PANELS 


BY   THE    M.\STER   OF 
FRANKFORT 


.Courtesy  of  "  The  Print-Collector' 


THE  END  OF  THE  DAY 
GATUN  LOCK 


BY  JOSEPH  PENNELL 


Sculptors  Society  to  be  held  in  the  Sixty- 
ninth  Regiment  Armor}'  in  February, 
promises  to  be  one  of  the  events  of  the 
season,  which  will  be  officially  opened, 
as  is  the  custom,  with  the  e.xhibition  of 
the  New  York  Water  Color  Club. 

Elsewhere  the  signs  of  awakening  are 
becoming  more  pronounced.  All  the 
steamers  now  arriving  unload  a  special 
shipment  of  old  masters  and  antiques. 
The  Custom  Stores  are  crowded  to  their 
capacity.  Dealers,  as  usual  at  this  time 
of  year,  are  lamenting  conditions  which 
make  delay  of  the  arrival  of  pictures  in 
their  galleries  inevitable.  Some  say  that 
the  amount  of  art  importations  has  broken 
all  records  since  the  removal  of  duty  on 
old  works  of  art. 

Lithographs  and  etchings  of  the  Panama 
Canal,  by  Joseph  Pennell,  were  shown  at 
Keppel's  from  September  19th  to  October 
12th.  The  biographer  of  Whistler  has 
WTitten  an  introduction  to  the  catalogue 


/;/  the  Galleries 


1 

% 

■ 

^V'    \k 

t 

Courtfsy  of  The  Mticbelh  Gallery 
THE    SONG 


BY   CHARLE 


of  it  in  which  he  describes  his  trip  to  the  Isthmus 
and  gives  hints  that  should  help  to  an  intimate 
understanding  of  its  fruits. 

Mr.  Penneirs  pencil  is  tremendously  able,  there 
are  few,  if  any,  subtle  intricacies  that  may  make 
it  falter.  In  ever>-  detail  his  prints  have  conclusive 
logic  and,  considering  the  amount  of  information 
they  record,  are  handled  with  amazing  simplicity. 
He  has  the  architect's  perception  and  the 
draughtsman's  infallible  accuracy. 

The  Macbeth  Galler\-  will  open  November 
5th  with  an  exhibition  of  the  work  of  Ballard 
Williams,  who  more  than  many  of  our  painters 
knows  the  value  of  consistency.  This  show  will 
be  followed  in  the  same  gallery^  on  November 
19th.  by  a  gathering  of  thirty  pictures  of  western 
scenes  representing  the  work  of,  among  others, 
De  Witt  Parshall,  Eliot  Daingerfield,  Thomas 
Moran  and  Potthast. 

A  COLLECTION  of  etchings  by  Frank  Brang^\-}Ti, 
in  it  many  of  recent  date,  will  be  shown  until 
November  2d  at  the  Kraushaar  Gallery-.  It 
includes  the  Cannon  Street  Railway  Bridge,  the 


well  known  Old  Uammer- 
smitlt,  The  Mosque  at  Con- 
stantinople, and  The  Monu- 
ment. Brangwyn's  state- 
ments have  perha]is  an 
excess  of  force.  The  darks 
a  shade  too  dark,  the  lights 
a  little  too  light.  He  shouts 
sometimes,  as  in  the 
Mosque  plate,  when  he 
might  be  expected  to  whis- 
per. His  sense  of  the 
dramatic  is  tremendous 
and  of  the  decorative  irre- 
proachable. Mr.  Krau- 
shaar has  brought  over 
from  Europe,  recently, 
Fantin  Latour's  Queen  of 
Xighl  and  his  Chess  Players. 
Both  are  delightful.  The 
latter  had  been  in  the  j)os- 
session  of  the  gifted  French- 
man's wife  since  his  death. 
It  has  never  before  been 
publicly  shown. 


Mr.  N.  E.  Montross 
opened  his  galleries  to  the 
public  October  loth  with 

an   exhibition  of  the  work  of  the  Camera  Men. 

This  is  followed  by  the  Bahr  collection  of  Chinese 

antiquities. 

Dltch,  Flemish,  Spanish  and  Italian  primi- 
tives are  to  be  seen  at  the  Kleinberger  establish- 
ment. The  main  gallerv'  contains  Van  Goyen's 
The  Old  Chateau,  a  masteqMece  in  subdued  color; 
\'an  Dyck's  Donna  Polyxena  Espinola  and  the 
Woman  Taken  in  Adultery,  by  Rubens. 

Theron  R.  Blakeslee  has  acquired  from 
Charles  \\'ertheimer,  of  London,  a  ver>'  wonder- 
ful full  length  portrait  by  Sir  Joshua  Reynolds. 
It  is  of  Lad)-  .\nne  Stanhope  who  was  married  to 
Sir  William  Stanhope,  the  second  son  of  the  third 
Earl  of  Chesterfield  who  so  strenuously  upheld 
the  might  of  good  manners.  The  portrait  was 
painted  in  1765-66.  The  Earl  of  Mexborough 
owned  it  before  Wertheimer.  It  was  exhibited 
at  the  Grafton  Galler>'  in  1883  and  at  the  Royal 
Academy,  Berlin,  in  1908.  C.  Corbutt,  S.  W. 
Reynolds  and  James  Watson,  in  1767,  have 
engraved  it. 

The  Lady,  wearing  a  pink  gown  which  falls  in 


HAWTHORNE 


/;/  the  Galleries 


folds  of  almost  classic 
grace,  is  shown  standing 
beside  a  table  on  which 
are  a  kneeling  Venus  and 
the  head  of  a  boy  in  marble. 
Books  and  portfolios  are 
strewn  incongruously  at 
her  feet.  Her  left  hand 
holds  a  green  scroll,  her 
right  a  pencU.  The  waist 
is  encircled  by  a  blue  green 
sash.  All  of  the  great  Eng- 
lishman's refined  and  ro- 
mantic color  are  here;  his 
idealistic  version  of  reality ; 
his  love  of  the  decorati\-e 
and  the  dignified. 

A  PAIR  of  companion 
pictures  by  the  Master  of 
Frankfort  are  among  the 
prizes  brought  over  from 
the  other  side  of  the  water, 
for  the  coming  season,  at 
the  Ehrich  Gallery. 

The  purchase,  by  Moul- 
ton  &  Ricketts,  of  the 
American  interests  of 
Arthur  Tooth  &  Sons,  is 
one  of  the  important  busi- 
ness changes  of  the  season 
in  New  York.  The  house 
of  Moulton  &  Ricketts,  for 
thirty  years  identified  witli 
the  art  de\'elopment  of  the 
Middle  West,  has,  during 
this  period  conducted  its 
present  establishment  in 
Chicago,  the  present  loca- 
tion being  73  East  \'an 
Buren  Street.  The  influ- 
ence and  the  clientele,  how- 
ever, has  extended  to  most 
of  the  important  centers  of 

the  West.  Some  fi^'e  years  ago  the  firm  erected 
in  Milwaukee  a  building  of  its  own,  one  of  the 
most  beautiful  and  complete  of  the  kind  in  the 
countrj',  and  one  year  ago,  to  accommodate  its 
rapidly  increasing  eastern  business,  opened  attrac- 
tive galleries  at  12  West  45th  Street,  New  York. 

The  New  York  galleries  of  Moulton  &  Ricketts 
have  now  been  transferred  to  the  premises  pre- 
viously occupied  by  Arthur  Tooth  &  Sons  at 


CourUsy  oj  Theron  R.  Blakeslee 
LADY   ANNE   ST.\XHOPE 


BY    SIR   JOSHl  A    REYNOLDS 


537  Fifth  Avenue  and  will  be  in  charge  of  Mr. 
Arthur  B.  Hughes,  who  for  a  number  of  j-ears 
was  connected  with  that  firm. 

While  Arthur  Tooth  &  Sons  nominally  retire, 
after  a  long  business  career  in  the  United  States, 
their  influence  will  in  nowise  be  withdrawn  from 
this  country-,  inasmuch  as  there  will  e.xist  close 
working  relations  between  the  two  firms. 

Mr.  R.  R.  Ricketts,  who  is  the  active  head  of 


///  the  Galleries 


the  firm  of  Moultun  &  Rickctts.  has  lonsj  been 
identified  with  the  art  business  of  this  country, 
and  Messrs.  Tooth  &  Sons  have  recognized  his 
attainments  and  integrity  in  placing  in  his  hands 
the  future  of  what  has  been  a  long  and  honorable 
business  career. 

Moulton  &  Ricketts  will  in  the  future  con- 
tinue to  pay  particular  attention  to  e.xploitation 
of  American  art,  the  masters  of  Europe  past  and 
present  will  also  be  represented  by  the  best  obtain- 
able examples.  Mr.  Ricketts  has  been  instru- 
mental in  adding  many  important  old  world 
masterpieces  to  American  collections,  and  under 
the  present  regime  the  European  facilities  of  the 
firm  will  be  greatly  increased. 

The  business  organization  of  Arthur  Tooth  & 
Sons  will  be  retained  intact  by  Moulton  & 
Ricketts,  including  Mr.  Herbert  C.  Labey  and 


Mr.  A.  C.  Edwards,  both  of  whom  are  well  and 
favorably   known   in   art   circles. 

The  recognition  of  public  desire  to  view  that 
which  has  been  accomplished  by  those  workers  in 
America  who  have  chosen  photography  as  their 
medium  of  art  expression,  has  induced  the  Mon- 
tross  Art  Galleries  to  assemble  an  exhibition  at 
their  galleries,  550  Fifth  Avenue,  New  York  City, 
from  October  10  to  31,  inclusive. 

The  exhibition  will  afford  an  opportunity  for 
seeing  in  New  York  City  a  collection  of  photo- 
graphic prints  by  such  workers  of  international 
distinction  as  William  B.  Dyer,  Dr.  Arnold 
Genthe,  Mrs.  Gertrude  Kaesebier,  George  H. 
Seeley  and  A.  Thibaudeau,  together  with  those 
who,  though  less  known  to  the  public,  have  con- 
tributed distinguishing  work. 


CourUsy  of  C.  W.  Krausha 
THE   CRUCIFIXION 
XXVI 


BY   FR.\XK   BRANGWVN,    A.R.A. 


'MATINS    ON     CHRISTMAS     DAY." 

FROM  THE  PAINTING  BY   ANDERS    ZORN. 


INTERNATIONAL 
STUDIO 


VOL.  XLVIIl.       No.  190 


Copurigfil,  1912,  h  John  Lane  Company 


DECEMBER.  1912 


G 


.\RI  MELCHERS— PAINTER 
BY  J.  NILSEN  LAURVIK 


Of  the  relatiN-el}'  few  contemporary 
American  painters  whose  work  is  known 
abroad  none  has  won  greater  honors  than  Gari 
Melchers,  whose  canvases  are  vital  contributions 
to  that  refreshing  naturahsm  which  swept  out  and 
forever  disestabUshed  the  old  studio  conventions. 
Bom  in  America  of  foreign  parents,  this  aUen 
note  in  his  make-up  has  been  further  fostered  by 
the  training  received  in  French  and  German 
schools,  until  today  Gari  Melchers  expresses  in  a 
high  degree  that  cosmopolitanism  which  is  one  of 
the  characteristic  marks  of  the  modem  American. 
And  yet  there  is  something  about  his  work  that 
savors  as  strongly  of  Germany  as  of  America. 
The  one  seems  to  have  confirmed  and  comple- 
mented the  other,  producing  a  rugged  naturalism, 
tempered  and  revi\-ified  by  latter-day  French  art, 
whose  teachings  he  has  absorbed  and  made  his 
own  in  a  manner  con\dncingly  personal.  This  has 
been  accomplished  without  any  straining  after 
efifect,  without  any  attempt  to  shock  or  startle  the 
casual  eye  of  the  world  by  tricks  of  technique  or 
eccentricities  of  style. 

His  work  is  distinguished  by  a  straightforward 
frankness  that  abhors  the  pretty  banalities  of  the 
conventional  studio  picture,  and  though  a  deft 
and  quick  workman  he  is  not  cursed  with  that 
ready  facility  which  turns  out  a  masterpiece  ever}- 
morning  before  breakfast.  A  seeker  after  charac- 
ter, he  can  be  as  deliberate  as  an  old  master  and 
no  one  deplores  the  haste  and  hurry  of  America 
more  than  he.  Few  have  a  more  deep-rooted 
regard  for  their  art  than  he,  and  no  consideration 
of  expediency  can  swerve  him  in  the  pursuit  of  his 
one  ambition — the  creation  of  a  good  work  of  art. 

Everj'  canvas  from  his  sincere  brush  is  an 
affirmation  of  his  dictum,  pronounced  some  years 
ago,  that:  "Nothing  counts  in  this  world  with  the 
painter  but  a  good  picture;  and  no  matter  how 


good  a  one  you  do,  you  ha\e  only  to  go  to  the  gal- 
leries to  see  how  many  better  ones  have  been 
done."  In  this  spirit  of  never-flagging  endeavor 
have  come  into  being  some  of  the  most  virile  and 
stimulating  pictures  produced  by  an  American- 
born  painter. 

His  themes  are  unaffectedly  simple — goat-herds, 
shepherdesses,  the  clear-eyed  peasantry-  and  the 
\\-ind-blown  sailors  of  Holland.  .Although  he  has 
made  occasional  excursions  into  other  fields,  he 
has  never  wholly  forsaken  the  scenes  of  his  earliest 
inspiration.  Year  after  year  he  is  drawn  back  to 
the  little  studio  at  Egmond-aan-Zee,  where  the 
homely  picturesqueness  of  the  natives  still  furnishes 
him  with  subject  matter,  as  in  the  days  back  in 
i886,  where  he  made  his  real  debut  with  The 
Sermon,  in  which  is  truthfully  depicted  an  episode 
out  of  contemporary  Dutch  life. 

The  exhibition  of  this  picture  in  the  Salon  of  the 
year  marks  the  advent  of  the  real  man,  who  was 
to  develop  into  the  personality  we  know  today. 
Although  he  had  made  his  initial  entrance  into  the 
world  of  art  some  four  years  earlier  with  a  picture 
called  The  Teller,  which  was  followed  the  next  year 
with  two  pictures  entitled  .1  Woman  of  Altina  and 
Pater  Xosler,  both  well  hung  and  well  received,  it 
was  not  until  the  appearance  of  The  Sermon  that 
his  art  created  a  distinct  impression.  During  the 
two  or  three  inter\ening  years  he  had  been  occu- 
pied with  various  tentatixe  ex|)eriments  that 
resulted  in  nothing  notable. 

He  did  not  altogether  "find  himself"  until  that 
summer  in  1884  when  he  made  a  casual  visit  to 
Holland  after  a  brief  visit  to  his  home  in  America. 
The  discovery  of  these  simple,  unspoiled  people 
put  him  on  the  track  of  his  own  esthetic  evolution 
and  from  that  moment  dates  his  life  as  a  produc- 
tive artist.  Here  he  found  something  that 
aroused  slumbering  traits  of  character,  quite  as 
unsuspected  by  himself  as  by  his  colleagues  anrl 
fellow-pupils,  among  whom  were  Kampf.  X'ogel 
and  Hans  Hermann. 


Crari  Melcliers— Painter 


HRABACONNE 


BY   fiARl    MKIAHKKb 


The  picture  that  was  to  mark  this  mile  post  in 
his  career  represented  the  bleak  interior  of  a  little 
Lutheran  church,  filled  with  its  worshippers,  in- 
tently listening  to  the  sermon  being  delivered  by 
the  preacher,  who  is  not  visible.  The  women  are 
shown  sitting  apart  in  the  body  of  the  church, 
while  the  men  are  seated  along  in  the  high-backed 


liluc  hi-i\ches  against  a  whitewaslu'd  wall  that 
acfcntuales  Ihc  stark  austerity  of  this  biirc  in- 
terior, as  well  as  the  grim  immobility  of  the 
worshippers. 

While  it  is  not  a  profound  psycliological  study 
of  facial  ex]iression  it  none  the  less  rexeals  a  depth 
and  sincerity  of  observation  that  is  quite  unusual 
in  the  first  pictures  of  a  iiouvcau.  It  is  remark- 
able chiefly  for  its  great  simplicity,  its  good 
ilraughtsmanship  and  its  naturalistic,  unhack- 
neyed treatment  of  a  chapter  out  of  the  inner  life 
of  the  ])eople.  However,  the  fact  of  his  having 
been  drawn  to  this  sim])le,  unaffected  life  is  in 
itself  noteworthy  and  signilicant  of  the  man's 
inherent  simplicity  of  character,  to  which  he  has 
remained  true  from  the  moment  he  found  himself. 
This  canvas  won  him  an  honorable  mention. 

It  was  quickly  followed  by  The  Communion  and 
The  Pilots,  which,  together  with  T/ic  Sermon,  were 
awarded  one  of  the  two  medals  of  honor  given  in 
the  American  section  of  fine  arts  in  the  Inter- 
national E.xhibition  of  1889.  This  honor  he 
shared  with  Sargent,  to  whom  the  other  medal  was 
awarded.  These  pictures  were  painted  with  an 
almost  brutal  directness  that  conveyed  a  strong 
impression  of  elemental  life. 

The  people  in  these  can\-ases  are  no  anemic 
abstractions;  they  have  the  maximum  number  of 
red  corpuscles  in  their  even-flowing  blood.  They 
are  distinguished  by  a  sane  forthrightness  of  out- 
look and  execution  that  holds  on  to  the  real  and 
lets  the  sentimental  go.  To  me  these  pictures 
constitute  a  truer  inteqiretation  of  the  every-day, 
actual  life  of  Holland  than  anything  done  by 
Israels,  whose  representations  of  Dutch  life  are 
slurred  over  with  a  romantic  and  ])oetic  glatnour 
such  as  ne\'er  was  on  dune  or  sea. 

I  recall  vividly  the  strong  impression  of  actual- 
il\'  made  upon  me  by  Melchers'  paintings  when  I 
lirst  saw  them  after  several  years'  sojourn  in 
Flanders.  .And  I  remember  how,  in  the  first  flush 
of  enthusiasm,  I  hailed  him  as  a  new  Dutch 
jjaintcr  who  had  succeeded  at  last  in  interpreting 
the  s|)irit  as  well  as  the  outward  aspect  of  his 
people.  These  peasants  were  painted  with  a 
genuine  appreciation  of  their  life  and  its  narrow 
round  of  interests. 

The  name  as  well  as  the  point  of  \iew  revealed 
in  these  canvases  led  me  to  the  easy  conclusion 
that  this  must  surely  be  the  work  of  a  Dutchman, 
nor  was  I  set  straight  by  the  Americans  whom  I 
then  knew;  none  of  them  seemed  to  be  aware  of 
the  fact  that  he  was  a  compatriot;  all  regarded  him 
at  that  time  as  either  Dutch  or  German,  and  I 


Copyright.  igoS.  by  The  DelroU  Publishins  Co 
Hugo  Reisinger  Colleclion 


THE  SISTERS 

BY  GARI   MELCHERS 


(jari  Melchers — Painter 


have  since  learned  that  this  ignorance  of  his 
nativity  persisted  for  many  years.  It  is  only 
quite  recently  that  any  very  large  number  of  the 
more  cultivated  citizens  of  Detroit  have  come  to 
realize  that  in  Gari  Melchers  they  possess  an 
artist  no  less  renowned  beyond  the  confines  of  his 
own  countPt-  than  the  illustrious  connoisseur.  Mr. 
Freer.  .AH  of  which  is  highly  indicative  of  the 
reticent,  modest  personality  of  this  man  who,  at 
the  age  of  fifty,  has  recei\"cd  about  ever>'  honor 
that  is  of  any  consequence  in  the  world  of  art. 

His  career  is  one  of  those  singular  instances  of 
good  work  getting  its  promjit  reward  without  the 
aid  of  advertising.  There  has  been  a  total  ab- 
sence of  reclame,  and  all  the  noise  and  bluster  that 
even  a  Whistler  found  necessarj*  to  the  proper 
exploitation  of  his  art  has  been  as  foreign  to  Gari 
Melchers  as  he  himself  has  been  to  his  own  coun- 
trymen, who  did  not  awaken  to  the  fact  that  he 
was  an  .American  until  long  after  he  had  won  an 
international  rei>utation.  To  me  this  is  not  the 
least  of  his  charms,  as  a  man  or  as  an  artist. 

The  record  of  his  life  is  almost  monotonous  in 
its  uneventful  placidity.  .At  the  start  he  met  with 
none  of  the  usual  parental  objections,  nor  did  he 
ha\-e  to  endure  a  long,  \vear>'  no\itiate,  and  when 
at  the  age  of  twenty-two  he  sent  in  his  first  canvas 
for  the  inspection  of  the  jury  made  up  of  his 


seniors  he  was  cordially  received.  His  student 
years  were  passed  in  Dusseldorf  and  in  Paris, 
where  he  worked  with  unremitting  ardor  under 
Boulanger  and  Lefebvre.  In  Dusseldorf  he 
studied  under  Von  Gebhardt  without  becoming  a 
Dusseldwarf,  if  I  may  coin  a  word  to  express  the 
myopic  ])oint  of  view  of  the  exponents  of  that 
school. 

From  the  \ery  beginning  of  his  career  he  has 
gone  his  oww  way,  undisturbed  by  fads  and 
fashions  in  art.  Neither  a  reactionary  nor  a  revo- 
lutionar}-,  he  has  remained  unmoved  by  the  clever 
precociousness  of  the  age,  content  in  the  belief 
that  the  really  fine  things  in  art  are  so  by  virtue 
of  kindred  attributes  expressing  themselves  in 
much  the  same  manner  in  diverse  individuals. 
Thus  his  art  is  related  to  the  past  by  strong  bonds 
of  symjiathy  as  well  as  practice,  while  remaining 
essentially  modern  in  outlook  and  treatment. 
His  Poiirail  of  a  Gentleman  has  something  of  the 
dignity  and  simplicity  of  design  and  treatment  of 
a  Velasquez,  while  in  the  decorative  portrait  of 
Mrs.  Melchers  is  expressed  in  terms  of  today  the 
flavor  of  the  best  achieved  by  his  predecessors. 
This  combination  of  modernity  with  a  sincere 
regard  for  the  established  achievements  of  the 
past  is  what  gives  to  the  work  of  Gari  Melchers  its 
abiding  value. 


K 

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ij 

^I^^^A^HH 

il 

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i 

_ 

THl     .  . 
XXX 


BY   GARI    MELCHERS 


THE  MORNING  ROOM 
BY  GARl  MEU  HERS 


Property  of  the  Metropolitan  Museum  of  Art 


THE  MADONNA 

BY  GAR  I  MELCHERS 


Copyright  by  Guri  Mdihtrs 

Copyright  by  The  Detroit  Publishing  Co. 


MOTHER  AND  CHILD 
BY  <".ARI   MKUHKRS 


The  Late  Francis  Davis  Millet 


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1 


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JKi^v^M^iFi^d^ri^ 


MAIL   COACH   OX   THE    PLAINS 
THE   CLEVELAND   POST-OFFICE 


T 


HE     LATE     ERAXCIS     DAVIS 
MILLET— NOTES     ON      THE 
DECORATIVE    PANELS    IN    THE 
CLE\ELAND  POST  OEFICE 
BY  C.  MATLACK  PRICE 


It  is  difficult  lo  write  of  the  art  of  the  late 
Francis  D.  Millet  in  terms  disassociated  from  his 
personality,  for  great  as  was  his  art,  those  who 
knew  him — and  there  are  many — speak  first  of 
the  man.    And  perhaps  it  is  the  greater  tribute. 

It  has  recently  become  the  vogue  to  deer)'  and 
discount  the  utterance  of  laudator)-  remarks  upon 
recently  deceased  celebrities.  "  Dc  mortui  nihil 
nisi  bonum"  seems  to  find  little  favor  with  latter- 
day  critics,  but  in  the  present  case,  either  in 
Millet's  public  or  in  his  private  life,  any  detractor 
must  stand  self-convicted  of  stupidity,  or  ignor- 
ance, or  both.  For  Millet's  life  was  one  of  noble 
actions  and  high  ideals,  and  his  heroic  death, 
among  the  victims  of  the  ill-fated  5.  5.  Titanic. 
was  a  closing  chapter  as  fit  as  it  was  untimely. 

Of  New  England  birth,  in  the  year  1846,  Millet 
completed  a  brilliant  career  at  Harvard,  graduat- 
ing with  the  class  of  1869.  .\t  this  ])eriod  it 
seemed  a  question  whether  the  brush  or  the  pencil 
would  claim  his  ultimate  activities,  for  he  attained 
a  skillful  finish  in  the  wTiting  of  fiction.  As  a 
linguist  he  distinguished  himself  by  writing  a 
translation  of  Tolstoi's  Sebastapol.  In  1877  he 
acted  as  a  war  correspondent  in  the  Russo- 
Turkish  War  of  that  year,  when  the  Czar  had 
occasion  to  decorate  him  for  signal  braverj^  on  the 
battlefield,  and  some  years  later  Millet  was  again 
heard  from  at  the  front  as  a   war   correspond- 


.-l>■■v,■■■.>-^-^^^-^Jv^^■■SM^-^■.^f^^-3^^p^E-J.■s^;^^'j.■^^:^^, 


BY    FRANCIS   I).    MILLET 


ent  to  the  London  Times  in  the  Philippines. 
His  more  pacific  activities  and  interests  were 
legion,  for  he  became  generally  known  as  exery- 
one's  friend — an  active  and  sympathetic  counsel- 
lor, and  a  man  who  never  shirked  any  obligation, 
real  or  fancied,  public  or  private.  His  interest, 
s3-mj)athy  and  insight  endeared  him  to  e\eryone 
with  whom  he  had  occasion  to  work,  and  he  was 
ne\er  weighed  and  found  wanting.  On  the  art 
committee  of  New  York,  and  on  that  of  Washing- 
ton, he  was  an  active  member,  and  felt  it  his  duty 
never  to  miss  a  meeting  if  he  could  possibly  attend 
it.  .\mong  other  similar  activities  we  find  him 
to  ha\e  been  a  trustee  of  the  Metropolitan 
Museum  of  .\rt,  the  incorporator  and  secretary 
of  the  .American  .Vcademy  of  .\rt  in  Rome,  and 
the  organizer  of  the  National  Federation  of  Art 
for  the  American  .Academy  of  .\rts  and  Letters. 
Nor  did  he  consider  any  of  these  offices  nominal. 
He  made  his  personality  and  ambitions  one  with 
the  work  which  he  entered  upon,  and  was  not  only 
an  officer  or  member  of  these  and  many  other 
organizations,  but  an  active  worker  in  their 
interests. 

-Apart  from  these  activities,  which  might  be 
classed  as  associated  with  his  work,  we  find  that 
he  even  had  time  to  take  a  ^•er^•  keen  and  practical 
interest  in  a  tubercular  hospital  founded  by  his 
brother. 

-An  interesting  incident  is  told  which  illustrates 
his  ever-ready  interest  in  attending  to  matters 
of  any  kind  which  had  long  escaped  attention 
because  they  were  "nobody's  business.'' 

Mr.  .Arnold  W.  Brunner,  the  architect,  Mr.  Millet 
and  a  United  States  senator  were  lunching  to- 


The  Late  Francis  Davis  Millet 


CARRYING   MAIL   IN 

NORTH  CHINA 

THE   CLEVELAND   POST-OFFICE 


BY   F.    D.    MILLET 


gether  in  Washington .  The  senator,  knowing  Mr. 
Millet's  nature  and  peculiar  capacity,  casually 
mentioned  the  fact  that  on  a  certain  part  of  a 
certain  street  there  was  a  little  oak  tree,  struggling 
to  grow  under  the  overshadowing  branches  of  a 
larger  tree.  If  it  were  moved,  or  if  the  shadowing 
branches  above  it  were  mo\'ed,  it  might  grow  into 
a  splendid  tree.  Probably  it  was  some  one's  busi- 
ness to  give  this  little  tree  a  chance,  but  it  was 
neglected.  Millet's  note-book  came  out,  the 
exact  locality  of  the  two  trees  was  put  down,  and 
Millet  said,  "I'll  attend  to  that."  It  was  at- 
tended to.  And  so,  where\'er  he  went,  with 
whomever  he  came  in  contact,  no  duty  or  obliga- 
tion was  too  smaU  or  apparently  inconsequential 
for  his  most  earnest  attention — wherein  is  the 
reason  that  he  became  known  as  "everybody's 
friend."  "His  work  was  pleasure,  and  his  play 
was  work  ...  He  made  it  his  business  to 
get  the  best  out  of  everything." 

In  his  art  that  same  capacity  and  love  for  de- 
tail, for  the  "tremendous  trifles"  that  character- 
ized his  daily  actions,  brought  results  in  his  paint- 
ing.    He  was  like  the  late  Edwin  A.  Abbey  in  his 


accuracy  in  the  costumes  and  other  accessories  in 
his  pictures,  and  no  detail  was  too  small  for  his 
most  careful  and  conscientious  study. 

This  is  readily  illustrated  in  his  painting.  Be- 
tween Two  Fires,  which  is  still  a  picture  of  wide 
popularity,  and  one  probably  better  remembered 
and  by  more  people  than  any  other  example  of  his 
w  ork  as  a  painter.  It  showed  a  dour  and  grim- 
\isaged  Puritan,  seated  on  a  wooden  bench  before 
a  table,  while  two  unquestionably  comely  and 
pleasing  lasses,  standing  one  on  either  side,  are 
obA-iously  twitting  him  on  his  unsociability.  The 
delineation  and  expression  of  thinly  concealed 
irritability  on  his  part  and  trivial  badinage  on  the 
girls'  part  is  consummately  rendered,  while  the 


THE    POSTMAN    IN    liNl.LANI)  Fa    K.    I>.    MILLET 

THE   CLEVELAND  POSI-OFFICE 


The  Late  Francis  Davis  Millet 


^"^ 


whole  picture  rings  triu' 
b)'  reason  of  the  jierlei ' 
accuracy  of  ever}-  smalle>; 
detail  of  architecture,  fur- 
niture and  costume. 

-•Mthough  Millet's  signa- 
ture appears  on  many  easil 
pictures,  it  is  hard  to  sa\- 
whether  he  is  better  known 
through  this  or  through  his 
mural  painting.  He  acted 
as  superintendent  of  the 
decorations  of  the  World's 
Fair  in  Chicago  in  iSg2 
Q5,  and  those  who  visited 
the  buildings  will  remem- 
ber his  charming  lunettes 
in  the  loggia  of  the  Liberal 
.\rts  Building,  and  the  dec- 
oration of  the  ceiling  of  the 
New  York  State  Building. 

In  the  Baltimore  Cus- 
toms House  Millet  painte-{i 
a  series  of  decorative  pan- 
els of  various  tjpes  of 
ships,  and  in  the  new 
])ost-office  in  Cleveland  he 
decorated  the  post-mast- 
er's official  suite  with  a 
remarkable  series  of  paint- 
ings illustrative  of  the 
many  vehicles  for  mail 
distribution    over  all   the 

world.  One  is  fortunate  in  being  able  to  illustrate 
a  number  of  these  panels,  of  which  an  analysis  will 
only  bring  out  more  forcibly  the  truth  of  the 
statement  that  Millet  was  a  lo\'er  of  detail  and 
exacting  in  his  accuracy. 

The  last  work  which  he  had  in  hand,  and  which 
was  lost  forever  in  the  sinking  of  the  5.  5.  Titanic, 
consisted  of  a  complete  set  of  working  sketches  for 
the  decoration  of  the  New  Bedford  Public  Librar}- 
— a  set  of  panels  illustrative  of  the  histor\-  and 
de\-elopment  of  the  whale-fisher},-  industr}',  native 
and  characteristic  of  the  town. 

In  the  ])anels  decorating  the  Cleveland  post 
office  Millet  went  into  many  conferences  with  the 
architect.  Arnold  W.  Brunner,  for  the  purpose  of 
evoKing  compositions  which  would  best  conform 
with  the  design  of  the  rooms.  Here  his  capacity 
for  detail  appeared  in  his  conscientious  study  of 
the  design  of  the  ornamental  borders  enframing 
the  various  panels,  while  it  found  its  fullest 
expression  in  the  paintings  themselves. 


THE   ARABIAN    MAIL    CARRIER 
THE  CLE\'ELAND    POST-OFFICE 


liV    F.    I).    MILLET 


His  intention,  in  which  he  succeeded,  was  to 
leave  for  posterity  a  series  of  strictly  accurate  his- 
toric documents  rather  than  a  collection  of  vague 
symbols.  The  express  train,  carrv'ing  fast  mail,  is 
not  merely  a  picture  of  a  train — it  is  a  picture,  one 
might  almost  say  a  portrait,  of  the  famous 
"Twentieth  Century  Limited.  " 

In  England  the  scene  is  laid  in  Stratford-on- 
Avon,  with  Shakespeare's  house  in  the  back- 
ground. The  postman  is  unlocking  a  "pillar- 
box,''  to  take  the  mail.  He  could  be  mistaken  for 
no  one  but  an  English  post-man,  and  the  portion 
of  his  bicycle  which  shows  in  the  picture  is  an 
English  bicycle,  accurate  in  everj-  detail.  The 
French  facleiir  is  no  less  characteristic,  and  in  the 
same  group  are  shown  the  Norwegian  mail  cart 
and  the  Belgian  "post-girl." 

It  was  to  the  more  picturesque  methods  of 
letter  carr>-ing  that  Millet  would  seem  to  have 
desired  to  de^•ote  the  larger  panels — such  as  the 
weather-beaten  mail  coach  of  the  earlv  days  of 


The  Late  Francis  Davis  Millet 


our  Western  plains.  Drawn  by  sLx  wiry  horses, 
trotting  in  a  white  cloud  of  alkali  dust,  it  pursues 
its  perilous  way,  guarded  by  a  plainsman,  sitting 
at  porte  amies  on  a  seat  above  the  driver.  Nor 
would  the  painter  ha\e  sho^\Ti  an  imaginarj'  stage- 
coach. 

One  ma}-  be  safely  assured  that  this  is  a 
faithful  representation  of  some  actual  relic  of  the 
days  when  Pacific  coast  mail  took  this  picturesque 
and  danger-fraught  route  across  the  plains. 

In  Arabia  the  shambling  camel  swings  o\-er  the 
burning  sands,  guided  by  a  white-robed  native 
perched  on  his  oddly  fashioned  saddle,  behind 
which  is  slung  the  parcel  containing  the  letters. 
In  North  China  the  carrier,  peacefully  drawing  at 
a  pipe,  as  accords  with  his  placid  race,  trudges 
along  afoot,  behind  his  mail-laden  donkey,  and  in 
the  background  the  great  wall  of  China  may  be 
seen  girdling  the  distant  hills.  In  West  Africa  the 
slow  and  lumbering  bullock,  and  in  Alaska  the  dog 
team — to  each  country  its  every  peculiarity  of 
method,  costume  and  scener>'.  The  Alaskan 
panel  is  one  of  the  finest  of  the  series,  the  five  pair 
of  "huskies,"  tailing  out  on  their  long  harness, 
being  a  splendid  piece  of  animal  painting.  The 
immense  amount  of  careful  research  required  for 
the  conscientious  painting  of  this  series  can  only 
be  imagined.  We  look  at  a  picture  such  as  the 
dog  team,  and  we  know  that  it  is  a  dog  team.  If 
it  were  not  before  us,  and  we  were  required  to 
make  an  accurate  drawing  of  the  exact  sort  of 
harness  used  for  the  dogs,  we  might  begin  to 
realize,  in  part,  the  gleanings  from  the  four  quar- 
ters of  the  globe  that  went  into  ^Millet's  great 
"letter-carrying"  series  in  the  postmaster's  suite 
in  the  Cleveland  post-ofiice. 


From  his  wide  travels,  his  keen  observation  and 
brilliant  mind.  Millet  was  recognized  as  a  compe- 
tent and  weighty  critic  of  painting,  architecture 
and  sculpture,  and  his  sympathetic  and  ever  alert 
nature  made  him  always  ready  to  offer  his  services 
in  this  capacity  whenever  anj-  of  his  many  friends 
called  upon  him  to  do  so. 

During  the  later  years  of  his  life  he  traveled  and 
lived  much  abroad,  becoming  "a  citizen  of  the 
world,"  equally  at  home  in  London,  Rome, 
\'ienna  or  back  in  New  York  or  Wasliington — and 
welcome  anywhere. 

He  li\-ed  for  several  years  in  the  quaint  little 
English  village  of  Broadway — a  picturesque  ham- 
let of  a  single  street.  The  inn,  the  smithy,  the 
little  shops,  a  few  cottages  and  the  church  made 
up  the  entire  place — and  an  ancient  prior)',  where 
Millet  lived  and  worked.  It  was  a  place  replete 
with  history  and  romance,  and  the  painter  must 
have  been  \"er3'  happy  beneath  its  venerable  roof, 
or  working  out  in  the  wonderful  old  rose-garden 
behind  it.  He  loved  every  stone  of  the  house,  and 
the  local  legends  surrounding  it  were  equaled  only 
by  those  which  he  chose  to  weave  around  it  after 
his  own  fancy. 

There  have  been  few  painters,  perhaps,  in  whom 
art  has  been  so  inseparable  from  their  daily  life. 
It  is  impossible  to  speak  of  Millet's  work,  as  any 
of  those  who  know  him  will  attest,  without  think- 
ing of  Millet. 

And  as  I  ha\-e  said  before,  perhajis  such  a  feel- 
ing is  the  highest  tribute  that  can  be  paid  to  an 
artist — to  go  down  to  ]30sterity  not  only  as  a 
painter  of  pictures,  but  as  a  man,  in  the  words  of 
Stevenson,  "loyal  and  loving,  down  to  the  gates 
of  death." 


\^^siy.^sf^.-^*^i^s^'TSA^;^-^-^--^-''^^^'^^^ 


LETTER-tARRVIXG    B\    DOi .   TEAM    IN    ALASKA 
THE   CLEVELAND    I'OST-OFFICE 


UV   KKANCIS   D.    MILLET 


The  Gothic  IVindo^i'  in  the  Lawyers'  Club  of  Neiv  York  City 


T 


HE    GOTHIC    WINDOW    IX    THE 
LAWYERS"  CLUB  OF  NEW  YORK 
CITY 
BY  G.  LELAND  HUNTER 


Of  this  window  the  architect  of  the  building 
and  of  the  club.  Francis  H.  Kimball,  said:  ''If  it 
had  been  made  in  the  fifteenth  century  the  people 
would  have  bowed  down  and  worshipped  it." 
For  Mr.  Kimball's  admiration  there  is  every 
reason.  The  window  is  appropriate  in  plan  and 
design  and  texture  to  the  position  that  it  occupies, 
and  in\Ttes  comparison  with  the  famous  ancient 
windows  in  European  cathedrals. 

Wonderfully  does  the  window  tell  the  story  of 
the  law — of  its  growth  and  dc\elopment  during 
the  ages,  until  Roman  law  and  English  law — the 
laws  of  .\ssyria.  Egj-jit,  the  Roman  Republic,  the 
Roman  Empire,  the  Laws  of  the  Saxons,  the 
Danes,  the  Normans — became  merged  in  modern 
.\merican  Law.  It  is  no  mere  picture  window 
\-aguely  suggesting  some  ancient  allegory  or 
sacred  scene.  It  is  a  storied  window  that  reflects 
great  credit  on  Mr.  Guthrie's  historical  researches, 
and  that  is  saturated  with  lore  without  pedantry. 

The  captions  freeh-  used  in  the  ancient  fashion 
to  describe  the  different  scenes  make  it  ea.sy  to 
read  the  meaning  of  the  window.  And  from  the 
decorative  point  of  \-iew  the  captions  have  been 
designed  and  placed  most  happily.  They  are 
quite  as  essential  parts  of  the  composition  as  the 
leads  and  muUions. 

The  main  diNisions  of  the  window  are  three — 
the  tracer}-  section  at  the  top  and  two  jjicture 
sections  below.  Each  picture  section  is  divided 
into  seven  panels — two  groups  of  three  with  a 
single  panel  between. 

In  the  tracer},-  at  the  top  of  the  window  the 
dix-ine  law,  that  is  above  all  human  law,  is  sym- 
bolized by  the  Mosaic  tables  of  stone,  bearing  the 
Ten  Commandments.  To  the  right  and  left  of 
these  two  female  figures,  one  bearing  the  fasces, 
the  old  Roman  sign  of  magisterial  authority,  the 
other  the  scourge  that  was  carried  ceremonially  b\- 
Eg>-ptian  monarchs. 

The  picture  panel  in  the  center  of  the  window  is 
occupied  by  a  con\-entional  tree,  bearing  several 
shields.  The  largest  of  these,  supported  by  a 
lawyer  in  green  and  by  an  archbishop  in  ecclesi- 
astical costume,  pictures  the  latest  development  of 
the  law,  and  carries  the  arms  of  the  United  States 
of  America.  Below  this  are  the  arms  of  Win- 
chester, capital  of  England  under  King  Alfred, 
and  Canterbury-,  the  see  of  Lanfranc,  William  the 


Conqueror's  Italian  jurist,  who  founded  the  school 
in  the  .\bbey  of  Bee  and  introduced  the  Roman 
law  to  the  Normans.  The  other  four  shields  are 
those  of  English  barons — the  Earl  of  Hereford. 
Simon  de  Montford,  Robert  Fitzwalter,  Deburgh, 
Earl  of  Kent — leaders  in  the  struggle  that  won 
Magna  Charta  from  King  John. 

The  middle  picture  panel  in  the  lower  row  of 
seven  shows  a  full-rigged  ancient  ship  with  May- 
flower on  a  streamer  floating  from  the  masthead. 
Under  the  Pilgrims'  ship,  a  figure  of  justice  blind- 
folded with  sword  and  scales,  standing  with  mail- 
covered  feet  upon  the  Temple  of  Justice. 

The  upper  group  of  three  panels  on  the  left  pic- 
tures Roman  law,  with  Justinian  as  the  central 
figure.  These  panels  are  enclosed  in  a  frame  of 
Byzantine  character.  The  details  of  the  picture 
are  drawn  from  the  mosaics  at  Ra\-enna,  the  coins 
of  Justinian  and  a  painted  ivory  in  the  British 
Museum.  The  Emperor  Justinian,  in  robe  of 
white  and  gold,  with  touches  of  jiure  green  and 
purple  in  the  embroidery,  is  seated  on  a  throne  of 
curious  design,  in  his  right  hand  an  open  scroll,  in 
his  left  a  basket  symbolic  of  the  right  of  taxation. 
On  Justinian's  left  is  Maximian,  his  chief  adviser. 
On  his  right,  robed  in  dark  green,  the  learned 
jurist,  Tribonian,  under  whom  the  Roman  laws 
were  codified.  Beside  him,  in  purple  robe  and 
jeweled  armor,  Belisarius,  the  victorious  general  of 
many  campaigns.  Behind  him  shows  the  head  of 
the  historian,  Procopius.  On  Justinian's  left, 
next  to  Maximian,  John  of  Cappadocia,  finance 
minister  and  pretorian  prefect. 

The  bases  of  these  three  picture  panels  are  three 
small  scenes,  illustrating  details  of  Roman  law:  (i) 
Usufruct,  by  Justinian  standing  between  the 
owTier  seated  on  the  steps  of  his  house  and  the 
holder  of  the  right  of  usufruct,  who  is  plucking  the 
fruit  of  the  orchard.  (2)  Marriage,  by  Justinian 
standing  between  a  man  and  a  woman,  holding  a 
hand  of  each.  (3)  Personal  liberty,  by  Justinian 
protecting  a  young  man  in  his  rights. 

The  lower  group  of  three  jiicture  panels  on  the 
left  shows  the  origins  of  Roman  law — the  laws  of 
the  Assyrians,  of  the  Egj-ptians  and  of  the  Roman 
Republic. 

Equalh-  interesting  is  the  upper  group  of  three 
panels  on  the  right,  picturing  English  law,  with 
William  the  Conqueror  as  the  central  figure.  The 
lower  group  pictures  the  origins  of  the  English 
law — the  laws  of  the  Saxons,  the  Danes  and  the 
Normans. 

The  window  is  a  liberal  education  in  the  history 
of  the  law,  as  well  as  an  inspiring  work  of  art. 


THE  WINDOW  IX  THE  LAWYERS'  CLL15 
FRANCIS  H.  KIMBALL,  ARCHITECT 
PLANNED  BY  HENRY  J.  DAVISON 
DESIGNED  BY  J.  GORDON  GUTHRIE 


Exhibition  of  the  Society  of  Illustrators 


AN    II.H  STRATIDN 


T 


HK  ANNUAL  EXHIBITION  OF 
THK  SOCIKTY  OF  ILLUSTRATORS 
UV  GUV  PENE  DU  BOIS 


With  the  Third  Special  Exhibition 
of  the  Society  of  Illustrators,  held  there  in  October 
and  November,  the  National  Arts  Club  has  added 
another  notch  to  the 
width  of  its  scope. 
It  was,  coinciden- 
tally,  in  October  and 
November,  1899, 
that  the  first  exhi- 
bition gi\-en  by  the 
club  took  place.  That 
was  made  up  of  ob- 
jects in  gold  and 
silver,  and  included 
a  series  of  exhibitions 
in  which  were  repre- 
sented all  the  many 
varied  branches  of 
the  arts  and  crafts, 
])ainting  and  sculp- 
ture and  drawing, 
modem  and  ancient , 
foreign  and  national. 
While  the  work  of 
American  illustrators 
has  been  shown  here 
in  connection    with        an  n.i.rsTKATioN 


nv    HANSON    BOOTH 

the  annual  ''Books  of  the  Year"'  exhibition  there 
has  never  been  a  particular  exhibition  of  illustra- 
tions at  the  club;  thus  the  significance  of  the 
present  show.  There  are  two  hundred  and  sixty- 
one  numbers  in  its  catalogue.  Apart  from  thai 
movement  in  illustrating,  headed  by  William 
Glackens  and  John  Sloan,  which  numbers  among 
its  followers  Raleigh, 
Gruber,  Brown,  the 
trend  of  modern  illus- 
trating is  ver\-  thor- 
ough I  y  exemplified 
in  it. 

One  may  feel  there 
immediately  that  our 
illustrators  march  on 
abreast  of  the  ])aint- 
ers  in  technical  ac- 
c  o  m  p  1  i  s  h  m  e  n  t . 
Technical  accom- 
plishment is,  indeed, 
the  keynote  of  the 
show.  That  is  la- 
mentable or  not. 
There  are  many 
things  that  an  illus- 
trator should  be  that 
a  ])ainter  must  not 
be.  The  line  of  di\is- 
ion  is  similar  to  the 
uv  AKTHiR  I.  KEiLAR       one  that  comes  be- 


Exhibition  of  the  Society  of  Illustrators 


THE   ICONOCLAST 


BY  J.   CLEMENT   COLL 


tweeii  the  playwright  and  the  actor.  One  of  these 
holds  strings  to  the  despotic  tugs,  of  which  the 
other  must  answer.  The  first  gets  his  inspiration 
from  nature,  and  the  second  must  fashion  his 
impressions  after  that  inspiration. 

That  is  the  theoretical  significance  of  illustrat- 
ing. It  is  to  be  battled  with  in  practice  and  its 
error  proved  often  as  not.  Actors  have  saved 
plays,  just  as  illustrators  have  made  books.  And 
again  the  two  have  run  hand  in  hand  ver\-  prettily. 
I  am  thinking  of  Dickens  and  Cruikshank,  "Alice 
in  Wonderland"  and  Sir  John  Tenniel.  Either  of 
these  is  better  for  the  presence  of  the  other. 

Keene  and  Leach  illustrated  a  time  and  a 
people  rather  than  a  book  about  them.  That  is 
true  of  Glackens  and  Sloan,  who,  by  the  way,  as 
painters,  along  with  Robert  Henri,  Maurice  Pren- 
dergast,  George  Luks  and  Arthur  B.  Davies  were 
first  brought  prominently  before  the  public  eye 
(January,  1904),  through  the  agency  of  the 
National  Arts  Club's  galleries — and  Gibson. 

The  last  is  represented  here  by  three  character- 
istic pictures.  They  are  honestly  and  ably  exe- 
cuted.    Thev  tell  a  stor^'  of  life  that  is  accurate 


and  just.  .Mr.  (iiljson  has  been  classed  as  a 
painter  of  jiretty  pictures,  and  has  had,  for  that 
reason,  a  rather  scornful  finger  pointed  at  him. 
He  deserved  neither  the  scorn  nor  the  classifica- 
tion. If  I  were  to  attack  him  at  all  I  should  argue 
that  he  drowns  artistic  and,  that  is.  personal  ex- 
pression in  accuracy;  that  he  shows  too  much 
fidelity  to  superficial  fact.  That  is  a  common  fault 
among  our  facile  jxirtrait  painters,  whojjaint  .shells 
of  people  and  do  not  bother  to  illuminate  them  with 
the  light  from  the  lamps  that  keep  them  alive. 

One  of  our  old  masters  of  illustrating — Arthur 
I.  Kellar — is  here  with  five  contributions  so  ably 
executed,  so  full  of  technical  brilliancy,  of  learning 
in  the  value  of  accent  and  contrast,  in  the  animat- 
ing power  of  spirited  brush  work,  that  one  wonders 
if  he  might  not  make  dancing  compositions  with- 
out the  introduction  of  solid  figures.  He  has  a 
sense  of  color,  that  intuitix'e  feeling  for  values  that 


"THE   ICONO(  L  \-T 


V.\     J.    I  I  '   Ml   N  I    TOLL 


Rxhibition  of  the  Society  of  Illustrators 


is  essentially  a  painter  quality.  He  is  a  good 
illustrator.  This  statement  holds  up  a  rather 
tempting  bait,  for  which  space,  even  though  the 
ability  were  there,  is  lacking — a  discussion  on  the 
no\-els  of  the  day,  the  sort  of  novels  for  which  Mr. 
Kellar  is  a  good  illustrator. 

Frank  Craig  displays  three  of  his  very  well-done 
works  and  Louis  Fanchcr  a  poster  for  "  Sumurun  " 
that  is  admirable.  Locke's  "  Septimus,"  as  James 
Montgomer}-  Flagg,  too  rapidly,  has  seen  him,  is 
near  Denman  Fink's  broadly  and  simply  treated 
Mr.  Vance.  George  Harding  shows  A  Wreck  on 
Florida  Reef.  Lucius  Hitchcock  is  here,  as  well  as 
the  Kinneys,  J.  A.  Williams,  F.  B.  Masters — 
whom  publishers  have  assigned  to  an  endless 
series  of  railroad  pictures;  Ernest  PeLxetto,  Joseph 
Pennell,  Will  Howe  Bradley,  Wallace  Morgan  and 
May  Wilson  Preston  and  Reuterdahl,  who  belong 
rather  to  the  independents  of  illustrating;  Schoon- 
over,  Harn,-  Townsend.  Robert  Wildhack  and 
.\rthur  Young,  who  is  an  artist  and  a  proof  that 
publishers  do  not,  as  it  is  the  fashion  to  claim, 
invariably  suppress  personal  expression.  His  art 
is  individual  and  of  truly  \-irulent  force. 

Historj-  has  showii  that  a  renaissance  in  a  single 
art  is  likely  to  be  carried  through  all  of  them,  and 
certainly  that  is  true  with  regard  to  illustrators 
and  authors — Dickens  found  a  Cruikshank;  De 
Maupassiint,  Steinlin.  The  two  are  incontrovert- 
ably  linked — for  the  school  of  Chambers  we  have 
the  school  of  Gibson. 

In  one  comer  of  the  present  show  are  a  number 
of  examples  of  illustrations  in  color,  the  majority 
of  them  by  pupils  of  the  late  Howard  Pj'le,  who 
with  Abbey  was  made  the  feature  of  last  season's 
show  held  at  the  New  York  Public  Librarw 


Elsewhere  one  rinds  the  solid  drawings  of  Will 
Foster  executed  with  faultless  precision;  a  Hurri- 
cane and  Laughing  Girl,  by  W.  T.  Benda,  who 
sometimes  displays  a  kind  of  wild  force;  Hanson 
Booth's  The  Tramp  and  a  photographic  Comrades, 
by  Worth  Brehm. 

With  this  exhibition  at  the  National  Arts  Club, 
that  does  \-er}-  successfully  round  ofiE  an  effort, 
one  may  not  help  but  suggest  that  here  is  a  kind 
of  modem  patronage  that  may  well  take  the  place 
of  that  old  one  so  long  covered  with  the  dust  of 
disuse.  The  club  aims  to  "promote  the  acquaint- 
ance of  art  lovers  and  art  workers,  one  with  the 
other;  to  stimulate  the  artistic  sense  of  the  Ameri- 
can people;  to  proxade  proper  exhibition  facilities 
for  such  spheres  of  art,  especially  industrial  and 
applied  arts,  as  shall  not  be  adequately  provided  for, 
and  to  encourage  the  publication  and  circulation 
of  news  and  information  relating  to  the  fine  arts.'" 

I  have  before  me  a  list  of  exhibitions  that  have 
graced  these  galleries  since  1899.  To  show  their 
diversity  I  shall  mention  a  few:  "The  Woman's 
Art  Club,"  "Works  by  the  Society  of  Mural 
Painters,"  "Old  and  Modern  Japanese  Prints," 
"Glass  in  the  Arts,''  "Artistic  and  Commercial 
Posters,"  "Pictures  by  Old  Masters,"  "Sculp- 
tures by  Rodin,  Roche  and  Riviere,''  "Rugs  and 
Embroideries,"  "Birds  and  Beasts  in  Art."  "The 
Drake  Collection  of  Brasses  and  Objects  in 
Metal,"  "Paintings  from  the  Collection  of  W.  T. 
Evans,"  "Advertising  Art,"  "Paintings  by  Louis 
Mark,  of  Budapest,"  "Paintings,  Embroideries, 
Textiles  and  Tapestries  from  the  Collection  of  Em- 
erson McMiUin,"  "Jewelry  and  Precious  Stones, 
Modem,  Old  and  Oriental,"  "Textiles  and  Cera- 
mics," and  "  Color  Prints  bv  S.  Arlent  Edwards." 


DRAWING   IN   TEMPER.\   FOR   .\   THEATRICAL    POSTER 


m     I.Dl  I^    FANCHKK 


The  Stevens  Series  of  College  Etchings 


Original  elchins  by  Thomas  W.  Stevens 
Copyright,  igil,  Brown-Robertson  Compan 

THE  ARCH  BETWEEN  THE 
LARGE  QUADRANGLE  AND 
THE   TRIANGLE 


UNIVERSITY  OF 

PENNSYLVANIA- 


T 


HE    STEVENS    SERIES    OF    COL- 
LEGE  ETCHINGS 
BY  ALDEN  NOBLE 


Etching  would  seem  the  most  dif- 
ficult of  mediums  in  which  to  force  an  inspiration. 
One  can  paint  almost  anything;  an  etching  ordin- 
arily, and  ideally,  finds  its  subject  more  as  a 
matter  of  fore-ordination,  of  predestined  harmony 
between  subject  and  method.  One  can  hardly 
concei\-e  of  a  fine  etching  being  made  where  the 
artist  did  not  feel  that  the  thing  ought  to  be  etched. 
WTien  one  considers  that  in  the  series  here  dis- 
cussed the  choice  of  subjects  was  in  a  measure 
prescribed,  the  achievement  becomes  the  more 
significant.  It  is  one  thing  to  wander  free  till 
your  etching,  in  all  its  allurement  of  line  or  of 
light  and  shade,  bursts  upon  the  retina;  far 
difierent,  and  far  more  difficult  to  find,  in  a  re- 
stricted territory,  a  scene  which  shall  not  only 
reflect  its  own  essential  character  but  also  be 
susceptible  of  being  made  into  a  good  etching. 
This  was  the  problem  which  Thomas  Wood 
Stevens  and  Helen  B.  Stevens  approached,  and 
which  in  the  main  they  have  solved  m  a 
thoroughly  satisfactory  manner. 

There  are  in  all  tweh^e  American  colleges  or 
universities  in  the  present  series,  and  proofs  of 
all  but  a  few  of  the  etchings  are  here  reproduced. 


The  entire  list  comprises  Harvard,  Wellesley, 
Smith,  Yale,  Vassar,  West  Point,  Columbia, 
Princeton,  Pennsylvania,  Bryn  Mawr,  Virginia 
and  Chicago.  It  does  not  lie  within  the  scope  of 
this  article  to  do  more  than  touch  lightly  the 
most  interesting  features  of  this  unusual  set  of 
prints,  inost  of  which  have  appeared  in  full  in  the 
pages  of  the  Century  Magazine. 

Nowhere  perhaps  is  better  found  the  wedding 
of  subject  and  essence  than  in  the  Yale  plate, 
which  shows  one  of  the  old,  characteristic  build- 
ings, "South  Middle,"  with  an  interesting 
arrangement  of  overhanging  foliage  in  the  im- 
mediate foreground,  with  a  splendidly  done  sun- 
lit tree  standing  forth  against  the  old  brick  wall. 
Aside  from  the  technical  interest  this  plate  suc- 
ceeds perhaps  better  than  any  of  the  others  in 
conveying  atmosphere,  the  atmosphere  of  its 
environment. 

In  the  Harvard  plate  also  the  scene  has  been 
chosen  in  such  a  way  as  to  preserve  the  idea  of  the 
campus  in  its  most  characteristic  guise.  Here 
appear  two  of  the  things  which  must  remain  in 
the  memor>'  of  all  who  ever  walked  over  these 
grounds,  the  great  tree  in  the  foreground  and,  a 
little  farther  back,  a  fair-scrolled  iron  gateway. 
A  ver>'  interesting  plate,  wherein  however  the 
subject  forced  upon  the  artist  an  arrangement 
which  he  would  not  otherwise  ha\-e  chosen,  is 
that  showing  the  Librar\-  of  the  Unixersity  of 


The  Stcveus  Series  of  College  Etclihigs 


Original  ekhing  by  Thomas  W.  Slams 
Copyright,  iQlt.  Brown-Robertson  Company 


THE   LIBRARY.   WITH   STATUE 
OF  JEFFERSON 


UNIVERSITY  OF 
VIRGINIA 


\'irginia  at  Charlottesville.  This  library  building, 
which  is  historically  significant  from  having  been 
bulk  under  the  direction  of  Thomas  Jefferson, 
is  a  half-size  model  of  the  Pantheon  at  Rome. 
Blair  Arch  confronts  the  traveler  to  Princeton 
as  soon  as  he  leaves  the  train  and  turns  toward 


the  Uni\-ersity.  No  more  imposing  aspect  could 
possibly  have  been  chosen,  and  of  it  has  been 
made  a  plate  which  for  richness  of  color  and  of 
handling  is  not  suq)assed  by  any  in  the  set.  The 
massive  architecture  of  the  twin  towers,  the 
solid,  clean  dignity  of  the  masonry  face  of  the 
wall,  contrast  magnificently  with  the  rich  and 
heavy  shadow  under  the  arch  itself;  altogether,  an 
impressive  arrangement  handled  in  precisely  the 
[)roper  manner. 

Whether  it  be  that  the  idea  adds  an  extra 
touch  of  romance  to  the  two  colleges  for  women. 


HARPER   ME.MORIAL   AND 
LAW   BUILDING 


UNIVERSITY  OF 
CHICAGO 


Original  et<hiiu  i  .■   

Copyright,  igtl,  L>ru-,^ii-I<abfr:suii  Company 

THE   YARD,   SHOWING  JOHNSTON    GATE   BETWEEN 
HARVARD  AND  MASSACHUSETTS  HALLS 


VVellesley  and  Br}-n  MawT,  which  plates  are  here 
shown,  or  whether  these  college  grounds  owe  their 
attracti\eness  to  the  spaciousness  of  these 
demesnes  and  the  decorative  character  of  the 
buildings,  matters  little. 

At  Br>'n  MawT,  the  library  cloister  arch ;  showing, 
across  a  sunny  interspace,  the  turret  and  low 
arches  of  the  main  building  itself.  In  the  center 
of  the  open  yard  a  fountain  splashes.  Here  there 
is  no  effort,  no  straining  for  poetic  touch,  yet  the 
whole  conveys  somehow  a  sense  of  old-world 
quietness  and  peace,  with  an  air  that  blows 
straight  from  the  cloister  whence  these  arches 
sprang. 

Technically,  this  plate  is  among  the  most  ad- 
mirable; the  light  and  shade,  the  mellow  pave- 
ment,  the  sunny  midspace,  and  the  dark  but 


The  Stevens  Series  of  College  Etchings 


THE  LIBRARY   FKtiM 
THE  CLOISTER 


BRYX-MAWR 

COLLEGE 


MAIN  BUILDING  AND 

BOAT  HOUSES 

FROM   THE   LAKE    PATH 


WELLESLEY 
COLLEGE 


never  sinister  overhanging  arch,  combine  to  give 
it  unusual  and  appealing  quality.  It,  as  well  as 
those  of  the  other  three  girls'  colleges,  is  the  work 
of  Helen   B.    Stevens;  the   eight   others  are   by 


Original  etching  by  Helen  B.  Stevens 
Copyright,  igll.  Brawn-Robertson  Company 


Thomas  Wood  Stevens.  They  have  reached 
an  accomplishment  in  this  series  of  etchings 
worthy  to  take  rank  with  any  similar  series  by 
contem|)orarv  \vorker?  in  this  domain  of  art. 


THE   LIBRARY 


COLUMBIA   UNIVERSITY 


THE  OLD  CADET   BARRACKS 

AND  CHAPEL 

FROM  ACADEMIC  BUILDING 


WEST   POINT 


Book  Revieii's 


BOOK  REMEWS 
Prints    and    Their    Makers.     (The 
Centun-  Company,  New  York.  S3. 50.) 
Edited  by  FitzRoy  Carrington. 
Perhaps  there  has  been  no  greater  influence 
toward  a  keen  and  intelligent  appreciation  of  fine 
prints  in  this  countr\-  than  that  exerted  by  the 
late  Frederick  Kcppel,  and  this  book  now  put  out 
by  Centur}-  seems  to  illustrate  that  here,  at  least 
(to  misquote)  "  the  good  that  men  do  lives  after 
them."  ToMr.  Kep- 
pcl   his   prints  were 
far  more  than  mere 
stock-in-trade.     He 
knew  nearly  all  llif 
great  etchers  and  en 
gravers  of  his  time, 
and    held    them    in 
warm    j)  e  r  s  o  n  a  1 
esteem,    which    hi- 
broad  a])])reciatioii 
and  limitless  enthu 
siasm  caused   to  be 
no  less  warmly  recip- 
rocated. 

Mr.  Carrington 
feels  that  '-Prints 
and  Their  Makers" 
should  be  considered 
in  the  nature  of  ;i 
memorial  to  Mi 
Keppel,  with  whon 
he  was  so  long  a  de- 
voted friend  and  co- 
worker. Following 
the  title-page,  in- 
deed, is  this  short 
and  sincere  inscrip- 
tion: "To  Frederick 
Keppel,  in  Memory 
of  a    Friendship    of 

Twenty  Years,  this  Book    is  Dedicated  by  the 
Editor." 

That  much  of  the  material  in  the  book  does  not 
make  its  first  appearance  therein  is  by  no  means 
detrimental  to  its  value.  The  subjects  which  Mr. 
Carrington  has  chosen  for  its  contents  are  of  .such 
great  intrinsic  interest  that  their  previous  publica- 
tion in  The  Prinl-Collectors'  Quarterly  is  imma- 
terial. I-"urther,  inasmuch  as  back  numbers  of  the 
Quarterly  are  likely  to  be  very  rare  within  the  year, 
and  as  that  admirable  periodical  is,  unfortunately, 
not  so  widely  kno\\Ti  as  it  should  be,  a  presentation 

XL  VI 


Tnnls  and  Their  Mak 
'AX    IDYI.l." 


of  many  of  the  most  interesting  of  its  articles  in 
permanent  library  form,  under  one  binding,  should 
find  a  warm  reception. 

The  book  is  rich  in  material — a  \'ariety  and 
interest  of  subject  worthy  of  the  collector  to  whose 
memor)'  it  is  dedicated,  and  the  illustrations  have 
the  clean-cut  nicety  (befitting  print  reproductions) 
so  noticeable  in  the  Quarterly.  The  contents  opens 
with  an  article  on  Diirer's  wood  cuts  by  Campbell 
Dodgson,  of  the  British  Museum  Print  Depart- 
ment, and  reckoned  as  the  greatest  authority  on 
this  phase  of  Diirer's 
art.  "Early  Italian 
Engravers  "  deh'es  in 
a  little-known  epoch 
of  the  history  of  en- 
graving, and  "Jean 
Morin"  and  "Rob- 
ert Nanteuil"  form 
the  subjects  of  a 
splendid  pair  of  his- 
torical and  critical 
essays  on  French 
portrait  engraving. 
Follow  "  R  e  m  - 
brandt's  Landscape 
Etchings"  and  "Gio- 
\anni  Baltista  Piran- 
esi "  (including  many 
reproductions  of  the 
famous  series  of 
"The  Prisons")  and 
there  are  also  re- 
printed the  two  ar- 
ticles on  the  weird 
nightmare-like  etch- 
ings of  Goya — sug- 
gestive of  strange 
ideas,  sinister,  mo- 
rose, repellant.  A 
lighter  note  is  struck 
in  "The  Etchings  of 
Fortuny."  The  value  of  the  book  is  greatly  en- 
hanced by  the  republication  of  the  splendid  articles 
on  "The  Characteristics  of  Sir  Seymour  Haden," 
written  by  Mr.  Keppel  himself.  "Mer>'on  and 
Baudelaire,"  "Felix  Bracquemond."  "Auguste 
Lepere,"  "Herman  Webster" — a  succession  of 
brilliant  articles,  ending  the  collection  with  the 
remarkable  work  of  "Anders  Zom,"  a  crescendo 
finale,  indeed,  and  making  up,  in  all,  a  book  of  the 
greatest  value  and  interest,  which,  it  is  to  be 
hoped,  may  be  followed  by  others  of  a  similar 
character. 


Century  Co. 

BY   MARIANITO   FORTUNY 


Book  Revieii's 


Authoritative  literature  dealing  with  prints  is 
rare,  the  subject  is  a  vastly  interesting  one,  and 
"Prints  and  Their  Makers''  is  the  kind  of  a  book 
which  will  appeal  in  terms  equally  strong,  even  if 
of  a  difTerent  nature,  at  once  to  the  connoisseur- 
collector  and  the  aspiring  amateur. 

John  Lavery  and  His  Work.  By  Walter  Shaw 
Sparrow.  (Dana  Estes&  Co.,  Boston.  S3. 50.) 
The  author  has  not  only  introduced  himself  (and 
pleasantly)  before  as  one  of  a  facile  but  trenchant 
pen,  but  also  as  one  who  seems  ever  happy  in  the 
choice  of  his  subjects.  His  "Life  and  Work  of 
Frank  Brangnyn"  is  fresh  in  our  minds  from  last 
year. 

And  in  the  same  manner,  if  not  even  more  inti- 
mately, Mr.  Sparrow  chronicles  and  analyzes  the 
work  of  his  brilliant  friend,  Lavery,  with  many  a 
personal  note  that  tells  us,  as  in  the  Brangwj-n 
book,  of  the  man  no  less  than  the  painter,  and  fol- 
lows the  same  excellent  arrangement  of  contents. 
And  of  Brangwyn  and  La\-er}%  perhaps  the  biogra- 
pher found,  in  the  Irish  spontaneity  of  the  latter, 
a  possibility  of  getting  closer  to  the  man  behind 
the  painter. 

Apart  from  the  interest  which  surrounds  his 
subjects  Mr.  Sparrow  should  become  a  most  popu- 
lar biographer  by  reason  of  the  warm  generosity 
and  appreciation  which  he  continually  shows  in 
his  viewpoint,  and  by  the  facile  and  cheerful  man- 
ner of  his  writing.  He  deals  not  only  in  facts  but 
in  fancies,  and  when  it  is  realized  that  the  two  play 
equal  parts  in  our  lives,  it  will  also  come  to  be 
realized  how  man)-  half -biographies  we  have  read. 
Dates,  facts,  dates — alternated  or  thro%\Ti  at  us  in 
solid  blocks,  with  nothing  of  the  man,  none  of  his 
whims  or  that  lighter  side  which  has  so  much  to 
do  with  the  vitality  of  his  art.  One  would  be  as 
successful  in  attempting  to  paint  a  picture  all  in 
shadows.  And  with  painters,  above  all  other 
mortals,  how  can  we  hope  to  arrive  at  an  estimate 
of  a  man's  art  when  he  is  so  much  a  part  of  it  (and 
perhaps  the  greater  part) — if  we  do  not  know  the 
man? 

John  Laver}'  came  prominently  into  the  view  of 
the  picture-loving  American  people  in  last  year's 
Exhibition  of  International  Art  at  Pittsburgh, 
where  he  showed  a  group  of  thirty-si.x  paintings. 
It  is  the  custom  of  the  exhibition  committee  each 
year  to  devote  one  of  the  smaller  galleries  to  a 
"one-man"  show,  and  last  season  John  Lavery 
w^as  the  painter  featured. 

Those  who  were  especially  impressed  with 
Lavery's  art  on  this  occasion  will  find  great  inter- 


From  "John  Lavery  and  His  Work."  David  EsUs  &  Co. 

A  PORTR.\IT  BY  JOHN  L.WERY 

est  in  the  present  biography,  which  is  beautifully 
illustrated  with  a  profusion  of  the  same  sort  of 
excellent  color  plates  and  heliotjpe  reproduction 
which  made  the  Brangwyn  book  so  pleasing  in 
this  respect. 

RiciL-uuos:  Masterpieces  of  the  Sea.  By  Har- 
rison S.  Morris  (J.  B.  Lippincott  Company. 
Si  .00.) 

Perhaps  there  have  been  no  painters  of  the  "  old 
school"  who  attained  such  wide  recognition  as  the 
late  William  T.  Richards,  and  whose  work  has 
been  less  a  matter  of  written  chronicle. 

In  the  Corcoran  Gallen,',  at  Washington,  in  the 
Pennsyhania  Academy  of  Fine  Arts,  in  the  Met- 
ropolitan Museum  of  New  York  City,  and  in 
many  other  important  collections,  public  and 
private,  there  are  paintings  by  Richards — paint- 
ings as  saliently  admirable  today  as  they  were 
when  they  were  first  hung — and  yet  not  only  their 
painter  but  the  ideals  of  art  which  inspired  him 
take  little  if  any  part  in  the  tidal  wa\e  of  impres- 
sionism and  half -founded  "schools"  that  seems  to 
ha\-e  nearly  swept  away  the  last  breakwaters  of 
conserv-atism. 

If  the  paintings  of  Richards — landscapes  and 


Book  Revieii's 


marines — represent  any  "school,"  that  school  is 
unknown  or  ignored  today  by  nearly  all  our 
painters.  "Nature"  and  "conscientious  study" 
— does  a  generation  of  aspirants  for  tricky 
"effects"  and  smart  "impressions"  think  of  these 
in  connection  with  painting?  One  can  almost 
fancy  some  of  our  contemporary'  exhibitors  say- 
ing: "Draw?  Oh,  no,  I  don't  draw;  I  paint" — 
and  if  they  do  not  say  it  they  think  it,  e^•en  if  they 
realize  what  a  mighty  serious  and  important  thing 
"drawing"  was  to  the  men  of  the  old  school. 

Richards  should  have  been  reckoned  as  the 
logical  successor  of  Inness  and  Wyant,  excepting 
that,  unlike  those  two  great  landscapists,  he  did 
not  paint  by  formula.  No  matter  how  good  the 
formula  may  be,  it  is  dangerous  and  detrimental 
when  it  forms  the  basis  of  any  work  of  art.  Win- 
slow  Homer,  generally  considered  one  of  our 
greater  marine  painters,  undoubtedly  loved  the 
sea,  and  while  he  came  verj-  near  to  understanding 
it,  one  cannot  help  feeling  that  he  regarded  it 
more  as  a  stage  setting  than  as  subject.  It  was  the 
background  for  some  rendering  of  nautical  genre. 

In  Mr.  Morris'  intimate  memoir  of  the  life  and 
work  of  William  T.  Richards,  one  could  have 
wished,  perhaps,  a  view  of  art  on  the  part  of  the 
biographer  as  broad  and  deep  as  that  of  his  sub- 
ject— there  are  no  inaccuracies,  but  Richards' 
work  was  of  such  import  that  e\-en  the  largeness 
and  vitality  of  his  character,  which  ^Ir.  Morris 
has  shown  in  the  sympathetic  light  of  a  warm 
fri(.ii(l>hip.  niu-l  >cem  almost  secondary". 


It  is  true  enough  that  to  understand  paintings 
we  must  understand  the  painter,  and  with  Rich- 
ards this  was  certainly  true.  Those  who  knew  him 
only  on  canvas  knew  a  master  painter  and  missed 
a  never-to-be-forgotten  friend.  Those  who  knew 
him  first  as  a  friend,  have,  perhaps,  been  prone  to 
overlook  his  remarkable  power  as  a  painter.  Free 
of  all  studio  "patter"  and  jargon  of  "tones," 
"values"  and  "technique"  (though  a  master  of 
all),  many  people  could  not  believe  that  the  quiet, 
genial  man  could  be  a  really  great  painter  without 
talking  about  painting. 

Mr.  Richards'  art  was  a  thing  to  him  too  vital 
to  bring  into  casual  conversation — not  his  opinion 
of  his  art,  but  the  feeling  so  nearly  akin  to  humUity 
with  which  he  approached  the  e\er-changing 
phenomena  of  nature. 

To  the  very  end  he  was,  to  himself,  still  trying 
to  grasp  his  subject;  he  never  fell  back  on  a 
"style,"  or  let  his  painting  fall  into  the  fatal  rut 
of  self-assured  mannerisms  or  "tricks."  And  he 
never  felt  that  he  had  solved  entirely  the  prob- 
lems he  loved  and  of  whose  rendering  he  was  an 
acknowledged  master. 

Yet  all  this  Mr.  Morris  suggests,  if  he  does  not 
actually  define  it,  and  his  life  of  William  T.  Rich- 
ards must  come  as  a  welcome  memoir  as  well  to 
those  who  knew  Mr.  Richards  in  name  or  in  per- 
son, as  to  a  younger  generation  which  is  in  a  fair 
way  to  accept  as  landscape  and  marine  painting 
the  canvases  of  those  who  now  fill  the  public  eye 
in  the  galleries. 


From  "Richards:  Masterpieces  uj  the 
ON   THE  JERSEY   COAST 
XL  VIII 


\,"  J.  B.  Lippincott  j-  Co. 


BY   W.   T.   RICHARDS 


Book  Reviews 


Cl  PID  AND  P^VCHE 
PLATE  no.  23.  The  Bath  of  Cupid  and  Psyche,  a  Louis  XIV  Gobelin  in  the  set  of  eight  entitled  Sujets  de  la  Fable 
after  the  X\*I  century  designs  of  Guilio  Romano  (See  chapter  VI).  It  is  signed  LEFEBVRE  (Lefevre)  and  is  in  the 
Frencli  National  Collection.  The  dominant  color  in  both  border  and  panel  is  rose  against  which  the  flesh  tones  stand 
out  with  wonderful  clearness  and  delicacy.  Note  the  double  L  monogram  of  Louis  XIV  in  the  cartouche  of  the 
bottom  border. 


Tapestries,  Their  Origin,  History  and  Ren- 
aissance.    By  George  Leland  Hunter. 
Re\-iewed  by  Frank  .-Vlvah  Parsons,  President 
of  the  New  York  School  of  Fine  and  Applied 
Art. 

Occasionally  a  man  knows  what  he  believes  and 
believes  in  what  he  knows.  If  this  man  happens 
to  write  a  book  the  truth  therein  revealed  and  the 
decision  and  clearness  with  which  it  is  e.xpressed 
should  appeal  strongly  to  the  intelligence  of  per- 
sons searching  for  that  which  is  worth  while  in  this 
day's  wilderness  of  worthless  books.  "Tapes- 
tries, their  Origin,  History  and  Renaissance"  is 
such  a  book. 

At  last  here  is  a  book  about  tapestries  which  is 
not  a  dissertation  on  the  technicalities  of  design 
and  weaving,  nor  is  it  wholly  a  chronological 
directory  of  the  period  growth  and  decay  of  this 
form  of  art,  with  a  properly  arranged  inde.x  as  to 


where  each  set  of  remams  can  be  found.  It  is  a 
psychological,  geographical,  practical  and  artistic 
treatise  of  the  subject.  It  is  the  cause  and  effect, 
the  how  and  the  why  of  tapestries  as  they  are 
related  to  man's  experiences  and  to  his  other 
forms  of  art  expression.  This  certainly  is  a  new 
\-iewpoint  in  the  histor>-  of  art  production. 

Mr.  Hunter  sees  art,  first  of  all,  as  a  quality,  the 
sacred  possession  of  the  individual,  and  he  sees 
this  quality  as  the  conscious  impulse  of  man  to 
put  into  concrete  form  his  best  ideals.  He  sees 
this  conscious  impulse,  constant  in  its  endeavor  to 
form  the  spirit  or  atmosphere  of  the  individual's 
entire  thought.  He  shows  clearly,  in  this  book, 
many  concrete  things  that  even  the  cultured  pub- 
lic needs  to  hear  about  tapestries,  their  interpreta- 
tion, expression  and  use.  His  preface  declares 
that  there  should  be  a  story  interest  and  a  texture 
interest,  that  there  may  be  a  picture  interest  in 


Book  Rcvieii's 


ever\-  tapestn'  piece.  He  adds  to  this  later  the 
significant  fact  that  these  things  influence  the 
proper  use  to  which  tapestries  should  be  put. 
This  combination  of  use  and  esthetic  correlation 
is  the  ideal  \iew-point  for  the  study  of  anj'  prac- 
tical art. 

In  discussing  origin  he  shows,  more  clearly  than 
I  ha\"e  ever  seen  before,  the  unspeakable  bad  taste 
of  jiersons  who  ha\e  thought  tapestries  must  con- 
form to  the  possibilities  and  limitations  of  period 
picture  painting.  He  also  makes  clear  that  the 
decorative  quality  is  the  ideal  picture  quality,  and 
that  the  loss  of  decorative  knowledge  was  the 
death-knell  to  ideal  tapestrj-  pictures,  as  it  was  to 
painting,  during  the  decadent  eras  of  the  natural- 
istic, materialistic  renaissance  in  Italy,  France  and 
Flanders. 

His  emphasis  of  texture  is  splendid.  Persons 
who  think  only  in  terms  of  photography,  painting 
or  sculptured  marble  will  find  particular  interest  in 
his  sincere  delight  at  the  character,  stor)-  power 
and  decorative  quality  given  each  style  and  tj-pe 
by  its  textural  peculiarity.  He  says  so  frankly 
that  art  in  tapestn*'  is  not  a  practical  repetition  of 
facts,  a  storj-  ever\-  whit  told,  but  that  the  master 
artist  weaver  is  known  as  much  by  the  texture  of 
his  production  as  by  his  subject,  his  color,  or  his 
picture-making  power. 

The  one  thought  that  tapestries,  when  used  out- 
side of  museums,  are  or  may  be  related  to  the 
position  in  which  they  are  to  be  shown  and  to 
their-  environment  or  their  uses,  is  worth  the  price 
of  the  book.  The  proper  promulgation  of  this 
doctrine  would  do  much  to  establish  good  taste 
on  the  part  of  decorators  and  collectors  in  the  use 
of  this  form  of  decorative  material.  "The  dese- 
crations of  the  French  Revolution"  have  by  no 
means  been  ended. 

A  ver>'  interesting  sequence  in  the  development 
of  composition  is  Mr.  Hunter's  choice  of  illustra- 
tions in  this  book.  Persons  thinking  in  any  field 
of  decorative  art  work  will  find  help  and  inspira- 
tion in  the  excellently  chosen  Gothic  and  Early 
Renaissance  decorative  pieces.  One  should,  how- 
ever, give  only  due  appreciation  to  the  realistic, 
materialistic,  overfed  productions  of  the  Renais- 
sance decline,  with  their  oft-times  unrelated  set- 
tings and  useless,  unfilled  background  spaces. 
The  author,  while  appreciating  fully  the  skill,  the 
sensuous  lines,  the  voluptuous  color  and  the 
technique  of  this  period,  ver\'  subtly  shows  his 
opinion  of  its  weaknesses,  on  page  127,  by  the 
introduction  of  William  Morris  and  his  work. 

^Ir.  Hunter  shows  conclusively  in  many  places 


that  he  does  not  value  a  tapestry  because  it  is  a 
proven  Arras,  Gobelin,  Beauvais  or  Aubusson,  but 
always  takes  a  thing  on  its  own  art  merit.  This 
should  sound  the  kej-  note  to  a  new  intelligence  in 
judging  art  objects  in  that  field.  Too  long,  in- 
deed, have  persons  of  taste  based  their  judgment 
on  the  degree  of  antiquity,  the  prominence  of  the 
artist  producer,  or  the  acknowledged  traditional 
form  or  art  merit  of  the  period  in  which  a  thing 
was  produced. 

Another  strong  feature  in  this  book  is  its  recog- 
nition and  discussion  of  some  .\merican  master- 
pieces of  the  Tapestrj'  Periods.  This  fact  not 
only  stimulates  the  reader  to  actual  research,  but 
locates  for  him  his  objects  of  study. 

The  general  form  of  the  book  is  a  delightful 
demonstration  of  the  thought  that  "As  a  Man 
Thinketh,  So  Is  He."  The  printed  page,  in  its 
proportions,  the  illustrations  in  their  size  and 
placing,  are  but  the  reflection  and  artistic  concep- 
tion of  proportion.  The  same  feeling  and  knowl- 
edge which  enables  an  expert  to  recognize,  realize 
and  appreciate  beauty  of  line,  form  and  color  in 
tapestr>'  structure  should,  as  in  this  case,  find  its 
ex'pression  in  whatever  field  the  artist  works. 

Mr.  Hunter's  book  will  not  only  find  immediate 
recognition,  but  it  will  live,  because  it  unites  a 
strong  sense  of  artistic  feeling  with  a  clearly 
defined  intelligence  in  its  general  form,  its  subject 
matter,  its  illustrations  and  its  teachings  other 
than  the  bare  facts  which  the  book  reveals. 

"The  Colonial  Homes  of  Phil.ajjelphla  axd 
Its  Neighborhood."     By  H.  Donaldson  Eber- 
lein    and   Horace   Mather   Lippincott    (J.    B. 
Lippincott    Company,   Philadelphia)    S5.00. 
In  this  carefully  prepared  book,  and  disguised 
beneath  a  title  which  flavors  of  extreme  localism, 
the  authors  have  produced,  rather,  a  book  of 
nation-wide    interest.     With    the    exception    of 
Boston  no  early  American  city  played  so  prom- 
inent a  part  in  the  inception  of  the  Revolution- 
ary   War    as    Philadelphia — "The    Red    City," 
as  its  predominance  of  brick  houses  once  char- 
acterized it. 

The  families  which  constituted  the  backbone 
of  Philadelphia  and  its  environs  occupy  today 
much  the  same  place  which  they  held  prior  to  the 
Revolutionar>'  War,  and  in  the  unstable  and  ever- 
variant  nature  of  society  in  this  country,  the  fact 
is  an  interesting  one.  Many  of  the  old  houses 
described  in  this  book,  indeed,  have  never  gone 
out  of  the  hands  of  the  immediate  family  which 
built  them — and  nearly  all  the  houses  saw  stirring 


Book  Reviews 


From  "Colonial  Homes  of  Philadelphia  and  lis  Xeishborhood."  J 
AN   INTERIOR 


HALLWAY,      HOPE  LODGE 


and  interesting  incidents  whicli  are  a  part  of 
national  history. 

Biographically  and  genealogically  there  is  a 
fund  of  interest  in  the  careful  text,  which  reflects 
not  only  the  authors'  knowledge  of  their  field, 
but  their  love  of  it  as  well. 

Architecturally  it  is  by  way  of  being  a  revela- 
tion to  realize  what  a  factor  in  the  evolution  of 
current  architecture  in  Pennsylvania  are  the  old 
pre-Revolutionary  manors  and  family  seats  in 
and  around  Philadelphia.  In  "Wynnestay,"  in 
"Graeme  Park , " '  in  "  Waynesborough , "  and  in  many 
others  of  these  old  houses  there  is  to  be  seen  the 
direct  prototype  of  the  present  logical  develop- 
ment of  the  country  house  architecture  of  the 
locality  today.  Houses  of  the  Southern  Type, 
or  even  of  the  strictly  Georgian  Type  are  rare, 
and  the  Classic  Revival  played  a  still  smaller  part. 
For  the  most  part  the  older  of  the  houses  are  of 
local  fieldstone,  with  solid  wooden  shutters  and 
small-paned  windows,  and  the  interiors  are  of  the 
purest  "colonial"  type. 

There  is  a  dignity  which  is  inseparable  from 
these  early  examples  of  American  architecture, 


and  a  sincerity  which  seems  reflected  today  only 
in  the  immediate  sphere  of  their  influence  on 
modern  architects,  and  when  there  is  added  to 
these  qualities  the  rich  historical  interest  which 
surrounds  them,  some  measure  of  this  "  Colonial 
Homes"  book  may  be  had.  Its  pages  take  one 
directly  back  to  the  days  when  Boston,  Newport, 
New  York  and  Philadelphia  were  our  four  leading 
seaport  towns — to  times  of  a  less  complex  yet 
more  rigid  social  system  than  obtains  today — 
and  certainly  to  a  day  when  plain  living,  high 
thinking  and  large  deeds  were  national  charac- 
teristics. 

And  it  comes  as  quite  a  pleasant  surprise  to 
find  that  Philadelphia  and  its  neighborhood  have 
had  more  veneration  for  historic  and  family 
landmarks  than  has  shown  itself  in  most  parts 
of  this  country.  Possibly  no  other  locality  of 
such  historic  importance  has  retained  so  much  of 
its  oldtime  flavor— that  quaint  and  thoroughly 
charming  sort  of  conservatism  which  is  so 
pleasantly  and  entertainingly  chronicled  in  "  Colo- 
nial Homes  of  Philadelphia  and  its  Neighbor- 
hood." 


The  Etched  Work  of  Cadi.'allader  U'asJiburu 


■^'■^- 


l^rom  the  Original  EtchinR 
SANTA   MARIA,   MEXICO 


BY   CADWALLADER   WASHBURN 


T 


HE  ETCHED  WORK  OF  CADWAL- 
LADER WASHBURN 
BY  FRANK  WEITENKA.\n^F 


In  the  recent  re\-ival  of  painter- 
etching  among  American  artists  the  influence  of 
Whistler  was  to  be  expected,  but  that  of  Merjon 
is  equallj'  strong  or  more  so.  Yet  neither,  nor  any 
other,  is  dominant.  It  is  the  spirit  that  has  been 
followed,  rather]than  the  manner,  and  it  has  been 
absorbed,  not  copied.  The  note  of  direct  ex-pres- 
sion  is  strongly  felt  in  this  work  of  the  younger 
American  etchers.  In  the  best  of  it  we  feel  that 
intimate  relation  between  artist  and  subject  in 
which  we  may  join  and  which  forms  one  of  the 
chief  charms  of  the  print.  This  general  charac- 
terization applies  with  particular  force  in  the  case 
of  Cadwallader  Washburn. 

When  Washburn,  in  the  course  of  his  wander- 
ings, came  to  \'enice  in  1903,  he  entered  into  the 
spirit  of  the  group — Du\eneck,  Bacher,  et  al — who 
had  sat  at  the  feet  of  Whistler  in  the  city  which  he 
had  glorified  with  the  etching  needle.  The  result 
appears  in  some  very  creditable  views  of  Venetian 


palaces  and  plazas  and  canals.     But  Washburn 
ver}^  soon  went  his  own  way. 

Lessons  in  etching  he  never  had.  .\fter  study- 
ing under  H.  Siddons  Mowbray  at  the  Art  Stu- 
dents' League,  New  York  City  (about  1883-85), 
then  for  three  years  with  W^  M.  Chase,  in  Spain 
with  Sorolla  and  in  Paris  under  Albert  Besnard,  he 
one  day  exchanged  canvas  and  brush  for  plate  and 
needle.  One  may  not  always  see  just  as  he  did; 
one  may  even  find  his  powers  inadequate  in  cer- 
tain instances;  but  his  seriousness  and  steadfast- 
ness are  always  undoubted.  From  Italy  the  wan- 
derlust took  him  to  Japan,  Cuba  and  Mexico.  His 
travels  in  various  lands  ha\"e  resulted  in  groups  or 
series  of  plates  which  accentuate  well-defined 
stages  of  development.  The  Norlands  sets,  the 
only  ones  of  these  series  done  in  his  native  land 
(though  to  them  should  be  added  some  stray  views 
in  New  York  City  and  Coney  Island  as  home 
products),  may  aj^i^ear  to  some  as  perhaps  the 
least  satisfactory;  the  latest  ones  (the  Mexican) 
again  may  seem  probably  the  best.  Yet  one  hesi- 
tates to  make  this  comparison,  from  fear  that  it 
may  be  instigated  by  too  strong  a  preference  for 


The  Etched  IVork  of  Cadwallader  IVashburu 


^N^.^^^ 
^^. 


^^     :>^ 


From  the  Onutnal  Etching 

BORDA  GARDEN,  FROM  SAN  ANTONIO 


BY  CADWALLADER  WASHBURN 


technical  facDity,  or  that  the  appearance  of 
greater  definiteness  and  sureness  in  the  architec- 
tural plates  may  be  due,  in  part  at  least,  to  the 
subjects.  In  the  Norlands  series  one  balks  at  the 
somewhat  fumbling  rendering  of  water  in  The 
Turn  in  the  Creek,  for  instance,  or  at  the  appar- 
ently meaningless  foreground  in  Elms  at  Early 
Sunrise.  Or  the  juicy  application  of  drj'  point  in 
Creek  Meadow  (the  first  plate)  or  Bog  Creek  seems 
not  entirely  conscious  of  purpose,  something  like 
aimless  gestures  in  speech. 

Yet  in  Martin  Stream  and  The  A  ndroscoggin  River 
the  water  is  good,  treated  with  some  of  the  sim- 
plicity of  Haden  or  Piatt.  In  Wood  Road  or  The 
Atidroscoggin  River  at  Strickland's  Ferry  (simple 
and  direct  in  conception  and  composition)  w^hat  is 
elsewhere  an  apparent  or  real  insufficiency  of  state- 
ment resolves  itself  into  a  delightful  example  of 
repression  of  detail,  while  in  Road  Near  Tur- 
ner, the  summariness  brings  up  recollections  of 
Pissarro  or  Rafiaelli. 

Throughout  these  Norlands  plates  one  finds  a 
delicately  expressed  feeling  for  light  and  air. 
Quivering,  pulsating  sunlight  and  atmosphere  fill 


scenes  such  as  Elms  at  Early  Sunrise;  Meadow 
near  Martin's  Stream  (a  crisp  impression  of  sunny 
nature)  among  others.  That  feature  takes  us 
from  the  contemplation  of  details  in  execution  to 
the  consideration  of  a  more  fundamental  charac- 
teristic, the  expression,  in  these  Maine  \'iews,  of 
the  charm  of  everj'day  nature.  The  old  tree  in 
the  corner  of  the  lot,  the  brook  winding  through 
meadow  and  beneath  tangled  undergrowth  or 
water  plants,  the  road  through  the  woods,  with 
their  ever-present  note  of  mysterj' — these  things 
are  set  do-\\-n  with  an  absence  of  any  human  or 
animal  element.  The  resultant  feeling  of  remote- 
ness centers  attention  on  the  mood  awakened  by 
nature  alone.  These  Norlands  dr\^  points  are 
pure  landscape  art,  a  type  occurring  quite  fre- 
quently in  our  first  noteworthy  movement  in 
painter  etching,  about  thirty  years  ago,  but 
strangely  rare  in  the  present  revival.  Mr.  Wash- 
bum's  interest  in  his  native  soil  and  the  emotions 
appealed  to  in  its  scenery,  emphasize  again  the 
importance  in  art  of  the  combination  of  national 
characteristics  with  a  given  personality,  the  im- 
portant role  of  local  influences. 


The  Etched  J  Fork  of  Caih^aUadcr  IVashbitrn 


An  entirely  different  world  and  in  a  measure  a 
different  outlook  are  (presented  in  the  Mexican 
series.  True,  here,  too,  there  is  preeminently  the 
\nsion  of  buildings  as  they  appear,  as  they  are 
bathed  in  atmosjihere  and  sunlight,  but  the  ver\' 
choice  of  buildings  and  street  views,  and  the 
himian  staffage,  causes  a  change  of  \ie\vpoint 
which  is  affected  by  the  thought  of  the  relation  of 
man  to  all  this.  In  fact,  it  has  in  this  case  drawn 
from  the  artist  a  WTitten  expression  of  his  interest 
in  the  poor,  opjiressed  peons,  with  whom  he 
entered  into  congenial  relations  and  whom  he 
found  "strangely  polite."  This  attraction  of  the 
human  element  jirompted  the  execution  of  a  few 
studies  of  single  heads,  which,  together  with  the 
delightful  Huddhisl  jiriest  done  in  Japan,  have 
been  named  by  some  as  his  best  work.  Perhaps 
they  ap]ieal  because  their  good  points  are  so 
apparent,  perhaps  because  they  offer  the  interest 
of  the  unusual,  the  unexpected  in  this  artist's 
product.  They  illustrate,  furthermore,  the  char- 
acteristic alertness  of  Mr.  Washburn's  art  and 
personality,  which  is  set  forth,  likewise,  in  his  por- 
trait of  himself. 

"If  you  compare  the  different  plates,  you  will 
note  that  I  made  no  attempt  to  specialize  the 
different  styles  of  architecture,  but  rather  to 
depict  their  peculiarities  as  emphasized  by  nm- 
liglit.  That  is  to  say,  the  distinguishing  features 
of  each  style  are  subordinated  to  the  actual  ap- 
pearance of  the  object  as  a  whole.  .  .  Where 
confusion  of  detail  tends  to  embarrass  presenta- 
tion of  a  truthful  and  simple  impression,  it  is 
either  generalized  or  suppressed  completely  so 
that  often  the  style  of  architecture  maj'  not  be 
discerned.  In  thus  sacrificing  ruthlessly  the 
detail  in  The  Front  Facade  of  La  Campania  the 
imjiression  of  solidity  and  seclusion  improves; 
while  the  preserving  of  it  in  West  Faqade  oj  La 
Valcnciana    suggests    buoyancy    and    elegance." 

The  points  emphasized  can  be  further  illus- 
trated in  their  individual  application  by  the 
re])roduction  of  notes  made  on  the  occasion  of  the 
exhibition  of  Washburn's  etchings  in  Xew  York 
in  igio  and  iqii.  Of  the  two  plates  referred  to 
in  the  preceding  extract  from  Mr.  Washburn's 
letter.  West  Faqade  of  La  Valenciana,  Guanajuato 
shows  a  light  yet  sufficient  treatment  of  stone  in 
sunlight,  and  in  La  Campania,  Front  Faqade, 
Guanajuato  the  rendering  of  sunlight-flecked 
shadows  by  close,  uncrossed  lines  is  of  technical 
interest. 

The  Cathedral  of  Leon,  with  similar  sun- 
spotted   tremulous  shadows,  has  comprehensive 


suggestions  of  effect  without  detailed  delineation 
of  ornament;  the  building  is  thrown  into  delicate 
relief  by  the  translucent  shadows  in  the  fore- 
ground. In  Grand  Cathedral  of  Mexico  City, 
again,  the  architecture  is  carefully  drawn,  the 
Cathedral  of  Orizaba  is  interesting  in  its  attempt 
to  render  stone  texture,  and  Templo  Parroquialo 
{Xo.  i),  Ta.xco  is  somewhat  suggestive  of  Pennell 
in  its  synthetic  grasp  and  presentation.  The 
lines  of  bridge,  balustrade  and  clouds  in  Porficio 
Diaz  Bridge,  Cuernavaca  combine  into  a  harmoni- 
ous pattern,  and  the  dark  shadows  under  the 
foliage  at  the  left  of  Calle  Hidalgo,  Cuernavaca 
throw  a  strongly  accented  note  into  the  usual 
suniness  of  the  series.  A  like  sonority  marks  the 
Cameron-like  interior  of  the  Cathedral  of  Puebla. 
An  effect  of  peculiar  and  juicy  richness  is  pro- 
duced in  Sacred  Well,  Guadalupe  Hidalgo,  ex- 
ecuted in  straightforward  style  with  a  combina- 
tion of  judicious  distribution  of  light  and  shade, 
delicate  treatment  of  ornamentation,  and  the 
use  of  brownish  ink. 

One  may  easily  connect  the  architectural  train- 
ing at  the  Massachusetts  Institute  of  Technology 
(which  preceded  his  art  studies)  with  his  choice  of 
architectural  subjects,  particularly  in  Mexico. 

His  interest  in  the  buildings  which  he  portrays 
is  plainly  that  of  the  architect,  but  his  expression 
is  that  of  the  artist.  He  sees  architecture  in  its 
ultimate  appearance,  as  affected  by  surroundings, 
by  local  conditions  of  light  and  atmosphere,  by  the 
disintegrating  action  of  the  elements  or  the  mel- 
lowing effect  of  time.  And  the  personal  note,  the 
rendition  of  mood,  is  carried  into  this  appreciation 
of  the  picturesque  qualities  of  architectural  beauty. 

These  notes  may  serve  to  some  extent  to  indi- 
cate the  variety  in  subject,  treatment,  attitude  of 
the  artist,  and  interest,  which  Washburn's  work 
offers.  But  any  appearance  of  finality  in  the 
present  estimate  of  this  artist  was  to  be  avoided. 
Definite  judgment  must  of  necessity  be  deferred 
to  some  future  time.  Washburn's  critical  attitude 
toward  his  plates  is  shown  by  the  number  of  prints 
that  he  has  from  time  to  time  ordered  his  dealers 
to  destroy.  His  adaptativeness  in  method  to  sub- 
ject, his  sober  enthusiasm  and  the  ever-fresh 
aspects  of  the  world  about  him  which  he  sees  and 
records,  warrant  one  in  believing  that  the  full 
measure  of  his  development  is  yet  to  come.  But 
in  the  meantime  it  seemed  worth  while  to  note  the 
mile-stones  in  his  career  already  passed,  to  record 
the  progress  of  an  interesting  individual  factor  in 
the  present  American  renaissance  of  painter- 
etching. 


In  the  Galleries 


IN  THE  G.\LLERIES 
Among  current  exhibitions  which  open  the 
season  it  would  seem  that  the  print  fancier  is 
particularly  favored.  In  the  matter  of 
"popularity''  (deplorable  as  the  word  is  in  con- 
nection mth  the  fine  arts)  it  is  evident  that  Frank 
BrangwjTi,  the  etcher,  is  looming  strong  and 
powerful  over  all  other  etchers,  like  Rodin  over 
sculptors.  Even  if  one  be  not  an  enthusiast  on 
etching,  Brangwjoi  appeals  through  his  tremen- 
dous strength  and  virility,  though  amateur  and 
connoisseur  alike  would  do  well  to  study  his  plates 
separately — seventy-five  seen  together  are  like 
seventy-five  kings;  they  are  all  co-important,  and 
while  thej'  do  not  fight  with  each  other,  they  cer- 
tainly are  over-powering.  But  the  Kraushaar 
Galleries  are  showing  a  larger  collection  e^•en  than 
last  j-ear,  including  many  new  plates.  The  Storm 
is  a  small  plate,  but  a  very  stormy  one.  Bran- 
gw-yn's  splendid  apprecia- 
tion of  the  majesty  of 
architecture  is  manifest 
in  the  Castella  delta  Zizi, 
Palermo,  and  of  course 
there  are  the  two  tremen- 
dous windmUl  plates,  Dix- 
miule  and  The  Black  Mill. 
I  do  not  know  if  the  com- 
parison has  ever  been 
made  between  Brangwyn's 
Breaking  Up  the  "Duncan" 
and  Seymour  Hay  den's 
Breaking  Up  the" Agamem- 
non." Comparisons  are 
usually  unprofitable,  but 
the  subject  is  so  similar 
here  that  there  is  point 
to  it. 

At  the  Keppel  Galleries 
the  print  lover  is  again  re- 
warded for  a  %-isit  by  a 
splendid  showing  of  Rem- 
brandt's etchings — and 
perhaps  in  these  there  is 
interesting  food  for  a  still 
closer  comparison  of  Bran- 
gwyn.  Ceitainly  the  lat- 
ter's  Crucifixion  and  many 
of  his  other  plates  have 
much  of  the  strength  and 
much  of  the  \iolent  play  of 
light  and  dark  that  made 
the  great  Dutchman  one  of 


the  most  powerful  etchers  of  ail  time.  From  the 
7th  of  November  until  the  30th  of  December  these 
will  occupy  the  Keppel  Galleries,  and,  bemg  the 
basis  of  all  subsequent  etching,  should  be  taken 
not  only  on  their  face  value,  but  on  their  educa- 
tional value  as  well. 

The  Berlin  Galleries  wUl  continue  this  season 
the  interesting  and  highly  unusual  type  of  exhibi- 
tion which  ran  last  season,  and  which  by  their 
brilliancy  almost  seems  as  though  they  were  in- 
tended to  make  us  forget  that  the  permanent 
attractions  of  the  establishment  comprise  a  stock 
of  remarkable  carbon  and  color  photographs  of 
famous  paintings. 

The  charm  of  colored  etchings  and  modern  color 
prints  is  a  comparatively  new  one  for  this  country, 
and  those  who  are  in  any  way  attracted  to  these 
will  find  many  new  examples  in  the  galleries. 
Those  of  IMoulton  &  Ricketts  and  of  A.  H.  Hahlo 
&  Co.  contain  an  importation  of  recent  aquatints 


BY   GliORCE    REITIiR    BRILL 


/;/  the  Galleries 


Associated  Artists  of  Pittsburgh 
"reflections"  by   MARGARET   WHITEHEAD 

by  F.  T.  Simon — very  rich  and  soft  in  their  color- 
ing. Among  these  there  is  a  charming  spring  im- 
pression of  the  open-air  old  book  market  of  Paris, 
and  there  is  also  an  admirable  city  \'ista,  i.\dth 
snow,  and  a  soft  gray  color  scheme.  These  will 
be  on  exhibition  at  the  Hahlo  Gallen,-  from  the 
1 2th  of  November  until  the  ist  of  December,  and 
will  probably  be  followed  by  a  collection  of  etch- 
ings and  of  unusual  lithographs  by  Whistler. 
Moulton  &  Ricketts  show,  as  well,  a  selection  as 
wide  as  their  last  season's  one  of  etchings  by 
BrangwAn,  Hedley  P'itton  and  .\.\el  Haig. 

Certainly  the  most  varied  exhibition  of  color 
prints  is  that  of  the  "British  Societ}-  of  Graver 
Printers  in  Colour,"  held  at  the  Architectural 
League  Galleries  from  the  4th  to  the  23d  of 
November,  by  Manzi,  Joyant  &  Coupou  (Suc- 
cessors to  Goupil,  of  ParisJ.  The  work  of  this 
society  has  attracted  a  good  deal  of  attention  in 
Europe,  and  is  interesting  in  that  e\-ery  plate  is 
entirely  the  work  of  its  author,  in  engraving, 
coloring  the  block  and  jirinting. 

Another  type  of  print,  the  exquisite  steel  en- 
gra\ing  of  the  Seventeenth  Centurj-  in  France, 
as  embodied  in  the  work  of  Robert  Xanteuil  (I63o- 
I678),  is  being  shown  at  the  Galleries  of  Rudolph 
Seckel.  Here  are  fifty  splendid  jiortrait  engrav- 
ings which  illustrate  what  has  often  been  called  the 
"Golden  Age"  of  steel  engraxing  and  certainly 
■  an  exhibition  which  no  print  lover  will  fail  to 
visit. 


From  this  it  may  readily  be  seen  that  it  is  a 
month  for  the  print  fancier,  although  many  of  the 
galleries  are  following  the  general  policies.  With 
the  exception  of  an  unusually  interesting  show  of 
art  in  photography  at  the  jMontross  Galleries,  fol- 
lowed from  the  nth  of  November  to  the  7th  of 
December  bj  one  of  early  Chinese  art,  the  exhibi- 
tions will,  as  in  the  past,  be  devoted  to  American 
painting.  Announcement  is  made  of  a  group  of 
paintings,  mostly  of  Eg}.-pt,  by  Henrj-  Bacon,  and 
of  another,  from  the  2d  to  the  i6th  of  January,  of 
the  ever-charming  art  of  Robert  Reid. 

Old  ^Masters  are  on  view  at  the  Ehrich  Galleries, 
at  the  Fischer's  Galleries,  and  the  splendid  collec- 
tion of  the  Kleinberger  Galleries  will  soon  be  more 
ad\-antageously  sho\\ii  in  new  upto'mi  galleries  at 
709  Fifth  Avenue. 

I  The  first  important  exhibition  at  !Macbeth's 
Galleries  was  of  recent  paintings  by  F.  Ballard 
Williams,  pleasing  and  colorful  as  ever,  and  unusu- 
ally sincere  in  the  ob\-ious  homage  paid  b}^  the 
painter  to  abstract  and  ideal  beaut\-.  During  the 
first  two  weeks  in  December  the  ^Macbeth  Galler- 
ies will  hold  a  special  exhibition  of  the  recent  work 
of  LawTence  ^Iazzano\itch,  whose  last  five  years 
have  been  spent  painting  in  Europe. 

Any  monopoly  of  this  season's  exhibitions  by 
paintings  alone  would  be  infringed  on  not  only  by 
the  wide  and  varied  showings  of  prints,  but  by 
sculpture  as  well,  for  the  latter  half  of  Novem- 
ber the  Gorham  Company  holds  an  imposing 
and  exceedingly  interesting  "E.xhibition  of  Sculp- 
ture by  American  Artists,"  and  the  National 
Academj'  of  Design  announces  an  intention  of 
devoting  an  entire  gallery  to  sculpture  in  the 
winter  show. 

Out  of  New  York  the  season  begins  in  Philadel- 
phia with  the  opening  of  the  Philadelphia  Water- 
Color  Club  and  the  Pennsylvania  Society  of  Mini- 
ature Painters,  and  in  Pittsburgh  with  the  Third 
Annual  Exhibition  of  the  Associated  Artists  of 
Pittsburgh  (October  24  to  November  25).  The 
first  and  second  awards  in  this  exhibition  were 
given,  respectively,  to  Margaret  WTiitehead,  for 
her  Reflections,  and  to  George  Reiter  Brill  foi  his 
Vanity.  The  exhibition,  hanging  two  hundred 
and  seven  paintings  this  year,  places  it  in  the  fore 
among  the  season's  exhibitions  in  the  Middle 
West. 

In  Chicago  the  Roullier  art  galleries  are  hold- 
ing a  splendid  exhibition  of  etchings,  drj'-points 
and  ^lezzo-tints  b\'  Seymour  Hayden,  while  the 
galleries  of  W.  Scott  Thurber  are  featuring  an  e.x- 
hibition of  the  paintings  of  B.  J.  Olson  Norsfeldt. 


LVI 


"CHINTZ."        FROM     THE     OIL 

PAINTING  BY  HAROLD  KNIGHT. 


INTERNATIONAL 
STUDIO 


VOL.  XLVIII.        No.  191 


Copurighl,  1913 ,  bn  John  Lane  Company 


JANUARY.  1913 


T 


HE  PROGRESSIVE  SPIRIT 
SCANDINAVIAN  PAINTING 
BY  CHRISTIAN  BRINTON 


IN 


Much  has  lately  been  said  in  club 
and  studio  circles  concerning  the  existence  in  this 
countr}%  and  more  specifically  in  New  York  City, 
of  a  so-called  "Art  Trust."  Its  inception  is  sup- 
posed to  have  been  a  logical  outcome  of  the 
unprecedented  financial  success  of  the  recent 
SoroUa  E.xhibition  at  the  Hispanic  Society. 
Directly  following  this  particular  event  certain 
elements  were  supposed  to  have  banded  together 
in  a  spirit  of  self-protection  and  unanimously  to 
have  decreed  that  nothing  of  the  kind  must  ever 
happen  again — that,  in  short,  American  art  and 
artists  must  be  safeguarded  from  future  foreign 
incursions.  It  has  even  been  darkly  hinted  that 
the  sinister  machinations  of  this  organization  were 
mainly  responsible  for  the  non-appearance  here 
last  season  of  the  notable  exhibition  by  members 
of  the  Societe  Nouvelle,  so  ably  arranged  by  Miss 
Sage,  of  the  .Albright  Gallerj-,  Buffalo.  It  was 
furthermore  subtly  insinuated  that  those  responsi- 
ble for  the  present  display  of  contemporary'  Scan- 
dina\'ian  painting  at  the  American  Art  Galleries 
would  likewise  be  unable  to  obtain  a  foothold  in 
New  York.  While  such  savor)'  hearsay  may  or 
may  not  have  any  foundation  in  actual  fact,  it 
nevertheless  affords  opportunity  for  a  fruitful  fund 
of  speculation.  There  are,  however,  in  this  con- 
nection, two  points  which  cannot  be  overlooked, 
one  of  them  being  that,  despite  definite  efforts  to 
that  end,  the  exhibition  of  the  Societe  Nouvelle 
did  not  succeed  in  making  its  metropolitan  appear- 
ance, and  the  other  being  that  the  current  exhibi- 
tion of  Scandinavian  art  has  come  to  us  largely 
owing  to  educational  and  patriotic  initiative,  and 
not  because  of  a  specific  desire  upon  the  part  of 
any  of  our  leading  institutions  or  art  societies  to 
extend  it  their  welcome. 

While  there  had  been  for  some  time  since  a 


desire  on  the  part  of  those  Scandinavian-Ameri- 
cans who  were  familiar  with  the  work  of  their 
countrj'men  at  home  to  hold  an  exhibition  of  this 
character  in  America,  it  was  not  until  the  arrival 
in  this  country  of  the  distinguished  Norwegian 
painter  Mr.  Henrik  Lund  that  the  movement 
took  definite  shape.  It  was  he  who  proved 
the  guiding  spirit  of  the  undertaking,  the  success 
of  which  from  thence  onward  was  assured.  The 
idea  itself  was  a  thoroughly  praiseworthy  one  and, 
fortunately  in  this  case,  patriotism  was  more  than 
justified  by  the  actual  esthetic  importance  of  the 
work  of  these  sturdy,  clear-eyed  Northmen,  whose 
efforts  had  already  been  frequently  acclaimed  on 
the  Continent  and,  on  not  less  than  three  different 
occasions,  in  England,  also. 

Apart  from  the  strictly  limited  showing  of  con- 
temporary Scandina\'ian  painting  at  Chicago  just 
a  score  of  years  ago,  and  the  small  itinerant  dis- 
play of  two  years  later,  it  was  not  until  the 
Louisiana  Purchase  E.xposition  of  1904  that  the 
American  public  was  able  to  form  a  first-hand 
acquaintance  with  this  essentially  \'igorous  and 
individual  artistic  expression.  Both  the  Chicago 
and  St.  Louis  exhibitions  were,  however,  official 
affairs,  the  organization  of  each  being  confined  to 
strictly  Government  channels.  In  the  case  of  the 
itinerant  venture  already  referred  to,  which  toured 
the  leading  provincial  cities  during  1895-96,  the 
selection  was  exclusively  Swedish,  while  the  still 
more  hmited  showing  of  Scandinavian  art  held 
under  the  auspices  of  the  Copley  Society  of  Bos- 
ton, in  1907,  included  the  work  of  Norwegian  paint- 
ers only.  If  it  was  the  Swede,  Carl  Larsson,  who 
won  chief  honors  at  Chicago  in  1893,  with  his 
ever-spirited  and  delightful  My  Family,  now  in 
the  possession  of  Mr.  Thorstcn  Laurin,  of  Stock- 
holm, it  was  the  masterful  painter  of  animal  por- 
traits, Bruno  Liljefors,  also  a  Swede,  whose 
splendid  group  of  canvases  was  the  sensation  of 
his  country's  offering  at  St.  Louis. 

It  will  be  readily  inferred  from  this  brief  resume 


o 

2 

o  > 


Scandinavian  Art 


Collection  of  Mr.  Carl  Nisser,  Broby 
ON   THE  FROZEN   SNOW 


BY   GUXNAR   HALLSTROM 


that,  while  Sweden  has  been  reasonably  well  rep- 
resented in  America,  the  art  of  Denmark  and 
Norway  has  been  chiefly  conspicuous  by  its  long- 
continued  absence.  The  reasons  for  this  are 
better  known  to  the  countries  themselves,  for  the 
occasions  when  they  have  appeared  together  in 
full  force  have  been  indeed  rare  and  far  between, 
the  recent  International  Exhibition  in  Rome,  and 
the  present  instance  being  notable  exceptions. 
Considering  its  necessarily  limited  scope,  the  cur- 
rent display  of  Scandinavian  art  is  beyond  ques- 
tion the  most  significant  ever  held.  The  selection 
has  been  frankly  confined  to  the  work  of  li\ing 
men  only,  and.  in  as  far  as  possible,  the  choice  of 
artists  has  been  conducted  on  eclectic  as  well  as 
stimulatingly  progressive  lines.  The  canvases  are, 
however,  in  numerous  instances  something  more 
than  the  work  of  merely  living  men;  they  are  not 
infrequently  the  work  of  men  who  will  continue  to 
rank  for  many  years  to  corneas  the  veritable  found- 
ers of  latter-day  Scandinavian  painting.  It  is  not 
in  any  sense  claimed  that  the  exhibition  is  an 
ideal  one;  those  who  have  been  more  or  less 
closely  connected  with  it  from  the  outset  best 
recognize  its  faults  and  shortcomings,  but  it  may 
fairly  be  stated  that  it  represents  the  artistic 
activity  of  the  three  countries  as  it  obtains  at  the 


present  moment.  .\nd  apropos  of  this  may  be 
mentioned  one  cardinal  point  of  diflFerence  be- 
tween the  present  undertaking  and  all  of  its 
predecessors,  either  here  or  abroad,  and  that  is 
that  it  is  the  first  exhibition  of  its  kind  to  show,  as 
it  were,  art  in  the  makmg.  Those  responsible  for 
previous  displays  have  been  distinctly  more  cau- 
tious in  their  choice  of  men  and  of  canvases. 
They  have  as  a  rule  taken  only  those  names  which 
were  hallowed  by  precedent  and  backed  by  the 
weight  of  official  dignity  and  prestige.  It  would 
have  been  a  simple  matter  to  hav-e  done  the  same 
sort  of  thing  in  the  current  case.  One  is  always 
safe  in  selecting  popular  and  well-established 
figures;  the  possibility  of  committing  mistakes  of 
judgment  is  thus  reduced  to  a  niinimum,  but, 
conversely,  the  chances  for  the  d'scovery  of  new 
and  virile  talents  virtually  disappear.  To  hav-e 
been  ultra-conservative  would,  moreover,  in  this 
instance  have  been  flatly  untrue  to  e.>dstent  condi- 
tions in  Scandinavia.  The  art  of  these  nations  is 
the  youngest,  in  point  of  actual  date,  in  all  Europe. 
It  is  but  a  scant  century  since  either  Sweden,  Den- 
mark or  Norway,  boasted  what  may  be  described 
as  a  native  school,  and  to  have  exhibited  the  pro- 
duction of  the  older  and  essentially  derivative 
painters  would  have  been  a  work  of  pure  super- 


to 


Scandinavian  Art 


erogation,  not  to  say  superannuation.  While 
there  are  doubtless  in  our  midst  many  resi- 
dent Scandina^•ians,  and  not  a  few  native-born 
Americans  who  would  have  preferred  to  see  in  the 
present  exhibition  the  works  of  leading  Fontaine- 
bleau-Swedish,  Dtisseldorf-Xorwegian  and  Dano- 
Dutch  painters,  it  was  not  the  purpose  of  the 
organizers  of  this  undertaking  placidly  to  rely 
upon  past  performances,  but  rather  to  plunge 
courageously  into  the  present — the  present  with 
its  often  crude  and  undigested  actuality,  yet  its 
ever-potent  promise  of  fresher  outlook  and  wider 
possibility.  You  ■nill  have  already  noted  upon 
the  walls  of  the  American  Art  Galleries,  and  you 
may  subsequently  see  in  Buffalo,  Toledo,  Chicago, 
and  Boston — to  which  cities  the  exhibition  mo\-es 
in  unbroken  sequence — not  only  the  work  of  the 
older  li\ing  men,  but  by  its  side  the  newer  and 
bolder  triumphs  of  young  painters  whose  efforts 
have  as  yet  barely  been  recognized  in  their  own 
coimtries.  It  is  this  strong  and  unmistakable 
stamp  of  modernity,  this  conception  of  art  as  a 
vital,  li\Tng  force  that  lends  the  current  exhibi- 
tion its  distinctive  character  and  which  also  serves 
to  mark  an  epoch  in  the  all  too  monotonous  succes- 


sion of  similar  undertakings.  It  need  not  be  as- 
sumed from  the  foregoing  that  art  is  necessarily 
good  simply  because  it  is  fresh  and  radical,  for 
much  that  is  both  fresh  and  radical  is  indubitably 
bad.  And  yet  the  fact  remains  that  a  bad  new 
thing  is  better  than  a  bad  old  thing;  its  defects  at 
least  having  the  distinction  of  novelty. 

It  was  held  by  the  leading  critics  of  Berlin 
and  Munich  on  the  occasion  of  the  exhibi- 
tion of  American  painting  organized  under  the 
liberal  auspices  of  Mr.  Hugo  Reisinger,  that  we,  as 
a  nation,  had  nothing  new  to  say  in  art.  They 
were  one  and  all  surprised  to  find  that  the 
acknowledged  novelty  of  our  contribution  to  other 
fields  of  acti\-ity  was  in  no  sense  paralleled  in  the 
pro\ince  of  painting.  Whistler  alone,  they 
argued,  had  contributed  something  new,  but  he 
had  done  it  so  long  ago  that  it  had  lost  consider- 
able of  its  delicate  and  insinuating  pertinence. 
Viewed  not  from  a  narrowly  chau\'inistic,  but 
rather  from  a  broadly  Continental  standpoint, 
there  can  be  little  question  concerning  the  justness 
of  these  strictures,  which  indeed  are  echoed  by 
wellnigh  every  really  frank  and  honest  foreign 
authority  who  comes  to  our  shores,     .\merican  art 


FR.\GMEXT  OF   WATERF.ALL 


i)V  ol;)T.\f  a.  fJ/ESTad 


Scaiidi)iaviaii  Art 


is,  or  at  least  appears 
to  be,  at  a  standstill. 
We  clearly  need  the 
stimulus  which 
comes  from  outside 
sources.  We  con- 
demn what  is  knowTi 
as  the  modern  move- 
ment, without  grasp- 
ing its  significance, 
and  keep  on  liking 
the  same  pictures 
which  pleased  us  a 
generation  ago.  And 
they  are  in  substance 
identical.  Their  gen- 
eral tonalitj'  is  a  bit 
more  crisp  and  clean, 
they  are  perhaps  less 
constrained  in  treat- 
ment, but  the  under- 
lying mood  is  the 
same  as  before.  Im- 
pressionism has  come 
from  overseas  and 

has  been  discreetly  adapted  to  our  local  needs,  yet 
in  essence  these  landscapes — for  landscajie  is  thus 
far  our  only  characteristic  expression — are  based 
primarily  upon  a  mere  genteel  appeal  to  sentiment. 
We  have  not  thus  far  attempted  to  master  the  syn- 
thetic or  stylistic  points  of  view,  and,  if  placed 
beside  the  stinnilatinc;  and  colorful  abstractions 


HOARFROST 


THE   MOUNTAIN   GIRL  BY   J.   F.   WILLUMSEN 

LXII 


BY   GUSTAF   A.    FJ^STAD 

of  the  newer  men,  the  work  even  of  our  boldest 
talents  seems  strangely  antiquated. 

It  is  these  facts,  however  unwelcome  they  may 
prove  in  certain  quarters,  which  makes  the  coming 
of  an  exhibition  such  as  the  Scandinavians  have 
sent  us  an  event  in  the  history  of  American  artistic 
development.  The  success  of  the  SoroUa  display 
was  clearly  more  psychological  than  esthetic;  the 
splendid  welcome  accorded  the  exhibition  of  the 
Societe  Nouvelle  was  in  the  nature  of  a  tribute  to 
a  firmly  established  and  consistently  sustained  tra- 
dition, but  with  the  Scandinavians  one  goes  a  step 
further  in  the  conquest  of  fresher  territory.  They 
are  a  young  nation  like  ourselves,  yet  unlike  us 
they  strike  valorously  forth  into  relatively  un- 
trodden pathways.  It  must  not,  however,  be 
assumed  that  these  men  of  the  North  have  thus 
far  epitoniized  the  modem  movement  in  its  most 
acute  phases,  for  the  relative  difference  in  radical- 
ism between  the  present  exhibition  and  that 
epoch-making  demonstration  made  by  the  Sonder- 
bund  at  Cologne  during  the  past  spring  and  sum- 
mer will  be  patent  to  any  who  are  fortunate 
enough  to  be  in  a  position  to  make  the  comparison. 
Side  by  side  even  with  the  recent  annual  display 
of  the  renowned  Konstnarsforbundet  in  Stock- 
holm the  difference  is  almost  equally  great.  And 
still  there  is  no  conspicuous  lack  of  a  healthy,  pro- 
gressive spirit  in  the  ciuxent  Scandinavian  e.xhi- 


Scandinavian  Art 


Colleclion  of  Dr.  Alfred  Bra 
SUNBEAMS 


BY   VILHELM   HAMMERSHOI 


bition.  It  will  indeed  doubtless  be  considered 
much  too  ad\-anced  by  those  sontnolent  beings 
who  are  in  the  habit  of  regarding  art  as  a  station- 
ary product — as  something  which,  if  not  reminis- 
cent and  reposeful  in  appeal,  is  unworthy  of 
serious  consideration. 

It  is  o\\Tng  mainly  to  the  regrettable  absence 
of  the  members  of  the  Konstnarsforbundet,  that 
close  corporation  which  never  exhibits  save  in 
full  force  and  entirely  by  itself,  in  exalted  and 
imperious  isolation,  that  the  work  of  the  Swedes 


herewith  appears  less  adxanced  in  feeling  than 
that  of  the  other  Scandinavian  countries.  It  was 
a  question  of  the  Konstniirsforbundet  or  the  rest 
of  Sweden,  and  the  decision  ^\•as,  alas,  made  in 
favor  of  non-members  of  this  unquestionably  able 
but  dictatorial  organization,  the  only  exception 
being  Prince  Eugen,  who  graciously  consented  to 
lend  his  support  to  the  undertaking,  There  are 
nevertheless  in  the  work  of  the  Swedes  as  here 
represented  notes  which  are  new  to  the  art-loving 
public  of  America.     We  are  of   course   familiar 


Scandinavian  A rt 


with  the  superlative  manipulative  masterj'  of 
Zom,  but  we  have  never  before  encountered  that 
broad  sjTithesis  and  spacious  grandeur  which  are 
the  leading  characteristics  of  the  work  of  Otto 
Hesselbom,  nor  ha\-e  we  previously  met  with  that 
incomparable  fusion  of  motives  at  once  natural- 
istic and  stylistic,  which  is  the  keynote  of  Gustaf 
Fjajstad's  crisply  viewed  snow  scenes.  You  wll 
in  fact  readily  discover  in  the  work  of  the  Swedes 
a  highly  developed  technical  facility,  an  unfailing 
sense  of  style,  not  visible  in  the  work  of  her  sister 
nations.  Though  its  clima.x  is  perhaps  attained 
in  the  brightly  tinted  water-color  panels  of  Carl 
Larsson,  one  sees  it  in  all  this  essentially  consistent 
and  conser\ative  work.  Stockholm  has  not  for- 
gotten her  one-time  close  association  with  the  Court 
circles,  and  the  esthetic  and  intellectual  traditions 
of  her  one-time  ally,  France,  and  there  is  in  the 
art  of  the  Swedes,  despite  its  manifestly  national 
flavor,  a  distinct  element  of  refined  eclecticism. 

Denmark  one  habitually  considers  the  epitome 
of  conser\-atism.  and  in  most  respects  it  certainly 
answers  the  definition,  yet  in  the  production  of 
Willumsen  we  have  a  creative  A-itality  and  exuber- 
ance which,  in  their  salutary  quest  of  self- 
expression  ha\-e  sought  to  break  all  conventional 
bounds.  His  huge  and  brilliantly  executed  canvas 
entitled  Y»uih  and  Sunshine  may  be  taken  as 
something  more  than  a  simple  bathing  scene. 
Though  by  no  means  ultra-radical,  it  symbolizes 
in  its  freedom  of  treatment  and  joyous  delight 
in  clear  color  and  spontaneous  movement,  the 
essential  characteristics  of  new  school.  With  Wil- 
lumsen may  be  grouped  the  younger  men,  Sigurd 
Swane  and  Edward  Weihe,  who  are  continuing  a 
work  which  bids  fair  to  change  the  character  of 
latter-day  Danish  painting.  These  men  stand  in 
a  position  of  direct  antithesis  to  Vilhelm  Hammer- 
shoi,  an  artist  revealing  such  delicate  subtlety  and 
penetration,  and  such  rare  subjecti\ity  of  feeling, 
that  he  will  never  be  superceded,  no  matter  to 
what  lengths  the  men  of  the  restless  present  or 
uncharted  future  may  see  fit  to  go. 

With  the  exception  of  a  few  canvases  by  certain 
of  the  older  men,  such  as  Christian  Krohg,  Erik 
Werenskiold,  and  Eilif  Peterssen,  whose  existence 
it  is  impossible  to  ignore,  the  Norwegian  section  of 
this  triune  exhibition  is  still  more  uniformly  mod- 
em than  are  the  Swedish  and  Danish.  The 
youngest  nation  of  the  three,  and  possessing  com- 
paratively few  artistic  traditions,  they  ha\-e  been 
free  to  go  their  own  way,  and,  with  the  present 
generation,  the  path  of  progress  has  been  trodden 
with  no  hesitant  footsteps.     The  most  copiously 


represented  Norwegian  painters  are  Edvard 
Munch  and  Henrik  Lund.  The  position  of  Munch 
in  Norway  is  analagous  to  that  of  Willumsen  in 
Denmark.  They  are  the  veritable  precursors  of 
the  modern  movement  in  the  Northland,  and  to 
their  valiant  and  so  frequently'  misunderstood  and 
maligned  efforts  is  largely  due  the  position  which 
Scandinavian  art  at  present  occupies  in  Conti- 
nental appreciation.  With  Lund,  who  is  perhaps 
the  most  brilliant  and  dexterous  technician,  and 
who  is  distinctly  the  leading  portrait  and  land- 
scape impressionist  in  Norway,  may  be  mentioned 
Ludvig  Karsten,  Ame  Kavli,  Soren  Onsager  and, 
lastly,  Per  Krohg,  the  youngest  and  most  appro- 
priately radical  of  that  talented  group  whose  suc- 
cess was  so  marked  at  the  recent  exhibition  at  the 
Vienna  Hagenbund.  It  is  a  noticeable  fact  that 
while  the  older  painters  of  Sweden  and  Denmark 
have  in  the  main  remained  imper\'ious  to  latter- 
day  influences,  certain  Norwegians,  on  the  con- 
trary, who  have  comfortably  passed  middle  age, 
such  as,  for  instance,  Erik  Werenskiold  and 
Edvard  Diriks,  have  courageously  espoused  the 
new  cause. 

Vigorous  and  ad\'anced  as  some  of  this  work 
unquestionably  is,  it  nevertheless  remains  sturdily 
nationalistic  and  ScandinaNian  in  spirit.  These 
people  who  for  centuries  have  lived  a  typically 
free  and  unspoiled  outdoor  existence  have  sacri- 
ficed nothing  of  their  fundamental  esthetic  birth- 
right during  their  brief  conquest  of  self-expression. 
Their  message  to  America  is  full  of  robust  beauty 
and  delicate  sensibility.  It  reveals  by  turns 
that  passionate  lyric  exaltation,  and  that  heroic, 
bardic  strength  which  are  alone  the  gift  of  the 
North. 

Despite  features  of  such  undoubted  significance 
as  have  herewith  been  noted,  the  exhibition  in  its 
entirety  lea\'e3  a  somewhat  inconclusive  impres- 
sion upon  the  popular  as  well  as  the  critical  mind. 
While  revealing  here  and  there  decidedly  progres- 
sive tendencies,  it  betrays  in  essence  a  fluctuation 
between  the  old  and  the  new.  A  purely  retrospec- 
tive display  on  the  one  hand,  or  a  fearless  demon- 
stration of  radicalism,  on  the  other,  would  have 
been  preferable  to  the  present  vacillation  between 
the  yesterday  and  the  today  of  Scandinavian 
artistic  production.  With  such  incomparable 
material  as  might  have  been  furnished  by  Edvard 
Munch,  for  example,  seen  in  full  force,  the  aS^air 
would  have  assumed  a  vastly  different  aspect.  In 
brief,  one  must  not  fail  to  recognize  the  fact  that 
in  art,  as  elsewhere,  compromise  is  but  thinly  dis- 
guised cowardice. 


Henry  Caro-Delvaille 


PORTRAIT  OF   MADAME   SIMONE  CASIMIR  PERIER 


BV   HENRY  CARO-DELVAILLE 


H 


ENRY  CARO-DELVMLLE 
BY  ARTHUR  HOEBER 


Only  once  in  a  great  while  does  it 
happen  that  the  painter  finds  recogni- 
tion from  the  very  beginning  of  his  career. 
Such  good  fortune  is  the  exception  to  the  rule 
in  art  where  the  tale  is  generally  one  of  struggle 
against  odds,  of  patience  well-nigh  exhausted, 
of  hope  deferred  till  the  heart  is  sick.  A  promi- 
nent case  in  point  happily  of  labor  rewarded,  of 
searchings  culminating  in  appreciation,  of  com- 
missions following  serious  application,  of  honors 
supplementing  earnest  endeavor,  is  that  of  the 
Frenchman,  Henry  Caro-Delvaille,  today  the 
vogue  in  Paris,  both  as  a  painter  of  portraits  and  a 
maker  of  decorative  panels,  a  man  barely  thirty- 
sLx,  recognized,  holding  a  place  entirely  his  own, 
and  all  this  in  a  land  where  one  has  to  be  much  out 
of  the  commonplace  to  attract  attention,  for  your 
French  public  has  to  be  thoroughly  convinced 
before  it  wUl  yield  its  capricious  favor  or,  once 
yielding  it,  continue  to  be  loyal.  ''A  picture," 
said  a  writer  once,  "is  nature  seen  through  a  tem- 


perament." Surely  it  is  late  in  the  history  of  art 
to  see  anything  specially  new  in  human  nature,  to 
make  of  the  portrait  an  accomplishment  that  shall 
set  the  world  talking.  Singularly  enough,  how- 
ever, this  is  what  M.  Caro-DelvaUie  has  done  and 
done  it  by  the  most  simple,  direct  methods. 

A  little  more  than  a  decade  ago  there  appeared 
in  the  Paris  Salon  a  canvas  so  novel  in  arrange- 
ment, so  personal  in  color,  so  happy  in  the  disposi- 
tion of  light  and  shade  that  the  jaded  public  of 
Gaul's  capital  sat  up  and  took  notice.  A  charm- 
ing, well-bred  young  woman  half  reclined  on  a 
divan,  while  an  elderly  woman  in  black,  wth  bon- 
net on,  manicured  the  nails  of  the  younger  lady. 
Ordinarily  one  would  say  not  an  inspiring  theme 
for  a  painter!  Yet  there  was  the  touch  of  nature, 
the  intimacy  of  a  refined  household.  There  were 
grace  and  naturalness  to  the  poses  and,  in  spite  of 
everything,  the  canvas  held  one.  A  new  note  had 
been  struck.  A  painter  far  out  of  the  common- 
place had  arrived.  It  was  M.  Caro-DelvaiUe's 
debut  in  the  French  official  exhibition  and,  quite 
unheralded,  quite  without  influence,  the  picture 
found  instant  favor  with  the  jury  and  a  medal 


Henry  Caro-Delvaille 


resulted.  The  artist  was  a  lad  of  twenty-four,  a 
chap  with  jet-black  hair,  an  alert  face,  a  serious- 
minded  worker,  lull  of  enthusiasm,  deadly  in 
earnest,  a  painter  by  the  grace  of  God,  who  was  so 
overcome  by  his  unexpected  good  fortune  that  he 
jumped  into  a  cab  and  rode  about  Paris  that  he 
might  hide  his  smiles  and  curb  his  crazy  joy! 

Yet  this  was  about  all  the  vacation  he  allowed 
himself,  for  his  profession  was  his  life.  Away 
from  his  easel  he  moped,  pined.  His  was  the 
gospel  of  work  and  again  work.  Not  mere  labor, 
but  intelligent  work,  scheming,  studying,  analyz- 
ing, preparation  to  the  end  that  he  should  make 
the  most  of  his  endowments.  .\nd  from  that  time 
his  life  has  been  uneventful,  save  as  he  has  passed 
certain  milestones  in  the  road  of  art.  Three  years 
later  came  a  work  that  was  yet  a  serious  advance, 
a  portrait  group  of  his  wife  and  her  sisters.  Here, 
in  the  splendid  pride  of  maternity,  sat  Madame 
Caro-Delvaille,  with  her  first-born  at  her  breast, 
the  mother  clad  in  evening  dress,  her  lovely,,  illu- 
mined face  looking  out  at  you  with  breeding  and 
charm.  \\  a  table  two  handsome  young  girls  play 
chess.  Over  the  shoulder  of  one  of  these  lovingly 
leans  still  another  sister^^  while  the  last  of  the  quin- 


PORTRAIT   OF   MADAME   LACLOCHE 


tette,  a  young  child  almost,  passes  somerefresh- 
ments.     .\  family  party  such  as  one  might  be  per- 
mitted to  see  " chez  eM.v."     Indeed,  so  free  was  the 
canvas  from  any  suggestion  of  pose,  one  really  felt 
intruding  at  gazing  at  the  intimate  gathering  of 
the  sisters.     Apathetic  Paris  was  again  stirred. 
The  ^Minister  of  Fine  Arts  bought  the  work  for  the 
Musee  de  Luxembourg,  and  there  came  that  simple 
scrap  of  red  ribbon  that  means  so  much  in  the 
world  of  art    for  ^lonsieur  Caro-Delvaille  had 
been  created  a  Chevalier  of  the  Legion  of  Honor! 
To  tell  more  simply  would  be  to  chronicle  a 
series  of  continued  successes,  of  portraits  of  the 
great  in  their  various  walks  of  art,  for  M.  Caro- 
Delvaille  has  painted  people  congenial  to  him. 
leaders  of  the  dramatic  and  operatic  stage,  writers, 
artists  like  himself.     !Mnie.  Rostand  sat  to  him 
and  the  Rostand  house  was  embellished  by  the 
man's  beautiful  decorations.     In  this  field  he  has 
accomplished  much  and  of  a  varied  sort  and  com- 
missions came  to  him  a-plentj-.     He  was  bom  at 
Bayonne,  France,  close  to  the  Spanish  border  from 
which  countrj-  came  his  forebears  to  settle  at  Bay- 
onne.    Froni  there,  too,  came  his  master,  the  dis- 
tinguished portrait  painter,  Leon  Bonnat,  with 
whom  he  studied  at  the 
Ecole  des  Beaux  Arts,  in 
Paris.     M.  Caro-Delvaille 
at  present  is  in  New  York, 
where  he  vn[\  remain  for 
some  months,  completing 
portrait  commissions,  and, 
later  in  the  season,  we  are 
promised  an  exhibition  of 
his  works  at  the  galleries 
of  E.  Gimpel  &  Wilden- 
stein,   636  Fifth  Avenue. 
Even    now  one   may  see 
there   two   of  his   better- 
known  canvases,  one  a  por- 
trait of  the  distinguished 
French  actress,  Mme.  Si- 
mone,  now  playing  here, 
the  other  a  group  of  the 
painter's   wife    and   two 
children. 

It  is  always  a  stimulus 
not  only  to  the  lay  ob- 
server but  to  the  painters 
of  this  country  as  well 
when  a  European  of  such 
marked  brilliancy  and  chic 
BY  HENRY  cARo-DELVAtLLE         as  M.  Delvaillc  c.xhibits. 


The  Principles  of  Advei'tising  Arrangement 


T 


HE   PRINCIPLES   OF   ADVERTIS- 
ING ARRANGEMENT" 
BY     FRANK     .ALVAH     PARSONS 
REVIEWED  BY  EARNEST   ELMO 
CALKINS 


The  lectures  of  Mr.  Frank  Alvah  Parsons,  the 
president  of  the  New  York  School  of  Fme  and  Ap- 
plied Art,  upon  "The  Principles  of  Advertising 
Arrangement,"  have  been  printed  in  book  form,  to 
the  manifest  advantage  of  all  interested  in  what 
the  author  calls  the  topography  of  the  advertise- 
ment. Mr.  Parsons'  talks  were  delivered  to  a 
body  of  men  engaged  in  the  production  of  adver- 
tising. They  are  of  a  character  to  hold  the  atten- 
tion and  clear  the  vision  of  the  experienced  adver- 
tising man,  while  simple  enough  to  offer  a  real  help 
to  the  artist,  designer,  compositor  or  advertise- 
ment \\Titer  whose  foot  is  on  the  lowest  rung  of  the 
advertising  ladder. 

Mr.  Parsons  writes  simply  and  sanely  on  a  sub- 
ject he  is  competent  to  discuss.  That  which 
makes  a  design  good  makes  an  advertisement 
good.  Balance,  movement,  emphasis,  decoration 
come  under  the  same  general  laws,  whether  ap- 
plied to  furniture  and  architecture  and  fabrics,  or 
to  a  page  ad  in  a  magazine.  The  fact  that  adver- 
tising men  have  produced  strong,  symmetrical, 
well-designed  ads  without  the  aid  of  Mr.  Parsons' 
books  means  nothing.  The  fact  that  advertising 
matter  wholly  lacking  in  good  arrangement  has 
sold  goods  means  less. 

Advertising  men  know  even  better  than  ]Mr. 
Parsons  how  much  this  atmosphere  has  improved 
the  selling  power  of  the  ad.  Mr.  Parsons  lays 
down  the  simple  rules  whereby  this  atmosphere  is 
produced.  It  is  capable  of  analysis,  and  analysis 
that  is  easily  understood,  as  this  book  shows.  Mr. 
Parsons  lays  down  the  rules  that  apply  to  all  good 
designing,  but  applies  them  specifically  to  adver- 
tising. He  shows  the  importance  of  related 
shapes,  of  balance,  of  movement,  of  emphasis  (the 
"display"  of  the  advertising  man's  lexicon),  and, 
what  is  more  important,  proves  that  the  ad  is  im- 
proved by  the  correct  application  of  these  princi- 
ples. These  principles  are  not  Mr.  Parsons'. 
They  are  fundamental.  They  are  felt  in  a  way  by 
every  human  being.  They  are  the  principles  upon 
which  all  art  rests.  In  applying  them  to  the  con- 
struction of  advertisi:ig  Mr.  Parsons  has  rendered 
a  service  to  the  real  advertising  man.  An  intelli- 
gent following  of  the  lines  laid  do^vn  in  this  book 
would  bring  about  a  great  improvement  in  the 
appearance  of  all  advertising,  in  magazines,  in 


PORTRAIT  OF   JIADAME 
DE   POZXANSKA 


BY   HENRY   CARO- 
DELVAILLE 


newspapers,  in  street  cars,  on  billboards  and  in 
printed  things.  This  improvement  would  be 
double.  The  advertising  would  be  intrinsically 
more  attractive.  It  would  afiFord  a  certain 
esthetic  satisfaction.  What  is  still  more  import- 
ant, the  advertising  would  have  greater  efficiency. 
It  would  sell  more  goods. 

Mr.  Parsons  is  an  artist  and  a  teacher  of  art,  ap- 
plying to  a  business  instrument  the  principles  of 
the  art  he  knows  best.  He  does  not  pretend  that 
good  arrangement  puts  the  salesmanship  into  the 
ad.  The  latter  may  contain  an  insipid  message 
and  yet  be  correctly  designed.  Art  does  not 
supersede  copy.  What  he  does  contend  is  that  a 
good  arrangment  will  permit  the  ad  to  yield  up  its 
message  more  quickly  and  make  a  better  collateral 


Exhibition  of  National  Society  of  Craftsmen 


impression  at  the  same  time.  And  he  is  rijiht. 
The  principles  of  advertisinj^  arrangement  bear 
the  same  relation  to  an  advertisement  that  a  well- 
designed  body  does  to  a  motor  car.  .\n  efficient 
engine  is  necessary,  but  graceful  lines,  lines  that 
suggest  the  motor  car  at  its  best,  are  also  necessary 
for  the  fullest  expression  of  the  motor  car. 

There  are  but  ten  short  chapters  in  this  book. 
\o  reader  will  accuse  the  author  of  being  prolix. 
But  each  chapter  makes  its  point,  the  language  is 
clear  and  easily  understood,  and  any  one  engaged 
in  producing  advertising  or,  for  that  matter,  any 
kind  of  printing,  will  find  much  that  he  can  use  to 
his  artistic  and  linancial  betterment.  While  some 
of  us  may  disagree  with  the  author  on  some  minor 
points,  still  they  are  minor  points.  They  have 
more  to  do  with  his  illustrations  and  applications 
than  with  his  principles.  Besides,  the  book  itself 
in  its  foreword  lays  out  so  modest  a  program 
and  at  the  same  time  so  inspiring  a  platform, 
that  this  notice  will  close  with  Mr.  Parsons'  own 
words : 

''The  erroneous  idea  as  to  the  meaning  of  art 
and  its  application  to  industrial  problems,  more 
particularly  in  the  advertising  field,  is  the  reason 
for  this  book.  The  term  'prettiness,'  frequently 
used  as  a  synonym  for  art,  gives  an  entirely  wrong 
inipression.  Pictures  and  drawings,  particularly 
in  color,  often  pass  for  art  objects  when  the  Art  in 
them  is  too  slight  to  be  detected.  Art  is  quality — 
not  mere  m.aterial.  Its  elements  are  fitness  and 
beauty.  The  successful  choice  and  arrangement 
of  materials  of  any  kind  must  take  into  account 
this  art  quality,  because  human  intelligence  de- 
mands fitness  in  things.  The  same  human  being 
loves  and  requires  the  element  of  beaut)-  in  all 
objects  with  which  he  is  associated. 

"Art  is  a  force  and  is,  therefore,  subject  to  laws 
or  principles.  A  knowledge  of  Art  as  a  force  in 
ad\ertising  means  a  knowledge  of  the  principles  of 
lit,  arrangement  and  harmonious  color.  These  are 
common  to  every  field  of  so-called  Applied  Art. 
This  modest  effort  is  not  calculated  to  e.xhaust  the 
subject.  It  is  only  a  set  of  condensed  abstracts 
taken  from  ten  lectures  given  before  the  Advertis- 
ing Men's  League  of  New  York  City.  Its  aim  is 
to  make  clear  some  principles  of  form  and  color, 
and  to  apply  them  specifically  in  some  of  the 
fields  of  this  important  subject.  If  it  proves  to 
the  advertiser  that  'Order  is  heaven's  first  law';  to 
the  business  man  that  Quality,  not  Quantity, 
counts,  and  to  the  public  in  general  that  color  and 
arrangement  each  speaks  its  own  language,  then  it 
will  have  done  its  work." 


s 


IXTH  ANNUAL  EXHIBITION,  N.^- 
TION.\L  SOCIETY  OF  CRAFTS- 
MEN 


Some  one  hundred  members  of  the 
Society  are  represented  in  fifteen  hundred  or  more 
exhibits,  including  fine  examples  of  jewelry,  metal 
work,  ceramics,  bookbinding,  illuminating,  leather 
work,  potterj",  woodcarving,  textiles,  embroidery, 
and  basketry  from  craftworkers  from  all  parts  of 
the  United  States. 

The  walls  of  the  galleries  are  hung  with  beauti- 
ful, soft-toned  tapestries,  some  of  which  are  old 
and  priceless,  while  others  are  American  reproduc- 
tions of  the  output  of  looms  of  the  Middle  Ages. 

Exhibits  of  jewelry  shown  are  the  chains  of 
clouded  amber  and  silver  links,  also  the  aba- 
lone  and  pearl-blister  necklaces  Mary  P.  Gries 
is  exhibiting.  In  gold  stickpins  and  rings  she  has 
shown  how  harmonious  and  satisfactory  is  the 
opal  matrix,  and  has  fashioned  a  true  artist's  ring 
in  her  lapis  with  the  lotos  design.  Floyd  N. 
Ackley  shows  his  famous  ''Moonlight"  necklace,  of 
silver,  moonstones,  sapphires  and  ]iearls,  which 
was  shown  in  the  circuit  exhibition  of  last  winter 
sent  out  by  the  American  Federation  of  Arts. 
His  straight-lined  ring  set  with  pink  topaz  also 
deserves  mention. 

The  Metal  Workers  are  well  and  ably  repre- 
sented. Mr.  Samuel  Yellin,  of  Philadelphia, 
shows  a  wonderfully  interesting  collection  of 
wrought  iron  work,  inspired  undoubtedly  by  the 
achievements  of  the  medieval  craftsmen,  and  the 
spirit  of  the  old  work  is  admirably  retained.  The 
exhibits  range  from  examples  of  the  best  Gothic 
period  to  those  distinctly  influenced  by  the  later 
Renaissance.  Mr.  Yellin  has  done  much  of  the 
metal  work  used  in  the  cathedral  of  St.  John  the 
Divine. 

In  the  pottery  exhibit  it  is  evident  that  it  has 
been  the  endeavor  of  each  individual  potter  to 
show  the  best  of  his  products.  The  Penman  & 
Hardenbergh  potter>%  made  at  Birdcliffe,  is  espe- 
cially interesting,  beautiful  in  texture  and  full  of 
indi\iduality  and  distinction.  Other  potters 
showing  charming  work  cf  a  high  standard  in 
shape,  texture  and  color,  are  the  Marblehead,  Wal- 
rath.  Van  Briggle,  Quaker  Road,  Fulper,  Glen  Tor, 
and  others.  The  Bowl  Shop  has  a  new  variety  of 
children's  sets,  attractive  in  design  and  in  com- 
bination of  color.  Among  tho.se  showing  beautiful 
and  interesting  pieces  are  Dorothea  Warren 
O'Hara,  J.  Nuger,  Mrs.  K.  E.  Cherry,  Mrs.  Hodg- 
son, Mrs.  Hibler  and  Miss  Crowell. 


In  the  Galleries 


IN  THE  CILLERIES 
The  close  of  the  year  has  been  characterized  in 
the  art  world  by  successions  of  exceptionally 
good  exhibitions  in  the  different  galleries  on 
or  bordering  on  Fifth  Avenue.  It  has  been  pos- 
sible to  feast  the  eyes  on  many  old  masters,  other- 
wise accessible  only  through  the  medium  of  a 
photograph  or  collot>'pe.  We  have  seen  grand 
displays  of  etchings,  notably  by  Brang^\'yn,  who 
has  attained  a  degree  of  popularity  which,  well 
deser\'ed  as  it  is,  must  none  the  less  have  come 
almost  as  a  surprise  to  his  keenest  admirers.  It  is 
a  strange  coincidence  that  at  one  and  the  same 
time  different  dealers  were  independently  occu- 
pied in  London,  arranging  for  an  exhibition  here, 
notwithstanding  which  each  indi\ddual  display  of 
this  artist's  output  has  been  eminently  successful. 
The  Macbeth  Gallers'  gave  a  ven,-  successful 
display  of  Western  pictures  in  the  latter  part  of 
November,  and  the  public  had  an  opportunity  of 
seeing  for  the  first 
time  an  exhibition  by 
painters  of  the  Far 
West.  Such  artists  as 
Parshall,  Couse, 
Moran,  Daingerfield 
and  GroU  were  repre- 
sented by  two  pictures 
apiece.  Mr.  Dainger- 
field is  seen  at  his  best 
in  a  large  canvas  rep- 
resenting a  caiion  of 
the  weirdest  grandeur 
and  of  impenetrable 
depth,  which  is  the 
keynote  and  essence 
of  the  picture.  The 
tree  in  the  foreground 
might,  however,  have 
been  better  handled; 
it  is  insufficiently 
dra-RTi  and  lacks  form. 
Mr.  Moran  has  shown 
us  that  he  can  paint 
mountains  with  the 
same  masterly  tech- 
nique that  we  are  ac- 
customed to  see  in  his 
pictures  of  the  plains. 
No.  13,  by  Mr.  Pot- 
thast,    breathes    the 

.      .,  ^  Courtesy  of  The  EhrUh  Galleries 

spmt    of    the    great        ,,^1,0^^.^  ^^^  child 
Northwest,    and    has      "ch.^rity" 


been  much  admired.  It  represents  Lake  Louise, 
Alberta.  Now  canvas  has  had  to  yield  to  marble 
and  bronze  and  people  are  flocking  to  see  the 
work  of  Mr.  Chester  Beach,  whose  reputation 
needs  no  enhancing  at  our  hands.  We  only  wish 
that  critics  would  not  split  hairs  over  whether  he 
is  a  realist  or  an  idealist — a  realistic-idealist  or  an 
idealistic-realist.  WTiat  does  it  matter?  Of 
course,  he  stands  for  all  this  and  verj'  much  more. 
No.  2  in  the  catalogue,  entitled  Beyond,  is  the 
figure  of  a  young  girl  on  the  threshold  of  woman- 
hood, the  ver>'  embodiment  of  immature  grace, 
looking  wistfully  into  the  future;  pose  and  expres- 
sion are  admirable.  Ver>'  much  admired  is  his 
Vestal  Virgin  guarding  the  sacred  fire.  The  idea 
is  grandly  conceived,  but  the  face  is  somewhat 
disappointing,  the  expression  and  features  being 
heavy.  There  is  also  a  most  striking  fountain 
— a  great  faun's  head  mth  leering  face,  whose 
mouth,  with  amused  contempt,  spouts  the  water, 
serves  as  couch  to  a  sprightly  nymph,  who  views 


BY   B.   ESTEBAN    MIRILLO 
I618-I662 


///  tJic  Galleries 


Courtesy  of  The  Muthelh  Caller, 

'the  stoker" 


BY   CHESTER   BEACH 


the  world  archly  from  her  cos>-  vantage  ground. 
The  knee  being  drawn  up  to  the  chin  gives  a 
straight  line  of  liml>,  which  though  characteristic 
of  the  pose  can  hardl_\-  be  styled  graceful.  Our 
illustration  represents  The  Stoker,  and  recalls 
Schiller's  famous  lines: 

\'on  dor  Stirne  heiss 
Rennon  muss  der  Schweiss 

Next  month  will  be  on  ^•iew  works  by  Paul 
Dougherty,  !•".  C.  Frieseke  and  Gardner  Symons. 

At  the  Detroit  Publishing  Company  it  has  been 
possible  to  see  a  ver\-  interesting  collection  of 
pictures,  ten  oils  and  four  pastels,  by  that  gifted 
artist,  Leon  Dabo,  whose  claims  to  fame  are 
amply  justified  by  the  large  number  of  museums 
in  which  his  can\ases  have  a  lasting  resting-place. 
Vol.  No.  39  (JanuarA',  1910)  contains  an  article 
upon  Leon  Dabo  written  by  J.  Nilsen  Laurvik. 
.•Vmong  his  pictures  on  \-iew  here,  No.  3  in  the 
catalogue  is  the  most  attractive  canvas,  represent- 
ing Early  Dawn  at  Covenhmen.  The  simplicity 
and  breadth,  with  its  mysterious  coloring,  hold 
one  spellbound.  In  No.  11,  a  pastel,  the  artist 
has  attempted  the  difficult  task  of  painting  white 
light  in  an  Indian  Summer.  Here  he  has  not  been 
so  successful,  and,  in  fact,  several  people  have 
taken  the  picture  to  be  a  snow  scene.  His  sea- 
scaf)es  are  quite  beyond  criticism.     His  Nocturne 


(No.  9)  reveals  black  night  on  the  East  Ri\er, 
faintly  illuminated  by  the  lights  from  a  few  giant 
buildings;  it  is  sketchy  but  ver\-  powerful. 

At  the  Kraushaar  Gallerj-  were  on  xiew  some 
forty  etchings  by  Hedley  Fitton  during  Decem- 
ber, two  of  whose  works  were  selected  from  the 
Paris  Salon,  1908,  for  the  Petit  Palais  Collection. 
The  subjects  on  \-iew  are  all  recent  work,  executed 
mostly  in  France.  England  and  Italy,  and  show 
exquisite  bits  of  architecture,  such  as  the  Bargate 
(Southampton),  the  Rialto,  Winchester  Cross, 
Chartres,  etc.,  of  excellent  transj^arency  and 
gradation,  his  shadows  being  particularly  rich  and 
suggestive. 

Excellent  pictures  by  great  artists  can  be  \iewed 
at  the  Galleries  of  M.  Knoedler  &  Co.,  such  artists 
as  J.  B.  Corot,  Daubigny,  Harpigny,  Dieterle, 
W.  Maris,  Mesdag,  \'an  der  Weele  are  well  repre- 
sented. There  is  an  excellent  portrait  painting 
executed  by  De  Forrest  Brush  in  his  inimitable 
manner.     Another  painter  who  is  in  a  class  by 


Courtesy  of  The  Monlro,,  o.i..frv 

"WINTER   LANDSCAPES   AND   SWANS    BY   NIGHT" 

FROM   THE   CHINESE    PAINTING   BY   AN   ARTIST  OF 

THE   T'aNG   DYNASTY 


In  the  Galleries 


CotirUsy  of  Henry  Reinhardt 

ST.  JOHN   AND   THE    DONATORS 


himself  is  represented  in  a  landscape  by  Cazin. 
Ridgway  Knight  has  an  arresting  canvas.  He  has 
painted  a  peasant  girl  of  southern  Europe  among 
rose  bushes.  The  coloring  is  very  brilliant  and 
con\'incing. 

Besides  paintings  may  be  seen  e.xcellent  eight- 
eenth centurj'  mezzotint  engra\'ings,  after  Rey- 
nolds, Gainsborough,  Hoppner  and  Romney. 
They  are  first  states  and  proofs  before  letters. 

The  Alfred  Vickers  pictures  at  the  new  galleries 
of  Moulton  &  Ricketts  have  attracted  consider- 
able attention.  Vickers  in  his  lifetime  was  so 
oN'ershadowed  by  giant  artists  that  his  true  merit 
is  only  now  beginning  to  be  appreciated,  and  even 
now  the  prices  asked  are  much  too  low.  By  dint 
of  patience  and  perse\'erance  a  London  dealer 


managed  to  collect  some 
eighty  canvases  and  Messrs. 
Moulton  &  Ricketts  selected 
the  best  thirty,  which  ac- 
counts for  the  exhibition 
being  so  very  even.  It  is 
impossible  to  look  at  his 
work  without  recognizing 
the  influence  of  Constable, 
Crome  and  the  so-called 
Norwich  School,  in  his  mel- 
lowness of  tone,  treatment 
of  tree-groups  and  rich 
depths.  Among  the  many 
excellent  etchings  on  view 
may  particularly  be  men- 
tioned Brangwyn's  The 
Bridge  at  Alcantara. 

Another  interesting  exhi- 
bition of  Whistler  etchings 
has  been  on  v-iew  at  the 
galleries  of  Arthur  H.  Hahlo 
&  Co. ;  some  of  the  examples 
are  very  rare  and  conse- 
quently of  great  value. 
»«  At  the  Montross  Gallery 
during  December  was  held  a 
unique  display  of  early  Chi- 
nese art,  ranging  from  the 
Shang  Dynasty,  two  cen- 
turies before  Christ,  to  the 
present,  or  Ching.  One  mar- 
\"els  at  the  freshness,  grace 
of  composition  and  spacious- 
ness on  the  unframed,  ban- 
nerlike lengths  of  silk,  and 
at  the  strange  effects  of 
modernity  which  obtrude 
themselves  so  frequently,  especially  in  the  por- 
traits; their  great  power  of  svTithecizing  and 
their  grasp  of  essentials  are  characteristic  of  their 
early  protagonists.  The  picture  we  are  represent- 
ing is  a  winter  landscape  and  geese  by  night — 
signed  Wu-Tao-tze,  of  the  T'ang  Djoiasty,  or  first 
century  of  the  Christian  era.  The  Chinese  who 
painted  in  the  mode  of  outlines  and  flat  tones 
never  thought  of  objects  as  coming  out  of  dark- 
ness, but  always  in  light.  Shadows  were  neg- 
lected, as  being  impediments  in  the  way  of  vision. 
Form  was  the  business  of  sculptors,  not  painters, 
they  trusted  to  their  true  colors  and  correct  out- 
lines to  suggest  suSiciently  the  form;  moreover, 
they  employed  a  five-color  scheme,  and  knew  their 
pigments  as  a  hen  knows  her  chicks. 


BY   ADRIAN    ISENBRANT,    1 55 1 


/;/  the  Galleries 


\\v-  \   \      .,  M  ■  |.  I   .\    MANTEGNA 

1 43 1 -1 506 

At  the  Ehrich  Galleries,  among  many  good  pic- 
tures by  Gordoni,  Carle  van  Loo,  El  Greco  and 
others,  there  is  a  large  and  interesting  Still  Life, 
by  Jan  de  Heem,  very  important  and  quite  of 
museum  value.  A  very  attractive  canvas  by 
N.  Maes  represents  a  youthful  and  winsome 
princess  of  the  House  of  Orange.  They  are  busy 
preparing  an  exhibition  of  Spanish  masters,  and 
our  illustration  shows  a  canvas  by  Murillo, 
Charily,  in  which  the  Virgin  is  seen  seated  on  a 
nimbus,  whilst  the  Christchild  is  handing  out 
loaves  of  bread  to  kneeling  suppliants.  The  col- 
oring is  rich  and  the  warm  glow  behind  the  Virgin, 
so  characteristic  of  the  painter  of  conceptions,  is 
present  to  a  marked  degree.  The  picture  is  not 
over-sentimental  and  may  be  ranked  as  belonging 
to  his  second  period,  or  cstilo  calido  works. 

On  view  at  Reinhardt's  Galleries  is  the  subject 
of  our  illustration.  It  is  a  primitive  of  sixteenth- 
centurj'  Flemish  art,  a  portrait  of  St.  John  holding 
the  lamb,  in  front  of  whom  kneel  the  Donators. 
It  is  by  Adrian  Isenbrant,  who  died  in  1551.  The 
picture  belongs  to  the  medieval  phase  of  Flemish 
art,  before  the  emancipation  so  soon  to  follow  in 
the  ascending  of  Rubens  and  Van  Dyck.  In  look- 
ing at  this  can\-as  one  is  apt  to  recall  the  portrait 
of  St.  John  in  the  National  Gallery,  London,  gen- 
erally ascribed  to  Hans  Memlinc. 

An  interesting  collection  of  Guardi  pictures  has 
been  on  \new  at  the  galleries  of  Gimpcl  &  Wilden- 
stein.  His  eighteenth-century  Venice  is  delight- 
ful work,  much  in  advance  of  Canaletto,  whose 
pupil  he  was. 


.•\n  extraordinary  exhibition  during  December 
has  been  that  of  the  early  Italian  engravers,  held 
by  Mr.  Ederheimer  at  366  Fifth  Avenue.  To 
present  such  a  remarkable  and  almost  priceless 
collection,  ranging  in  period  from  the  Xielli  to 
Marcantonio,  could  only  have  been  made  pos- 
sible by  the  co-operation  of  Mr.  Junius  S.  Mor- 
gan, who  lent  his  prints.  The  catalogue,  reflect- 
ing great  credit  on  the  compiler,  has  divided  the 
collection  into  two  parts:  I.  Unknown  masters — 
the  Nielli,  Prophets,  Tarocchi,  etc.  II.  Known 
masters:  Mantegna  to  Marcantonio. 

Nothing  in  art  is  more  fascinating  than  the 
study  of  its  beginnings.  The  Niello,  at  first  only 
employed  for  preserving  patterns  in  the  decora- 
tion of  ecclesiastical  utensils,  soon  showed  its  pos- 
sibilities for  reproduction  and  thus  paved  the 
way  for  the  art  of  engraving  in  Italy.  It  is  idle 
in  the  face  of  so  much  conflicting  evidence  to  at- 
tempt to  assign  the  Prophets  and  other  early 
prints  to  any  particular  artist.  Dr.  Kristeller 
condemns  them  all  to  anonymity.  The  Tarocchi 
cards  of  Mantegna,  for  instance,  are  not  playing 
cards  at  all,  nor  by  Mantegna.  There  are  two 
sets  of  the  same  subjects  by  different  engravers, 
known  as  the  E  &  S  set,,  forming  a  manual  of 
science,  and  endless  discussion  has  been  caused  in 
the  attempt  to  determine  the  original  series  from 
the  copy;  Mr.  Ederheimer  believes  in  the  E 
Series  and  has  succeeded  in  impressing  his  views 
on  the  British  Museum  authorities,  who  hitherto 
upheld  the  S.  We  pass  to  Andrea  Mantegna  and 
all  the  seven  plates  are  shown,  which  out  of 
twenty-four  attributed  to  the  master  are  now 
alone  conceded  to  be  authentic,  and  all  are  nearly 
perfect  impressions.  Near  these  can  be  seen 
plates  attributed  to  him  or  to  his  pupils,  Zoan 
Andrea  and  de  Brescia.  Robetta  is  represented 
by  his  Adoration  of  the  Magi,  and  his  allegories, 
Envy  and  Power  of  Love.  His  designs  were  mostly 
copied  from  pictures  by  Lippi  and  others. 

The  only  known  engraving  of  Pollaiulo  is  his 
Battle  of  Naked  Men,  of  which  an  excellent  im- 
pression is  shown,  revealing  vigorous  drawing. 
He  was  a  fellow-workman  of  Finiguerra  and  a  far 
greater  artist.  With  the  dawn  of  the  sixteenth 
century  and  the  arrival  of  Marcantonio  line  en- 
graving, which  had  been  a  matter  of  original  pro- 
duction as  painter-engraving,  now  became  a 
reproductive  art  entirely  dependent  upon  paint- 
ing. Nothing  prior  to  Marcantonio  is  quite  on  a 
level  with  Diirer,  still  the  allure  of  the  earlier 
Renaissance  artists  compensates  for  any  lack  of 
technical  efficiency. 


U-NXM 


'THF    <51IDDCP 


L  X  /-  II 


'THE    SUPPER."      FROM  THE   OIL 


INTERNATIONAL 
STUDIO 


VOL.  XLVIII.       No.  192 


Copunghl.   1913,  by  John  Lane  C. 


T 


HE  ACTS  OF  THE  APOSTLES  TAP- 
ESTRIES, AFTER  RAPHAEL 
BY  GEORGE  LELAND  HUNTER 


The  tapestries  are  at  the  Vatican. 
The  cartoons  are  at  the  Victoria  and  Albert 
Museum  in  South  Kensington.  There  are  copies 
of  the  tapestries  in  the  Spanish  Royal  Collection, 
the  Imperial  Austrian  Collection,  the  French 
National  Collection,  the  Berlin  Museum,  Hamp- 
ton Court,  the  Beauvais  Cathedral,  the  Cathedral 
of  Loretto,  the  Dresden  Museum. 

At  the  Metropolitan  Museum  there  are  neither 
cartoons  nor  tapestries,  but,  instead,  there  is  a  set 
of  wonderful  photographs  of  the  tapestries,  taken 
for  Mr.  Morgan  by  special  permission  of  His  Holi- 
ness the  Pope,  and  by  Mr.  Morgan  presented  to 
the  Museum.  These  photographs,  of  e.xtraordi- 
nary  size  and  framed,  are  on  exhibition  in  the 
photograph  room  of  the  Library  of  the  Museum. 

By  contemporaries,  as  well  as  by  posterity,  the 
tapestries  were  praised  without  end.  They  were 
admired  by  Frances  I  and  Louis  XIV,  Henry  VIII 
and  Charles  I,  Charles  V  and  Philip  II.  By  en- 
gravers and  painters,  as  well  as  by  weavers,  they 
were  copied  over  and  over  again.  The  tapestries 
were  first  shown  on  December  26,  1519,  in  the 
Sistine  Chapel,  for  which  they  were  planned. 
The  company  assembled  represented  the  learning 
and  refinement  of  the  world.  There  were  red- 
robed  cardinals  and  velvet-capped  painters,  gaily 
clad  young  noblemen  and  somber-gowned  scholars, 
and  foreign  ambassadors  in  the  picturesque  attire 
of  their  various  countries.  All  were  enthusiastic. 
They  were  unable  to  e.vpress  the  full  e.xtent  of 
their  admiration.  "Every  one  present,"  wrote 
one  of  the  guests,  "was  speechless  at  the  sight  of 
these  hangings,  and  it  is  the  unanimous  opinion 
that  nothing  more  beautiful  e.xists  in  the  universe'" 

Another  guest  wrote:  "After  the  Christmas 
celebrations  were  over,  the  Pope  exjjosed  in  his 
chapel  seven  tapestries  (the  eighth  not  being  fin- 


FEBRUARY.  1913 


ished)  executed  in  the  West  [in  Flanders).  They 
were  considered  by  everybody  the  most  beautiful 
specimens  of  the  weaver's  art  ever  executed.  And 
this  in  spite  of  the  celebrity  already  attained  by 
other  tapestries — those  in  the  antechamber  of 
Pope  Julius  II,  those  made  for  the  Marchese  of 
Mantua  after  the  cartoons  of  Mantegna,  and  those 
made  for  the  King  of  Naples.  They  were  de- 
signed by  Raphael  of  Urbino,  an  excellent  painter, 
who  received  from  the  Pope  loo  ducats  for  each 
cartoon.  They  contain  much  gold,  silver,  and 
sOk,  and  the  weaving  cost  1,500  ducats  apiece — a 
total  of  16,000  ducats  ($160,000)  for  the  set — as 
the  Pope  himself  says,  though  rumor  would  put 
the  cost  at  20,000  golden  ducats." 

The  tapestries  were  woven  in  Brussels  under  the 
super\ision  of  the  Flemish  painter,  Barend  Van 
Orley,  friend  and  pupil  of  Raphael.  Brussels  was 
then  the  world's  principal  center  of  tapestr\-  pro- 
duction. Arras,  that  gave  its  name  to  the  English 
arras  and  the  Italian  arazzi,  having  been  captured 
and  ruined  in  1477  by  Louis  XL  The  atelier 
selected  was  that  of  Pieter  Van  Aelst,  who  was 
tapestry  weaver  not  only  to  Philip  the  Handsome 
but  also  to  his  son,  the  future  Emperor  Charles  V. 

Of  Van  Aelst's  success  in  interpreting  the  car- 
toons Vasari  wrote  thirty  years  later:  "One  is 
astonished  at  the  sight  of  this  series.  The  execu- 
tion is  marvelous.  One  can  hardly  imagine  how 
it  was  possible,  with  simple  threads,  to  produce 
such  delicacy  in  the  hair  and  beards  and  to  express 
the  suppleness  of  flesh .  It  is  a  work  more  Godlike 
than  human ;  the  waters,  the  animals  and  the  habi- 
tations are  so  perfectly  represented  that  they 
appear  painted  with  the  brush,  not  wo\en." 

The  original  tapestries  woven  for  Leo  X  had 
their  share  of  %'icissitude.  The  walls  of  the  Vati- 
can were  no  protection.  The  portableness  of  the 
tapestries  made  them  the  easy  prey  of  looters  and 
thieves,  while  the  other  decorations  of  the  Sistine 
— the  frescoes — stayed  securely  in  place.  Their 
first  misfortune  was  to  be  pawiied  immediately 


1-  IS  V^O 


THI-:    ^Al  KIIR  !■:    AT    LVSTKA 

IN    THI,    NATIIINAI,    I- REN<  H    ((lI.LEt  TION 


MOKTLAKH    SEVliNTKKXTH-CENTrRV   TAPESTRY 
Al  TER    RAPHAEL 


THE    CIRE    OF    THE    PAKAEYTK 

IN   THE    NATIONAL    FRENCH   COLLECTION 


MORTLAKE    SE VENTEENTH-CENTIRV    TAPESTRY 
AFTER    RAPHAEL 


uiv: 


TJie  Acts  of  tJie  Apostles   Tapestries,  After  Raphael 


after  Leo's  death  in  1521.  The  great  painter  was 
then  dead  a  year,  so  both  Leo  and  Raphael  were 
spared  the  ignominy  of  seeing  the  pride  of  their 
Hves  mortgaged  for  the  comparati\-ely  small  sum 
of  5,000  ducats  (850,000).  Next  the  tapestries 
were  loot  for  the  hordes  that  sacked  Rome  in  1527, 
under  the  Constable  Bourbon.  The  soldiers  sold 
them  in  various  parts  of  the  world.  The  Conver- 
sion of  Saul  and  ,S7.  Paul  at  Athens  are  known  to 
have  been  in  \'enice  the  following  year.  This  lat- 
ter piece  wandered  to  Constantinople,  where  it 
and  the  Draught  of  Fishes  were  bought  by  the 
Constable  Montmorency  and  returned  to  Julius 

in. 

The  worst  fate  of  all  befell  the  tapestry  of 
Elynias  Struck  Blind.  This  the  soldiers  cut  in 
pieces  to  sell  the  more  readily.  A  quarter  of  a 
century  later  the  Vatican  regained  possession  of 
enough  fragments  to  piece  together  half  of  it. 

After  the  tapestries  were  reassembled  in  Rome 


they  left  their  places  only  to  be  shown  to  the 
populace  e\-ery  Corpus  Christi.  This  custom 
lasted  until  1798.  In  that  year  the  French  Army 
under  Berthier  entered  the  Holy  City.  Barely 
two  weeks  later  the  French  carried  Pius  \TI  ofT  to 
die  in  France,  after  long  captivity,  and  ordered  an 
auction  sale  of  the  Vatican  furnishings.  French 
second-hand  dealers  were  there  in  numbers,  and 
among  the  bargains  they  picked  up  were  the 
Raphael  tapestries  at  1,250  piasters  each. 

The  dealers  took  them  to  Paris  and  offered  them 
to  the  French  government.  Pending  the  decision 
the  tapestries  enriched  the  walls  of  the  Louvre. 
The  new  republic  apparently  had  more  important 
uses  for  its  money  and  let  the  opportunity  pass. 
The  tapestries  were  returned  to  Marseilles  and 
finally  made  their  wav  back  to  the  Vatican  in 
1808.  How  they  got  there  no  one  can  explain. 
This  journey  terminated  their  wanderings. 

The   subjects   of   the   tapestries  are:    (i)    The 


THE   CONVERSION   OF   SAIL 
.\T   THE   BEAUV.\IS  CATHEDRAL 


BEAVVAIS   SEVENTEENTH-CENTURY   TAPESTRY 
AFTER   RAPHAEL 


The  Acts  of  the  Apostles  Tapestries,  After  Raphael 


THE    STONING   OF    SAINT   STEPHEN 
IN   THE    ROYAL    SPANISH   COLLECTION 


BRUSSELS   SIXTEENTH-CEXTIRV   TAPESTRY 
AFTER   RAPHAEL 


Miraculous  Draught  of  Fish;  (2)  The  Charge  to 
Saint  Peter;  (3)  The  Cure  of  the  Paralytic;  (4)  The 
Death  of  Ananias;  (5)  The  Stoning  of  Saint 
Stephen;  (6)  The  Conversion  of  Saint  Paul;  (7) 
Elymas  Struck  Blind;  (8)  The  Sacrifice  at  Lystra; 
(9)  Saint  Paul  in  Prison;  (10)  Saint  Paul  on  the 
Areopagus. 

One  of  these  St.  Paul  in  Prison  being  small,  or 
rather  diminutive,  in  size,  does  not  appear  ever  to 
have  been  reproduced,  except  as  part  of  the  first 
set  for  the  Sistine  Chapel.  So  that  most  of  the 
sets  of  Acts  of  the  Apostles  tapestries  consist  of 
nine  pieces.  Those  woven  at  Mortakle  consist  of 
only  seven  pieces,  being  wo\-en  from  the  se\en 
cartoons  that  Sir  Francis  Crane  got  from  Genoa 
for  Charles  I. 

As  I  have  said  in  my  book  on  "  Tapestries,  their 
Origin,  History  and  Renaissance,"  these  paintings 
of  Raphael  were  not  particularly  suited  for  expres- 
sion in  tapestry,  and  by  leading  tapestry  design- 


ers off  in  the  wrong  direction  did  incalculable  harm 
to  the  art  of  tapestry  weaving.  But  the  weavers 
of  Brussels  in  the  first  half  of  the  Sixteenth  Cen- 
tury were  so  skillful  that  no  difficulties  could  daunt 
them,  and  in  the  weaving  of  the  tapestries  for  the 
Vatican  they  modified  color  and  design  boldij-  in 
the  direction  of  tapestry  texture. 

The  different  sets  of  Acts  of  the  Apostles  tapes- 
tries, while  resembling  one  another  closely  as 
regards  the  picture  part,  have  borders  that  are 
totally  unlike. 

The  Vatican  set  has  bottom  borders  woven  in 
imitation  of  bas-relief  depicting  the  life  of  Leo  X 
before  he  became  Pope,  and  scenes  in  the  life  of 
St.  Paul.  A  full  set  of  side  borders  the  Vatican 
set  never  had,  the  space  in  the  Sistine  Chapel,  for 
which  the  tapestries  were  calculated,  admitting  of 
only  seven  instead  of  twenty. 

The  most  interesting  borders  possessed  by  any 
are  those  of  the  principal  set  in  the  Royal  Spanish 


The  Acts  of  the  Apostles  Tapestries,  After  Raphael 


THE   MIRACILOIS   DRAUGHT   OF   FISH 
AT  THE    VATICAN 


URUSSELS   SIXTEENTH-CENTURY   TAPESTRY 
AFTER   RAPHAEL 


Collection,  several  examples  of  which  are  illus- 
trated in  connection  with  this  article.  This  Span- 
ish set  is  not  only  fully  equipped  with  side  borders, 
but  also  has  bottom  borders  designed  in  the  same 
style,  and  rich  with  gold  in  basket  weave.  These 
borders  are  the  same  as  the  borders  on  Mr.  Blu- 
menthal's  two  Herse  tapestries  loaned  to  the 
Metropolitan  Museum. 

.\lso  rich  in  composition  are  the  borders  spe- 
cially designed  for  the  .\cts  of  the  Apostles  tapes- 
tries, woven  at  Mortlake  for  the  Enghsh  King 
Charles  I,  as  showTi  by  the  royal  coat  of  arms  in 
the  top  border  and  the  Car.  re.  reg.  ilortl.  in  the 
bottom  border  (illustrated  on  page  lxx\-ii),  which 
unabbre^^ated  reads  Carolo  rege  rcgnante  Morllake, 
and  means  ".-Kt  Mortlake  in  the  reign  of  King 
Charles." 

The  ^lortlake  border  is  just  as  character- 
istically seventeenth  century-  in  style  as  the 
borders  of  the  Vatican  and  Spanish  sets  are  six- 
teenth century. 

Formerly  these  Mortlake  borders  were  attrib- 


uted to  Van  Dyck,  merely  lor  the  reason  that 
he  painted  portraits  at  Charles's  Court. 

There  are  no  facts  to  support  this  attribution, 
and  the  probability  is  that  these  borders  were 
the  creation  of  the  head  cartoonist  and  artistic 
director  of  the  Mortlake  Works,  Francis  Cleyn. 
We  know  positively  that  he  designed  the  Hero  and 
Leander  borders  that  resemble  them. 

The  borders  of  the  Beauvais  set  are  much  less 
interesting  and  as  the  style  of  the  design  indicates 
are  nearly  three-quarters  of  a  century  later  than 
the  Mortlake  ones. 

Tradition  says  that  the  seven  Raphael  cartoons 
now  in  the  Victoria  and  Albert  Museum  were 
bought  by  Charles  I  in  Brussels  about  1630.  In- 
asmuch as  the  cartoons  were  in  use  at  Mortlake 
before  this  date  and  as  Sir  Francis  Crane,  the  pro- 
prietor of  the  Mortlake  Works,  wrote  in  1623  that 
Prince  Charles  had  ordered  him  to  send  to  Genoa 
for  these  Raphael  drawings,  I  am  afraid  that  the 
tradition,  though  long  and  generally  accepted,  has 
no  foundation  in  fact. 


standardized  Sentinient  in  Current  Art 


The  Winlt'r  Academy 
MAPLES   IN   SPRING 


s 


TANDARDIZED   SENTIMENT    IN 
CURRENT  ART 
BY  CHRISTIAN  BRINTON 


I.  THE  WINTER  ACADEMY 

There  can  be  scant  doubt  in  the  minds  of 
those  blessed  with  customary  subtlety  of  percep- 
tion but  that  the  officers  and  members  of  the 
National  Academy  of  Design  are  engaged  in  play- 
ing for  sympathy.  Having  earnestly  and  per- 
sistently appealed  for  assistance  in  their  endeavors 
to  secure  more  commodious  quarters,  they  are  at 
present  beyond  question  gi^"ing  a  series  of  public 
demonstrations  of  how  sorely  they  need  room  for 
expansion.  It  is  frankly  impossible  on  any  other 
grounds  to  account  for  such  an  exhibition  as  has 
lately  been  on  view  in  the  Fifty-seventh  Street 
galleries.  With  considerably  less  space  than  usual 
at  command,  owing  to  the  extended  representation 
given  to  sculpture,  relatively  more  paintings  were 
this  season  accepted  and  hung  than  has  been  the 
average  for  several  years  past.     Obviously  it  was 


BY   H.    BOLTOX  JONES 

a  concerted  and  well-considered  plan  on  the  part 
of  those  in  control,  for  not  only  were  members  and 
associates  accorded  reasonable  consideration,  but 
over  three  hundred  works  from  outside  sources 
were  gathered  into  the  fold.  No  one  can  seriously 
beheve  that  this  appalling  plethora  of  paintings, 
this  grotesque  and  flagrant  o\-ercrowding,  was 
countenanced  through  any  desire,  however  \'ague, 
to  elevate  taste  or  inspire  even  the  crudest  ama- 
teur with  a  love  of  art,  as  expressed  in  the  eternal 
but  ever-variable  equation  of  line,  form,  and  color. 
No,  the  affair  was  fathered  in  a  spirit  of  pure 
propaganda,  and  it  is  in  this  light,  and  this  alone, 
that  it  should  rightfully  be  considered. 

It  is,  moreover,  signiticant  to  note  that  the 
recent  Winter  Exhibition  went  even  a  step  further 
in  this  particular  direction  than  have  any  of  its 
predecessors.  As  an  object  lesson  it  lacked  none 
of  the  elements  of  completeness.  Not  only  did 
the  canvases  suffer  cruelly  from  constriction,  but 
in  themsehes  they  seemed  to  reflect,  consciously 
or  unconsciously,  the  conditions  under  which  they 


StaiidanUzcii  Sentiment  in  Current  Art 


'Ihc  Winter  Acadt 
PORTRAIT   OF 
MRS.    KIMBALL 


BY   ALOXZO    KIMBALL 


were  produced,  and  with  which,  having  once  been 
e\ol\ed,  they  were  ine\-itably  forced  to  contend. 
In  brief,  Academy  exigencies  have  resulted  in  the 
creation  of  the  tj'pically  academic  picture.  .^ 
spirit  which  is  wellnigh  identical  characterizes 
\irtually  e\Tr>'  canvas  which  season  after  season 
makes  ajipearance  upon  these  cramped  and  clut- 
tered walls.  It  seems  as  though  each  ])ainting 
had  a  subtle  and  pathetic  premonition  of  its  im- 
pending fate.  It  is  possible  that  the  artists  may 
in  certain  instances  deliberately  add  touches  of 
wistful,  shrinking  deprecation,  yet  in  any  e\ent 
the  result  is  the  same,  and  we  are  confronted  with 
a  composite  impression  which  arouses  the  keenest, 
most  poignant  solicitude. 

Positive  suffocation  from  lack  of  jjroper  breath- 
ing space  is  written  across  the  face  of  most  of  these 
canvases.  One  instinctively  recalls  the  pallid 
countenances  of  creatures  herded  together  in  the 
congested  tenement  districts.  One  thinks,  indeed, 
of  almost  anything  saving  the  splendid,  spontane- 
ous zest  of  untrammelled  creative  impulse.     In 


])ortraiture,  in  figure  painting,  and  in  landscape 
you  observe  the  same  general  tendencies.  Year 
by  year  the  sturdy  captain  of  finance  or  industry 
has  grown  less  characterful,  the  female  form  more 
etherially  tenuous  and  vapory,  and  glimpses  of 
nati\e  wood,  water,  or  meadow  more  appro\-edly 
tonal  in  persuasion.  In  not  a  few  cases  artistic 
e\])ression  has  almost  attained  the  vanishing 
point.  Here  and  there  it  becomes  a  mere  breath, 
a  hint  of  lost  loveliness,  or  a  shadow  of  former 
strength  reduced  to  docile  subser\'iency.  One 
must  no  longer  be  vigorous  or  positive,  as  in  the 
first,  joyous  flush  of  early  endeavor.  One  must 
conform  to  conditions.  One  must  standardize 
one's  sentiment  as  well  as  one's  technique.  It 
must  not,  in  short,  be  forgotten  that  there  is  so 
little  space  upon  Academy  walls,  that  hanging 
presents  such  insuperable  difficulties,  and  that 
work  which  tends  to  transcend  or  trample  upon 
convention  stands  scant  chance  of  acceptance  or 
possible  purchase. 

It  is  in  this  spirit  of  judicious  deference  that  the 
majority  of  the  pictures  figuring  in  the  .\cademy 
exhibitions  are  conceived  and  executed.  Thev  are 
in  essence  a  protest  against  current  conditions, 
often  an  involuntary  protest,  yet  for  that  reason 
an  all  the  more  eloquent  one.  Save  in  isolated 
instances   they   do   not    exist   as   separate,    self- 


Winler  Academy 
ST.\TrETTE    IN    BRONZE  BY   CARTAINO 

PORTRAIT   OF   THE  SCIARRINO   PIETRO 

N.\TIRALIST,  JOHN  BURROUGHS 


The  Winter  Academy 


THE  SEA 

BY  HENRY  R.  POORE 


Standardized  Sentiment  in  Cuyroit  Art 


The  Corcoran  Gallery  Exhibilion 
THE   BOWX  OF  GOLDFISH 


BY  CHILDE   HASSAM 


sufficient  esthetic  entities,  but  rather  as  parts  of 
a  system.  While  such  a  situation  has  long  been 
tacitly  recognized,  it  would  be  remiss  on  the 
present  occasion  not  openly  to  congratulate  the 
Academy  upon  the  frankness  with  which  they 
have  taken  the  public  into  their  confidence.  There 
has  this  season  been  absolutely  no  attempt  to  dis- 
guise or  minimize  actual  conditions.  We  have 
been  plainly  shown  what  the  crying  needs  are, 
and  such  rare  and  welcome  naivete  merits  e\'ery 
consideration.  There  is,  however,  something  am- 
biguous if  not  positively  confusing  in  such  an 
attitude.  The  average  indi\idual  not  conversant 
with  the  general  policy  and  programme  of  the  in- 
stitution in  question  may  fail  to  grasp  the  specific 
point  at  issue,  or  do  full  justice  to  the  pertinency 
of  this  method  of  approach.  It  is  barely  possible, 
though  of  course  not  probable,  that  there  are  those 
who  may  even  be  misled  into  considering  these  ex- 
hibitions as  serious,  inspiring  demonstrations  of 
artistic  accomplishment,  and  not  in  their  true  as- 
]5ect  as  appeals  for  public  sympathy  and  support. 
The  good,  old-fashioned  plan  of  putting  one's  best 


foot  forward,  of,  in  other  words,  offering  a  judi- 
ciously selected  and  installed  display  may,  after 
all,  prove  wiser  than  the  present  juggling  with 
one's  poor,  overwrought  sensibilities. 

II.  THE  PHIL.\DELPHL\  WATER  COLOR 
EXHIBITION 
Without  advancing  any  claims  to  nationality  in 
scope  or  significance,  the  Pennsylvania  .\cademy 
of  the  Fine  Arts  nevertheless  approaches  more 
closely  the  definition  of  a  national  institution  than 
does  any  organization  of  its  character  in  America. 
Not  only  is  it  the  oldest  as  well  as  the  most  rep- 
resentative of  our  art  academies,  it  is  also  the 
one  whose  exhibitions  ha\'e  for  years  past  main- 
tained the  highest  standard  of  general  excellence. 
A  special  feature  of  the  Philadelphia  season  is  the 
annual  Water  Color  Exhibition  inaugurated  just  a 
decade  ago,  and  on  this  occasion  even  more  inter- 
esting and  varied  than  usual.  On  entering  the 
galleries  you  instantly  feel  the  difference  in  aim 
and  esthetic  ideals  between  exhibitions  as  they  are 
presented  in  Philadelphia  and  as  one  customarily 


standardized  Sentiment  in  Current  Art 


The  Corcoran  GalU 
WILDERNESS 


SOO)  and  the  Corcoran  Silver  Medal 
BY   DANIEL    GARBER 


finds  them  in  New  York.  There  is  here  no  con- 
fusion, no  over-crowding.  The  possibility  of  sub- 
di^•ision  into  numerous  smaller  rooms  makes  it 
practicable  to  hang  the  pictures  in  more  or  less 
generically  related  groups,  and  everywhere  there 
is  that  sense  of  dignity  and  spaciousness,  as 
well  as  intimacy,  which  artistic  effort  would  seem 
to  e.xact,  and  which  alone  can  render  its  message 
effective,  if  not  indeed  actually  articulate. 

There  is  something  in  the  superior  freedom  and 
spontaneity  of  the  medium  itself,  and  not  infre- 
quently also  in  the  artist's  mood  as  well,  which 
lends  to  water  colors  numerous  points  of  attraction 
not  ordinarily  encountered  in  the  average  run  of 
work  in  oils.  Many  of  those  represented  in  the 
recent  Philadelphia  exhibition  were  men  of  estab- 
lished position  in  the  pro^■ince  of  oil  painting  who 
were  here  seeking  casual  relaxation  from  sterner 
effort;  not  a  few  were  water  color  painters  by  pro- 
fession, and  still  others  were  recruits  from  the 
field  of  illustration.  It  was  hence  inevitable  that 
there  should  have  been  to  the  display  as  a  whole  a 
\i\-acity  of  temper  and  a  general  diversity  of 


handling  which  are  all  too  rare  in  the  more  formal 
product  of  brush  and  canvas.  There  is  no  con- 
ceivable reason  why  American  art  should  take 
itself  with  such  preternatural  seriousness.  Our 
painters  appear  one  and  all  to  have  lost  the  primal 
sense  of  play — to  have  ceased  doing  things  for  the 
sheer  joy  of  accomplishment.  They  seem  to  get 
pathetically  little  downright  fun  out  of  their  work, 
and  the  effects  of  this  attitude  are  year  by  year 
more  visible  on  the  walls  of  our  leading  galleries. 
We  must  stand  out  against  that  tendency 
toward  a  monotonous  standardization  which  is  so 
paramount  in  the  industrial  and  social  worlds. 
The  most  precious  cjuality  in  creati\-e  effort  is  the 
note  of  wholesome  individuality,  and  it  must  be 
preserved  above  and  beyond  all  else.  The  great, 
levelling  forces  of  latter-day  existence — the  legacy 
of  this  age  of  democracy — are  frankly  inimical  to 
instinctive,  spontaneous  esthetic  expression.  They 
tend  in  art  to  produce  mere  pictorial  conventions, 
paintings  which  are  soothingly  uniform  in  spirit 
rathei"  than  stimulating,  which  are  delicate  and 
persuasive  rather  than  \-igorous  or  powerful  in 

L.XXXV 


Standardized  Senfiineiif  in  Current  .  I rt 


Thr  Winltr  A 


PORTRAIT   OF 
LOriSE 


BY    MARY   GREENE 
BLUMENSCHEIN 


their  grasp  of  scene  and  character  or  in  their 
inherent  chromatic  appeal.  It  is  impossible  not 
to  recognize  the  fact  that  the  locks  of  our  young 
Samsons  become  clipped  in  the  space  of  a  few- 
brief  years.  They  not  infrequently  start  upon 
their  careers  with  a  splendid  burst  of  zeal  and 
enthusiasm.  They  continue  for  a  time  to  remain 
reasonably  personal  in  their  output,  but  in  the 
end  most  of  them  succumb  to  the  inevitable  pro- 
cess of  standardization.  It  is  this  situation  which 
gives  such  a  display  as  the  Philadelphia  Water 
Color  E.Khibition  its  special  significance,  for  here 
there  is  visible  a  definite  desire  to  unbend,  to 
strike  out  for  one's  self  and  achieve  something  free 
and  unstudied.  Were  we  able  to  get  together 
a  representative  collection  of  oil  paintings  with 
something  of  this  delightfully  informal  and  experi- 
mental spirit,  it  might  go  far  toward  redeeming  our 
early  promises  and,  incidentally,  proving  that  in 
art  at  least  we  are  a  young,  rather  than  a  prema- 
turely aged  nation. 

III.  THE  CORCORAN  GALLERY 
EXHIBITION  .. 

The  first  thing  which  strikes  the  metropolitan 
visitor  to  the  Fourth  E.xhibition  of  the  Corcoran 


Gallery  is  the  fact  that  here  e\erything  has  been 
done  to  beautify  and  dignify  contemjiorary  artis- 
tic production.  The  wall  coverings  arc  light  and 
harmonious  in  tone,  the  pictures  are  hung  with 
scrupulous  taste  and  balance,  and  the  requisite 
amount  of  s])ace  has  been  left  between  each  can- 
vas and  its  nearest  neighbor.  Considering  the 
wide  and  deser\-ed  popularity  of  these  admirable 
biennial  exhibitions,  and  the  large  quantity  of 
works  at  the  disposal  of  the  jur>-,  it  would  have 
been  an  easy  matter  to  have  increased  the  numeri- 
cal strength  of  the  display.  And  yet  rigorous  ex- 
clusion rather  than  indiscriminate  inclusion  as 
practised  at  the  New  York  Academy  of  Design 
has  kept  the  list  down  to  246  canvases,  whereas 
the  Academy,  with  infinitely  less  space  at  its  com- 
mand, has  had  the  temerity  to  hang  no  less  than 
345.  To  be  sure,  the  character  of  the  two  displays 
is  different.  The  Academy  show  is  frankly  local 
and  personal  in  its  appeal.  The  Washington  exhi- 
bition is  distinctly  more  national  in  scope  and  pur- 
pose, and  yet  the  fact  remains  that  whatever  be 
the  motive  in  placing  pictures  before  the  public  it 
must  be  done  in  approximately  the  same  manner. 
We  must  be  attracted,  not  repelled,  by  the  appear- 
ance of  the  galleries.  We  must  be  stimulated  and 
inspired,  not  crushed  beneath  a  solid  mass  of 
mediocrity  and  rendered  incapable  of  disengaging 
good  from  bad. 

On  studying  in  detail  and  with  something  more 


The  Corcoran  Gallery  Extubtlion 

Awarded  the  Fourth  W.  A.  Clark  Prize  and  the 

Corcoran  Honorable  Mention  Certificate 

A   NUDE  BY   CARL   J.    NORDELL 


Standardized  Seiit'uiient  in  Current  Art 


%y 


The  Philaddphia  Uairt  C-okir  ExhMtwn 

JAIPUR  MARKET  BY  THORNTON   OAKLEY 

than  casual  curiosity  such  an  exhibition  as  that 
\vhich  at  present  brightens  the  \valls  of  the  Cor- 
coran Galler)-,  there  seems  to  he  little  question  in 
the  minds  of  serious  folk  but  that  American  paint- 
ing has  arrived  at  the  historic  jjarting  of  the  ways. 
Are  we  going  to  airr\-  any  further  this  uniformly 
felicitous  handling,  this  fondness  for  sweet,  clear, 
purity  of  tone  and,  above  all,  this  unfailing  discre- 
tion in  choice  of  theme.  Are  we,  in  short,  going  to 
remain  precisely  where  we  are  and  where  we  ha\-e 
been  for  close  upon  a  generation,  or  are  we  going 
to  attack  newer  problems  and  confront  fresher 
issues.  The  resistless  currents  which  are  at 
present  sweeping  back  and  forth  across  the  face  of 
Europe  have  as  yet  barely  reached  our  shores,  and 
find  no  echo  whatever  in  the  work  of  the  main 
body  of  American  artists.  That  sovereign  search 
for  simphfication  of  line  and  color,  and  that  quest 
of  a  sturdily  individualistic  and  autonomous  point 
of  \'iew  which  are  yearly  making  their  presence 
more  felt  in  Continental  painting — almost  everj' 
principle,  in  effect,  that  latter-day  art  is  so  valiantly 
battling  for,  seem  one  and  all  to  count  for  nought 
in  the  eyes  of  the  average  American  painter. 

The  majority  of  our  successful  prize  winners  are 
men  who  returned  from  Paris  or  Munich  during 
the  early  'eighties  and  are  at  present  utterly  out  of 
sympathy  with  the  aspirations  and  ideals  of  the 


younger  generation.  It  is.  of  course,  presump- 
tuous to  expect  certain  of  these  essentially  sta- 
tionary and  self-satistied  figures  to  embrace  the 
new  and  virile  gospel  of  modernity,  yet  it  is  wholly 
within  the  province  of  legitimate  criticism  to  in- 
quire as  to  whether  their  art,  as  they  themselves 
concei\-e  and  practise  it,  expresses  in  any  degree 
the  fulness  of  life  and  nature,  as  we  find  it  on  every 
side.  Do  they  not  for  the  most  part  give  us  an 
esthetic  convention  in  jilace  of  direct,  first-hand 
observation,  and  is  their  feeling  for  integrity  of 
form,  color,  and  surface  not  more  of  a  standardized 
studio  product  than  a  vital  and  \'ivifying  response 
to  the  ever-changing  vesture  of  actuality.  Looked 
at  in  this  light  they  seem  to  be  relying  consider- 
ably more  upon  sentiment  than  upon  strength, 
and,  possibly  in  a  spirit  of  self-defence,  the  linger- 
ing evanescence  of  an  oft-diluted  Impressionism  is 
held  as  vastly  superior  to  the  restless  ardor  of  a 
wholly  misunderstood  Expressionism. 

While  it  is  an  easy  matter  to  condemn  what  one 
does  not  comprehend,  there  are  nevertheless  signs 
of  an  impending  change.  From  overseas  are  com- 
ing with  increasing  frequency  hints  of  what  Europe 
is  accomplishing,  and  before  long  the  beautiful, 
symmetrical  mould  into  which  so  much  contempo- 
rary American  work  is  cast,  may  be  rudely  shat- 
tered. And  it  is  then  that  we  shall  doubtless 
recall  such  an  e.xhibition  of  native  artistic  accom- 
plishment as  is  now  on  view  in  Washington  with 
an  increased  measure  of  that  same  fragrant  and 
affectionate  regard  which  it  to-day  so  unequivo- 
cally inspires. 


The  Philadelphia  Water  Color  Exhibilion 

THE  grandfather's  CLOCK  BY  WALTER  GAY 


The  Evans  Collection  of  American  Paintings 


BY  GEORGE  IXNESS,  N.A.  (DECEASED) 


T 


HE  EVANS   COLLECTION  OF 
AMERICAN  PAINTINGS  AT 
WASHINGTON 
BY  CHARLES  de  KAY 


Undoubtedly  one  of  the  most  significant  groups 
of  modern  American  paintings  is  the  Evans  gift  to 
the  National  Art  Gallery,  Washington,  where  they 
are  shown  in  the  new  museum  which  contains  the 
Smithsonian  collections. 

In  number  they  do  not  yet  reach  two  hun- 
dred, but  the  idea  they  represent,  the  principle 
they  embody  is  of  the  highest  value  to  the  nation. 
They  are  works  by  men  of  our  time,  as  far  as  pos- 
sible representative.  They  inaugurate  the  spirit 
that  looks  about  to  see  what  is  being  done  here  in 
America  today,  instead  of  ignoring  what  is  close  at 
hand  and  considering  only  what  is  foreign  or  old. 
They  raise  the  question,  why  do  we  spend  la\'- 
ishly  on  art  made  elsewhere  or  in  the  past,  when 
such  beautiful  things  are  being  fabricated  about 
us?  They  are  a  standing  reproach  for  the  neglect 
of  native  work.  They  are  a  protest  against  the 
crude  colonial  timidity  which  prefers  a  foreign  art 
it  does  not  really  understand  to  a  native  one  ex- 
pressive of  our  country,  customs  and  ideals. 

Mr.  W.  T.  Evans  began  to  collect  pictures  with 
no  fixed  purpose,  merely  to  please  himself.  After 
he  had  lilled   his  house  with   foreign  works  he 


began  to  ask  himself  what  it  all  meant.  Having 
come  in  contact  with  various  artists,  he  realized 
that  art  is  not  a  matter  of  the  past  or  of  another 
land,  but  of  today  and  his  o\nt\  country.  He  was 
surprised  to  find  that  better  pictures  were  being 
painted  round  about  him  in  New  York,  in  Phila- 
delphia and  Boston,  in  Chicago  and  other  cities 
of  the  United  States  than  the  foreign  canvases  on 
his  walls.  As  his  children  grew  up  he  gave  them 
his  taste  for  pictures  and  through  them  became 
acquainted  with  a  yet  wider  circle  of  painters. 
Very  soon  he  sold  or  gave  away  all  his  examples  of 
foreign  work  and  devoted  his  leisure  time — for  he 
is  at  the  head  of  a  very  large  and  engrossing  busi- 
ness— to  the  study  of  the  living  American  arts  in 
painting,  water  colors  and  stained  glass.  As  he 
assembled  a  new  collection  he  became  more  exact- 
ing, more  critical,  more  the  connoisseur,  and  dis- 
covered that  many  pictures  he  once  admired  gave 
him  pleasure  no  longer.  Of  certain  painters 
whose  work  he  greatly  cherished,  the  examples  he 
had  acquired  seemed  inferior  to  their  best.  There- 
upon he  resolved  to  make  a  clean  sweep  of  his 
collection  and  begin  over  again,  so  that  the  new 
Evans  Collection  would  represent  something  far 
finer  than  the  old. 

Thus  occurred  the  Evans  Sale,  which  will  be 
remembered  by  artists,  if  not  by  laymen.  It 
marked  a  turning  point  in  the  public's  regard  for 


The  Evans  Collection  of  .  luierican  Paintings 


native  pictures,  for  it  satisfied  the  aforesaid  de- 
mand of  the  public  that  the  dollar  standard  must 
be  satisfactorily  apjilied,  or  there  would  be  "noth- 
ing doing."  Instead  of  the  loss  which  might  have 
been  expected  in  a  sale  of  a  large  miscellaneous 
collection  of  recent  work  by  American  jMinters, 
there  was  a  ven.-  substantial  gain  over  the  original 
cost  of  the  pictures.  People  of  limited  means  who 
were  hesitating  to  venture  on  the  purchase  of  some 
favorite  canvas,  were  not  a  little  encouraged  by 
the  outcome  of  the  sale,  since  the  prices  then  ob- 
tained indicated  that  there  are  buyers  of  American 
pictures  about,  and  that  to  buy  one  is  not  neces- 
sarily to  indulge  in  a  luxury-  that  absorbs  money 
without  a  reasonable  chance  of  its  return,  should 
conditions  compel  its  surrender. 

Meantime  Mr.  Evans  had  begun  to  look  outside 


ELKFOOT — PIEBLO  TRIBE  BY  E.  IRVING  COrSE 


the  narrower  circle  of  the  collector  and  interest 
himself  in  the  welfare  of  artists.  For  the  .\meri- 
can  Water  Color  Society  he  founded  an  annual 
prize  and  in  the  Lotos  Club  and  National  Arts 
Club  of  New  York  he  formulated  plans  whereby 
American  pictures  were  added  each  year  to  their 
several  permanent  collections.  He  was  also  a 
leading  spirit  in  an  exhibition,  where  the  best 
examples  of  American  pictures  to  be  obtained 
were  hung  alongside  the  best  of  French  and  other 
foreign  paintings  of  modern  make.  The  purpose 
was  to  allow  the  public,  and  especially  collectors 
and  hesitating  would-be  collectors,  to  compare 
.\merican  painting  as  a  living  art  with  that  of 
Europe.  How  far  this  action  carried  conviction  it 
would  be  difficult,  of  course,  to  decide,  but  it  may 
be  said  with  certainty  that  were  Mr.  Evans  to  ef- 
fect another  Evans  Sale  the  linancial  results  would 
greatly  surpass  that  of  the  one  just  mentioned. 

It  is  indeed  a  splendid  gift  to  the  nation  which 
he  has  presented  to  the  public,  and  he  is  con- 
tinually adding  to  the  donation.  Surprise  has 
been  expressed  that  he  chose  Washington,  not 
New  York,  for  this  present,  since  the  Metropoli- 
tan Museum  is  comparatively  weak  in  American 
pictures.  Among  many  there  are  two  good 
and  sufficient  reasons  for  preferring  Washing- 
ton; one  is  the  existence  in  New  York  of 
other  collectors  who  are  gi\'ing  American  pic- 
tures to  the  Metropolitan  from  time  to  time,  the 
other  that  Washington  represents  better  than  New 
Y^ork  the  heart  of  the  country.  As  to  the  latter 
reason,  it  may  be  said  that  so  long  as  New  York 
remains  the  chosen  center  for  collectors  and  for 
artists.  New  York  will  alwaj-s  contain  a  far  greater 
number  of  persons  who  will  visit  such  a  collection 
with  pleasure  and  profit ;  but  on  the  other  hand, 
that  any  influence  the  collection  may  bring  to 
bear  on  members  of  Congress  and  the  great  mass 
of  office  holders  who  pass  a  portion  of  their  lives 
in  Washington,  will  be  an  influence  radiating  back 
in  all  directions  to  the  remotest  parts  of  the 
Union.  It  will  not  be  a  little  feather  in  the  cap  of 
Mr.  Evans  if  the  silent  testimony  of  these  pictures 
is  heard  by  members  of  the  Senate  and  House,  by 
the  grand  army  of  Government  employees,  by  the 
crowd  of  politicians,  sightseers  and  tourists  which 
pours  in  and  out  of  the  national  capital.  Perhaps 
Mr.  Evans  came  early  to  the  conclusion  that  New 
York  and  the  well-endowed  Metropolitan  can 
care  for  themselves,  or  will  some  day,  while  there 
is  a  more  pressing  need  to  emphasize  the  existence 
of  a  great  living  American  art  at  the  political 
heart  of  the  countrs'.     To  this  should  be  added  a 


ILLUSION'S 

BY  H.  B.   FULLER,  A.X.A. 


Z  d 


-  ^ 

fr  o 


o 
z 

tn  O 

Si  O 

2  Q 

—  X 


THE  BROWN'  KI.MOXO 
BY  IRVING  R.  WILES,  N.A. 


The  Evans  Collection  of  Americati  Paintings 


AN   INTERLUDE 


m    WILLIAM    SERGEANT   KENDALL,  N.A. 


group  of  fifty-four  native  paintings  given  to  the 
Art  Museum  of  Montclair,  N.  J.,  and  other  por- 
traits and  landscapes  to  the  Brooklyn  Institute 
and  the  Newark  Library. 

From  several  examples  of  John  La  Farge  we 
may  select  for  illustration  Vhil  of  Xicodcmus  to 
Christ,  a  picture  that  reflects  the  artist's  powerful 
feeling  for  color,  his  big  sense  for  composition,  his 
skill  in  management  of  drapery.  Note  the  size  of 
the  hands;  La  Farge  insisted  on  the  import- 
ance of  the  hand  as  only  second  to  the  face  in  ex- 
pressing character.  The  face  of  Christ  is  said  to 
have  been  influenced  by  that  of  the  author  Henr\- 
James,  who  when  a  young  man  lived  at  Ne\\'iiort 
with  the  painter.  Illusions,  by  H.  B.  Fuller,  is  a 
fine  example  of  the  line  in  human  figures  and  a 
symbolical  composition  of  uncommon  charm. 
Eros  et  Musa,  by  Henry  Oliver  Walker,  represents 


the  classical  spirit  that  comes  naturally  to  a  man 
who  has  to  clothe  the  walls  of  public  buildings  with 
dignified  figures,  figures  that  suit  a  grand  style  of 
architecture.  Observe  the  skillful  management 
of  the  lines  of  the  young,  boyish  form,  his  wings, 
the  arms  and  draperies  of  the  Muse  behind  him, 
the  rocks  and  trees  in  the  background .  The  Pueblo 
Indian  of  the  Southwest,  with  sacred  feather, 
moccasins  and  embroidered  buskins,  has  sat  for 
his  portrait  to  Eanger  Irving  Couse;  he  is  a  fine 
tvpe  of  the  Taos  tribe  in  New  Mexico.  A  charm- 
ing group  of  Mother  and  Child  by  Sergeant  Ken- 
dall, two  pretty  damsels  watching  a  race  between 
tortoises  in  a  studio  by  H.  Siddons  Mowbray,  a 
pensive  gentlewoman  by  J.  Alden  Weir,  a  group  in 
opulent  colors — mother,  babe  and  sibylline  vase- 
bringer,  by  Hugo  Ballin,  a  smiling  young  woman 
in  a  kimono,  by  Irving  R.  Wiles — these  are  exam- 


VISIT  OF  MCODEMIS  TO  CHRIST 
BV  JOHN  LA  FAROE,  \.A.  (DECEASED) 


V«,\l/  I 


THE  EUROPA  SIBYL 

BY  HUGO  BALLIN.  A.X.A. 


A  GENTLEWOMAN 

BY  J.  ALDEN  WEIR,  N.A. 


<c/K 


EROS  AND  THE  MISE 

BY  HENRY  OLI\ER  WALKER,  N.A. 


The  Evans  Collection  of  .  liiicrican  Paintings 


pies  of  the  figure  pieces,  religious,  symbolical  or 
genre,  which  seem  best  adapted  to  reproduction 
in  black  and  white.  They  are  but  a  handful  of  the 
imposing  list  in  the  collection  at  Washington.  It 
need  scarcely  be  said  that  the  landscapes  and 
marines,  the  snow  scenes  and  the  jiictures  whose 
atmosphere  cannot  be  translated  very  well  into 
black  and  white  form  an  equally  distinguished 
part  of  the  collection. 

The  New  Jersey  landscape  by  George  Inness, 
as  here  reproduced,  may  suggest  its  pearly  sky 
after  a  fa.shion,  and  the  glow  of  the  setting  sun, 
the  skillful  use  of  rising  smoke,  the  stillness  and 
dull  radiance  of  Indian  summer.  Here  is  a  bit  of 
the  Shinnecock  Hills,  with  clouds  poised  high 
overhead,  as  William  M.  Chase  paints  that  spot, 
once  his  favorite.  And  here  is  a  rugged  headland  on 
the  Maine  Coast,  painted  by  Winslow  Homer  in 
1894,  which  has  a  rough  savor,  as  elusive  of  defini- 
tion as  are  certain  harsh  chords  of  music.  If  the 
illustrations  of  figure  pictures  give  a  very  inade- 
quate idea  of  that  side  of  the  collection,  these  few 


np 


landscapes  and  marines  are  still  more  obviously  a 
hint  rather  than  a  rejKJrt. 

There  are  collectors  of  pictures  in  many  ])arts 
of  the  Union  who  may  take  a  leaf  from  Mr. 
Evans's  book  and  devote  their  leisure  to  a  more 
methodical  and  public-spirited  purpose  than  has 
ruled  them  heretofore.  Museums  of  art  and  gal- 
leries for  paintings  are  becoming  part  of  the  usual 
make-up  of  a  civic  center  in  the  United  States. 

The  example  offered  by  Mr.  Evans  cannot  fail 
to  interest  those  who  would  like  to  help  native  art 
and  at  the  same  time  provide  their  own  city  with 
a  ]iermanent  gallery  of  pictures  to  which  all  shall 
have  access.  Such  already  exist  in  cities  by  no 
means  of  the  first  or  even  the  second  order  as  to 
population;  their  number  is  constantly  growing. 
Public-spirited  collectors  will  do  well  to  visit 
Washington,  not  merely  to  admire  this  impressive 
gift  to  the  nation,  but  to  take  counsel  with  them- 
selves how  to  obtain  on  their  own  part  such  a 
striking  success  as  that    which   Mr.  Evans  has 


SHINNECOCK    HILL 


In  tJie  Galleries 


IX  THE  GALLERIES 
The    current    art    season    in    Xew    York 
maintained  its  prestige  ably  in  the  last  week 
of  the  old  year  by  displays  of  great  variety 
and  interest.     01d(  masters  and  moderns,  water 
colors  and  etchings  could  be  enjoyed  in  endless 
profusion. 

Christmas  week  was  t}T3ically  represented  at 
the  Ehrich  Galleries,  with  such  subjects  as  Holy 
Family,  Xalivity,  Adoration  of  the  Magi,  and  kin- 
dred conceptions.  A  Madonna  and  Child  is  a 
striking  canvas  by  Laurent  de  la  Hyre,  betraying 
a  strong  influence  of  Murillo;  a  Francken  canvas, 
very  rich  in  tone,  depicting  the  Magi  in  adoration, 
has  all  the  force  and  color  of  Rubens;  a  Holy 
Family  by  Marco  Palmezzano,  a  pupil  of  da  Farli, 
is  full  of  sweet  expression; 
one  particularly  pleasing 
picture  is  the  Flight  by 
Night,  by  Jan  Steen,  admir- 
ably composed  and  full  of 
modernity.  Messrs.  Ehrich 
have  now  a  most  important 
exhibition  of  early  Spanish 
masters,  including  first-rate 
works  of  all  the  great  men, 
excepting  \'elasquez,  and 
the  picture  by  Mazo  is  an 
efficient  substitute;  it  is 
only  quite  recently  that  this 
portrait  of  Dona  Mariana 
of  Austria  was  proved  to  be 
by  Mazo  and  not  a  Velas- 
quez. This  exhibition  -n-ill  be 
noticed  in  the  next  number. 
The  Durand-Ruel  Gal- 
leries showed  sixteen  paint- 
ings by  Pissarro.  He  was 
not  content  with  the  disso- 
ciation of  tonalities,  merely 
juxtaposing  taches  of  the 
primal  tones,  but  accentu- 
ated his  work  with  fine 
points  to  bring  out  effec- 
tively the  vibrations  of 
light.  In  a  word,  he  was  a 
Pointiliste.  His  pictures  are 
all  French  scenes;  among 
the  best  may  be  reckoned 
Bccheuse,  Cours-la-Reine  a 
Rouen,  and  a  picture  of  the 
Louvre  seen  through  the 
haze  of  early  morning  light. 


Following  this  exhibition  came  Chavannes,  Degas 
and  Renoir,  represented  by  twenty-seven  exhibits, 
mostly  by  the  first-named,  and  chiefly  small 
sketches  used  in  his  large  decorative  work,  fres- 
cos, etc.  Teodor  de  Wyzewa  damns  him  with 
faint  praise.  "M.  de  Chavannes  can  neither 
draw  nor  paint,  but  he  has  genius  " — and  it  is  just 
this  genius  we  admire,  especially  in  a  drawing  of  a 
sleeping  woman,  entitled  Le  Sommeil.  Renoir 
has  a  large  pastel  of  interest,  called  Lcqon  de  Piano. 
A  young  girl  sits  at  a  piano,  practising,  while  an- 
other bends  over  her,  turning  the  leaves;  the  face, 
hair  and  attitude  are  masterfully  conceived.  In 
another  room  are  some  fine  decoratively  painted 
seascapes  by  Maufra. 

John  Laver}',  the  Irish  painter,  is  seen  at  the 
Cottier    Galleries    in    seven    Tangier    subjects. 


Courtesy  of  Messrs.  Scott  ^  Fowics 

H.  H.  PRINCESS    PATRICIA   OF   COSNAUGHT 


BY   SHOLTO   DOUGLAS 


/;/  tJie  Galleries 


A   PRINCESS   OF   THE 
HOUSE   OF   BRAGANZA 


V    ANT.    MORO 


Little  was  known  of  this  clever  artist  in  America 
until  his  exhibition  at  Pittsburgh,  with  thirty-six 
paintings,  in  igii.  He  is  certainly  greater  as  a 
portrait  painter,  although  his  Tangier  canvases 
reveal  good  color  and  masterful  technique.  His 
work  is  influenced  both  by  Whistler  and  by  Vel- 
asquez. Other  paintings  of  importance  are  a 
Harpignies,  The  Lake,  a  rich,  solid  foreground, 
with  misty  \dew  of  water  at  dawn,  in  his  best  style; 
a  blond  Diaz,  1871,  and  a  gem  by  Monticelli,  en- 
titled Fountain  of  Love,  a  veritable  blaze  of  color. 

The  elegant  Herter  Galleries  on  Madison  Avenue 
have  been  harboring  a  number  of  drj'-point  etch- 
ings and  pencil  sketches  by  Mr.  A.  G.  Learned. 

Owing  to  moving  early  in  January  to  709  Fifth 
Avenue,  only  few  pictures  were  on  \'iew  at  the 
Kleinberger  Galler)-,  but  these  were  most  import- 
ant— a  typical  Rubens,  entitled  Woman  Taken  in 
Adultery.  Ferdinand  Bol's,  The  Fortune  Teller, 
with  strong  feeling  of  Rembrandt  both  in  the 
landscape  and  in  the  figure  of  the  soothsayer;  the 
gold  dress  of  the  young  woman  has  surely  serv-ed 
as  model  to  many  eighteenth  century  portrait 
painters.  We  noticed  a  fine  full-length  portrait 
of  Carreno  de  Miranda, by  himself,  the  rich  browns 
and  blacks  in  true  Velasquez  manner;  a  St.  John 
Holding  the  Child,  by  Murillo.     The  infant's  face 


is  beautiful  in  sleep,  but  not  that  sickly  sort  of 
beauty  that  mars  the  work  of  so  many  old  masters. 
This  picture  once  belonged  to  Louis  Philippe. 

Mr.  F.  Hopkinson  Smith  had  some  thirty  large 
watercolors  on  \-iew  at  the  Knoedler  Galleries, 
which  attracted  considerable  attention;  notably, 
five  views  of  a  charming  old  Norman  inn  at  Dives, 
Cabourg,  from  which  William  the  Conqueror 
embarked  on  his  memorable  trip  to  England. 
Some  of  his  Dordrecht  work  has  almost  the 
strength  of  oils  and  displays  marvelous  skill  in  the 
handling  of  light  and  shade. 

A  one-man  exhibition  at  the  Montross  Galleries 
disclosed  the  watercolor  work  of  the  late  Mr. 
Henry  Bacon,  embracing  the  results  of  fifteen 
winters  in  Egj^jt,  where  this  skillful  artist  found 
his  true  expression.  A  pupil  of  Gerome  and  of 
Cabanel  at  the  Beaux  Arts,  he  did  good  work  in 
England  and  France,  but  his  "road  to  Damascus" 
lay  evidently  in  Cairo  and  the  Nile  Valley,  as  up- 
wards of  seventy  pictures  testify.  He  was  the 
first  artist  who  depicted  the  country  in  broad 
washes.  His  sense  of  space  and  atmosphere  are 
very  marked  in  the  large  desert  tracts  so  ably 
portrayed  and  his  caravans,  camels,  sheep, 
Bedouins,  sphinxes,  ruined  shrines,  sandstorms, 
obelisks  and  tombs  are  faithful  chronicles.  His 
charming  picture  of  the  ruins  of  Phylae  has  a 
separate  value  in  that  those  ruins  are  now  under 
water  for  all  time. 

A  visit  to  the  Photo-Secession  Gallery  is  always 
interesting.  Mr.  Stieglitz  believes  in  every  artist 
having  a  chance,  and  delights  in  launching  out 
young  talent  on  that  dubious  path  that  leads  to 
glory,  or  in  another  direction.  Notable  displays 
have  been  held  under  his  aegis,  to  wit,  Rodin  draw- 
ings and  Matisse,  so  why  not  Walkowitz?  At  first 
sight  the  drawings  seem  so  quaint,  so  crude,  so 
revolutionary,  that  we  pause  and  wonder  whether 
we  have  not  been  trifled  with;  we  almost  imagine 
some  one  laughing  at  us  from  behind  the  wall  for 
wasting  one  precious  minute  with  such  trash. 
This  feeling  wears  off,  however,  and  as  we  look 
further  into  his  work  we  see  genius  struggling  to  be 
free  and  at  times  freeing  itself.  People  laughed  at 
WTiistler,  yelled  at  Manet  and  ridiculed  every 
artist  who  dared  to  be  original.     Nous  verrons. 

Four  portraits  by  Sir  W.  Beechy,  with  one  each 
by  Owen  and  Sir  J.  Reynolds  have  been  on  view 
at  the  E.  M.  Hodgkins  Galleries.  Beechy's  por- 
trait of  Miss  Calcott  is  a  charming  specimen  of 
this  popular  eighteenth-century  court  painter;  a 
peculiarity  about  it  is  the  fact  that  in  spite  of 
careful,  almost  meticulous  finish  to  coiSure,  robe 


In  tJie  Galleries 


i^ 


and  surroundings,  the  artist 
omitted  to  model  one  of  the 
arms,  which  in  consequence 
appears  broken,  as  it  rests. 
The  picture  by  Reynolds  is 
the  one  engraved  by  Grozer, 
and  known  as  The  Lacemak- 
ers,  being  a  multiple  study 
of  the  same  person  in  differ- 
ent positions,  an  art  or  arti- 
fice not  unknown  to  the 
modern  photographer. 

Messrs.  Scott  &  Fowles 
showed  some  good  canvases 
by  W.  and  J.  Maris.  The 
seascapes  of  J.  Maris  were 
particularly  pleasing ;  one 
represented  a  desolate  piece 
of  shore,  with  a  peasant 
carting  seaweed,  the  other 
a  bit  of  rough  sea  -nith  drift- 
ing storm  clouds.  Jacque 
was  on  \new  in  a  beautiful 
woodland  scene  in  the  rus- 
set tones  of  autumn,  in  the 
foreground  a  shepherd  and 
his  flock.  The  sheep  are 
standing  in  an  unruffled 
stream,  which  instead  of 
being  beautifully  clear  and 
transparent  should  by  all 
rights  be  muddy  and  opaque 
— but  that  is  painter's  li- 
cense. Messrs.  Scott  & 
Fowles  have  recently  been 
exhibiting  some  stately  por- 
traits of  dowagers  and  de- 
butantes, by  Sholto  Doug- 
las. Ver\-  interesting  is  his 
portrait  of  Princess  Patricia  of  Conuaiight,  which 
we  reproduce.  Other  portraits  are  the  Misses 
Millais,  in  white  frocks  and  strong  sunlight,  and 
three-quarter  figures  of  Lady  Kinross  and  Coun- 
tess of  Drogheda.  The  artist  has  a  bold  style  and 
is  quite  unconventional  in  his  methods.  His  color 
is  strong. 

Old  Dutch  masters  are  on  %aew  at  the  Fischer 
Caller}-.  We  reproduce  a  portrait  by  Moro  of  a 
princess  of  the  House  of  Braganza,  very  stately  in 
black  velvet,  with  fine  features  full  of  expression. 
Other  excellent  portraits  are  two  by  Caspar 
Netscher  of  a  warrior  in  blue  steel  armor  and  a 
lady  of  the  court  of  Louis  XIV.  A  Franz  Hals  is 
there,  entitled  Laughing  Boy  with  His  Whistle. 


k 


Courtesy  of  the  Montn 
THE   SPHINX 


BY   HENRY    BACON 


If  you  stand  too  close  the  boy  appears  to  be  howl- 
ing with  misery,  but  on  standing  at  proper  range 
the  howl  of  misery  becomes  a  howl  of  joy.  The 
artist  might  have  given  him  better  hair  and  teeth, 
but  it  is  an  eccentric  picture;  it  is  one  of  his  little 
masterpieces  in  lighter  vein.  The  picture  of  a 
young  girl  by  Paulus  Moreelse  is  an  exquisite  piece 
of  coloring.  He  was  a  pupil  of  the  elder  Mierevelt 
and  is  taxed  vAth  coarse  and  cold  color;  but  that  is 
certainly  not  the  case  here.  The  Charcoal  Burners 
is  a  superb  example  of  Ruysdael,  the  fires  glowing 
through  the  \-eO  of  night  above  a  wooded  stream, 
stormy  clouds  above. 

Some  fifty  etchings  by  Anders  Zorn  were  on 
view  during  January'  at  the  galleries  of  Arthur  H. 


/;/  the  Galleries 


Courtesy  of  the  Kleinberger  Galleries 
THE   FORTUNE-TELLER 

Hahlo  &  Co.,  and  aroused  considerable  interest. 
Tlie  simplicity  and  at  the  same  time  boldness  of 
his  technique  are  suqjrising.  His  portraits  and 
studies  from  the  nude  are  very  lifelike  and  striking 
in  pose.  An  especially  pleasing  print  is  The 
Waltz,  full  of  grace  and  action. 

.\n  interesting  collection  of  etchings  by  Sir 
Seymour  Haden  were  on  \-ie\v  at  the  galleries  of 
Charles  H.  Graff  during  December.  Interest  in 
the  work  of  Haden,  Brangwyn,  Fitton  and  other 
great  masters  of  the  needle  has  been  ver\'  keen  this 
season  and  shows  no  signs  of  flagging. 

A  special  exhibition  of  paintings  by  Lawrence 
Mazzanovich  was  held  last  month  at  the  Macbeth 
Galleries.  Four  short  years  ago  this  artist  was  to 
all  intents  and  puqroses  unknown,  but  his  work 
at  the  Paris  salon  caused  quite  a  stir  and  caused 
Mr.  C.  H.  Meltzer  to  break  forth  into  prophecy. 
Certain  it  is  that  since  then  this  young  New 
Yorker  has  progressed  along  the  path  of  fame  in 
meteoric  fashion.     His  work  is  impressionistic  and 


honestly  so;  it  is  a  loving 
inteqiretation  of  nature  as 
Wordsworth  would  have 
portrayed  it  had  he  l)een 
an  artist,  and  the  moods  he 
selects  are  the  calmful  ones 
seen  at  early  dawn  or  ajv 
I )roaching  dusk,  a  u  I  u  m  n 
hues  being  prevalent  among 
I  he  can\-ases  on  view. 

The  famous  firm  of  Braun 
ft  Cie,  acceding  to  the  re- 
i|uestofmanyoftheirclients, 
have  decided  to  hold  regular 
exhibitions,  commencing 
now  at  their  galleries,  13  W. 
46th  St.  They  have  hitherto 
been  deterred  from  this  en- 
terprise from  the  fact  that 
so  many  exhibitions  are  held 
annually  in  New  York,  and 
they  were  unwilling  to  enter 
the  lists  unless  convinced 
that  they  were  in  a  position 
to  give  a  really  first-class 
display,  worthy  of  their 
great  position  as  art  pub- 
lishers. They  ha\'e  now  suc- 
ceeded in  getting  together  a 
collection  of  some  eighty 
color  etchings  by  Anselmo 
Bucci,  George  Ritleng  and  all 
the  members  of  the  British 
Society  of  Graver  Printers  in  Color.  Following  upon 
this  exhibition,  which  will  be  on  view  the  first  half 
of  this  month,  there  will  be  a  display  of  pictures 
suitable  for  educational  purposes,  the  idea  being 
to  attempt  to  guide  teachers,  helping  them  to 
know  what  pictures  merit  wall  space  in  American 
class  rooms.  This  excellent  idea  goes  to  the  ver\' 
root  of  a  necessary  reform.  A  third  exhibition  will 
be  the  miniature  paintings  of  Matthias  Sandor. 

In  addition  to  exhibitions  a  scheme  of  lectures 
has  been  arranged,  and  each  Sunday  of  this  month 
will  provide  the  opportunity  of  hearing  Professor 
Pierre  de  Bacourt  lecture  on  French  Pastellists, 
Rubens  and  the  Painters  of  the  Barbizon  School. 
Art  lectures  by  Dr.  Kriehn,  of  Columbia  Univer- 
sity, will  also  be  heard  on  dates  under  arrangement. 
To  quote  The  Lotus  Leaf:  ''  M.  Braun  has  been  the 
Aldus  and  the  Henricus  Stephanus  of  the  great 
classics  of  drawing  and  painting."  We  wish  them 
success  in  their  new  departure  and  feel  sure  that 
all  art  lovers  here  will  have  cause  to  rejoice. 


HV    FERDINAND    BOL 


THE  STUDIO 


A 


NOTABLE  DECORATIVE 
ARTIST:  GEORGE  SHERING- 
HAM. 


There  are  not  many  people  at  the  present  time 
who  would  be  prepared  to  question  the  signifi- 
cance or  to  deny  the  importance  of  decorative  art. 
The  value  of  the  decorator's  work  is  too  well 
understood  to-day  to  be  subjected  to  that  careless 
disparagement  under  which  it  suffered  not  many 
years  ago,  and  the  position  of  the  decorative  artist 
in  the  art  world  is  too  clearly  defined  to  be,  as 
it  was  until  quite  recently,  a  matter  for  debate. 
Decoration  has  rightly  come  to  be  regajded  as  the 
most  vita.1  of  the  various  essentials  which  in  com- 
bination make  the  perfect  work  of  art  ;  it  is  recog- 
nised as  the  indispensable  foundation  upon  which 
all  the  subsequent  pictorial  details  must  rest  and 
the  starting-point  for  the  scheime  of  design  which  it 
's  the  artist's  intention  to  work  out. 


Of  course,  the  decoration  which  plays  so  im- 
portant a  part  in  artistic  practice  is  not  the 
mechanical  and  unintelligent  mannerism  which 
unthinking  people  have  been  accustomed  to  ac- 
cept as  a  permissible  form  of  design.  It  is  not, 
that  is  to  say,  a  mere  convention — a  dull  per- 
version of  nature,  or  a  stupid  evasion  of  those 
subtleties  of  invention  which  are  evidences  of 
the  artist's  intellectual  capacity.  The  popular 
idea  of  decoration  in  the  past  was  something  that 
required  little  knowledge  of  nature  and  little  care 
in  observation,  something  easy  to  do  and  therefore 
of  negligible  value  :  and  from  this  idea  came,  as  a 
not  unnatural  consequence,  the  belief  that  the 
decorator's  position  was  an  inferior  one  and  his 
work  of  trivial  interest. 

This  idea  has  happily  been  changed  for  a 
belter  understanding  of  the  difference  between 
the  mechanical  perversion  of  decorative  principles 
and  the  application  of  these  principles  to  work  of 


"THE    PANTOMIME    TANEL 


XLVIII.  No.  1S9.— November  1912 


PAINTEU   ON    SILK   BY   GEORGE   SHRRINGHAM 
(In  the  possession  (rf  Lady  Sackville) 


George  S/irn'i/o-//(iiii 


serious  and  significant  importance.  The  nianntr- 
isms  of  the  incompetent  designer  are  more  than 
ever  despised  by  every  sincere  student  of  esthetic 
activities,  but  the  inspired  decorator  who  is  a 
master  of  his  art  and  has  a  true  judgment  of  its 
possibilities  is  being  accorded  something  like  the 
measure  of  appreciation  that  is  indisputably  his 
due.  He  is  becoming  a  power  in  the  art  world,  a 
very  real  power  for  good,  and  his  influence  upon 
the  public  taste  is  growing  steadily  and  widening  in 
its  scope  year  by  year. 

That  this  should  be  so  is  a  matter  for  earnest 
congratulation,  because  it  can  safely  be  said  that 
in  the  develo|)ment  of  decoration  lies  the  future  of 
modem  art.  The  subject-picture,  the  painting  w  hich 
illustrates  an  episode  and  tells  a  story,  has  had  its 
day,  and  there  are  many  signs  that  its  popularity 
is  on  the  wane.  A  certain  section  of  the  public 
no  doubt  clings  to  it  still  as  the  most  effective 
expression  of  the  artist's  aims,  but  there  is  a  larger 
section  which  has  lost  all  interest  in  illustrative 
painting  and  which  craves  frankly  for  something 


less  obvious  and  less  limited  in  its  possibilities. 
These  peo])le  arc  i)uite  ready  to  accept  the  ab- 
stract imaginings  of  the  decorator  and  to  find  real 
pleasure  in  the  fantasies  which  he  produces  ;  there 
is  a  demand  which  he  can  quite  efficiently  supply 
if  only  he  has  the  proper  qualifications  for  the 
work  he  is  called  upon  to  do. 

For  this  reason  it  is  of  the  greatest  imi)ortance 
that  the  men  who  venture  into  decorative  under- 
takings should  be  possessed  of  powers  which  are 
perfectly  balanced.  It  is  only  the  artist  who  has 
his  imaginative  faculties  highly  developed,  who  has 
an  excjuisite  sense  of  rhythmical  arrangement  and 
a  sensitive  feeling  for  colour  subtleties,  and  who 
is  capable  of  appreciating  the  inner  meanings  of 
nature  rather  than  her  superficial  realities  that  can 
be  expected  to  reach  the  greater  heights  of  decora- 
tive invention.  'I"he  man  who  is  not  so  soundly 
equipped  is  always  in  danger  of  lapsing  into  an 
unmeaning  convention.  If  his  imagination  is  un- 
equal to  the  demands  made  upon  it  by  his  work, 
his  practice  is  apt  to  become  stereoty|)cd  and  his 


DESIGN    FOR    A    DECORATIVK    PANEL 

4 


FROM    A    PASTEL    IiRAWING    BY    C.E0R(;E    SIIERINOHAM 


DESIGN   FOR  DECORATIVE  PANEL.     FROM   A 
PASTEL  DRAWING  15Y  GEORGE  SHERINGHAM 


George  Slu-yiiiglwun 


methods  are  likely  to  lose  their  vitality ;  if  his 
sense  of  design  is  imperfect,  if  his  colour-feeling  is 
insufficiently  acute,  and  if  his  observation  is  too 
matter-of-fact,  his  productions  will  be  wanting  in 
just  that  quality  of  distinctive  originality  which 
gives  the  true  hall-mark  to  all  fine  decoration. 

There  is,  in  a  word,  no  room  in  the  ranks  of  the 
decorators  for  the  man  of  merely  average  capabilities. 
The  artist  who  is  by  no  means  a  consummate 
craftsman  and  who  has  only  moderate  powers  of 
expression  can  often  score  a  great  popular  success 
through  the  accident  of  a  telling  subject — many 
a  poorly  painted  picture  has  brought  fame  to 
its  producer  because  he  has  chanced  to  hit  upon 
a  motive  which  has  pleased  the  crowd.  But  the 
decorator  has  not  the  opportunity  of  glossing  over 
imperfections  of  practice  by  hiding  behind  a 
popular  subject ;  he  makes  his  success  or  his 
failure  by  the  use  of  his  own  capacities  only,  and 
he  depends  upon  himself  alone  for  the  position  he 
takes  in  his  profession.  It  is  this  that  causes  the 
art  of  decoration  to  be  more  exacting  than  any 
other  form  of  artistic  expression  and  that  obliges 
the  men  who  follow  it  to  acquire  a  more  than 
ordinarily  complete  mastery  over  its  complicated 
technicalities. 

Among  the  younger  decorative  artists  of  the 
present  day  there  are  few  who  are  so  thoroughly 
capable  of  meeting  any  demand  that  may  be  made 


upon  them  as  Mr.  George  Sheringham.  He  is 
a  typical  decorator,  possessing  that  peculiar  balance 
of  qualities  which  ensures  an  exceptional  complete- 
ness of  achievement,  and  endowed  with  an  extra- 
ordinary fertility  of  imagination.  A  rarely  graceful 
draughtsman,  a  colourist  with  an  unusual  sensitive- 
ness to  refinements  of  combination  and  arrange- 
ment, and  a  designer  whose  wholesome  originality 
is  satisfying  in  the  highest  degree,  he  has  advanced 
in  a  few  energetic  years  to  a  position  in  the  front 
rank.  This  position  he  can  with  complete  JHstice 
be  said  to  have  made  almost  entirely  by  his  own 
efforts,  for  his  art  is  in  all  its  main  essentials  a 
purely  personal  manifestation — something  created 
by  himself.  It  reflects  neither  the  teaching  of  any 
particular  master  nor  the  tenets  of  any  past  or 
present  school ;  it  sets  forth  an  individual  con- 
viction that  is  guided  by  an  exquisite  taste  and 
controlled  by  a  really  delightful  feeling  for  beauty 
of  the  highest  order. 

Mr.  Sheringham  is,  however,  not  a  self-taught 
artist ;  he  has  learned  his  craft  under  good  tuition 
and  has  had  the  advantage  of  a  thorough  training  : 
and  on  the  foundation  of  this  well-ordered  educa- 
tion he  has  built  up  a  system  of  working  which 
owes  much  of  its  practical  character  to  the  teaching 
he  received  in  his  student  days.  He  learned  early 
in  life  what  is  so  valuable  to  the  artist — how  to 
study  and  how  to  think,  and  most  of  all  how  to 


.  "■|»'»?y-mivitT^rxi»;Tj;wv«'»f"«)iJ">wg^W.H\^ 


PAI.NTED  SI  I  K 

6 


(In  thi  posussion  o'  P.  H.  Kemp  Prossor,  Estj.) 


BY    (;E0KGK    SllKKINGHAM 


hV, 


'>%> 


f^l^ 


DESIGN 
FOR  A 
DECOR- 
A  T  I  V  E 
PANEL 
BY  GEO. 
S  H  E  R- 
INGHAM. 


George  S/ien'iig/iaiii 


use  his  powers  of  observation  in  gathering  together 
that  mixture  of  knowledge  by  which  the  artistic 
imagination  is  sustained  during  the  labour  of 
production.  In  the  very  confidence  with  which 
he  took  his  own  way  when  the  pupil  stage  was  over 
there  is  evidence  of  the  thoroughness  with  which 
he  was  [irepared  for  the  part  he  was  to  ]5lay  in  the 
world. 

His  first  experiences  were  gained  at  the  Slade 
School,  where  he  worked  for  some  time,  but  later 


on  he  became  a  pupil  of  Mr.  Harry  Becker,  an 
artist  of  strong  convictions  and  vigorous  methods 
who  imparted  to  his  students  much  of  his  own 
strenuous  enthusiasm  and  implanted  in  them  an 
understanding  of  what  serious  hard  work  really 
meant.  Under  Mr.  Becker's  tuition  Mr.  Shering- 
ham  was  drilled  soundly  in  the  grammar  of  the 
painter's  craft  and  he  was  taught  the  value  of 
rapid,  decisive  statement  and  of  broad  certainty 
of  technical  method  ;  and  he  was  set  an  example 


"  i.'arbre  doree' 


FAN    PAINTED   OX   SILK    BY   GEORGE   SHERINOIIAM 
(/ii  Ihe  possession  of  Mrs.  Huxloii  Heinekev ) 


..J^^,-.-^K.^--.-^--i'r— ^ 


'THE   LANDSCAPE    FAN 


PAINTED   ON    KID   BY   GEORGE   SIIBRINGHAM 
{In  the  possession  of  W'yndhain  Hardins;,  f'-sq.) 

9 


Gcori^c  S/ic/'iiii:[/iaiii 


of  earnest  application  which  had  a  most  helpful 
influence  in  the  formation  of  his  character  as  an 
artist. 

When  he  left  Mr.  Becker  he  went  straight  to 
Paris,  where  he  took  a  studio  and  began  to  work 
out  for  himself  the  various  art  problems  in  which 
he  was  interested.  He  did  not  put  himself  under 
any  m:ister,  but  spent  most  of  his  time  sketching 
out  of  doors  and  drawing  from  life  at  the  "  Croquis." 
In  these  new  surroundings  he  found  himself  very 
definitely  diverted  from  the  line  of  thought  he  had 
hitherto  followed.  He  came  under  fresh  influence.":, 
and  he  started  a  kind  of  .self-examination  with  the 
idea  of  finding  out  what  was  ihc  real  direction 
which  by  nature  and  temperament  he  was  hitendcd 


to  take.  This,  as  might  have  been  expected,  put 
him  for  a  while  entirely  adrift,  for  having  shed  the 
convictions  he  brought  with  him  from  England 
and  not  having  as  yet  settled  definitely  on  any 
other  he  spent  some  months  in  a  search  for  the 
new  road  which  he  felt  that  he  was  destined  to 
follow. 

It  was  by  the  study  of  Oriciilal  art  in  the  Paris 
museums  that  he  was  led  first  to  believe  that  his 
destiny  lay  in  decoration.  This  study  opened  up 
to  him  the  possibilities  of  this  branch  of  practice, 
and  as  time  went  on  he  began  to  realise  that  he 
was  to  find  there  the  direction  for  which  he  was 
seeking.  He  did  not  enter  \.\\nm  it  all  at  once, 
however,    for    he    worked    for    a   while    at    postcr- 


'TllE    I'AKK    FAN 


l-AINTKU   ON    SILK    liV   C.KOROE  SHEUINC.IIAM 


'THE  SPRING    FAN 


PAINTED  ON 
(III  Ihc  possession  oj  Mrs.  d:  R.   Walker  j 


SII.K    BV   (GEORGE   SHERINOIIAM 


George  Shcriii^haiii 


'THE    ITALIAN    LANDSCAFE    FAN  PAINTED   ON    SILK    BY   GEORGE   SHERINGHAM 

(In  the  possession  oj   William  Caiue,  Esq. ) 


"THE    KAKEMONO    IA> 


SILK    liY    GEORGE    >1IER1NGHAM 


designing  and  black-and-white  work,  and  he  had 
two  exhibitions  of  landscape  subjects  in  water- 
colours,  one  at  the  Brook  Street  Gallery  and  the 
other  at  the  Ryder  Gallery.  But  finally  he  aban- 
doned realistic  painting  entirely  and  decided  to 
devote  himself  solely  to  the  decorative  work  which 
by  that  time  he  had  convinced  himself  was  what 
he  was  by  temperament  and  inclination  most  fitted 
to  do. 

One  of  the  first  fruits  of  this  decision  was  an 
exhibition  of  fans  at  the  Ryder  Gallery,  an  exhi- 
bition which  showed  in  a  way  that  did  not  admit 
of  dispute  how  right  he  had  been  in  his  judgment 


of  his  own  capacities.  This  exhibition  and  a 
second  one  held  in  the  same  gallery  a  little  later  on 
revealed  him  as  a  designer  with  something  to  say 
that  no  one  had  said  before  quite  in  the  same  way, 
and  proved  him  to  be  an  artist  whose  technical 
skill  was  as  exquisite  as  his  fancy  was  dainty  and 
graceful  in  expression.  They  brought  him  at  once 
into  prominence,  and  established  him  in  a  position 
which  has  been  confirmed  and  made  more  secure 
by  the  exhibition  of  several  other  fans  and  decora- 
tive paintings,  and  of  the  delightful  series  of  wall- 
panels  painted  for  Judge  Evans.  All  these  have 
appeared   at   the    Ryder  Gallery,  the  director   of 


George  SJieritigham 


which,  Mr.  Kemp  Prossor,  was  the  first  to  recog- 
nise Mr.  Sheringhani"s  abilities  as  a  decorator  and 
to  encourage  him  in  his  efforts  to  express  his 
individual  preferences  in  art.  Some  other  notable 
examples  of  his  art  have  been  seen  in  the  exhi- 
bitions of  the  Pastel  Society,  of  which  he  is  a 
member — pastel  is  a  medium  which  he  handles 
with  remarkable  skill,  and  it  is  one  which  par- 
ticularly suits  the  daintiness  and  fanciful  delicacy 
of  his  designs.  He  uses  all  mediums,  however, 
with  equal  success,  and  he  has  a  knack  of  getting 
out  of  each  one  its  fullest  measure  of  meaning. 

There  is  one  thing  that  justifies  the  highest 
expectations  for  the  future  in  Mr.  Sheringham's 
case — that  his  choice  of  decoration  as  the  walk  in 
art  that  he  has  decided  to  follow  has  not  been  a 
matter  of  expediency,  but  the  result  of  a  slowly 
formed  but  absolutely  sincere  convictiwi.  He 
believes  that  the  new  fields  for  exploration  in  the 
world  of  art  are  those  in  which  decoration  awaits 


discovery,  and  he  holds  that  Western  art  has 
neglected  decoration  and  has  pursued  realism 
instead  to  the  exhaustion  of  its  possibilities.  Now 
he  thinks  the  position  is  about  to  be  reversed,  and 
the  East,  which  has  hitherto  confined  itself  to 
decorative  art,  will  make  its  excursions  into  realism 
while  the  West  will  develop  its  latent  decorative 
instincts.  Decidedly,  if  such  an  awakening  is  at 
hand,  he  is  helping  manfully  to  bring  it  about,  and 
he  is  offering  an  example  which  other  artists  who 
are  concerned  about  the  future  of  Western  art 
would  do  well  to  follow.  And  he  is  to  be  sincerely 
commended  for  the  earnestness  with  which  he  is 
setting  to  work  ;  in  his  treatment  of  the  motives 
he  selects  there  is  no  eccentric  breaking  away  from 
sane  traditions.  His  desire  is  rather  to  use  these 
traditions  as  the  starting-point  of  a  new  style  which 
will  show  all  needful  traces  of  its  ancestry  and  yet 
have  a  character  of  its  own,  and  to  build  up  this 
style  by  legitimate  means. 


"THE   BLACK    FAN 


BY   GEORGE  SHERINOHA.M 


'THE   CHINESE   LANOSCAIE    FAN 


PAINTED   ON   SILK   BY  GEORGE   SHERINGHAM 


■'THE  GREEN  VASE  FAN  AND 
"THE  PEACOCK  FAN.  paintedon 
SILK   BY    GEORGE    SHERINGHAM. 


Etchings  from  the  Paris  Sa/oiis 


A  decorator  with  such  a  well-poised  judgment 
and  with  such  a  temperate  view  of  his  obligations 
is  the  more  to  be  welcomed  at  this  moment  because 
there  is  a  marked  inclination  among  our  younger 
artists  to  deny  the  authority  of  the  past  and  to 
substitute  a  sort  of  anarchy  for  the  judicious  modifi- 
cation of  ancient  principles  which  are  showing  a 
tendency  to  become  stereotyped.  Mr.  Sheringham 
demonstrates  convincingly  that  the  effort  to  keep 
touch  properly  with  the  past  does  not  involve  any 
sacrifice  of  his  instinctive  originality,  and  that  he  is 
by  no  means  obliged  to  be  old-fashioned  because 
he  has,  as  a  sober  student,  taken  the  trouble  to 
learn  what  his  predecessors  have  done.  There  is 
no  need  for  him  to  disregard  their  achievement  or 
to  refuse  to  profit  by  the  traditions  they  have 
handed  down ;  his  individuality  is  better  displayed 
in  the  use  he  makes  of  the  knowledge  which  has 
been  gathered  together  through  many  centuries  of 
artistic  progress  than  it  could  possibly  be  in  un- 
controlled excursions  beyond  the  legitimate  bounds 
of  the  artist's  practice.  A.  L.  Baldrv. 


s 


OME    ETCHIiNTGS    FROM   THE 
RECENT  SALONS  IN   PARIS. 


In  making  a  comparison  between  the  "  Old 
Salon  "  of  the  Societe  des  Artistes  Fran(;ais  and 
the  "  New  Salon "  of  the  Societe  Nationale  des 
Beaux-Arts  very  little  appreciable  difference  will 
be  found  in  the  standards  attained  in  painting, 
and  there  would  be  practically  none  were  the 
former  dismantled  of  its  mass  of  unquestionably 
mediocre  work  forming  the  bulk  of  the  great 
assemblage  of  exhibits. 

In  the  sections  devoted  to  the  decorative  arts  and 
etching,  however,  the  difference  artistically  and  in 
arrangement  is  more  notably  distinct.  To  its  etcher 
adherents  the  New  Salon  devotes  a  not  aggressively 
large  gallery  wherein  there  is  little  crushing  and 
their  work  can  be  seen  in  a  good  light,  while  the 
prints  unavoidably  hung  in  the  passage  below  the 
dome  do  not  paper  the  walls  to  the  ceiling.  In 
the  Old  Salon,  on  the  other  hand,  every  available 
space  is  utilised,  and  etchings  and  engravings  are 


'  COTTAGES   IN    CORNWALL 


(SocUti  des  Artistes  Francois) 


BY    HUGH    PATON 
15 


I£fc/iii/gs  from  the  Paris  Salons 


liuddlcd  together  in  a  confusing  mass,  no  distinc- 
tion being  made  between  mere  pictorial  copies  and 
original  work. 

In  viewing  the  collection  of  work  shown  this 
year  at  the  Old  Salon,  it  wa.s  with  a  great  sense 
of  relief  that  one  came  across  such  spontaneous, 
open-air  work  as  that  of  .Amedee  Feau  in  Les 
Grands  Pins,  the  I'ieilU  Rue  I'l  Arge/ittui  of 
Robert  I  )esouches,  with  its  restrained  KStheticism, 
and  Mr.  Hugh  Paton's  charming  little  print 
Cottages  in  Cormcall,  in  which  that  artist  has 
fulfilled  and  accepted  all  the  limitations  of  his 
medium  withoutaffected  knowledge.  Characteristic, 
too,  of  a  close  and  intimate  relationship  between 
the  etcher  and  the  interpretation  upon  cojiijer  of 
the  subject  were  Frank  Milton  .\rmington's  Mount 
Sir  Donald  Glacier,  Canada  (Rocky  .Mountains), 
and  the  little  memories  of  Canada  by  Mrs.  Caroline 
H.  Armington.  For  subtle  refinement  the  Dor- 
drecht of  Mr.  .Vndrew  F.  .Affleck  claimed  more  than 
momentary  attention,  as  did  the  Catliedrak  de 
Chartres,  by  Mr.   Hedley  Fitton,  for  pallein  and 


design.  The  Illustrations  dune  Monographic  de 
Fril'ourg,  by  M.  Paul-.Adrien  Bourou.x,  were  simi- 
larly attractive.  For  a  more  distinct  personality 
in  selection  and  technique  the  Dancing  Water  and 
Pont  Neuf,  by  Mr.  1\  Roy  Partridge,  were  out- 
standing. The  Roman  Bridge  and  The  Haunted 
House,  with  its  suggestion  of  imagination,  by  Mr. 
Lister  Rosenfield,  were  two  most  refreshing  exhibits 
amongst  much  honest  work  with  little  inspiration. 

The  prominent  feature  of  the  Old  Salon  was 
certainly  technicality  and  ability  applied  to  the 
|)ictorial  representation  of  things  as  they  are,  and 
one  felt  thankful  in  viewing  the  coloured  etchings 
that  those  qualities  so  far  had  not  yet  been  achieved. 
Among  the  prints  which  kept  within  the  medium's 
limits  most  successfully  without  presenting  in  ap- 
pearance a  well-tubbed  water-colour,  Mr.  Hugh 
Paton's  Soir  and  M.  Raoul  du  Gardier's  Sur  FEau 
were  the  most  important.  'J'he  aquatint  An  Clair 
de  Lune,  by  Miss  Hilda  Porter,  and  Dans  les  Alpes, 
by  M.  Georges-Albert-l^tiennc  Belnet,  were  also 
notable.     Miss  Polly   Phill   Morris   showed   some 


"  THE   ni'SV    DWARl 

16 


( SocUU  Xaltonale  ties  Beaux-.lrts) 


BY  JAN   GORDO.N 


CO 

en 

D 
O  '^ 

-a 


-lii 


s 

D 

D 

< 

O 

:c 

D 

u 

< 

<  > 


ir 


Iifc/iiii^s  from  the  Paris  Sa/oiis 


excellent  dry-points,  and  Miss  Xcll  Coover  some 
delicately  obser\ed  Studies  of  Children  in  the 
Luxemf'mirg,  other  able  exhibits  being  Le  Hois,  by 
Miss  Edith  May  Olive  Branson,  Suite  ifEaiix-fortes 
Originales.  by  Henry  Cheffer,  Coude/'ee-en-Cai/x,  by 
M.  Robert  Pierre  Grouiller,  Peniche  au  Bord  du 
Medu'ay,  by  Miss  Katherine  Kimball,  and  Mr. 
William  Averback  Levy's  La  Porte  de  /'Eglise  A'otre- 
Dame  h  I  'ernon. 

In  the  section  of  "  Gravure "'  at  the  Societe 
Nationale's  Salon  there  were  few  among  the  two 
hundred  and  fifty  odd  prints  displayed  that  did 
not  claim  attention.  In  walking  round  the  little 
gallery  one  felt  very  much  in  tune  with  each 
etcher.  The  art  and  ability  shown  in  the  series  of 
six  prints  by  M.  Auguste  Lepere,  one  of  which  is  here 
reproduced  (p.  17),  fully  maintained  the  deserved 
reputation  he  has  earned,  and  one's  sense  of  creation 
and  \ntality  was  satisfied  by  M.  George  Gobo's  Port 
de  Rotterdam  and  La  Grande  Brasserie  a  Bruges  : 
quietude  was  attained  by  the  delicate  and  refined 


work  of  M.  Eugene  Bejot — a  good  example 
being  the  Dutch  scene,  Pres  de  Le\'de,  included 
among  our  illustrations — and  the  poetical  tem- 
perament in  the  Boiujuet  de  Bois,  by  M.  Jacques 
Beurdeley.  Poignant  in  its  imaginative  dramatic 
eflect,  the  Sitio  '.  fai  soif  (from  a  series  entitled 
"  Les  Sept  Paroles  ")  by  Marcel  Roux  was  specially 
notable.  A  print  entitled  Sous  les  Cypres  dEyoub, 
an  Oriental  graveyard  scene,  by  M.  Alexandre 
Lunois,  arrested  attention  with  an  infinite  fascination 
by  its  melancholy  sadness  and  quaint  decorative 
arrangement.  Amongst  the  works  by  British  and 
American  artists  in  this  Salon  the  most  able  and 
sincere  were  shown  by  Mr.  Jan  Gordon,  Mr. 
Lester  G.  Hornby,  Mr.  Herman  A.  Webster,  Mr. 
Augustus  Koopman,  and  Mr.  G.  Plowman.  Perhaps 
the  finest  by  Mr.  Hornby  was  his  Dans  le  Jardin 
du  Palais  Royal,  and  by  Mr.  Webster  La  Route 
de  Loui'iers,  both  of  which  have  already  been  illus- 
trated in  The  Studio.  Mr.  Webster's  Lihvenpldtz- 
chen  made  a  good  second  to  the  print  just  mentioned. 


■  iJtbAK'.'l  K.Mt.N  1     iJKn     HAkt.S 
18 


(Society  KationaU  des  Beaux- Arts) 


BV    AIGISTL'S    KOOPMAN 


H 
ui  O 


Q 
> 

Q  O 


/f 


MOUNT    SIR     DONALD    GLACIER, 
CANADA."      BY   F.    M.   ARMINGTON 


(Socii'lt!  des  Artisles  Ft  cuicais) 


Charles  John  Colliiigs 


Other  exhibits  which  deserve  more  than  a  passing 
mention  include  La  Petite  Fete  des  Fortifications 
and  La  Seine  a  Coiirhevoie,  excellent  in  design  and 
feeling  of  space,  by  M.  Edgar  Chahine,  Les  Deux 
Scieurs,  instinct  with  active  vitality,  by  M.  Paul- 
Emile  Colin,  Le  Folo,  by  M.  Pierre-Georges 
Jeanniot,  Danolition  Rue  Jean  de  Beauvais  and 
Ferine  en  Correze,  by  M.  Edmond  Kayser,  Le 
Chenal  a  La  Rochel/e,  by  M.  Gustave  Leheutre, 
M.  Gaston  de  Latenay's  Le  Grand  Cliene  and  La 
Mer  Sauvage,  the  dry-points  by  M.  Louis  Legrand, 
and  M.  Eugene  Mala's  La  Ville  Morte.  Of  the 
etchings  in  colour,  Le  Fort  Cardinal  ( Belie-Lk).  by 
M.  Georges  Mouchon,  Le  Quai  de  /a  Tournelle,  by 
M.  Jean  Francois  Raffaelii,  and  Nocturne  dAuray, 
by  M.  T.  Francois  Simon,  were  the  most  noteworthy 
examples.  E.  A.  Taylor. 


T 


"LUWE.M'I.ATZCUEN  ' 


( Soch'ti!  Nationale  des  Beaux-Arts) 


HE  ART  OF  CHARLES  JOHN 
COLLINGS;  AX  APPRECIA- 
TION.    BY  VAL  DAVIS,  R.B.A. 

Even  to  those  for  whom  art  is  one  of  life's 
greatest  interests  there  come,  amid  the  multitude 
of  exhibitions,  moments  of  satiety  and  depression. 
One  asks.  Is  it  not  played  out,  this  "painting," 
has  it  anything  fresh  to  offer?  After  all  the  centuries, 
is  any  form  of  pictorial  art  possible,  combining 
beauty  with  originality — and  sanity?  The  most 
jaded  of  art-lovers,  the  most  blase  of  critics,  must 
have  found  an  answer  to  these  questions  in  the 
recent  exhibition  of  drawings  representing  the 
Canadian  Rockies  by  Mr.  Charles  John  Collings, 
at  the  Carroll  Gallery,  George  Street,  Hanover 
Square.  One  scarcely  had  dared  to  hope  in  these 
latter  days  that  there 
could  be  such  a  revela- 
tion in  vision,  colour, 
and  technique,  for  it 
seemed  that  even  the 
"  isms  "  must  have  ex- 
hausted their  horrors 
— that  finality  had 
come.  How  quietly 
and  unostentatiously 
the  little  "show"  was 
announced!  No 
trumpet  blare  or 
heralding  of  distin- 
guished patrons,  but 
just  a  brief  "  foreword  " 
in  the  catalogue,  by  Mr. 
Luscombe  Carroll  — 
whose  faith  in  the  artist 
has  never  wavered  for 
twenty  years. 

At  first  sight  of  Mr. 
Collings's  work  one  is 
impressed  with  a  sense 
of  something  un- 
familiar :  no  recollec- 
tion of  kindred  effort 
springs  to  the  mind — 
this  is  admitted  by  the 
few  to  whom  it  does  not 
make  a  complete  ap- 
peal, as  well  as  by 
the  many  who  whole- 
heartedly succumb  to 
its  spell.  The  vision  is 
new,  the  colour  is  new, 
the    technicjue,    even. 


BY    HERMAN    A.    WEBSTER 


Charles  John  Callings 


is  new.  Indeed,  this  matter  of  quality  in  method 
is,  to  artists  especially,  one  of  the  most  remarkable 
features  of  Mr.  CoUings's  art.  That  after  all  the 
experiments  of  generations  of  workers  with  colour 
on  paper  a  man  should  in  our  day  show  us  an 
absolutely  new  effect  and  quality  obtainable  with 
-  these  materials  verges  on  the  incredible,  and  few 
artists  indeed  can  be  found  to  accept  the  fact  save 
from  the  evidence  of  their  own  eyes.  And  how 
perfectly  his  method  lends  itself  to  the  rendering 
of  the  crystalline  air,  the  unsmirched  snows,  the 
pure  light  and  colour  of  these  mountain  solitudes  1 
But  this  art  goes  further  than  any  mere  happy  and 
dexterous  rendering  of  the  outward  physical  beauty 
of  lake  or  mountain,  for  there  is  a  "  spirituality  "  in 
these  drawings  which  nothing  surpasses  within  my 
knowledge  of  landscape  art.  Standing  before  these 
few  scjuare  inches  of  framed  paper,  we  feel  the  awe 
of  great  sanctuaries  where  abide  Presences.  Here 
Silence  broods  for  ever  on  that  far-off  peak,  and 
the  spirit  of  Solitude  dwells  untroubled  by  man  and 
his  works  amid  the  unsullied  snow  and  ice.  On 
that  pinnacle  of  white  piercing  the  heavens  light 
inaccessible  has  for  ever  a  resting-place.  By  what 
magic  of  selection  and  rendering,  by  what  subtlety 
of  drawing  or  colour,  such  emotions  and  imagina- 
tions are  evolved  in  our  souls  it  is  difficult,  in  fact 
impossible,  to  analyse.  All  that  can  with  certainty 
be  said  is  that  only  an  emotional  ecstasy  of  vision 
could  so  transfuse  peak  and  ravine,  lake  and  sky,  that 
all  material  substance,  water,  rock,  and  tree,  becomes 
lucent,  so  that  while  we  see  only  the  essence  of 
things  we  yet  know  them  for  what  they  are,  lake 
and  cloud  and  mountain. 

An  analysis  of  the  technicjue  and  craftsmanship 
of  the.se  water-colours  reveals  characteristics  both 
interesting  and  instructive.  The  drawing  is  instinc- 
tive, it  creates  as  well  as  records  ;  nevertheless  the 
localities  depicted  are  recognisable  by  all  who 
know  them.  This  innate  sense  of  form  enables 
the  artist  so  to  dispose  and  pattern  his  colour  and 
tones  as  to  give  with  truth  the  configuration  of 
mountain  and  valley  and  plain ;  indeed,  only  a 
phonetic  summary  of  the  drawing  could  present 
within  such  restricted  compass  these  panoramic 
glimpses  of  the  Rocky  Mountains.  We  find  no 
meticulous  topographic  detail  in  these  bold  con- 
structive lines  and  angles  and  curves,  yet  what  have 
they  missed  that  matters  ? 

The  composition  of  a  picture  can  proceed  from 
two  principles,  which,  while  to  a  certain  extent 
mutually  inclusive,  yet  contain  essential  differences. 
In  one — and  the  more  generally  adopted — the 
main  principle  is  the  recession  from  the  spectator  in 


perspective,  and  consequent  diminution,  in  pictorial 
dimensions,  of  the  objects  forming  the  subject, 
accompanied  by  a  corresponding  gradation,  espe- 
cially in  landscape,  of  their  local  tones  and  colours 
towards  vanishing-point.  Turner's  Crossing  the 
Brook  will  serve  as  an  example,  showing  also  to 
what  a  pinnacle  of  beauty  this  method  can  attain. 
Nevertheless  artists  in  our  day  have  elected  to 
consider  that  form  of  pictorial  composition  higher 
which  depends  on  the  juxtaposition  of  objects, 
tones,  and  colour  decoratively  designed  together 
like  the  pattern  of  a  carpet  or  of  a  bird's  wing. 
Perspective,  linear  and  aerial,  must  not  change  the 
decorative  effect  into  a  mere  opening  in  the  wall  or 
an  outlook  through  a  window.  Brangwyn  in  our 
day,  the  Primitives  in  earlier  times,  conform  to  this 
latter  method,  as  does  Mr.  CoUings.  His  drawings 
never  suggest  examples  in  a  text-book  of  perspective; 
they  are  as  purely  decorative  as  a  piece  of  inlay ; 
yet  though  he  disdains  the  conventional  and  easier 
methods  he  rivals  them  by  the  ease  with  which  he 
gives  us  space,  height  and  mass,  distance  and  air. 

Of  the  feast  of  colour  displayed  in  this  exhibition 
it  is  difficult  to  speak  in  terms  which  do  not  savour 
of  exaggeration.  Over  all  of  them,  even  those 
nearest  approaching  the  prismatic,  there  is  a  delicate 
veil,  a  sensitive  withdrawing,  as  in  an  opal.  Grey — 
for  him  the  word  means  an  underworld  of  colour 
shrinking  as  it  were  from  the  light  of  day — amethyst, 
ruby,  sapphire,  and  pearl  in  ever-varying  degrees, 
tint  after  tint,  yet  never  the  same,  never  repeated,  at 
times — in  a  measure  arbitrary — the  creation  of  the 
mood  and  the  moment.  It  would  be  hopeless  to 
attempt  to  enumerate  or  describe  a  tenth  of  the 
fresh  and  fascinating  tints  and  their  combinations 
to  be  descried  in  these  drawings.  Most  of  us 
have  had  at  times  the  feeling  that  snow  is  not 
always  white.  We  are  conscious  occasionally  of  a 
yellow  tone,  more  frequently  perhaps  of  a  blue. 
But  Mr.  Collings  shows  what  a  gamut  of  colour  its 
surface  can  convey  to  the  sensitive  eye,  for  snow 
and  sky  and  sea  are  Nature's  changeful  opals,  the 
treasure-houses  of  her  fairest  iridescences.  In  the 
drawing  On  the  Shiiswap  Lake  (here  reproduced) 
see  how  the  changes  are  rung  on  the  lovely  note  of 
vivid  blue  of  the  mountains  on  the  left,  through 
varying  gradations,  green,  grey,  and  black,  till  it  is 
finally  lost  in  the  sober  tones  of  the  white  sheen  of 
the  sun-glint  down  the  mountain-side. 


\In  a  later  tiumber  we  propose  to  reproduce  in 
colour  another  of  Mr.  CoUings's  drawings.  Our 
readers  will  readily  understand  from  the  remarks  of 
Mr.  Davis  our  reason  for  not  reproducing  any  of 
them  in  monochrome. — EnrroR.] 


^  O 


'1  •; 


Edward  La  uteri 


E 


DWARD  LANTERI:  SCULPTOR 
A\D  PROFESSOR.  BY  I.  G. 
MCALLISTER. 


Introductory  A'ote  by  Air.  Alfred  Gilbert. 

Before  you,  you  have  an  excellent  account  of 
the  material  side  of  a  life's  devotion. 

The  greatness  of  a  master's  teaching  is  not 
necessarily  proved  by  the  productions  of  his  pupils, 
but  rather  by  their  power  to  produce  at  all.  It  is 
no  fault  of  the  master  if  the  pupil  has  been  unable 
to  follow  him  in  aught  but  dexterity,  for  it  is  no 
part  of  a  teacher's  task  to  attempt  to  supply  genius, 
nor  yet  artistic  intelligence. 

His  labour  is  at  an  end  when  the  pupil  has 
acquired  all  that  can  be  taught,  i.e.  how  to  ex- 
press himself.  There  can  be  no  doubt  but  that 
the  revival  of  sculpture  in  England  in  recent  times 
owes  its  inception  and  development  to  a  systematic 


and  intelligent  training  directed  by  one_.who  has 
known  how  to  lend  the  weight  of  his  personality  as 
a  master  as  well  as  a  teacher,  and  has  thus  been 
steadily  creating  an  artistic  moral  influence  worthy 
of  the  best  traditions.  To  Edward  Eanteri,  the 
maker  of  many  things,  the  originator  of  a  raulti 
tude  of  ideas — Edward  Lanteri,  always  the  self- 
sacrificing  and  self-effacing  master  and  friend — we 
are  indebted  for  our  school.  It  is  a  mistake  to 
class  this  father  of  a  revival  with  mere  teachers  of 
dexterity.  Fate  decreed  that  this  man  of  infinite 
sensibility,  subtle  imagination  and  inflexible  will, 
endowed,  too,  with  natural  poetical  instincts, 
should  sink  all  to  benefit  others  by  teaching  them 
how  to  express  themselves.  England  should  be 
grateful  to  such  a  master  for  its  awakening  from 
a  sleep  of  endless  sorrow  to  a  vision  of  future 
joy- 
It  is  certain  that  hundreds  who  have  enjoyed  his 
loving  and  unwearying  care  will 
join  their  gratitude  to  that  of  one 
who  was  his  first  pupil  nigh  forty 
years  ago  .  Alfred  Gilbert. 
Briges  1912. 


STUDY    OF    A    BABY 


BY    EDWARU    l.ANTERl 


As  sculptor  and  as  master,  the 
name  of  Edward  Lanteri  is  known 
and  revered  throughout  the  king- 
dom. The  history  of  his  career  is 
most  interesting,  and  is  especially 
instructive  as  showing  how  a  great 
national  educational  work  can  find 
its  centre  of  inspiration  as  well  as 
vital  impulse  to  development  in 
the  steadfast  efforts  of  one  man. 
And  it  must  be  a  great  satisfaction 
to  the  master — a  satisfaction 
seldom  realised  in  such  cases — 
that  he  is  able  to  see  the  far- 
reaching  and  permanent  character 
of  the  results  in  his  own  lifetime. 

M.  Lanteri  very  early  began  his 
art  studies  in  Paris  under  Aime 
Millet  and  M.  Lecocq  de  Bois- 
baudran  ;  at  the  Ecole  des  Beaux- 
Arts  he  studied  under  Guillaume 
and  Cavelier  ;  and,  as  was  the  case 
with  his  predecessor,  the  great 
Dalou,  his  marvellous  rapidity 
of  execution,  and  the  telling 
and  expressive  touches  so  cha- 
racteristic of  him,  are  to  be 
traced  directly  to  the  sound  know- 
ledge of  "life"  work  gained  by 
25 


Edix.ui?'d  Laiito'i 


ceaseless  study  and  informing  a  temperament  essen- 
tially that  of  the  artist. 

At  the  age  of  twenty-three  he  became  chief 
assistant  to  Sir  Edgar  Boehm,  which  position  he 
held  until  Sir  Edgars  death  in  1890.  Ten  years 
previously  to  this  date  he  had  succeeded  M.  Dalou 
(whose  Life  he  afterwards  wrote)  as  Professor  of 
Modelling  at  the  National  Art  Training  School, 
South  Kensington,  now  known  as  the  Royal 
College  of  Art.  Of  this  appointment  Mr.  Spielmann 
says:  ''When  M.  Dalou  departed  in  1880,  he  left 
in  his  stead  M.  Lanteri,  now  a  naturalised 
Englishman,  who  has  proved  an  ability  for  teaching 
fully  equal  to  that  of  his  predecessor  ;  singularly 
endowed  with  the  capacity  for  inspiring  students 
with  a  passion  for  their  art,  and  for  securing  from 
successive  generations  of  them  their  admiration 
and  affectionate  esteem." 

Great  changes  have  taken  place  since  1880  in 
the  history  and  character  of  our  national  sculptural 
art,  and  in  congratulating  ourselves  on  our  progress, 
we  must  remember  to  "  give  honour  to 
whom    honour    is    due '' — to    the    one 
Rodin  addressed  as  "  Homme  precieux 
pour  nos  nombreu.x  eleves." 

The  great  French  sculptor  paid  a 
tribute  to  the  modelling  section  of  the 
Royal  College  of  Art  when  he  visited  it 
with  a  group  of  French  painters.  He 
said :  "  We  have  nothing  like  this  in 
Paris  ;  nothing  to  approach  it  "  ;  and  he 
also  added  ;  "  If  ever  a  renaissance  in 
.sculpture  should  take  place  in  England, 
it  must  come  through  the  teaching  of 
M.  Lanteri  I "  This  prophecy  has 
already  come  to  pass.  We  are  ex- 
periencing to-day  a  very  real  revival  of 
the  art  of  sculpture,  in  great  measure 
the  outcome  of  Lanteri's  work.  During 
the  last  thirty-two  years,  numbers  of 
thoroughly  qualified  men  and  women 
have  passed  out  of  the  Royal  College  of 
Art  to  fill  positions  in  schools  all  over 
the  United  Kingdom,  and  have  in- 
culcated his  methods  and  extended  his 
influence  on  art  far  and  wide. 

The  standard  of  work  at  the  Royal 
College  of  Art  is  of  an  unusually  high 
order :  the  amateur  is  neither  wanted 
nor  received,  and  a  test  examination  is 
set  before  entrance,  to  exclude  beginners 
and  all  who  are  not  serious  workers. 
Those  who  are  fortunate  enough  to 
gain  admittance,  therefore,  are  in 
26 


a  position  to  immediately  profit  by  the  instruction 
given.  In  the  "  life "  rooms  are  to  be  found 
the  right  type  of  student.s,  animated  with  the 
spirit  of  art,  and  an  enthusiastic  capacity  for  work 
to  a  marked  degree.  The  life-size  figures  wrought 
in  clay  from  the  living  model  are  quite  wonderful, 
both  in  the  men's  life  rooms  and  in  those  of  the 
women,  and  whether  in  the  plastic  or  glyptic  art, 
in  every  one  of  the  many  branches  of  the  crafts 
so  thoroughly  taught  by  Prof  Lanteri,  all  sections 
show  that  the  most  e.xcellent  results  have  been 
attained.  Prof.  Lanteri  is  a  rapid  and  dexterous 
manipulator,  and  his  students  say  that  only  those 
who  have  witnessed  the  "  demonstrations  "  which 
he  gives  every  now  and  then,  can  have  any  con- 
ception of  how  marvellous  they  are.  He  will 
build  up  a  complete  figure  in  four  hours,  and  a 
demonstration  bust  will  take  him  only  one  hour 
and  a  half ! 

The  method  by  which  Prof.  Lanteri  teaches  is 
entirely  his  own,  and  it  has  well  been  described 


ir.M'    OF    MON1IGNOR    X. 


liV    ElAVARIJ    LAXTF.RI 


(In  the  collection  of  Sir  James  Gulhrie) 


'THE  SACRISTAN."     BY 
EDWARD   LANTERI 


Eiiii'ard  Lantcri 


as  an  expression  of  his  own  remarkable  personality  ; 
he  holds  that  "  sculpture  is  three-quarters  scientific 
knowledge,"  and  he  has  established  his  system 
on  a  firm  scientific  basis.  In  speaking  of  his  own 
student  days  at  the  Ecole  des  Beaux-Arts,  he  said 
there  was  no  teaching  in  the  real  sense  of  the  word. 
"  I  was  told  only  that  '  this  was  right  and  that  was 
wrong,  that  is  too  long  or  too  short,'  and  no  more 
than  that.  The  best  teacher  of  that  time,  to  whom 
I  owe  so  much,  was  M.  Lecocq  de  Boisbaudran. 
His  excellent  lessons  are  still  preseait  in  my 
mind.  .  .  . 

'■  Taking  the  question  of  drapery,  I  used  to  copy 
it  diligently,  piece  by  piece,  but  I  never  understood 
or  had  pointed  out  to  me  any  rule  which  would 
have  simplified  it.     A\'hen  I  came  to  teach  others. 


MARBLE    BIST:    "' REVERIE' 
28 


BY    EDWARD   LA.NTERI 


I  thought  a  great  deal  of  how  to  overcome  some  of 
the  many  difficulties  to  help  my  pupils,  and  I  found 
that,  by  applying  certain  laws  of  nature  to  the 
obstacles,  the  difficulties  vanished  at  once.  The 
law  of  radiation,  for  instance,  solved  the  problem  of 
drapery,  and  the  same  law  applies  to  the  whole 
construction  of  the  human  figure." 

The  hurry  and  superficiality  of  the  education  of 
the  modem  art  student,  Prof.  Lanteri  protests 
against  greatly.  "  In  the  past  there  was  less  haste, 
and  study  was  more  profound.  Nowadays  it  is 
rendered  easy — a  grave  peril  for  the  mind,  which 
becomes  superficial  and  fickle.  Study  may  often 
be  a  kind  of  lure,  by  which  students  allow  them- 
selves to  be  caught ;  they  grasp  at  its  semblance, 
and  it  only  serves  them  to  disguise  ignorance  under 
an  audacious  cleverness."  For  slipshod  methods 
he  has  no  toleration.  He  holds  that  the  period 
i)f  training  should  be  prolonged  until  the  student 
has  passed  beyond  the  age  of  uncertainty  and  has 
acquired  strength  of  character  and  clearness  of 
aim. 

On  tlie  subject  of  composition  he  says  :  "  For  a 
master  to  impose  on  his  pupil  his  own  conception 
of  a  subject,  is  entirely  contrary  to  the  rules  of 
artistic  teaching.  In  such  case,  the  hand  of  the 
student  becomes  merely  the  instrument  of  the 
teacher's  brain,  and  he  never  acquires  the  needful 
strength  of  conviction  to  produce  a  work  of  in- 
dividual quality — the  only  result  being  that  the 
student  loses  all  interest  in  pursuing  and  perfecting 
his  own  conception.  And  yet  this  is  just  what 
the  master  ought  to  assist  him  in,  by  speaking  to 
him  of  the  masterpieces  of  old,  and  by  using 
all  possible  means  that  will  help  him  to  give 
expression  to  his  own  thoughts  and  sentiments.' 
.Also  :  "  A  true  teacher  must  exclude  the  systematic 
spirit  from  his  judgment.  Far  from  seeming  to 
keep  exclusively  to  one  conception  of  art  only,  he 
must  understand  all  those  conceptions  which  have 
been  produced  before,  and  must  be  able  to  recei\e 
from  his  pupils  all  the  new  modes  of  e.xpression 
which  can  still  be  brought  forth.  Above  all  he 
must  never:  put  his  own  example  forward ;  he 
should  be  absolutely  impersonal."  And  again : 
"  In  order  to  develop  the  artistic  intelligence  you 
must  work  from  nature  with  the  greatest  sincerity  ; 
copy  flowers  or  leaves,  or  whatsoever  it  may  be, 
with  the  most  scrupulous  analysis  of  their  character 
and  forms,  for  Xature  only  reveals  herself  to  him 
who  studies  her  with  a  loving  eye.  In  this  way 
the  student  will  find  the  essence  of  the  spirit  of 
composition,  for  there  is  nothing  more  harmonious, 
nothing  more  symmetrical   than  a  flower,  a  leaf. 


(In  the  Alust'e  du  Luxembourg^  Paris ) 


'LE  TRAVAILLEUR."  BY 
EDWARD  LANTERI 


Rihi'ard  Laiitcyi 


and,  above  all,  ihe'^human 
form.  Here  are  found  all 
the  laws  of  beauty  in  com- 
position, and  the  student 
who  copies  them  sincerely 
assimilates  these  laws  with 
his  temperament  and  per- 
sonality, and  creates  for 
himself  an  ideal  which  later 
on  he  applies  to  his  own 
compositions." 

One  of  his  most  success- 
ful students  gives  an  in- 
sight into  the  early  days  of 
the  college,  which  is  in- 
teresting. Under  Prof. 
Lanteri  the  constructional 
side  was  very  much  insisted 
upon,  but  he  always  made 
it  clear  that  technique  was 
only  a  means  to  an  end. 
He  opened  the  students' 
eyes  daily  to  the  beauties 
of  nature  and  the  glories 
of  the  Old  Masters,  show- 
ing how  the  works  of  the 
latter  implied  an  intimate 
study  of  the  former.  His 
enthusiasm  extended  from 
Phidias  to  examples  of 
the  modem  school.  To 
students  of  design  he  used 
to  say  the  source  of  all 
design  was  in  nature,  and 
a  knowledge  of  it  was  only  to  be  obtained  through 
much  earnest  study  of  nature.  When  his  students 
showed  dullness  or  depression  he  would  strike 
sparks  all  round  by  his  enthusiasm,  and  leave  the 
little  circle  freshly  inspired  and  ready  to  fight  on. 
To  those  who  were  striving  to  do  their  best  with- 
out, perhaps,  much  good  result,  he  would  say : 
"  Courage,  on  arrive  peu  a  peu,"  leaving  them  with 
a  gleam  of  hope  rather  than  in  absolute  despair. 
But  the  most  laboured  model  ran  a  risk  of  being 
torn  down,  and  the  dismayed  student  would  find 
that  it  had  to  be  begun  again  from  the  beginning. 
One  of  the  most  dreaded  phrases  was  :  "  Vou  have 
tried  to  finish  before  you  have  begun."  To  all, 
however,  he  invariably  showed  the  greatest  personal 
kindness,  and  his  courtesy  acted  like  magic,  meeting 
with  an  almost  immediate  re.sponse. 

A  well-known  sculptor  who  studied  under  Prof. 
Lanteri    says :    "  Within    the    modem    school    of 
sculpture   there  has  been  one  master  only  whom 
3° 


BY    EDWARD    I.ANTF.RI 
(In  the  Luxembourg,  Paris,  and  Tate  Gallery,  London) 


those  who  know  and  understand  Lanteri's  work 
and  power  would  admit  as  his  superior  in  the  craft 
as  such,  and  that  master  is  the  giant  Dalou.  Like 
Dalou,  and  like  Sargent  in  painting,  M.  Lanteri 
combines  swift  and  true  vision  with  the  utmost  of 
rapid  technical  power.  ...  He  instantly  per- 
ceives and  sums  up  the  vital  essentials  of  the 
moment,  and  whilst  his  astonishingly  rapid  render- 
ing of  these  gives  a  vivid  and  sympathetic  appre- 
ciation of  the  finer  and  subtler  phases  of  external 
,  nature,  he  yet  ensures  the  presence  in  all  his  work 
of  the  deeper,  the  more  abiding,  and  essential 
character  of  his  subject.  There  can  be  no  doubt 
that  had  the  exigencies  of  life  led  to  Lanteri 
devoting  himself  to  the  production  of  works  of 
sculpture,  his  name  ivould  have  stood  high  amongst 
the  greatest  men  of  his  generation  in  art.  But  no 
one  who  understands  the  inner  nature  of  things 
will  regret  his  not  having  become  a  purely  indi- 
vidual practitioner.     All  over  the  land  former  pupils 


Recent  Designs  in  Domestic  Architecture 


are  extending  his  influence  and  inspiration,  and, 
notwithstanding  all  that  has  been  done,  and  is 
being  done,  the  best  fruits  of  his  gracious  and 
unselfish  labours  are  yet  to  come.  It  is  a  proof 
of  what  he  could  have  done  as  an  individual 
sculptor  with  his  wonderful  technical  power.  The 
work  which  he  most  appreciates  and  loves  is  the 
very  greatest — the  mighty  Parthenon  sculptures. 
A  mark  of  his  genius  as  an  instructor  and  guide  is 
that  he  never  tries  to  bend  any  budding  individu- 
ality out  of  its  evident  native  tendency.  No  real 
merit  escapes  him  however  inadequately  expressed." 

His  time  being  so  limited,  most  of  his  produc- 
tions have  been  busts,  portraits,  and  ideal  and 
portrait  statuettes.  In  his  earlier  period  (the  late 
eighties  and  early  nineties)  he  produced  some 
purely  ideal  statues  of  much  beauty,  one  of  which, 
a  marble  figure,  was  acquired  by  King  Edward, 
then  Prince  of  Wales.  In  the  higher  intellectual 
and  deeper  emotional  qualities  his  later  work  is 
the  finer.  A  subtle  artist,  he  has  advanced  all  the 
time,  so  that  now  he  is  better  than  ever. 

The  illustrations  here  presented  give  an  im- 
pression of  one  phase  only  of  Lanteri's  mastery  : 
that  to  which  the  conditions  of  his  life  as  a  teacher 
have  in  a  great  measure  confined  his  own  original 
work.  But  they  amply  reproduce  two  qualities 
which  distinguish  his  work,  namely,  "  life "  and 
"colour."  But  there  is  another  quality  which  will 
be  observed    in    certain  of  the   illustrations,  and 


which  can  perhaps  best  be  described  by  the  word 
"monumental."  It  is  his  appreciation  of  the 
supreme  importance  of  this  quality  that  makes 
him  one  of  the  keenest  and  most  understanding 
admirers  of  the  work  of  Alfred  Stevens.  Unfor- 
tunately such  monumental  statues  as  Lanteri  has 
produced  have  been  made  for  places  abroad.  But 
those  who  have  visited  the  college  and  seen  the 
original  work  by  advanced  students  cannot  have 
failed  to  be  impressed  by  the  fact  that  this  quality 
is  insisted  upon  from  beginning  to  end.  It  will 
also  be  seen  from  the  illustrations  how  largely 
Lanteri's  work  is  imbued  with  that  intimate  beauty 
and  impresslveness  which  is  the  great  charm  of 
the  best  works  of  the  Italian  renaissance.  What 
he  has  done  for  the  revival  of  sculpture  has  not 
been  at  all  realised  yet  by  the  public,  but  the 
sculptors  know  and  say,  that  "  if  there  is  one  in 
the  whole  realms  of  Great  Britain  and  France  who 
has  earned  high  recognition  of  his  unostentatious 
and  disinterested  labours  on  behalf  of  others,  it 
is  Prof  Lanteri."  I.  G.   M. 


R 


ECENT  DESIGNS  IN  DOMESTIC- 
ARCHITECTURE. 


Below  and  on  the  next  page  w-e  give 
illustrations  of  a  house  at  Kingswood,  in  Surrey,  a 
picturesque  locality  on  the  downs  to  the  north  of 
Reigate,   lately  erected  from  the    designs  of  Mr. 


HOUSE    AT    KINGSWOOD,    SURREY  :    GARDEN    FRONT 


R.    A.    BRIGGS,    F.R.l.l;.A.,    AKi  HITECT 
31 


Recent  Desii^iis  in  Domestic  AnJiitectiiye 


R.  A.  Briggs,  F.R.I. B. A.  (Briggs  and  Browning), 
of  London.  The  site  offers  views  extending  for 
many  miles  to  the  south-east,  and  in  order  that  the 
residents  should  have  the  advantage  of  these  views 
the  dining-room  and  the  drawing-room  were  both 
built  with  bay  windows.  Small  light  red  bricks  have 
been  used  for  facing  the  external  walls  below  the  first 
floor,  and  also  the  chimneys,  while  the  walls  above 
the  ground  floor  are  covered  with  rough-cast.  For 
the  roofs  rough  tiles  of  a  dark  grev-red  colour  have 
been  used,  and  the  stone  for  the  dressings  comes 
from  the  Monk's  Park  quarries.  The  interior 
accommodation  on  the  ground  floor  is  shown  on  the 
accompanying  plan.  The  rooms  on  the  first  floor 
comprise  six  bedrooms  (including  two  for  ser\-ants), 
a  dressing-room,  a  schoolroom,  two  bath- 
rooms, and  other  offices.  Part  of  the 
hall  is  carried  through  to  the  first  floor, 
the  window  being  continued  all  the  way 
up  (as  shown  in  the  illustration  on  this 
p)age),  while  facing  the  window  is  a 
galler)-  reached  from  the  first  floor. 
The  woodwork  throughout  has  been 
painted  white. 

Sion  Hill,  Thirsk,  Yorkshire,  of  which 
we  give  an  illustration  in  colour,  is  a 
house  at  present  in  course  of  erection 
for  Mr.  Percy  Stancliffe  on  the  site  of  an 
older  house  erected  about  one  hundred 
years  ago,  that  has  been  pulled  down  to 


make  way  for  it.  The  estate  until  recently  belonged 
to  a  branch  of  Lord  Harewood's  family,  and  is  about 
four  miles  from  Thirsk,  in  a  richly  wooded  neigh- 
bourhood through  which  winds  the  river  Wiske. 
The  new  house  is  planned  so  that  the  principal 
rooms  all  get  as  much  sunshine  as  possible,  and 
face  the  gardens  and  river,  and  several  of  the 
windows  command  fine  \-iews  of  the  Vale  of  York 
and  the  Hambleton  Hills.  The  house  is  being 
built  with  cavity  walls  twenty  inches  thick,  the 
outer  facing  being  of  two-inch  red  hand-made 
bricks,  and  the  roofs  are  to  be  covered  with  thick 
red  hand-made  and  sand-faced  tiles.  The  entrance 
porch  shown  in  the  view  is  of  Portland  stone,  which 
is  also  used  sparingly  for  the  windows,  sills,  strings, 


32 


R.    A.    BRIGGS,    F.R.I.B.A.,    AR'  HITKCT 


Recent  Designs  in  Dojncstic  Anhitcctiire 


&c.  The  interior  is  being  treated  in  a  simple  but 
effective  manner.  The  Hving-rooms  and  principal 
bedrooms  are  of  ample  dimensions,  and  there  is  a 
commodious  hall.  The  architect  is  Mr.  Walter  H. 
Brierley,  of  York,  and  the  drawing  from  which  our 
illustration  is  reproduced  was  exhibited  at  the 
recent  Summer  Exhibition  of  the  Royal  Academy. 
Our  remaining  illustrations  are  of  two  houses  and 
some  interiors  designed  by  an  architect  of  Bremen, 
Herr  H.  Wagner,  an  active  member  of  that  pro- 
gressive organisation  known  as  "  Der  Deutsche 
Werkbund,"  of  which  an  account  was  given  in 
"The  Studio  Year  Book  of  Decorative  Art,  1910." 
Herr  Wagner  has  already  given  proof  of  his 
abilities  in  the  designing  of  large  buildings,  but  at 
present  his  energies  are  centred  on  the  designing 
and  complete  equipment  of  private  dweUing-houses. 
He  feels  deeply  indebted  to  the  teachings  of  the 
English  School  of  Architects,  but  he  has  always 
made  it  his  aim  to  work  in  the  genuine  German 
spirit.  Solidity  of  material,  thorough  craftsmanship, 
abundance  of  light  and  air,  and  the  planning  of 
pleasant  gardens  are  some  of  the  points  on  which 
he  lays  particular  stress.  The  illustrated  house  on 
this  page  has  been  built  for  Herr  Delius  at  Versmold, 
a  few  miles  from  Bielefeld ;  the  other,  which, 
with  some  of  its  rooms,  is  shown  on  the  following 


pages,  has  just  been  built  for  Herr  Halbrock 
at  Hillegossen,  near  Bielefeld.  E.xtraneous  orna- 
mentation has  been  rigidly  avoided,  but  the  red 
pantile  roofs  and  the  greyish-white  woodwork  of 
balustrades  and  other  external  fittings  in  them- 
selves form  a  pleasing  adornment.  A  feeling  for 
orderly  arrangement  is  admirably  counterbalanced 
in  the  interiors  by  a  predilection  for  comfortable 
shapes  and  cheerful  colours. 


"  The  Studio  Ye.\r  Book  of  Decorative  Art, 
19 13,"  is  now  in  course  of  preparation,  and  the 
Editor  is  prepared  to  consider  designs  with  a  view 
to  publication  in  the  volume.  An  important  section 
will  again  be  devoted  to  recent  work  in  domestic 
architecture,  while  interior  decoration  and  the 
general  equipment  of  the  home  will,  as  before,  be 
fully  dealt  with.  The  work  will  contain  numerous 
examples  of  furniture,  fireplaces,  wall  and  ceihng 
decoration,  stained  glass,  wood-carving,  metalwork, 
pottery,  porcelain,  glassware,  embroidery,  textile 
fabrics,  &c.  Designs  should  be  sent  in  not  later 
than  October  31,  addressed  to  the  Editor  of 
"  The  Studio  Year  Book,"  44  Leicester  Square, 
London.  Drawings  in  colour  of  exteriors  of  houses 
will  be  acceptable,  while  special  attention  will  be 
given  to  colour-schemes  for  domestic  interiors. 


IKil.  hi,    Al     \  EKbM'Jl.I',    \\  L- 


H.    WAGNER,    AKCUITF.CT,    BREMEN 
35 


HOUSE   NEAR  BIELEFELD 
H.  WAGNER,  ARCHITECT 


(Garden  designed  by  Schnankeiiburg 
and  iiiebold,  Hanihurg) 


o 

o 

6  b 


5§ 


2> 


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o  a 
2:  :^ 


'^~  a, 


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i.  "5 


Modern  Gci'iiiaii  lijiibroiiicry 


KMBKUlDKKKll    CUSHION.       IIKSIGNEI)    KV    I'.    SCHOI.T,   E\El  ITKD 
IN   THE    LEHR-    UND   VERSUCH-ATELIERS   FUR  FREIE  UND  ANGE- 
WAN'DTE    KUNST    (W.    VON    DEBSCHITZ),    MUNICH 


M 


ODERN  GERMAN   EMBROI- 
DERY.  BY  L.  DEUBNER. 


It  is  a  curious  fact,  and  one  that  prob- 
ably very  few  readers  of  this  magazine  are  aware 
of,  that  the  modern  movement  which  has  had  such 
a  far-reaching  influence  on  every  branch  of  in- 
dustrial production  in  Germany  and  has  funda- 
mentally transformed  the  appearance  of  our 
dwellings  and  furniture  as  well  as  our  streets  and, 
in  fact,  our  towns,  began  with  some  embroideries 
— embroideries,  moreover,  which  made  no  pre- 
tensions to  being  works  of  art,  and,  indeed,  were 
nothing  more  than  the  dreamy  fantasies  of  a 
sculptor,  Hermann  Obrist.  It  was  just  a  momen- 
tary whim  of  his  which  led  him  to  have  some 
visions  of  fantastic  ornamentation  and  piquant 
colour-combinations  carried  out  in  em- 
broidery instead  of  transferring  them  to 
canvas  with  the  brush,  quite  regardless  of 
any  special  purpose  and  unconstrained 
by  any  knowledge  of  material  and  tech- 
nique. Nor  had  his  gifted  collaborator, 
Berthe  Ruchet,  any  experience  as  an 
enibroideress  when  both  began,  purely 
(Oe;  their  personal  enjoyment,  to  design 
embroideries  to  be  worked  by  Italian 
needlewomen — it  was  when  the\'  were  in 
Florence,  nearly  twenty  years  ago. 

That  which  thus  originated  in  what 
might  almost  be  called  playful  experiment 
was  so  entirely  novel,  so  instinct  with 
vital  energy  and  revealed  such  a  delicate, 
refined  feeling  for  colour  and  rhythm,  that 
these  essays,  like  apparitions  from  some 
imaginary  dreamland  far  removed  from 
the  everyday  world,  at  once  cast  a  spell 


on  those  who  saw  them.  Friends  came 
forward  with  suggestions  for  an  exhibition, 
but  not  until  after  three  years  of  silent  toil 
did  the  artist  act  on  this  advice.  In 
Munich,  whither  he  had  returned  with  his 
assistant,  he  showed  a  collection  of  thirtj-- 
five  pieces  which,  on  account  of  the  extra- 
ordinary daring  of  their  ornamentation  and 
their  brilliant  colour,  aroused  great  en- 
thusiasm in  artistic  circles,  but  evoked 
amazement  and  unanimous  repudiation 
among  professional  needleworkers  and  "  the 
trade."  And  from  their  respective  stand- 
points both  were  right :  the  artists,  who 
rejoiced  at  the  resolute  departure  from  con- 
ventional design  and  tradition  and  at  the 
evidence  of  creative  activity ;  the  traders, 
who  looked  in  vain  for  new  methods  and  saw  no  sign 
of  any  manual  dexterity  or  any  regard  for  considera- 
tions of  practical  utility.  But  these  embroideries 
were  never  intended  to  subserve  any  practical 
purpose.  They  were  an  artist's  fantasies,  ohjets 
de  luxe  pure  and  simple,  and  tremendously  dear. 
Two  years  later  Obrist  was  obliged  to  abandon  the 
workshop  which,  in  the  full  tide  of  optimism,  he  had 
started.  At  the  present  day  his  embroideries  are 
museum  rarities  which  have  already  acquired  some 
historic  value  and  are  forgotten,  like  the  artist 
who  produced  them,  in  obedience  to  that  creative 
impulse  with  which  he  was  so  richly  endowed,  never 
dreaming  what  an  immense  transformation,  economic 
and  cultural,  was  to  flow  from  his  venture. 

When   it  was  perceived  t6  one's   surprise   that 
even    on    such  a   sterile    soil   as  embroidery  had 


CUSHION.        DESIGNED   BY   M.    RUSCHEWEIJH,    EXECUTED    IN    THE 

LEHK-    UND   VERSUCH-ATELIERS   FUR    FREIE    UND    ANGEWANDTE 

KUNST   (W.    VON    DEBSCHITZ),    MUNICH 

39 


Mode  I'll  Gey  Ilia  II  Eiubroidci'v 


TABLP.-COVER.       DESIGNED   AND   WORKED   AT  THE 

STAATLICHE      KI'NSIGEWERBE-SCHILE,      HAMBIRC.      (F. 

DEI. Will. A    AND    MARIA    BRINKMANN's    CLASS) 


become  under  the  influence  of  wholesale  manu- 
facture on  the  one  hand  and  feminine  dilettantism 
on  the  other,  flowers  of  rare  and  fascina- 
ting beauty  could  be  made  to  grow,  the 
thoughtful  began  to  ask  why  the  same 
result  should  not  be  possible  in  other 
fields  of  work.  W'as  there  not  the  soft, 
pliant  clay  of  the  potter  waiting  to  be 
shaped  into  new  forms  and  embellished 
with  new  colours  ?  Were  not  the  graphic 
arts  eager  for  new  modes  of  expression 
and  decoration?  And  the  precious 
metals  and  coloured  stones  of  the  jeweller 
— were  they  not  ready  to  be  recombined 
into  new  harmonies  and  accords  ?  New 
possibilities  were  sought  for  and  found  ; 
experiment  proved  that  there  was  a  public 
favourably  disposed.  Failure  failed  to 
deter,  and  ever)-  little  success  aroused 
fresh  enthusiasm  and  gave  the  impulse 
to  new  and  bolder  enterprises. 

To-day  we  can  look  back  with  a  smile 
at  these  impulsive,  tumultuous  efforts, 
this  confident  revaluation  of  accepted 
values — this  "  Umwertung  aller  Werte." 
W'hether,  however,  the  new  ideas  and 
intentions  would  in  the  absence  of  such 
robust  fanaticism  have  persisted  in  face 
of  a  world  of  prejudices  and  bitter  op- 
position, is  certainly  a  question.  In 
this  connection  it  is  worth  while 
to  remember  that  in  the  development 
40 


of  modem  embroidery  just  the  same  conflict  has 
had  to  be  waged  as  that  which  the  modem 
movement  as  a  whole  has  experienced.  There 
is  nothing  astonishing  in  the  fact  that,  follow- 
ing Obrist's  example,  practically  all  the  artists 
who  espoused  the  new  ideas  turned  their  atten- 
tion to  this  despised  field  of  feminine  handi- 
work :  it  yielded  them,  indeed,  an  opportunity  of 
achieving  new  effects  of  colour  and  surface  and 
new  rhythmic  accords  without  any  great  sacrifice 
and  expenditure  of  material  and  labour.  The 
study  of  nature  zealously  pursued  under  the  in- 
fluence of  Japanese  art  brought  with  it  a  revelation 
of  beauties  that  had  long  remained  hidden,  and 
showed  how  from  natural  forms  might  be  derived 
those  decorative  adaptations  which  in  the  field  of 
embroidery  are  of  prime  moment,  while  the  rest 
was  left  to  the  deft  fingers  of  the  needlewoman 
entrusted  with  the  carr)'ing  out  of  the  work.  But 
this  division  of  labour,  of  course,  had  its  drawbacks  ; 
in  the  struggle  between  intention  and  realisation, 
between  invention  and  execution,  many  of  those 
refinements  were  lost  which  ought  to  have  given  to 
a  piece  of  work  its  artistic  value,  and  so  disappoint- 


EMBROIDERED    panel.       DESIGNED   AND    WORKED   AT  THE    STAAT- 
LICHE    KL'NSTGEWERBE-SCHULE,     HAMBURG     (F.     DELAVII.LA     AND 
MARIA   BRINKMANN's  CLASS) 


O  oi 


Ho 

O  aJ 

W 

> 

ffi 

i-H 

a 

> 

Q 

H 

a 

H 

2 

M 

O 

:a 

00 

35 

Q 

^ 

3 

H 

5  cj 

a 

W 

Q 

X 

u 

O 

Di 

N 

CO 

H 

s 

U 

Modern  Gcniiaii  limbroidcry 


HLACK  SILK    BAG.       WORKKU    IIV  TOM   MET-iCIIER 
(KUNSTGEWKRBE-SeHri.K,    BIELEFELH) 


ments  were  more  numerous  than  successes.  An 
immense  amount  of  time  and  labour  was  spent  on 
the  discovery  of  new  forms  and  colour-combinations, 
on  the  simplification  of  ornamental  accessories  and 
the  testing  of  new  technical  methods,  and  yet  the 
practical  results  were  quite  meagre.  And  then  the 
little  really  good  and  exemplary  work  that  emerged 
from  these  efforts  was  appropriated  by  the  trade  in 
its  eagerness  for  new  patterns,  and  by  senseless 
repetition  worked  up  into  those  deplorable  manu- 
factures which,  under  the  domination  of  the  so- 
called  "  Jugend-stil,"  have  inundated  the  country. 

It  was  only  when  the  women  artists  who  had 
practised  painting  or  sculpture  began  to  turn  their 
attention  more  and  more  to  the  long-despised 
field  of  industrial  art,  and  especially  to  take  up 
embroidery  in  the  conviction  that  here  lurked 
possibilities  which  would  ever  remain  hidden  from 
their  male  rivals,  that  really  sound  work — work  that 
could  truly  be  said  to  fulfil  its  purpose — made  its  ap- 
pearance as  the  result  of  this,  for  the  most  part,  vain 
experimenting.  In  this  branch  of  work,  which  for 
ages  past  had  been  the  peculiar  province  of  the 
female  sex,  men-  might  have  suggestions  and  ideas 
to  offer  in   matters   pertaining   to  colour-schemes 


.<^'S\,. 


-yjit^ 


Modem  German  H.)ubroiaeyy 


WAI.L-HANGING,    WORKED    IX   COLOURED   STRINX..       DESIGNED  BY  THEA 
WITT.MAXN,    EXECfTED   BY   FRAU    F.    DERI-WINTER 


and  design,  but  after  all  the  actual  work,  the 
enduring  product,  had  always  been  reserved  to 
women.  If  with  the  male  artist  the  point  of  chief 
importance  was  the  artistic  effect,  while  technical 
perfection  and  durability  were  secondary  matters, 


the  female  artist,  familiar  with  the 
peculiarities  of  material  and  the 
diverse  methods  of  manipulation, 
always  had  in  view  the  wishes  of  the 
housewife  and  the  requirements  of 
daily  use,  and  thus  her  work,  in  which 
the  charm  of  novelty  united  with  a 
certain  simplicity  and  executive 
thoroughness,  secured  a  more  sym- 
pathetic reception  than  was  accorded 
to  the  productions  of  her  male  com- 
petitor. 

And  then,  in  addition  to  that, 
when  the  reorganisation  of  the 
schools  and  other  institutions  in  which 
applied  art  was  taught  was  set  on 
foot,  their  backwardness  ha\"ing 
quickly  made  itself  apparent,  drawing 
and  designing  fell  more  and  more  into 
the  background  and  gave  place  to 
practical  work,  so  far  as  was  possible  within  the  scope 
of  the  school  administration  Furniture-making  and 
metal-work  could  not  be  carried  on  in  all  schools, 
but  embroidery  presented  agreeable  possibilities 
of   familiarisine    scholars    with    the    fundamental 


EMBROU»EKlE.->    DLilG.Nl^D    A.M.    L.M.tLILU    KV    I.ERIRLJJ    LOKENZ 


43 


Modern  Gcniian  Embroidcyy 


KMBKiMliKKKIi    Sll  K    "ISlllONS 

principles  of  artistic  handiwork,  of  introducing  them 
to  the  discreet  use  of  colour  and  form,  and  training 
them  to  perceive  the  value  of  a  beautiful  colour- 
scheme  and  the  rhythmical  interaction  of  line  and 
surface.  But  the  chief  point  of  concern  here  was 
that  the  decorative  designs  elaborated  in  the 
drawing-class  from  the  study  of  natural  forms  could 
be  easily  put  into  practice,  and  if  a  good  deal  of 
work  that  originated  in  this  way  failed  to  gain  a 
lasting  foothold  in  practical  life  and  soon  became 
out   of    date,    the   influence    which    the    schools 


.Kkikrn  i.iiRr.Nz 


exercised  on  this  sphere  of 
work,  and  still  continue  to 
exercise  at  the  present  day, 
when  the  embroidery  sec- 
tions are  almost  everywhere 
under  the  direction  of  well- 
trained  women  artists  who 
are  thoroughly  familiar  with 
every  kind  of  technique,* 
helped  greatly  to  bring 
about  that  success  at 
which  we  are  now  able  to 
rejoice. 
Here,  too,  the  initiative  of  Hermann  Obrist  had 
a  decisive  influence.  He  was  convinced  that  our 
Schools  of  Industrial  Art  (Kunstgewerbe-Schulen) 
ought  no  longer  to  be  for  the  most  part  drawing- 
schools  in  the  academic  sense,  but  ought  to  be 
transformed  into  places  where  an  essentially  prac- 
tical training  in  applied  art  should  be  given.  Some 
ten  years  ago  in  conjunction  with  Wilhelm  von 
Debschitz  he  founded  an  institution  on  these  lines 
in  Munich,  the  "  Lehr-  und  Versuch-Ateliers  fiir 
freie  und  angewandte  Kunst,"  which  soon  became  a 


EMCKOIllERlES 


DESIGNED    BY    OTTO    LIETZ,    EXECUTED    BV    BETTY    BERGER 


HELLERAU    EMBROIDERIES.      DESIGNED    BY   ALEXANDER    VON    SALZMANN    AND    CHARLOTTE    KRAUSE,    EXECUTED    BY 
THE   DEUTSCHE   WERKSTATTEN    FUR    HANDWERKSKUNST,    DRESDEN-IIELLERAU 

45 


Moacru  Cicriiiaii  Eiubroiderv 


Al'l-LlMl  t-EMBKulliKKKli  HKE-SCREEN.      BY  EllliA  WIEsE 

model  for  the  Government  schools  and  have  trained 
many  capable  workers  who  are  at  the  present  time 
acting  as  teachers  in  the  service  of  the  State,  and 
are  thus  exerting  their  influence  on  behalf  of  the 
rational  methods  of  instruction  inculcated  in  the 
Munich  institution.  Here  the  teaching  was  not 
according  to  certain  fixed  rules,  and  no  "approved 


system  "  was  thrust  on  the  pupils,  but  they  were 
trained  rather  than  instructed — trained  to  create 
each  according  to  his  particular  bent.  Slumbering 
talent  was  awakened  into  activity,  the  pupils  were 
induced  to  carry  into  execution  their  own  ideas  in 
whatever  branch  of  work  they  felt  most  drawn  to, 
and  thus  a  real  pleasure  in  work  was  fostered. 
This  method  taught  them  to  discern  the  difference 
between  thinking  and  doing,  between  design  and 
execution,  and  also  the  possibilities  of  improvement. 
By  the  exchange  of  ideas  and  counsel  the  pupils 
were  stimulated  to  seek  and  find  the  right  way 
and  the  right  means  themselves,  and  encouraged 
to  persevere  as  the  essential  condition  to  all  sincere 
work.  To-day  these  principles  of  training  are 
generally  recognised,  but  let  it  be  noted  that  they 
emanated  from  this  private  school  at  Munich  in 
which  ^\'ilhelm  von  Debschitz  has  displayed  his 
surpassing  gifts  as  an  educator.  During  the  past 
decade  many  hundreds  of  students  of  both  sexes 
have  passed  through  the  school,  which  has  given 
them  something  more  than  manipulative  skill  in 
their  various  walks  of  life :  it  has  instilled  into 
them  a  pure  feeling  for  the  meaning  and  purpose  of 
all  industrial  labour  and  that  firmness  of  will  which 
even  under  the  ever-changing  requirements  of  daily 
life  enables  them  to  find  the  right  way. 

A  striking  testimony  to  the  truth  of  this  assertion 
is  afforded  by  the  embroideries  of  Frau  Gertrud 


CERTRlIi   I.ORENZ  S    EXHIBITION    AM)   SAl.E-RDOM    AT   DRESDEN 


46 


EMBROIDERIF.S    PI  111    M  Ii     WUIMMllI      I\ 


Modern  Co'duvi  ILiubroido'v 


^^at^iCi&Bi&iM 


WAI.I.-HANGI  NG,  WITH  MOTIVES 
SELRCTEI)  FKOM  THE  1'ARABI.ES. 
WORKED  BY  ADK1.HEID  WII.I.ICH,  A 
PLTIL  OF  THE  KlNSTOEWERBE-SCHfLE. 
BIEI.EKEI.I) 


Lorenz,  who  received  her  artistic  training  at  this 
institution  and  has  resided  for  the  past  few  years  at 
Dresden,  where  in  addition  to  her  own  workshops 
she  conducts  a  permanent  exhibition  and  sale-room 
(see  p.  46).  A  refreshing  naturalness  of  invention 
is  united  in  her  work  with  a  fine  feeling  for 
proportion  and  surface  effects.  But  it  is  not  so 
much  the  concordance  of  line  and  colour  as  the 
adaptation  of  the  design  to  the  particular  technique 
whi(-h  gives  character  and  value  to  these  em- 
broideries of  hers.  In  her  selection  of  motives 
she  does  not  allow  herself  to  be  led  into  those 
extravagances  which  a  lively  fantasy  is  apt  to 
engender,  but  in  the  design  itself  keeps  in  view  the 
technical  possibilities  which  confront  her  in  working 
up  her  material  for  some  specific  purpose.  And 
these  possibilities  she  knows  how  to  exploit  not 
only  with  good  taste  but  with  a  rare  practical  sense, 
for  with  her  it  is  always  a  point  of  cardinal  import- 
ance that  her  creations  shall  not  be  mere  show- 
pieces or  dazzling  displays  of  colour,  but  things 
which,  while  pleasing  as  regards  material  and  colour, 
shall  serve  for  daily  use.  She  therefore  prefers 
material  of  the  simplest  character,  such  as  coarse 
linen  in  every  variety  of  tint,  and  the  simplest 
technical  method,  that  of  the  crank  machine,  and 
therewith  achieves  very  surprising  effects. 

The  same  spirit  of  educational  thoroughness 
dominates  the  State  School  of  Industrial  Art  at 
Hamburg,  which  has  Prof  Richard  Meyer  for  its 
head.  Here  all  traces  of  the  meretricious  ornament 
that  was  once  in  vogue,  all  imitative  practices  and 
all  antiquated  methods  and  systems  of  teaching, 
ha\e  been  swept  aside  with  a  broom  of  iron.  Draw- 
ing from  memory  is  practised,  and  not  only  drawing 
but  the  reproduction  of  street  scenes,  landscapes, 
human  and  animal  figures,  and  plant-forms  by  means 
of  coloured  paper  which  the  pupils  cut  out  and  paste 
down — a  method  which  trains  the  eye  to  observe 
clearly,  to  grasp  the  essential  characteristics  of  an 
object,  and  at  the  same  time  promotes  the  faculty 
of  distinguishing  the  harmonies  and  dissonances  of 
colour,  and  thus  leads  up  to  the  formulation  of 
effective  decorative  schemes  that  are  neither  artificial 
nor  bizarre.  Evidence  of  this  is  afforded  by  the 
work  accomplished  in  the  embroidery  section 
conducted  by  Fraulein  Maria  Brinkmann.  A  lively 
fantasy  is  shown  in  the  treatment  of  motives,  and 
in  such  a  work  as  the  embroidered  panel  illustrated 
on  p.  40,  which  was  designed  as  a  wall  decoration, 
this  fantasy  is  expressed  with  a  quite  personal  note. 
At  the  Industrial  Art  School  at  Bielefeld  the 
embroidery  class  has  for  some  years  been  success- 
fully conducted  by  Fraulein  Gertrud   Kleinhempel, 


48 


Modern  Ccnuaii  lliiibroidcrv 


as  may  be  inferred  from 
the  examples  of  work 
by  two  young  pupils  of 
hers  which  are  here 
reproduced.  The  wall- 
hanging  (p.  48),  with 
its  clever  rendering  of 
Biblical  parables,  is  a 
particularly  meritorious 
achievement,  and  one 
which,  in  the  treatment 
of  the  ornamental  ac- 
cessories, points  to  a 
special  talent  for  adapt- 
ing natural  forms  to 
purposes  of  decoration. 


The  use  in  orna- 
mental designs  of  con- 
ventionali-sed  flowers  in 
bright  colours  has  been 
revived  in  all  branches 
of  decorative  art 
recently,  and  examples 
of  it  are  to  be  seen  in 
the  tasteful  embroi- 
deries of  Fraulein  Maria 
Sinsteden  and  in  the 
work  executed  for  the 
Deutsche  ^Verkstatten 
fur  Handwerkskunst  by 
the  wives  and  daughters 
of  their  employes  at  the 


H 

„V  »  ■  1  .  .rill  i-ii-^^B^^MJ 

^■LUjjjjii^ia-i^'^^ 

^^^^^^^ISkvBkfSI^ 

ANTKI'ICNIIIA 


DESIGNKD    BV    I'KOK.    OTTO    r.rSSMANN,    WORKi:n    1!V    FRAUI.KIN     AKMi'.AKH 


;f.kmann 
49 


Modern  German  llinhroiderv 


symphonies.  A  fertile  imagination  here  finds 
utterance  in  harmonies  of  line  and  colour  without 
betraying  any  striving  to  achieve  decorative  effect 
by  chance  experiment,  but  also  without  any  trace 
of  cold  calculation  in  the  elaboration  of  the  scheme. 
The  linear  ornamentation  is  developed  on  logical 
and  natural  lines ;  at  once  clear  and  simple,  it  is 
free   from  capricious   and    meaningless    flourishes. 


EMBKOIDEREI)     TABl.E-COVER.       .STAATLICHE      KL'NSTC.E- 
WERBE-SCHl  I.E.    IIA.MBIKG    (]■.    HELMS'    CLASS) 


AMI    WHITE    SIl.K    CISHION     WITH 

OF     E.MIiROniEKKI)     FLOWERS.      BY 

SINSTEDEN 


garden  city  of  Hellerau,  founded  by  this  firnh 
The  designs  are  by  artists  like  Alexander  v<jn 
.Salzmann  and  Charlotte  Krause,  and  as  numerous 
replicas  are  made  of  each,  the  cost  of  these  Hellerau 
embroideries  is  materially  lessened,  and  they  are 
thus  brought  within  the  reach  of  people  of  moderate 
means  who  have  hitherto  had  no  choice  apart  from 
the  tasteless  articles  produced  wholesale  by  "  the 
trade." 

The   embroideries   executed  by   Fraulein   Betty 
Berger,  after  designs  by  Otto  Lietz,  are  true  colour- 
5° 


EMHRniUKKK.Ii    HAG 


BV    MAKIMA    MEYEK 


CENTRE    I'ANEJ.  OF   SQUARE   CUSHION    EMBROIDERED     IN 

I'Al.E    <:KEEN   AND    GOLD    THREAD    ON     BLACK    SILK    BV 

MARIA   SI.NSTEDEN 


Studio-  Talk 


and  a  healthy  feeling  for  colour  imparts  a  special 
charm  to  the  design. 

The  same  intelligent  co-operation  of  designer 
and  executant  is  discernible  in  the  ecclesiastical 
embroideries  of  Prof  Otto  Gussmann  and  Fraulein 
Armgard  Angermann,  of  Dresden.  The  latter  has 
so  completely  identified  herself  with  the  intentions 
and  views  of  her  partner  during  their  many  years 
of  collaboration  that  the  products  of  their  joint 
efforts  look  like  the  work  of  a  single  individual. 

In  her  applique  work  Frau  Edda  Wiese  has 
developed  not  only  a  technique  of  her  own  but  also 
a  quite  distinctive  style.  Out  of  bright-coloured 
material  she  cuts  patches  and  strips  which  she 
juxtaposes  in  various  ways,  here  and  there  employ- 
ing a  little  embroidery  to  help  the  design.  She  is 
particularly  successful  in  reproducing  landscape 
effects,  as  in  the  screen  reproduced  among  the  ac- 
companying illustrations. 

A  new  and  altogether 
peculiar  technique  has 
been  employed  in  the  exe- 
cution of  the  wall-hanging 
designed  by  Fraulein  Thea 
W'ittmann  and  worked 
by  Frau  Deri-Winter 
(see  p.  43).  The  design 
is  here  worked  with 
coloured  string  on  strands 
of  pack-thread  sewn  to- 
gether, a  very  laborious 
process  in  view  of  the 
refractory  nature  of  the 
material,  and  one  neces- 
sitating a  marked  simpli- 
fication of  form  in  the 
design.  The  way  in  which 
the  space  has  been  utilised, 
the  effective  use  of  a  few 
bold  colours  and  the  in- 
troduction of  bright- 
coloured  flowers  to  enliven 
the  ground — all  this  speaks 
of  a  well-trained  and  sure 
decorative  feeling. 

This  more  or  less  chance 
selection  of  modem  Ger- 
man embroidery  may  be  of 
interest  as  showing  the 
diversity  of  talent  now 
engaged  in  producing, 
often  with  the  very  sim- 
plest materials,  work  that 
is    at   once    individual    in  oil  study  of 


character  and  of  artistic  value,  work  that  ranks  far 
above  those  insipid  productions  on  which  femi- 
nine dilettantism  continues  to  waste  an  infinity  of 
energy,  time,  and  material.  L.   D. 

STUDIO-TALK. 
(From    Our  Oivn   Correspo>idents.) 

CDON. — ^V^e  are  reproducing^  herewith  a 
study  of  a  girl's  head,  by  Mr.  E.  H. 
Thomas.  The  artist,  who  is  a  native  of 
Cardiff,  is  the  possessor  of  considerable 
skill  in  commanding  a  class  of  effect  in  "portraiture 
to  which  a  monochrome  reproduction  cannot  do 
full  justice. 

Miss  Anna  Airy,  reproductions  of  whose 'works 
we  are  here  giving,  is  an  artist  of  exceptional  interest. 


KL  S    HEAD 


BY   E.    H.    THOM.AS 


'THE   KITCHEN'S  QUEEN." 
ANNA   AIRV,  A.R.E.,   R.O.I. 


BY 


studio-  Talk 


In  addition  to  her  considerable  reputation  as  a 
painter,  she  is  pre-eminent  as  a  pastellist.  We 
hardly  know  of  another  artist  whose  handling  of 
that  difficult  medium  is  so  instinctive.  Lately  she 
has  turned  to  etching,  and  some  exquisite  plates  in 
the  manner  of  the  fine  tinted  drawing  of  tree  form 
which  we  reproduce  are  the  result.  We  are  inclined 
to  think  that  the  gifted  artist  has  not  quite  found 
herself,  as  the  saying  is  ;  she  seems  embarrassed  by 
her  versatility.  But  we  can  only  think  of  about 
one  other  contemporary  English  woman  artist  with 
the  same  resource  of  technique.  When  Miss  Airy 
has  the  confidence  to  make  it  the  vehicle  for 
intimations  of  a  more  personal  character,  this  gift 
of  expression  will  place  her  as  an  artist  very  high. 
Her  art  is  almost  studiously  impersonal  at  present ; 
she  is  passing  through  the  stage  with  which  all 
great  executants  begin,  in  which  problems  are 
chosen  for  their  very  difficulty  as  much  as  for  any 
other  reason.  The  picture  High  Noon  is  Passing 
was  executed  both  in  oil-pigment  and  in  pastel. 
It  is  a  work  which  in  both  mediums  expresses 
artistic  enjoyment,  the  theme  and  its  execution 
matching  each   other  in  light-heartedness.     It  sug- 


gests a  vein  admitting  ot  the  display  of  the  gift 
for  pictorial  composition  in  which  Miss  Airy  also 
excels.  Miss  Airy,  who  is  a  grand-daughter  of  Sir 
George  Biddell  Airy,  K.C.B.,  Astronomer-Royal, 
was  educated  in  painting  at  the  Slade  School  of  Art, 
entering  in  1899  and  leaving  in  1903.  She 
obtained  the  Slade  Scholarship  and  all  the  Slade 
prizes  in  succession.  She  has  been  a  regular 
exhibitor  at  the  Royal  Academy  from  1905  onwards. 
In  1906  she  was  elected  a  member  of  the  Pastel 
Society,  and  in  1907  associate  of  the  Royal  Society 
of  Painter-Etchers.  An  exhibition  of  her  work  was 
held  at  the  Carfax  Gallery  in  1907,  and  at  Pater- 
son's  Gallery  in  191 1.  The  drawing  Willow 
Pattern,  after  being  well  placed  at  the  Royal 
Academy,  was  shown  at  the  Franco-British  Exhibi- 
tion, and  invited  to  Rome.  Purchases  were  made 
from  her  etchings  by  the  Liverpool  Corporation 
in  1908. 

The  Director  of  the  Tate  Gallery  is  to  be  con- 
gratulated upon  arranging  there  at  the  same  time  a 
Whistler  and  a  Burne-Jones  exhibition,  both  loan 
collections.     The  two  artists  were  the  most  signifi- 


"THE   WINE-SHOI' 


Sfiidio-  Talk 


•■HIGH    NOON    IS    I'ASSl.NL 


BY    ANNA    AIRY,    A.R.E.,    K.O.  1. 


cant  figures  in  art  in  this  country  towards  the  close 
of  the  nineteenth  century.  At  this  distance  from 
the  date  when  first  the  art  of  the  one  and  then 
that  of  the  other  enjoyed  a  fashion  it  is  possible  to 
reconsider  judgments  then  influenced  by  the  bitter- 
ness of  strife,  ^\'histler's  supreme  achievements — 
the  beautiful  secrets  of  actuality  of  effect  which, 
without  professing  realism,  he  discovered  in  paint- 
ing the  Miss  Alexander ;  the  realism  of  the  sea- 
weather  represented  in  his  water-colours  ;  the  frost- 
like clearness  of  the  atmosphere  apparent  in  all  his 
out-of-door  subjects,  and  brought  twice  home  to  us 
when  his  pictures  are  approached  from  the  adjacent 
Turner  rooms  ;  the  absence  of  purely  rhetorical 
play  of  colour  such  as  Turner  frequently  indulged 
in — all  these  things  impress  the  visitor.  The 
limitations  of  his  art  reveal  themselves  only  in 
details.  There  is,  for  instance,  in  the  portrait  of 
Miss  Alexander  the  unlifelike  child  lips,  while  the 
muslin  dress  is  so  lifelike  !  and  in  the  Little  White 
Girlihe  incident  of  the  bright  red  and  blue  suddenly 
vamped  into  an  otherwise  wonderful  and  elusive 
painting — details  certainly,  but  showing  in  the  one 
case  incomplete  sympathy  and  in  the  other  triviality. 
But  there  is  always  the  style  that  perhaps  will  never 
be  rivalled  for  its  intimacy  with  paint,  the  senti- 
ment for  the  medium  that  is  the  sign  of  the  greatest 
art.  It  is  this  that  is  so  sadly  absent  from  the 
painting  of  Bume-Jones.  With  him  a  method  un- 
pleasantly matter-of-fact  has  to  work  for  an  extrava- 
gant imagination.  In  early  paintings  he  succeeded 
in  presenting  his  subjects  as  imaginatively  con- 
ceived, but  in  later  ones  purely  formal  schemes  of 
colour  are  imposed.  His  art  never  regained  what 
was  lost  to  it  when  from  being  conscience-stricken 
54 


about  his  form  and  colour  he  became  self-conscious 
in  them  both.  The  full  worth  of  his  inspiration  is 
only  to  be  realised  from  his  early  works,  man)-  of 
which  are  of  high  imaginative  import  and  curiously 
dramatic.  In  the  unfinished  The  Magic  Circle 
there  is  almost  a  Maeterlinckian  suggestion  of  im- 
pending fate.  But  all  this  was  before  his  desire 
for  a  purely  formal  skill  in  execution  deprived  his 
art  of  spontaneity. 

EDINBURGH.— The  banqueting  hall  of 
the  Civic  Chambers  having  now  been 
fully  decorated  with  pictorial  representa- 
tion of  incidents  connected  with  the  past 
history  of  Edinburgh,  the  work  of  embellishing  the 
Council  Chambers  in  like  manner  has  been  com- 
menced. The  Guild  Brethren  have  gifted  one 
panel,  which  represents  James  III.  bestowing  a 
charter  on  the  City  Fathers  of  that  period,  and  the 
artist,  Mr.  G.  Ogilvy  Reid,  R.S.A.,  has  executed 
a  group  in  a  brilliant  scheme  of  colour.  A  second 
panel,  which  forms  the  subject  of  our  illustration 
(p.  57),  has  been  gifted  by  Councillor  Inman,  and 
the  subject  is  the  presentation  by  the  same  monarch 
in  1482  of  the  "Blue  Blanket,"  a  banner  for  the 
use  of  the  craftsmen  of  the  city.  Though  the  pre- 
dominant note  is  decorative,  the  artist,  Mr.  Robert 
Hope,  A.R.S.A.,  has  given  character  to  his  figures 
and  has  succeeded  in  expressing  the  mediseval  in 
all  the  details.  From  the  dull  red  garb  of  the 
foreground  figure  on  the  right,  the  eye  travels 
pleasingly  to  the  blue  gown  of  the  aged  leader  of 
the  craftsmen  and  then  to  the  rich  purple  and 
gold  garments  of  the  royal  couple,  backed  by  the 
pale  blue  of  the  banner.     The  tapestry  background, 


0^ 


(Decoration  for  the  Council  Chamber, 
Edinburgh,  presented  by  Councilloi 
Inman) 


'JAMES  III.  PRESENTING  THE  'BLUE 
BLANKET  '  TO  EDINBURGH  CRAFTS- 
MEN."    BY   ROBERT   HOPE,  A.R.S.A. 


^~/ 


Sfiidio-  Talk 


CH  AFTER-HEADINGS 


^  COMPOSED    BY    II. 


little  more  than  suggested,  is  a  restful  setting,  and 
the  vista  -of  corridor  on  the  right  with  the  palace 
guards  is  beautifully  lit  through  the  stained  windows. 
The   scheme   is   altogether 
well   thought  out.     Mr. 
Hope  has  done  a  good  deal 
of  decoration  in  church  and 
mansion,  and   by  this,   his 
latest  work,   he  gives   evi- 
dence of  his  versatility  in 
the    treatment    of    diverse 
themes.  A.  E. 


P.\RIS.  — In  the 
decorative  draw- 
ings of  H.  S. 
Ciolkowski  one 
recognises  certain  charac- 
teristics not  uncommonly 
associated  with  Eastern 
Europe,  which  might  give 
a  clue  to  his  nationality.  I 
do  not  suggest  that  his  art  is 
national,  as  the  only  national 
quality  about  art  is  the  in- 
herent expression  of  past 
or  present  associations  and 
observances.  I  have  heard 
some  of  his  work  dismissed 
S8 


as  being  imitative  of  Heardsley,  and 
Keardsley's  own  work  dismissed  as  being 
under  the  influence  of  Botticelli,  Man- 
tegna,  and  the  Japanese,  all  the  praise 
due  to  his  wonderful  line  and  workman- 
ship, his  creative  ability  and  design, 
being  withheld.  To  know  Ciolkowski, 
the  last  thing  one  would  condemn  him 
for  would  be  imitating  any  one  but 
himself.  In  his  head-pieces  for  a  book 
dealing  with  the  little  Bavarian  town  of 
liamberg  there  is  observable  a  quaint 
subconsciousness  untrammelled  by  tra- 
dition, and  his  means  of  interpreta- 
tion are  distinctly  personal,  the  more 
national  associations  being  seen  in  his 
decorative  tail-pieces  and  the  vigorous 
little  drawing  of  La  Bonne  Petite 
Maison  dans  les  Bois.  Personally  Ciol- 
kowski is  an  impulsive  dreamer,  and 
seeks  the  tangible  expression  of  his 
dreams  in  those  aspects  of  nature  which 
others  are  so  apt  to  pass  by.  His  in- 
'lOLKowsKi  terpretations   are    always   spontaneous, 

and  in  his  quiet  little  studio  at  Bellevue 
both  personalities  of  the  artist  work  together — the 
skilled  draughtsman  and  the  submerged  unsleeping 
self — controlling  the  necessary  labour  in  his  many 


lE.N-.AND  I.\K     Dk.VWIN 


BY    H.    S.    CIOI.KOWSKT 


'PERSPECTIVE  ORNEMENTALE."  A 
DECORATIVE  COMPOSITION  BY 
H.  S.  CIOLKOWSKI 


studio-  Talk 


TAIL-PIECE 


CIOLKOWSKI 


drawings,    never    allowing   it   when   completed   to 
depart  from  the  harmony  of  his  vision. 


GENEVA.— The  "Societe  J.  J. 
Rousseau,"  founded  in  1905 
at  the  University  of  Geneva, 
and  whose  archives  and 
annals  have  already  rendered  signal  ser- 
vice to  Rousseau  students,  was  happily 
inspired  in  organising  at  the  Rath  Gallery 
an  Iconographic  Exhibition  in  connection 
with  the  recent  bicentenary  celebrations. 
The  society,  drawing  upon  its  archives 
and  receiving  contributions  from  the 
museum,  the  university,  and  important 
public  and  private  collections  in  the 
country,  was  able  to  open  an  exhibition  not  only 
of  literary    and   historical   interest,   but   of  artistic 


"VIEW  OF   BAMKERO  "    (II.I.l'STRATION    FOR    "  ILSE") 

Ciolkowski  does  not  confine  himself  entirelyi,to 
pen-and-ink  work  :  ofttimes  he  turns  his  attention 
to  leaded-glass  design,  jewellery,  and 
monograms,  his  monograms  being 
specially  remarkable  for  their  excellent 
simplicity  of  design.  To  predict  his 
future  is  to  make  no  comparison  of  his 
work  with  that  of  others.  Phil  May 
and  Aubrey  Beardsley  knocked  away 
the  props  from  the  commonplace 
standard  of  black-and-white  in  England, 
and  gave  us  their  art.  Ciolkowski,  too. 
is  producing  his  own,  and  we  may  look 
forward  to  a  more  complete  variation  of 
his  art  in  the  edition  de  luxe  of  "Use," 
by  the  Baronne  Deslandes,  which  he  is 
at  present  engaged  in  illustrating. 


BV    H.    S.    CIOLKOWSKI 


value  and   significance.     Before  dealing  with   the 
exhibition,   however,   I   propose  to  say  something 


E.  A.  T. 


TAII.-MECfc 


LV    :\.    J.    CIOLKOWSKI 


60 


studio-  Talk 


PEX-ANU-IXK   ILLUSTRATIONS   FOR   "  ILSE  "  ( See  Paris  Stitdio-Talk,  p.  6o) 


BY    H.    S.    CIOLKOWSKI 


about  Rousseau's    relation,   directly  or    indirectly,      this,  like  other  inclinations,  was  too  much  a  passion 
to  art.  of  the  hour,  vet  it  reveals  artistic  sensibilitv. 


There  is  a  passage  in  the  "Confessions  "  in  which 
Rousseau  makes  reference  to  his  taste  for  drawing. 
He  says:  "  The  coloured  plates  of  our  geometricians 
had  given  me  a  taste  for  drawing ;  accordingly  I 
bought  colours  and  began  by  attempting  flowers 
and  landscapes.  It  was  unfortunate  that  I  had  but 
little  talent  for  this  art,  for  my  inclination  was 
wholly  disposed  to  it,  and  while  surrounded  with 
crayons,  pencils,  and  colours  I  could  have  passed 
whole  months  without  wishing  to  leave  them.  I 
was  so  absorbed  in  this  occupation  that  they  had 
to  tear  me  away  from  it."     Though,  as  he  adds. 


But  the  observations  on  drawing  in  "  Emile " 
go  far  to  show  that  Rousseau  was,  in  addition, 
endowed  with  the  artistic  temperament,  that  he 
could  no  more  brook  in  art  than  in  life  the  sub- 
stitution of  the  false  for  the  true,  of  convention 
for  nature,  of  a  mere  copy,  the  "imitation  of  an 
imitation,"  for  the  rendering  of  the  spirit  of  the 
original.  Elegance  of  line,  lightness  of  stroke, 
perception  of  picturesque  effect,  these  might  or 
might  not  come  later  on,  but  the  elementary  ac- 
quirements of  Emile  in  this  branch  of  his  instruc- 
tion were   to   be   the   correct  eye,   the  sure  and 

6i 


Studio-  Talk 


supple  hand,  and  above  all  fidtlily  to  Nature,  who 
herself  alone  was  to  be  his  teacher.  Of  course  this 
despatching  of  the  drawing-master  is  far  too  sum- 
mary, but  the  reasons  assigned  for  it  are  excellent, 
and  if  we  cannot  accept  the  letter  of  Rousseau's 
teaching  the  spirit  of  it  is  the  same  as  that  which 
animated  Ruskin,  who  boasted  that  he  was  of 
Rousseau's  school. 

Rousseau  was  a  great  artist  in  his  own  medium. 
While  confessing  his  inability  in  the  art  of  drawing, 
he  was  a  master-painter  of  nature  when  wielding  the 
pen,  and  may  be  fairly  regarded  as  the  precursor  of 
all  the  eminent  modern  descriptive  writers,  many 
of  whom,  however,  have  carried  word-painting  far 
beyond  the  limits  he  would  have  assigned  to  it. 
Prof.  Babbitt  in  his  "  The  New  I-aokoon  "  remarks 
with  truth  that  no  one  before  Rousseau  had  ever 
shown   such    preternatural  keenness   either  in   re- 
ceiving   or    recalling    im- 
pressions.      Describing    a 
scene  of  his  youth,  Rous- 
seau himself  writes  :  "  Not 
only  do    I  remember  the 
time,  the  place,    the    per- 
sons, but  all  surrounding 
objects — the    temperature 
of  the   air,    its  odour,   its 
colour,  a  certain  local  im- 
pression felt  only  there,  the 
vivid  recollection  of  which 
carries    me    back    anew." 
And    Mr.   Babbitt   thinks 
that    this    sensitiveness  to 
"local  impression"  in 
Rousseau    "relates    the 
whole  tendency  he  repre- 
sents to  that  modern  im- 
pressionism of  which  it  is 
only  one   aspect."     How- 
ever this  may  be,  it  reveals 
the    intense   artistic    tem- 
perament   of    Rousseau 
himself.    

Then,  too,  the  author 
of  "  La  Nouvelle  Heloise  " 
and  "  Les  Reveries  du 
Promeneur  Solitaire ''  will 
always  touch  painter  as 
well  as  writer  by  that  pro- 
found feeling  for  nature 
which  is  the  .spring  of  his 

'  ,     ,   .  ruKTK.MT  OF  ?F.AN   lArijUES 

mspiration.      I  hrough  hmi 
62 


the  beauty  of  Switzerland  and  .Mpine  scenery 
entered  into  literature,  and  in  drawing  man  away 
from  an  artificial  society  and  bringing  him  face  to 
face  with  nature  he  prepared  the  human  imagina- 
tion and  eye  for  the  great  modern  landscape- 
painter's  appeal.  Thus  he  was  as  truly  the 
precursor  of  Turner  as  nf  Ruskin. 


WIkii  we  turn  to  consider  Rousseau's  care  for 
the  productions  of  art  we  find  that  he  had  a  genuine 
taste  for  prints  and  "  adored  les  belles  epreuves."  In 
one  of  his  letters,  in  which  he  writes  with  satisfaction 
of  proofs  of  engravings  sent  him  for  the  illustration 
of  "Emile,"  he  goes  on  playfully  to  remark :  "Je  suis 
comme  les  enfants  fort  jaloux  des  belles  images." 
And  in  another  note  referring  to  prints  he  has  in 
books  and  which  he  desires  to  have  separately  for 
his  portfolio  he  shows  a  fastidious  taste  in  his  choice 
and  insists  on  having  "  good   proofs  if  possible." 


KOCSSEAr.       KROM    THE    ENGKAVINC 
AFTER    RAMSAY 


BY    DK.     MARTIN 


studio-  Talk 


ductions,  but  they  show 
the  interest  Rousseau  has 
awakened  in  artists. 


rORTRAIT  OK   MME.    D  El'IXAY.        FROM   THE   PASTEL   BY   LIOTARD    IX   THE    MfSEE 
d'hISTOIRE    ET    d'aRT,    GENEVA 


\Ve  are  aware  also  of  the  pain  it  gave  him  to  be 
obhged  to  part  with  a  valuable  collection  of  prints 
when  he  was  in  England. 


All  these  considerations  not  only  show  that 
Rousseau  is  of  interest  from  the  point  of  view  of 
art,  but  prepare  us  to  appreciate  the  extraordinary 
interest  which  art  has  taken  both  in  the  man  and 
his  work.  The  Comte  de  Girardin  in  the  intro- 
duction to  his  invaluable  "  Iconographie  de  Jean 
Jacques  Rousseau  '  says  that  of  all  the  remarkable 
nienof  the  seventeenth  and  eighteenth  centuries  "the 
citizen  of  Geneva"  is  certainly,  after  Napoleon  I., 
the  one  whose  physiognomy  has  been  the  most 
frequently  portrayed,  Voltaire  not  excepted,  the 
number  of  prints  in  which  Rousseau's  person  alone 
IS  depicted  attaining  the  phenomenal  figure  of  more 
than  six  thousand  portraits.  Of  course  these  are 
neither  all  originals  nor  all  equally  good  as  repro- 


The  Rousseau  Society, 
then,  did  well  to  give  so 
prominent  a  position  in  the 
bicentenary  celebrations  to 
its  "  Exposition  Iconogra- 
phique,"  and  it  must  be 
said  that  it  was  in  every 
way  worthy  of  the  event. 
The  exhibition  occupied 
five  tastefully  arranged 
rooms  in  the  Rath  Gallery, 
and  the  contributions  were 
so  disposed  that  one  was 
able  to  pass  with  ease  from 
one  phase  to  another  of 
Rousseau's  life  and  work. 
As  regards  the  engravings, 
one  was  at  once  struck  by 
the  artistic  conscience  and 
the  imaginative  compre- 
hension which  his  illus- 
trators— Moreau  le  Jeune, 
Cochin  Marillier,  Le 
Grand,  and  others — 
brought  to  their  task.  In 
the  scenes  and  episodes 
from  the  life  of  Rousseau 
suggested  by  or  illustrative 
of  "  Les  Confessions,"  and 
as  evoked  in  the  produc- 
tions of  Le  Barbier, 
Schall,  Monsiau,  Roqueplan,  Soulange-Tessier  after 
Duval-Lecamus,  Gavami,  Choffard,  Boulanger, 
Bergeret,  and  Huot,  one  was  fascinated  by  the 
charm  and  often  inimitable  grace  of  that  eighteenth- 
century  art  of  illustration,  there  was  something  fat 
once  so  quaint  and  persuasive  about  it.  Nothing 
connected  with  Rousseau  seems  to  have  been 
forgotten. 

But  the  chief  interest  of  the  exhibition  attached 
to  the  portraits.  Here  were  to  be  seen  the  im- 
perious head  and  eagle-glance  of  Diderot  looking 
out  of  Levitski's  powerful  portrait ;  Tronchin,  also 
the  great  Genevese  gentleman  of  his  time,  as 
he  is,  painted  in  the  portrait  which  adorns  the 
Public  Library  at  Geneva,  or  again  in  Liotard's 
"sanguine"  as  the  author  of  the  "  Lettres  de  la 
Campagne,"  and  the  adversary  and  judge  of 
the  author  of  "  Emile "  and   the   "  Lettres  de  la 

63 


Shidio-  Talk 


^u:v 


•  fif*^.t^^^/i/bm/f/>tr  I  influx /UtJa^f^ 


r.^ivS2)it&^iMMJr^^^t^e^^C'i0U^. 


"ROUSSEAU    LEAVING   GENEVA    IN    I72S" 

Montagne."  Here,  too,  were  Hume,  Voltaire  (in 
caricature  and  otherwise),  Grimm,  and  the  others, 
assuming  an  almost  dramatic  interest  to  the 
imagination  as  they  recalled  not  only  tragic 
moments  in  Rousseau's  individual  existence,  but 
the  parts  which  he  and  they  played  in  a  great 
movement  of  human 
thought  and  life.  Then, 
coming  into  more  intimate 
relation  with  the  man,  here 
were  the  portraits  of  the 
women  who  exerted  such 
an  influence  on  his  life, 
among  the  most  note- 
worthy contributions  being 
Liotard's  splendid  and 
lifelike  pastel  of  Mme. 
d'Epinay,  from  the  Geneva 
Historical  and  Art 
Museum,  \'yboud's  beau- 
tifully executed  engraving 
of  Mme.  d'Houdetot,  and 
an  admirable  portrait  of 
Mme.  Boy  de  la  Tour  by 
Nonnote. 


pieces  in  which  the  figure 
and  countenance  of  Rous- 
seau himself  have  passed 
into  the  sculpture  and  por- 
traiture of  his  time.  In 
connection  with  the  former, 
the  great  name  of  Houdon 
at  once  occurs,  Houdon 
who  boasted  that  the  effigy 
of  Rousseau  was,  so  to 
speak,  his  special  property, 
since  he  alone,  according 
to  public  opinion,  had  suc- 
ceeded in  moulding  a  per- 
fect likeness  of  it.  The 
great  sculptor's  work  was 
represented  at  the  exhibi- 
tion by  a  fine  plaster  of  the 
epoch  after  his  Rousseau  en 
per ru que  and  a  cast  from 
the  original  of  his  Rousseau 
a  la  handelette,  besides  other 
diminutive  busts  and  small 
full-length  statuettes, 
amongst  the  former  the 
beautiful  head  in  plaster 
here  reproduced.  Prominent  was  Pradier's  bust 
of  Rousseau,  an  admirable,  pensive  thing,  in  which 
the  visage  of  the  philosopher  appears  relieved  of 
all  that  is  accidental  and  perturbing. 


BV  J.    COCRVOISIER 


\\'e  know  that  of  the  portraits  of  himself  the  one 


These  served  as  an  in- 
troduction to  those  master- 
64 


"SCENE   FROM    THE   01. 1)   AGE   OF   ROUSSEAU."      FROM  A  LITHOGRAPH    BYE.    HUOT 


it 


Studio-Talk 


HEAD  OK  ROl'SSEAU    IX   1-OLYCHROME  I'l.ASTEK  BY  HOUDOX 

(In  the  collection  of  Prof  .  Francois,  Geneva. — Photo 

Boissonas  ) 

Rousseau  preferred  was  a  pastel  by  La  Tour, 
probably  executed  in  1764,  and  in  which  the 
philosopher  is  seen  in  American  costume.  La  Tour 
executed  several  portraits 
in  pastel  of  Rousseau,  one 
of  the  most  brilliant  and 
striking  being  that  in  the 
Geneva  Museum  in  which 
he  is  represented  young 
and  smiling,  and  which, 
according  to  M.  de 
Girardin,  is  "  d'une  grande 
verite."  The  exhibition 
was  peculiarly  fortunate  in 
having  this,  together  with 
reproductions  of  replicas 
of  La  Tour's  pastel  at  St. 
Quentin's  Museum  and  an 
admirable  collection  of 
engravings  after  La  Tour, 
Ramsay,  and  Houdon,  by 
Littret,  Cathelin,  Ficquet, 
St.  Aubin,  Dr.  Martin, 
Nochez,  Kruell,  Marillier, 
Langlois.  The  name  of 
Ramsay  reminds  us  of 
Rousseau's  sojourn  in  Eng- 
land. Numerous  are  the 
engra\ings  inspired  by 
66 


Ramsay's  poignant  portrait,  which  tells  its  own 
tale  of  spiritual  suffering.  In  the  engraving  by 
Dr.  Martin,  here  reproduced,  Rousseau  appears, 
as  in  all  Ramsay's  portraits,  en  Imste,  wearing  the 
.Armenian  cap  and  cloak.  There  was  also  another 
portrait  of  the  sage,  the  teacher  of  the  simple  life, 
the  promeneur solitaire  with  the  bunch  of  periwinkles 
in  his  hand,  that  portrait  by  Mayer  which  the 
Societe  J.  J.  Rousseau  has  taken  for  its  device. 
Special  mention  deserves  to  be  made  of  M. 
Courvoisier's  highly  interesting  print  representing 
Rousseau,  the  youth,  taking  leave  of  his  friend 
Bernard  and  of  his  native  city,  also  of  M.  Van 
.Muyden's  admirable  "  sanguine "  after  Mayer. 
The  exhibition  was  altogether  a  memorable  event. 

R.    MOBBS. 

VENICE. — How  many  men  living  in  these 
turbulent  times  owe  what  peace  of  mind 
they  enjoy  to  the  high  mountains  I 
These  mighty  eternal  monuments  of 
nature,  towering  heavenwards  high  above  the  haunts 
of  man,  shed  around  them  an  air  of  dignity  and 
calm  which  never  fails  to  leave  a  deep  impress  on 
the  minds  of  those  susceptible  to  the  majesty  of 
nature,  filling  them  with  a  sense  of  the  insignificance 
of  man  and  his  works.  True  enough,  of  the 
thousands  who  nowadays,  when  "  funiculars  "  and 


'  OTTOBRE,    SAVOIA 


BY   GIUSEPl'E   CAR0Z2I 


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Studio-Talk 


other  modes  of  locomotion  make  transport  so  easy, 
throng  the  sides  and  slopes  every  season  there  may 
be  many  on  whom  the  fascination  of  the  mountains 
makes  but  a  superficial  impression,  to  whom  they 
are  but  a  distraction,  one  of  the  "  sights  "  that,  like  so 
many  others,  have  to  be  seen  by  all  who  can  afford 
to  travel.  Far  otherwise,  however,  is  it  with  those 
poets  who  have  given  utterance  to  the  sublime  feel- 
ings of  awe  experienced  in  presence  of  these  soaring 
heights,  and  those  painters  who  with  their  brushes 
have  endeavoured  to  express  these  same  feelings 
on  canvas.  Thus  is  it  with  the  Italian  painter 
Giuseppe  Carozzi,  whose  mountain  landscapes  form 
such  a  distinguished  feature  in  modern  Italian  art. 


Carozzi  is  a  native  of  Milan,  and  at  this  moment 
is  at  the  full  tide  of  manhood.  He  was  originally 
destined  for  the  medical  profession,  and  later  on 
embarked  on  the  study  of  the  law,  but  neither  of 
these  callings  proved  congenial,  and  finally  his 
impulsive,  manly  nature  bade  him  turn  with  enthu- 
siastic ardour  to  painting.  At  the  outset  of 
his  career  as  an  artist  he  used  to  paint 
genre  pictures,  finding  his  motives  in  the 
fishing  village  of  Chioggia,  which  was 
then  only  just  coming  into  repute  as  a 
centre  for  artists.  Not  much  was  being 
done  there  at  that  time ;  the  tastes  of 
the  purchasing  public  were  held  in  too 
much  esteem,  and  the  "  pretty  "  picture, 
the  anecdotic  subject,  held  the  upper 
hand.  Nor  did  Carozzi  himself  yield 
of  his  best,  but  as  a  talented  pupil  of 
the  great  Antonio  Fontanesi  (1818-82) 
he  distinguished  himself  above  the  rest ; 
the  pictures  he  painted  at  this  period 
possess  a  peculiar  charm  of  tone  that 
was  lacking  in  the  work  of  these,  and 
that  even  at  this  stage  his  excellence 
was  recognised  is  shown  by  the  pur- 
chase of  one  of  these  early  works  by 
the  Modem  Gallery  of  Rome  in  1887. 


practice  of  achieving  gradations  of  tone  as  it  were 
by  means  of  complementary  colours  instead  of 
with  the  primaries.  Thus  by  degrees  he  has  come 
to  develop  his  own  method  of  painting,  which, 
coupled  with  a  poetic  sensibility,  proved  of  signal 
value  to  him  when,  turning  his  back  on  studio 
painting  and  all  that  was  bound  up  therewith,  he 
took  wing  and  fiew  to  the  highlands. 


Here  it  was  that  Carozzi  found  all  those  aspects 
of  nature  that  really  appealed  to  him — the  lyrical, 
the  sublime,  the  awe-inspiring.  The  mountains 
present  some  very  remarkable  effects  :  rosy-hued 
crests  which  when  the  sun  is  shining  upon  them 
radiate  a  gorgeous  flood  of  light,  gigantic  rocks, 
abysmal  ravines  and  gorges,  snow  of  dazzling  white- 
ness, and  glaciers  whose  crystalline  surface  acts 
like  a  prism  ;  the  spectacle  changes  with  the  change 
of  atmospheric  conditions,  and  oftentimes  is  not 
the  same  for  two  minutes  together.  Here  amidst 
these  mountain  solitudes  the  artist  feels  free,  and 
rarely  or  never  does  there  escape  from  his  lips  any 


Besides  Fontanesi  there  are  two  other 
painters  who  have  exercised  an  influence 
on  Carozzi — Filippo  Carcano,  still 
living,  and  the  famous  Segantini,  who 
lies  buried  among  the  mountains  he 
loved  to  haunt  and  depict.  To  the 
latter  Carozzi  owe.s  a  good  deal  in  the 
way  of  technique,  although  it  must  be 
recorded  that  he  has  never  accepted 
"  divisionism  "  as  a  tenet  of  his  creed 
as  a  painter,   but    has    mostly  made  a 


111  A    lOMANA 


'OTTO   I.A   LUNA        (Ol  1>   WELL    1> 
BY  GIUSEPPE  CAROZZI 


[ir.HT) 


69 


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studio-  Talk 


regret  at  having  left  behind  him  the  Hfe  of  the 
towns.  Planting  his  easel  in  the  open,  he  sets  to 
work  painting,  and  continues  with  unflagging  energy 
until  the  last  stroke  for  the  day  has  been  placed 
on  the  canvas.  With  that  same  emotion  that  he 
himself  experiences  and  with  an  utter  absence  of 
anything  in  the  shape  of  technical  trickery  he 
records  the  approach  of  a  storm,  the  last  streaks 
of  sunlight  as  the  sun  goes  down  in  the  west,  the 
cold,  searching  wind  sweeping  across  a  waste  tract 
of  country,  or  a  stream  of  icy  water  winding  its  way 
down  through  the  valley. 


Among  the  works  of  Carozzi  depicting  the 
weirder  aspects  of  nature  a  notable  example  is 
Lo  Stagno  delF  Obblio  ("The  Pool  of  Oblivion"), 
which  was  exhibited  at  the  Venice  International 
Exhibition  of  1910;  with  its  shadowy  reflections 
of  the  ruins  of  deserted  homesteads,  it  recalls  Edgar 
Allen  Poe's  novel  "The  End  of  the  House  of 
Usher."  There  is  something  almost  uncanny  in  the 
solitude  of  this  night  scene,  in  which  the  herbage 
seems  to  be  all  of  a  quiver  and  the  mysterious 
shadows  are  made  to  appear  transparent.  The 
feeling  of  awe  to  which  this  work  gives  expression  is 
characteristic  of  the  artist's  work,  and  we  are  con- 
scious of  it  especially  in  his  pictures  of  the  high 
mountains.  The  accom- 
panying reproductions  of 
some  of  them  will  serve  to 
show  that  the  artist  has  not 
been  content  with  a  mere 
transcript  of  some  scene 
which  has  passed  before  his 
eyes,  or  with  baldly  record- 
ing certain  effects  of  light 
which  he  has  encountered, 
but  that  he  has  striven  to 
communicate  some  of  that 
feeling  which  he  himself 
has  experienced  in  presence 
of  the  sublime,  majestic 
aspects  of  nature.  The 
introduction  of  figures, 
human  and  animal,  into 
some  of  these  paintings  is 
always  well  considered. 
The  figures,  though  usually 
small,  are  never  placed  in 
the  composition  as  a  piece 
of  unimportant  staffage : 
on  the  contrary,  their  in- 
troduction is  dictated  by  a 
sense  of  rhythm  ;    they  are  '•  1  fioki  hella  nev 


never  without  character,  and  they  serve  by  their 
proportions  to  accentuate  the  magnitude  of  the 
mountains  as  well  as  to  give  the  picture  the  neces- 
sary feeling  of  space.  At  times  the  figures  are 
placed  boldly  in  the  foreground,  especially  when 
they  stand  out  against  the  light  and  are  as  it  were 
enveloped  in  it.  

The  works  of  Carozzi  of  which  reproductions 
accompany  these  notes  represent,  of  course,  only 
a  small  part  of  his  achievements  as  a  painter,  but 
they  are  sufficient  to  give  the  reader  some  idea  of 
the  qualities  which,  to  repeat  thewordsof  Sgr.  Vittorio 
Pica  in  his  note  on  Carozzi's  "  individual  "  show  at 
this  year's  Venice  Exhibition  of  Art,  now  drawing  to  a 
close,  make  this  Milanese  artist  "  worthy  of  being 
singled  out  as  one  of  the  most  confident,  most 
conscientious,  and  most  personal  representatives 
at  the  present  day  of  that  Lombard  school  of 
landscape  painting  which  possesses  such  noble  and 
glorious  traditions."  L.  Br. 

VIENN.A. — It  is  not  generally  known  that 
some  of  Mr.  Charles  Mackintosh's  best 
work  is  to  be  seen  in  Vienna.     Among 
other  examples  a  music-room  which  the 
emineiit    architect   and   artist   designed   for   Herr 


studio-  fa  Ik 


M'amdorfer  some  years  ago  has  till  now  never  been 
reproduced.  The  design  came  as  an  inspiration,  a 
fitting  setting  to  Maeterlinck's  "  Dead  I'rinccss,'' 
whose  story  is  told  in  the  exquisite  friezes  designed 
and  executed  by  Mr.  Mackintosh,  the  MacNairs. 
and  Mrs.  Mackintosh  which  adorn  the  room  and 
form  the  chief  motive  in  the  decorative  scheme. 
The  composition  forms  an  organic  whole,  each 
part  fitting  into  the  rest  with  the  same  concord  as 
do  the  passages  of  a  grand  symphony  :  each  thought 
resolves  itself  as  do  the  chords  in  music,  till  the 
orchestration  is  perfect,  the  effect  of  complete 
repose  filling  the  soul.  The  colour-scheme  is  red, 
lavender,  and  white.  Each  object  in  the  room  has 
its  due  place.  The  accentuation  always  comes  on 
the  right  note,  and  each  note  has  been  expanded  to 
its  right  artistic  compass.  Mr.  and  Mrs.  Mackintosh 
themselves  came  to  Vienna  at  Mr.  W'arndorfers  in- 
vitation for  the  purpose  of  designing  this  interior, 
and  spent  six  weeks  in  the  city.  They  were  given 
unfettered  discretion,  and  thus  their  imagination  was 
allowed  full  scope.  Many  pilgrimages  have  been 
made  to  this  room,  for  connoisseurs  find  real 
pleasure  and  delight  in  it.  A.  S.  L. 


BERLIN. — The  German  porcelain  fac- 
tories hesitated  a  good  deal  before  de- 
ciding to  break  with  their  traditions  and 
pursue  the  new  ideas  and  style  inaugu- 
rated by  Copenhagen.  The  greater  the  renown 
which  their  past  productions  had  earned  for  them, 
the  more  difficult  did  it  seem  for  them  to  enter  on 
a  change  of  technique  and  form  without  sinking  to 
the  status  of  mere  imitators ;  and  the  northern 
factories  had  already  gained  such  a  lead  that  there 
could  hardly  beany  (juestion  about  imitation.  Per- 
haps it  was  not  unnatural  that  the  chief  supporters 
of  historic  tradition  should  have  hesitated  before 
making  a  new  departure.  The  Sevres  factory  was 
a  long  time  before  it  countenanced  the  principles 
initiated  by  the  Danes,  and  Meissen  did  not  follow 
till  even  later.  In  Germany,  however,  another 
factor  —  of  a  psychological  nature  —  played  its 
part.  It  must  be  admitted  that  porcelain  has  not 
in  reality  assumed  the  leading  role  in  German 
ceramics.  The  more  stable  forms  of  earthenware  are 
more  in  harmony  with  the  German  temperament, 
while  porcelain,  .so  delicate  and  fragile  by  com- 
parison, has  never  quite  fitted  in  with  our  mode  of 


MUSIC-ROO.M    AT  THE    VILLA   \VARNI>ORFER,    VIENNA 
72 


liESllJNED   BV   CHARLES   MACKINTOSH 


Studio-Talk 


stimulus  came  from  Denmark  ;  on  the  contrary,  the 
beautiful  Heron  service  with  which  Krohn  in- 
augurated a  new  epoch  at  Bing  and  Grondal's  Copen- 
hagen factory  closely  followed  in  form  the  greatly 
admired  Swan  service  which  Kiindler  designed  for 
Count  Briihl.  And  before  their  complete  adoption  of 
under-glaze  painting,  the  Meissen  factory  had  revived 
this  branch  with  a  series  of  figures  in  the  costumes  of 
the  people ;  these  were  exhibited  at  Munich  in  1888, 
but  the  artistic  effect  was  not  equal  to  the  technical 
ability  displayed  in  them.  Use  was  made  not  only 
of  under-glaze  colours,  but  of  coloured  masses  of 
substance,  and  it  is  just  in  this  use  of  paste-paint- 
ing that  lurks  the  temptation  to  emphasise  the 
pictorial  at  the  expense  of  the  decorative.  In  the 
meantime  the  factory  has  brought  its  "  sharp  fire  " 
palette  to  perfection,  and  after  many  failures  the 
right  artists  and  modellers  have  been  found.  In 
so  far  as  figures  are  concerned  it  can  add  its 
modern  productions  to  the  series  of  those  which 
made  it  famous  in  its  early  days  without  a  shadow 
of  fear  that  the  name  "  Meissen  Porcelain "  will 
arouse  merely  the  remembrance  of  an  historic 
tradition.  A.   K. 


H 


rOKCELAIN  KI(;UKE  FKO.M  THE  ROV.AL  SAXON  PORCELAIN 
FACTORY   AT   .MEISSEN 


EIDELBERG.  —  During  the  summer 
months  an  interesting  exhibition  of 
Frankenthal  porcelain  has  been  held 
here  in  the  upper  rooms  of  the  building 
containing  the  Municipal  Collections.  Collectors 
have  of  late  paid  considerable  attention  to  the  ware 


life ;  it  has,  so  to  speak, 
too  festal  a  character  for  a 
modern  work-loving 
country.  In  Germany,  so 
far  as  tableware  is  con- 
cerned, material  is  preferred 
to  decoration,  which  is  held 
in  restraint  as  much  as 
possible.  The  Meissen 
factory  has  therefore  done 
well  to  revive  in  its 
modem  practice  one  of  the 
traditions  which  made  it 
famous  in  its  early  days — 
the  production  of  figures 
and  groups,  which  com- 
mand so  much  esteem  in 
the  German  household. 


It  cannot  be  said  that  in 
this    branch    of  work    the 


PORCELAIN    FIGURE    FROM    THE   ROYAL   PORCELAIN    FACTORY   XX    MEISSEN 

73 


Stitdio-Talk 


FRANKENTHAL   PORCELAIN    FIGURE   FROM   A 
RECENT   EXHIBITION    AT    HEIIlELKERG 


produced  at  this  factory,  which  was  founded  by 
P.  A.  Hannong,  under  Royal  auspices,  in  1755, 
and  after  passing  into  the  possession  of  the  ruler  of 
that  part  of  Germany,  and  being  administered  as  a 
State  establishment,  finally  came  to  an  end  in  the 
last  year  of  the  eighteenth  century.  The  exhibition 
contained  only  the  finest  examples,  and  among 
them  were  many  pieces  owned  by  private  collectors 
in  Heidelberg  of  which  nothing  has  been  known 
hitherto.  An  exceptionally  fine  dinnersernce, 
made  about  177 1  and  said  to  have  been  a  present 
from  Hannong's  Royal  patron,  the  Elector  Charles 
Theodore,  to  a  Roman  Cardinal,  was  a  noteworthy 
item.  Numerous  figures  representing  plebeian 
types  were  shown,  and  two  by  J.  \S .  Lanz  were  of 
particular  interest :  one  a  beggar  with  his  bundle, 
the  other  Die  kiefende  Biickersfrau,  here  reproduced 
— a  very  expressive  representation  of  a  scolding 
woman.  The  colouring  of  these  pieces  adds  greatly 
to  their  charm.  Among  the  newly  discovered 
74 


pieces  were  some  figures  of  Cavaliers,  a  group  of 
Bacchantes,  and  three  beautiful  rocaille  vases  bearing 
sacred  monograms  and  supposed  on  that  account 
to  have  belonged  to  a  church.  The  Heidelberg 
Municipal  Collections  contain  many  fine  pieces 
which  figured  in  the  exhibition,  and  in  addition  to 
numerous  figures  and  objects  in  colour  there  were 
some  excellent  pieces  in  plain  white,  as  well  as  some 
imitations  of  Sevres  porcelain  executed  in  the 
time  of  Feylner.  The  female  figure  with  a  child 
at  the  foot,  shown  in  the  accompanying  illustration, 
is  a  pendant  to  one  of  St.  Carlo  Borromeo  recently 
accjuired  by  the  Bavarian  National  Museum  in 
Munich.  V.  C.  H. 

W  1:1  MAR. —Mr.  Ingwer  Paulsen,  a 
native  of  Kiel,  has  recently  been 
devoting  his  attention  to  the  art 
of  the  burin  and  the  dry-point,  after 
studying  the  masters  of  eau  forte  in  France  and 
Germany.     Landscape  is  the  keynote  of  his  work, 


"DIE    KIEFENDE    BACKERSFRAU.        BY  .1.  W.  I.ANZ. 

FRANKENTHAI,     PORCELAIN     FIGURE     FROM      A 

RECENT   EXHIBITION    AT   HEIDELBERG 


'THE  CASTLE  OF  THE  COUNT  OF 
FLANDERS  AT  GHENT."  FROM  AN 
ETCHLNG  BY   INGWER  C.  PAULSEN 


Sfitdio-  Talk 


landscape  mostly  of  a  character  peculiar  to  the  low- 
lands. It  is  the  country  of  Paulsen's  birth — the 
Sleswic-Holstein  marshes  on  the  flat,  dreary  coast  of 
the  North  Sea,  with  their  bleak  houses  and  stern 
Frisian  peasantry,  whose  character  seem.<!  to  har- 
monise with  their  environment ;  churches  of  ancient 
lore,  and  here  and  there  a  forlorn  fisherm.in's  hut 
among  the  sweeping  sand-hills  of  the  downs.  The 
Stormy  Landscape — Sleswic-Holstein  (below)  gives 
us  a  specimen  of  this  native  tone  in  the  young 
painter's  lines,  of  black  and  white  and  mezzotint. 
The  air  is  of  a  half-tone  brightness,  the  stifl"  breeze 
bending  the  branches  of  the  trees  into  rough 
clusters  of  weird,  dramatic  eloquence.  The 
"  survival  of  the  fittest  "  seems  to  be  written  in 
bold  silhouette  upon  the  horizon  of  nature. 
Sometimes  we  find  figure  sketches  of  quaint  folk 
from  street  or  cabaret,  singing  or  dancing  to  flute 
or  violin.  A  certain  dreariness  and  morbid  humour 
seems  also  to  pervade  these  little  figure  composi- 
tions of  a  chance  meeting  or  a  happy  hour  of 
bohemian  life. 

Our  other  illustration  (page  75)  is  from  a  plate 


of  unusual  size.  It  is  the  back  entrance  of  an  old 
Gothic  castle  at  Ghent,  the  castle  of  the  Count  of 
Flanders.  The  high  walls  and  stern  turrets  ot 
this  feudal  stronghold  stand  in  fierce  and  gloomy 
uprightness  against  the  sky  of  hazy  clouds,  telling 
a  story  of  bygone  days,  with  bygone  strife  and 
deeds  of  pluck  and  chivalry.  The  foreground  of 
this  large  etching  is  peopled  by  a  few  indistinct 
figures  on  a  bare,  broad  ground,  adding  by  this 
contrast  all  the  more  to  the  force  of  the  vertical 
lines  of  staunch  mediaeval  architecture.  The  plate 
was  etched  after  a  pencil  sketch  and  enlarged,  as  it 
were,  to  its  peculiar  force  by  the  blending  of  im- 
pression and  fancy.  W.  S. 


A  MSTERDAM.— In  the  last  Winter  Special 
/\  Number  of  The  Studio,  entitled  "  Pen, 
/  \  Pencil,  and  Chalk,"  we  gave  some  ex- 
JL  \.  amples  of  pen  drawing  by  Mr.  Wencke- 
bach, who  has  long  held  a  foremost  position  among 
Dutch  draughtsmen.  The  drawing  now  reproduced 
is  one  executed  to  illustrate  a  volume,  "  Blonde 
Duinen,"  and  exhibits  the  same  sound  draughts- 


"A  STORMY   LANl):>i.AH:., 
76 


.i.t;>WlC-HOI-STEIN 


KKQ.M    AN    ETCHl.Ni;    BV    INGWER    C.     PAII.SEN 


FROM  A  PEN  DRAWING  BY 
L.    W.    R     WENCKEBACH. 


studio-  Talk 


manship  and  fine  feeling  for  line  which  we  find  in 
all  his  work  with  the  pen. 


The  bust  of  Josef  Israels  by  Mr.  Toon  Dupuis, 
of  which  an  illustration  is  here  given,  has  been 
acquired  by  the  Dutch  Government  and  placed 
in  the  Rijks-Museum  as  a  tribute  to  the  memory 
of  the  distinguished 
leader  of  the  modem 
Dutch  School  of 
painting.  Mr.  Dupuis 
was  born  at  Antwerp 
in  1877  and  is  the 
son  of  Louis  Dupuis, 
the  well-known  .sculp- 
tor and  midailleiir. 
He  studied  at  the 
Royal  Academy  of 
Fine  Arts  in  Antwerp ; 
in  1898  he  settled  at 
The  Hague  and  was 
appointed  professor  at 
the  Academy  there 
when  only  twenty- 
three.  He  has  exe- 
cuted nu  merous 
studies  and  busts  of 
Dutch  notabilities,  as 
well  as  many  medals, 
all  these  works  being 
modelled  from  the  life. 
Besides  memorial  and 
portrait  subjects  he 
has  done  a  consider- 
able number  of  sym-  bust  ok  josek  israkls 
bolic       and      genre  ( Recently  ai quired  by  the  K 

figures  and  decorative 

works,  and  quite  recently  the  architects  of  the 
Palace  of  Peace  at  The  Hague  have  commissioned 
from  him  a  figure  representing  Authority,  which  is 
to  be  placed  on  the  fagade  of  this  building.      X. 

CHEMNITZ.— In  order  to  keep  their 
annual  exhibitions  within  reasonable 
limits  the  Deutsche  Kiinstlerbund  has 
deemed  it  advisable  to  set  aside  all  black- 
and-white  contributions  and  arrange  separate  shows 
for  these.  The  one  for  this  year  at  Chemnitz  is 
the  fourth  instituted  by  the  Deutsche  Kiinstlerbund. 
Chemnitz  is  the  Manchester  of  Saxony  ;  considerable 
wealth  has  been  amassed  there,  and  attention  is  now- 
being  directed  towards  the  Fine  Arts.  The  town 
has  built  a  fine  general  museum,  part  of  which  has 
been  adapted  to  the  holding  of  art  exhibitions. 


As  usual,  drawings  predominate  in  the  present 
show,  but  no  longer  to  the  extent  we  have  been 
accustomed  to  for  the  past  decade.  In  the  begin- 
ning of  the  eighties  of  last  century,  several  strong 
etchers  and  engravers — notably  Klinger — appeared 
and  gave  an  impetus  to  the  art  of  etching. 
Their  example  induced  our  best  painters  and 
sculptors  to  try  their 
hand  at  the  graphic 
arts,  and  so  there  was 
an  important  renas- 
cence during  the 
nineties.  But  the  in- 
terest in  black  and 
white  waned  very 
soon,  and  for  the 
majority  of  practi- 
tioners all  manner  of 
etching,  lithographing 
and  woodcut  was  no 
more  than  an  episode. 


The  present  show 
seems  to  indicate  a 
change.  It  is  with 
great  satisfaction  that 
we  are  able  to  note 
a  general  improve- 
ment in  the  field  of 
etching.  A  number 
of  young  artists  have 
entered  the  lists,  with 
work  that  is  most 
promising  and  al- 
BY  TOON  DUPUIS  ready    good    enough 

iJks-Museum  at  Amsterdam)  J,-,     \ise\i.      All     of    it 

bears    upon    its   face 
the  marks  of  true  conviction  and  purpose. 


Hans  Meid  I  consider  to  be  a  most  important 
etcher.  His  plates  look  as  if  they  had  been  worked 
in  a  whirl  of  passion.  His  line  is  almost  feverishly 
nervous  ;  even  the  Une  of  Tiepolo,  or  Piranesi  at 
his  wildest,  appears  tame  in  comparison.  Meid  is 
distinctive  to  a  degree ;  you  can  pick  out  his  etchings 
among  a  thousand  at  a  glance.  Some  of  this  strong 
personality  is  still  dependent  upon  the  weirdness 
of  his  conception  and  a  rather  decadent  style  of 
draughtsmanship.  But  he  might  well  sober  down 
in  both  these  directions,  and  his  art  would  still 
remain  thoroughly  and  distinctively  his  ow^n. 


Wilhelm  Thielmann  is  very  quiet  compared  with 
Meid.     He  owes  his  strength  not  so  much  to  any 

79 


studio-  Talk 


peculiarity  of  style  as  to  the  genuine  depth  of  feel- 
ing evinced  by  his  conception.  Thielmann  presents 
us  an  impressive  picture  of  life  among  the  Hessian 
country  folk.  He  attacks  the  problem  not  from 
the  ethnographical  but  from  the  psychological  side. 
He  is  not  an  etcher  of  costumes  and  places,  but  of 
men  and  women.        

Ingwer  Paulsen  approaches  more  closely  than 
either  of  the  abo\e  to  the  ideal  established  by  the 
classic  masters  of  English  etching.  He  has  a 
keener  sense  of  style  in  black  and  white  than  the 
majority  of  his  German  confreres,  and  the  art  of 
presentment,  not  the  subject  presented,  is  of  para- 
mount interest  to  him.  Thus  he  abides  by  the 
themes  which  most  of  the  English  masters  have 
remained  satisfied  with — topographical  subjects, 
architecture,  and  landscape.  It  is  not  difficult  to 
predict  an  important  future  as  an  etcher  for 
Paulsen.  

Paul  Paeschke  etches  Berlin  subjects  in  a 
novel  way.  He  combines  dry-point  with  the 
bitten  line,  and  it  is  characteristic  of  his  work  that 
he  manages  to  set  off  very  delicate  tone  values  in 
contrast  with  his  line.  His 
atmospheric  effects  are 
most  laudable,  and  in  spite 
of  its  suavity  his  manner 
has  lost  none  of  the  free- 
dom requisite  to  its  being 
interesting. 


simply  extend  their  plates   without  adapting    the 
means  to  the  new  measurements. 


These  are  a  few  of  the  more  prominent  talents 
whose  work  was  to  be  seen  at  Chemnitz.  Other 
artists  of  recognised  standing  appeared  also  in  full 
force.  Among  them  Orlik  and  Fischer,  two  of  our 
very  best  etchers;  Liebermann,  an  interesting  phe- 
nomenon, a  sort  of  union  between  the  impressionist 
and  the  Whistlerian  ideal — about  thirty  new 
etchings  of  his  were  on  view  ;  Corinth  and  Slevogt, 
who  both  handle  dry-point  in  distinctive  and 
fascinating  manners  ;  and  many  others. 


The  interest  in  lithography,  it  appears,  has 
somewhat  abated.  There  is  scarcely  anything  new 
of  primary  importance  to  be  seen.  But  woodcut 
is  still  being  extensively  and  ably  practised. 
Munich  with  its  suburbs  possesses  a  regular  colony 
of  able  artists  who  produce  woodcuts.  Thielmann, 
Martha  Cunz,  and  Staschus  belong  to  the  best. 
Klemm's  colour-prints  are  splendid  :  unfortunately 
he  has  thought  fit  to  imitate  Renascence  prints  in 
his  latest  work,  and  he  stoops  to  such  tricks  as 
copying  cracks,  wormholes,  &:c.     At  Dresden  Prof. 


Erich  Wolfsfeld  is  one 
of  the  few  artisfS  who,  like 
Brangwyn,  can  get  away 
with  a  plate  of  large 
dimensions.  In  the  case 
of  Brang^vyn  it  seems  to 
me  that  the  tectonic  quali- 
ties of  the  plate  carr)'  it  to 
success.  \\'olfsfeld  has 
evolved  a  peculiar,  ver)- 
robust,  and  large  technique, 
which  requires  of  itself  a 
good-sized  plate.  Thanks 
to  this  fact,  namely,  that 
he  handles  a  new  line  and 
not  merely  an  enlarged 
one,  his  work  really  makes 
a  monumental  impression  ; 
it  does  not  merely  look 
magnified,  as  does  that  of 
some  other  artists  who 
So 


THE   IIjOL 


BY    EUGENIC    PELLI.M 


studio-  Talk 


THE    rOET 


BY    VLASTIMIL    llOFMANN 


Panto's  Hungarian,  Bohemian,  and  Dalmatian 
types,  and  the  colour-work  of  Dora  Seifert,  deserve 
the  utmost  praise.  H.  W.  S. 


form  the  underlying  character  and  soul, 
and  have  been  able  to  give  expression 
thereto.  So  it  comes  that  M.  Pellini 
enjoys  in  Italy  the  consideration  of  the 
most  discerning  critics,  who  have  the 
greatest  faith  in  his  future.  I  have  already 
written  in  these  pages  of  Tranquillo  Cre- 
mona, one  of  the  vanguard  of  the  new 
school  of  plastic  art  to  which  Pellini  be- 
longs, and  I  have  also  remarked  upon  the 
influence  which  Cremona,  though  his  efforts 
were  to  some  extent  paralysed  by  reaction- 
aries, has  exercised  in  Lombardy.  To-day 
we  are  gathering  a  flower,  part  of  the 
harvest  of  that  influence,  in  the  productions 
of  M.  Pellini,  whose  graceful  art  responds 
to  the  delicacy  of  Cremona,  his  style  to  the 
marvellous  nuances  of  this  master,  while  we 
do  not  fail  to  recognise  the  sculptor's 
originality  and  freshness.  This  phenomenon 
of  the  influence  of  a  painter  upon  a  sculptor 
is  by  no  means  a  new  one,but  this  example  of 
it  from  Lombardy  which  I  now  bring  to  your 
notice  makes  a  very  interesting  chapter  in  the 
history  of  present-day  sculpture  in  Italy.      A.  M. 


M 


ILAN.  —  Eugenio  Pellini,  a  young 
sculptor  who  hails  from  the  country 
near  Milan,  and  who  now  lives  in  the 
city  itself,  has  come  to  the 
front  in  these  last  few  years.  His  work 
is  modem  in  feeling,  and  he  is  espe- 
cially powerful  in  expressing  maternal 
tenderness  or  infant  ingenuousness. 
Among  his  notable  achievements  is  a 
Gefhsematie,  in  the  "  Monumentale  di 
Milano,"  the  famous  cemetery  of  the 
city.  This  work  of  noble  lines  and  high 
inspiration  attracts  by  reason  of  its  fine 
presentment  of  the  lofty  ideal  of  which 
Christ  is  the  sublime  personification. 
Apart  from  the  Gethsemane  M.  Pellini's 
auvre  comprises  a  number  of  bronzes 
and  marbles,  all  very  poetic  in  concep- 
tion. Here  we  have  the  most  lively  and 
naive  of  the  artist's  productions,  among 
which  The  Idol,  now  reproduced,  is  one 
of  the  most  touching.  In  this  group,  as, 
indeed,  in  all  his  work,  he  convinces  us 
that  sincerity  is  his  watchword,  and  that 
he  is  the  heir  of  all  those  masters  who 
have    discovered    for  us  in  the  human 


P' 


.RAGUE. — Vlastimil  Hofmann,  of  whose 
work  two  examples  are  here  given,  is  a 
Czech  by  birth  but  Polish  by  education 
and  in  his  artistic  tendencies.  The  charac- 
teristic of  his  work  is  a  curious  combination  of 


MADONNA   GAUDIOSA 


BY   VLASTIMIL   HOFMANN 
8l 


Art  ScJiooI  Notes 


refinement  and  robust  realism,  by  virtue  of  which 
it  possesses  an  indefinable  charm.  Both  the 
paintings  reproduced  figured  in  one  of  the  recent 
exhibitions  of  the  "  Manes  "  Society — a  society  of 
young  Czech  artists  founded  in  1877  for  the 
purpose  of  releasing  Bohemian  painting  from  the 
shackles  of  the  rigid  academic  manner  then  para 
mount.  Hofmann  is  also  a  member  of  the  Vienna 
Secession,  at  whose  exhibitions  his  rustic  Madonnas 
are  a  prominent  feature.  H.  SrH. 


critic  and  the  plain  man.  One  could  almost  fancy 
a  course  of  education  in  art  beginning  with  the 
study  of  some  of  these  works.  Subtle  atmospheric 
effects,  the  blaze  of  colour  that  inflames  the  land- 
scape of  Pennsylvania  in  October,  the  grey  "  en- 
veloppe,"  relieved  here  and  there  with  patches  of 
pallid  snow,  of  a  winter  scene,  the  gay  sunshine  of 
a  midsummer's  day,  have  been  rendered  here  with 
a  fidelity  that  carries  conviction  of  the  truth  ably 
translated  by  a  master  hand.  E.  C. 


PHILADELPHIA.— Mr.  Charles  Morris 
Young's  recent  exhibition  of  more  than 
sixty  canvasesat  the  Pennsylvania  Academy 
of  the  Fine  Arts  was  one  of  the  most 
significant  evidences  of  the  progress  of  the  art  of 
landscape  painting  in  America.  Seeking  his  subject 
from  his  immediate  surroundings,  he  has  treated  it 
with  a  sincerity  of  purpose  subjective  in  a  way  and 
yet  with  a  truly  artistic  "  facture  "  that  is  wonderfully 
satisfactoryand  perfectly  comprehensible  to  both  the 


ART  SCHOOL  NOTES. 

I  ON  DON.— On  .'\ugust  12  the  tablet,  of  which 
an  illustration  is  given  on  page  86,  was 
unveiled  in  Blythburgh  Church,  Suffolk, 
-^  as  a  memorial  to  the  late  Keeper  of  the 
Royal  Academy,  Mr.  Ernest  Crofts,  R.A.,  who  had  a 
residence  in  this  place.  A  large  number  of  past 
and  present  students  of  the  Academy  Schools  sub- 
scribed towards  this  tribute  to  the  memory  of  the 


THE  SNOWSTOR.M 

82 


FKo.M    IHE   on.    PAiNllNi,    BY    (.HARI.ba    MOKRIS   YOUNG 


Reviews  and  Notices 


II  IZZARD 


FROM  THE  OIL    rAINTI> 
(Sec  Philadelphia  Sliidio-Talk,  p.  84) 


HAKIK^    MORRIS   YOUNG 


deceased  painter,  who  during  his  tenure  of  the  office 
of  Keeper  was  also  ex  officio  head  of  the  Schools. 
The  memorial  is  the  joint  work  of  two  past  stu- 
dents who  passed  through  the  Schools  of  Sculpture 
and  Architecture  respectively  during  Mr.  Crofts' 
keepership — Mr.  Allan  G.  Wyon,  sculptor,  and  Mr. 
Basil  Oliver,  architect,  both  now  practising  in 
London.  

The  School  of  Art  Wood-Carving,  39  Thurloe 
Place,  South  Kensington,  has  been  reopened  after 
the  usual  summer  vacation,  and  we  are  requested 
to  state  that  some  of  the  free  studentships  in  the 
evening  classes  maintained  by  means  of  funds 
granted  to  the  school  by  the  London  County 
Council  are  vacant.  The  day  classes  of  the  school 
are  held  from  g  to  i  and  2  to  5  on  five  days  of  the 
week,  and  from  9  to  i  on  Saturdays.  The  evening 
class  meets  on  three  evenings  a  week  and  on 
Saturday  afternoons.  Forms  of  application  for 
the  free  studentships   and  any  further  particulars 


relating  to  the  school  may  be  obtained  from  the 
secretary. 

REVIEWS  AND   NOTICES. 

The  Classic  Point  of  View.  By  Kenyon  Cox. 
(London  :  T.  Werner  Laurie.)  6.f.  net. — Mr.  Kenyon 
Cox  tells  us  that  his  pages — forming  the  substance 
of  the  Scammon  Lectures  delivered  last  year  at  the 
Art  Institute  of  Chicago — will  be  found  to  contain 
a  statement,  as  clear  as  he  can  make  it,  of  what 
one  painter  believes  and  hopes  and  fears  with 
regard  to  painting  ;  of  what  he  takes  to  be  the 
malady  of  modem  art,  and  of  where  he  looks  for 
the  remedy  for  it.  He  speaks  both  to  those  young 
artists  who  have,  to  some  e.xtent,  the  future  of 
American  art  in  their  hands,  and  to  the  general 
public  whose  influence  upon  our  art  is  exercised  by 
its  patronage  or  refusal.  He  defines  the  classic  spirit 
well  when  he  says  it  strives  for  the  essential  rather 
than  the  accidental,  and  he  rightly  dissociates  it 

83 


Reviews  and  Notices 


from  the  so-called  "  classic  school  "  founded  by 
David  on  antique  sculpture.  But  we  might  at  this 
stage  point  out  that  the  failure  of  that  "  classicism," 
to  attain  anything  equivalent  in  beauty  to  the 
classic  works  of  the  antique,  was  more  than 
anything  else  due  to  the  method  which  the  author 
proceeds  to  recommend  to  his  readers  of  going  to 
nature  via  the  convention  of  a  school  instead  of 
direct,  as  the  Greeks  themselves  did,  for  inspira- 
tion. Mr.  Cox  proceeds  to  attack  the  naturalistic 
tendency  in  modem 
art,  but  appreciates 
that  the  classic  spirit 
has  more  in  common 
with  it  than  with 
modem  emotionalism 
and  individualism  : 
and  to  learn  a  thing 
rather  than  to  merely 
copy  it,  he  points  out, 
is  the  only  way  to  be 
able  to  distinguish  the 
essential  from  the  acci- 
dental. There  follows, 
accompanied  by  thirty- 
two  illustrations,  an 
analysis  of  famous 
paintings  from  the 
author's  point  of  view. 
He  eloquently  ex- 
presses the  sympathy 
which  a  certain  type 
of  mind  has  with 
whatever  is  scholastic 
and  traditional,  but  he 
does  seem  to  us  rather 
to  lose  sight  of  the  fact 
that,  after  all,  there  is 
a  great  deal  in  the  say- 
ing that  the  classicists 
themselves  are  dead 
romanticists,  and  that 

there  is  an  eager  spirit  seeking  expression  to  which 
expression  would  be  denied  along  the  lines  which 
he  would  set  down. 

The  Sacred  Shrine.  By  Vrjd  Hirn.  (London  : 
Macmillan  and  Co.)  14?.  net. — The  author  of 
this  treatise,  every^  page  of  which  gives  evidence  of 
extensive  study  and  erudition,  occupies  the  Chair 
of  .(fisthetic  and  Modem  Literature  at  the  Uni- 
versity of  Finland,  Helsingfors,  and  has  already 
made  a  notable  contribution  to  the  literature  of 
art  in  his  work  dealing  with  "The  Origins  of  Art.'' 
The  subject  of  his  present  inquiry  is,  to  use  his  own 
84 


EkNlSl  CROI  IS.  K 
8"!  I.  IS47  L)n<l  ion    kV,'|«  1- o((li<- 
l((.v<(l  A(  .HJornv'ISQ!'  l<)  1,911   llii^ 
Mt  nuirtjl  K  ti't^ctoti  IQ  his  imniory 
bv  tiio&t  sliidenrs  who  knew  HiiuVa 


words,  "  that  state  of  mind  which,  unaltered  in  its 
main    features    through    the  ages,  has  lain  at  the 
foundation     of    the    aesthetic     life    of    believing 
Catholics,"   i.e.    Roman    Catholics.     "  Looked   at 
from  the  point  of  view  of  an  outsider,"  he  truly 
remarks,    "  the    manifestations    of    Catholic    Art 
appear   in  many  cases  meaningless  and  uninterest- 
ing ;    but  the    confusion  becomes    order,  and   the 
seemingly  unimportant  becomes  interesting,  if  one 
makes  oneself  familiar  with  the    world-philosophy 
which  lies  at  the  basis 
of  the    aesthetic    pro- 
duction."    He  goes  on 
to  point  out  that  "  on 
the   ground   of   the 
magical  features  in  its 
ritual  the   Roman    re- 
ligion has  often,  espe- 
cially  in  Protestant 
polemic,    been    repre- 
sented as   a   material- 
istic heathendom  ;  but 
in  doing  so  the  fact  has 
been   overlooked  that 
the   material   and   the 
visible  comprises  only 
one  side  of  a  Catholic 
ceremony  "  ;  the    doc- 
trine of  a  mystic  union 
between  the  visible  and 
the    invisible   is    what 
gives  the   Catholic 
cult   its    characteristic 
quality,  "and  it  is  by 
reason    of    the    same 
doctrine  that  Catholic 
art   is    more    aesthetic 
than    Protestant    art, 
and    more    religious 
than  heathen  art." 
The  author,  in  his  ex- 
position, adopts  a  two- 
fold division  ;  first  he  devotes  a  series  of  chapters  to 
the  Mass  ritual  and  the  furniture  and  instruments 
associated  with  it — the  altar  and  its  appurtenances, 
the  reliquary,  the  Holy  of  Holies,  the  monstrance 
and  the  tabemacle ;  while  the  rest  of  the  book,  or 
more  than  300  out  of  nearly  500  pages,  is  con- 
cerned with  the  manifold  aspects  of  the  Cult  of 
the  Madonna.     The  forms  of  art  with  which  the 
chapters   on   the    Mass   ritual   are  concemed  are 
architectural,  decorative,  and  dramatic ;   in  those 
on    the    Madonna    Cult    the    aesthetic    subjects 
primarily    treated    are    sculpture,    painting,    and 


TABLET  IN  BI.VTHBfRC.H  CHIRCII,  Sl'FFOl.K,  TO  THE 
MEMORY  OK  ERNEST  CROKTS,  R.A. ,  SUBSCRIBED  FOR 
BY  PAST  ANl>  I'KESENT  STUDENTS  OF  THE  ROYAL 
ACADEMY.  BY  ALLAN  G.  WYON,  SCULPTOR,  AND 
BASIL  OLIVER,  A.R.I. B.A.,  ARCHITECT. 
(See  London  Art  School  Notes,  p.  84) 


Reviews  and  Notices 


poetry,  in  the  representations  of  which  must  be 
sought  "  Catholicism's  ideal  type  of  physical  and 
moral  beauty,  i.e.  the  human  Virgin  who  by  reason 
of  her  grace  and  her  virtues  was  found  worthy  to 
be  the  Mother  of  God."  Prof.  Hirn's  exposition, 
which  is  marked  throughout  by  a  tone  of  sincerity 
and  respect,  will  enable  the  non-Catholic  to  under- 
stand and  appreciate  better  that  intimate  associa- 
tion of  art  and  religion  which  has  enriched  the  world 
with  so  many  magnificent  works  of  architecture, 
sculpture,  painting,  and  other  forms  of  artistic 
creation. 

Canadian  Pictures.  By  Harold  Copping.  De- 
scribed by  Emily  P.  Weaver.  (London  :  Religious 
Tract  Society.)  zis.  net. — This  handsome  port- 
folio, upon  the  very  artistic  production  of  which 
the  publishers  are  to  be  congratulated,  contains 
thirty-six  colour  reproductions  from  drawings  in 
water-colour  or  pastel,  in  which  Mr.  Harold  Copping 
has  depicted  various  scenes  and  phases  in  the  life 
of  that  great  Dominion  which  forms  so  important 
a  part  of  the  British  Empire.  Attached  to  each 
plate  is  an  explanatory  and  historical  note,  in  which 
the  writer  has  supplemented  in  an  interesting 
manner  the  artist's  pictures,  the  subjects  of  which 
cover  an  extensive  field,  embracing  the  chief  cities, 
Quebec,  Montreal,  Ottawa,  Toronto,  \\'innipeg, 
Victoria,  Vancouver,  Regina,  the  wheatfields  of 
Manitoba,  the  Niagara  Falls,  the  prairie  in  Saskat- 
chewan, and  the  Doukhobor  country,  besides 
various  mountain,  lake,  and  river  views.  Not  the 
least  interesting  of  the  artist's  drawings  are  the 
studies  of  a  Doukhobor  woman  and  some  Black- 
foot  Indian  types. 

Greek  and  Roman  Portraits.  By  Dr.  Anton 
Hekler.  (London  :  Heinemann.)  Tfis.  net. — 
Dr.  Hekler's  book  contains  considerably  over 
three  hundred  large  reproductions  from  Greek  and 
Roman  portraits,  and  the  reproductions  are 
triumphs  of  printing.  The  author  devotes  several 
pages  in  the  beginning  to  an  exhaustive  analysis  of 
the  influences  which  determined  the  characteristics 
of  ancient  portrait-sculpture,  and  we  have  in  his 
pages  a  very  closely  wrought  history  of  the  pre- 
dominant impulses  of  Hellenistic  and  Republican 
Roman  portrait-art.  The  reader  is  enabled  by  the 
light  of  the  illustrations  to  accompany  the  author 
in  the  search  for  the  specifically  Roman  element  in 
the  portrait-art  of  Republican  Rome.  In  an  earlier 
portion  of  the  essay  the  process  of  the  growth  of 
the  art  of  portraiture  is  well  put  into  words,  words 
which  still  seem  to  contain  a  key  to  the  progress  in 
the  direction  of  extreme  individualism  in  art  of 
every  kind  to-day.     "  The  interest  in  individuals 


awakes  in  more  advanced  periods.  Its  first  con- 
dition is  a  refinement  of  culture,  which  entails 
variety  of  facial  expression  ;  not  only  do  differences 
of  class  become  marked,  but  man  and  woman  are 
made  more  dissimilar.  The  individual  becomes 
more  and  more  pronounced  in  the  community. 
The  interest  in  personality  then  comes  into  play. 
The  mighty  impetus  carries  everything  away  with 
it,  philosophy  as  well  as  art  and  letters." 

La  Faience  et  la  Porcelaine  de  Marseille.  Par 
TAbbe  Arnaud  d'Agnel.  (Paris :  Lucien 
Laveur ;  Marseilles  :  Jouvene ;  London  :  Siegle 
and  Co.  Ltd.)  Frcs.  60. — The  manufacture  of 
faience  seems  to  have  been  carried  on  at  Marseilles 
for  at  least  two  centuries,  though  no  definite  in- 
formation as  to  the  precise  date  of  its  introduction 
exists:  but  the  ware  has  not  hitherto  received  much 
attention  from  writers,  and  such  accounts  of  it  as 
have  been  published  are  altogether  meagre  in  pro- 
portion to  the  dimensons  which  the  industry 
assumed  in  the  course  of  its  history.  Ample 
amends  for  this  scantiness  are,  however,  made  in 
the  volume  before  us,  a  bulky  quarto  of  more  than 
500  pages  of  letterpress  in  addition  to  sixty  plates 
hors  texte  in  which  several  hundred  objects  are 
figured  in  colours  or  black.  The  author  appears 
to  have  made  a  thorough  study  of  the  history  of 
the  manufacture,  and  although  his  researches  have 
left  several  points  connected  with  the  earliest  period 
still  obscure,  his  account  of  the  manufacture  from 
the  time  when  it  became  definitely  established  is 
comprehensive,  embracing  biographical  notices  of 
all  the  maitres  faienders  who  carried  on  the  pro- 
duction of  the  ware,  a  dissertation  on  the  technical 
methods  employed  therein  and  the  artistic  qualities 
of  the  ware,  in  the  course  of  which  the  influence  of 
other  centres  of  ceramic  manufacture  is  alluded  to, 
and  lastly,  an  economic  history  of  the  industry,  from 
which  it  appears  that  the  ware  was  exported  in 
considerable  quantities  to  foreign  countries  and 
especially  to  French  possessions.  The  only  justifi- 
cation for  the  inclusion  of  the  word  "  Porcelaine  " 
in  the  title  is  an  appendix  concerning  the  produc- 
tions of  Joseph  Gaspard  Robert,  Honore  Savy,  and 
others,  and  a  coloured  plate  showing  six  pieces 
made  by  Robert,  the  most  notable  of  the  group. 


We  have  received  from  Wengers  Ltd.,  of  Etruria, 
Stoke-on-Trent,  a  copy  of  their  General  Price  List 
No.  50,  giving  particulars  of  a  vast  number  of 
materials  and  implements  manufactured  by  the 
firm  for  the  use  of  potters,  glass-makers,  enamellers 
on  metal,  and  others.  They  will  be  pleased  to  send 
a  copy  to  any  one  interested. 

85 


The  Lay  Figure 


T 


HE   LAY   FIGURE:    ON    PRAC- 
TICAL ART  TEACHING. 


"  I  WONDER  whether  we  shall  ever  succeed 
in  organising  a  really  practical  system  of  art  educa- 
tion in  this  country,"  said  the  Art  Critic.  "  I  cannot 
see  that  our  present  methods  have  any  right  to  be 
considered  efficient  or  that  they  give  anything  like 
adequate  results." 

"  I  do  not  at  all  agree  with  you,"  protested  the 
Art  Master.  "  Our  modern  methods  .seem  to  me 
to  be  worthy  of  all  respect.  They  represent  the 
conclusions  arrived  at  by  the  men  who  are  acknow- 
ledged to  have  most  experience  in  educational 
questions,  and  they  are  well  adapted  to  the  needs 
of  students  of  art." 

"Still,  if  the  results  are  inadequate  the  methods 
are  not  what  they  ought  to  be,"  broke  in  the  Man 
with  the  Red  Tie.  "The  educator  may  be  ex- 
perienced and  yet  not  infallible." 

"  But  I  deny  that  the  results  are  inadequate," 
cried  the  Art  Master.  "  Look  at  the  enormous 
number  of  students  who  are  now  working  in  our 
art  schools  and  see  how  the  standard  of  technical 
practice  has  risen  in  recent  years.  You  cannot 
point  to  any  previous  period  in  our  art  history  when 
so  many  brilliant  young  artists  were  available  or 
when  the  general  standard  of  artistic  accomplish- 
ment stood  so  high." 

"  Oh,  I  am  quite  ready  to  grant  that  the  general 
practice  of  the  painter's  craft  has  considerably 
improved,  and  that  there  are  quite  a  lot  of  modern 
painters  who  are  admirably  trained  in  all  the  tricks 
of  their  trade,"  replied  the  Critic.  "  But  it  is  just 
for  that  reason  that  I  say  that  our  system  of  art 
education  is  unpractical.  We  are  wasting  all  our 
energies  in  teaching— very  efficiently,  I  admit — a 
vast  number  of  men  to  paint  pictures  that  nobody 
appears  to  want,  and  we  are  neglecting  applications 
of  art  which  are  really  of  much  more  importance." 

"  No,  that  is  not  a  fair  statement  of  the  position," 
objected  the  Art  Master.  "  We  do  not  confine 
ourselves  to  training  painters ;  we  are  training  an 
even  greater  number  of  students  to  become  de- 
signers. There  is  a  vast  amount  of  attention  being 
given  at  the  present  time  to  the  development  of 
the  applied  arts  and  to  the  encouragement  of  the 
artistic  crafts." 

"  What,  then,  becomes  of  all  the  designers  you 
turn  out  ? "  inquired  the  Man  with  the  Red  Tie. 
"  We  have  not  made  any  startling  progress  of  late 
years  in  design  ;  indeed,  we  have  in  that  branch  of 
art  fallen  behind  other  nations.  How  do  you 
account  for  it  ?  " 
86 


"  I  do  not  think  we  have  fallen  behind,"  returned 
the  Art  Master.  "  We  are  holding  our  own  quite 
reasonably  well.  There  are  plenty  of  able  designers 
in  this  country." 

"  Yes,  but  how  many  of  them  can  you  claim  as 
products  of  your  system  of  education  ?  "  interrupted 
the  Critic.  "  If  your  teaching  were  so  efficient 
there  would  be,  not  a  few  men  prominent  in  design, 
but  a  mass  of  skilful  designers  who  would  raise 
perceptibly  the  whole  standard  of  what  one  may 
call  commercial  art.  Now,  I  complain  that  the 
bulk  of  commercial  art  is  tawdry  and  pretentious, 
wanting  in  taste  and  lacking  in  esthetic  quality. 
Why  should  that  be  ?  " 

"  \\'e  train  the  designers,  but  if  the  manufacturers 
will  not  employ  them  that  is  not  our  fault,"  pro- 
tested the  Art  Master. 

"I  am  not  so  sure  about  that,"  replied  the  Critic. 
"  I  think  it  is  your  fault,  because,  as  I  have  already 
said,  your  system  is  not  practical.  You  teach  the 
theory  of  design,  but  you  pay  no  attention  to  its 
practice.  You  train  students  to  design  things  about 
the  making  of  which  they  are  ignorant,  and  this 
ignorance  you  do  nothing  to  enlighten.  When 
your  students  leave  school  and  seek  for  employment 
they  cannot  get  it  because  they  do  not  know  how 
to  apply  the  theories  they  have  learned  to  actual 
production ;  because,  in  fact,  you  have  not  made 
craftsmen  of  them.  The  manufacturers  want  men 
who  can  work,  not  theorists  whose  abstract  imagin- 
ings have  to  be  made  workable  by  some  one 
else." 

"  But  the  art  school  is  not  meant  to  be  a  work- 
shop," objected  the  Art  Master. 

"  Is  it  not  ?  "  commented  the  Critic.  "  I  think 
it  ought  to  be.  Look  at  the  Austrian  schools  of 
Applied  Art  and  see  what  results  they  are  achieving 
by  making  their  students  test  theoretical  knowledge 
by  practical  work.  Look  at  the  German  schools  and 
see  how  they  are  being  remodelled  on  the  same 
lines.  Look  at  the  few  great  craftsmen-designers 
we  have,  who  know  by  practical  experience  just 
how  a  design  should  be  made  to  suit  perfectly  the 
materials  in  which  it  is  to  be  carried  out.  Why 
should  not  our  art  teachers  learn  a  lesson  them- 
selves and  realise  that  our  art  schools — I  mean 
especially  those  established  and  maintained  by  the 
public  authorities — must  become  workshops  if  the 
training  of  the  student  is  ever  to  be  reorganised  on 
practical  lines  ?  When  are  we  going  to  have  the 
sense  to  admit  our  inefficiency  ?  " 

"  Ah,  I  wonder  !  "  laughed  the  Man  with  the 
Red  Tie. 

The  Lav  Figure. 


A)Hicrs  Zorn 


ANDERS  ZORN'S  RECENT  PAINT- 
j\    INGS   AND    SCULPTURE.      BY 

iX.  DR.    AXEL    GAUFFIN.       (Translated 
by  Edward  Adams-Ray. ) 

It  has  fallen  to  the  lot  of  Anders  Zorn  to  have 
progressed  through  one  of  the  most  self-evident 
courses  of  development,  and  to  have  experienced 
some  of  the  most  rapidly  won  recognition  known 
in  the  history  of  art.  The  whole  of  his  work 
possesses  something  of  that  quality,  captivating  to 
the  outward  sense,  which  is  spontaneous  in  its  direct 
attractiveness  and  is  founded  on  a  phenomenal 
skill  that  fetters  the  beholder  in  chains  of  wonder 
and  admiration.  He  is  the  Aladdin  of  art — I 
think  the  phrase  has  been  employed  before,  for 
it  springs  unbidden  to  one's  lips  in  the  presence  of 
this  man. 

But  Aladdin  never  reached  old  age. 
It  is  difficult,  at  least,  to  imagine  that 
son  of  fortune  with  a  wrinkled  brow 
and  venerable,  silver-white  beard. 
Zorn  has  passed  his  tenth  lustrum 
but,  in  many  respects,  he  is  still  the 
same  as  he  was  twenty  years  ago. 
In  this  fact  lie  both  the  greatness 
and  the  limitations  of  his  art.  With 
extraordinary  vitality  his  brush  still 
conjures  forth  new  daughters  of  the 
land  of  beauty  which  he  has  laid 
beneath  his  sceptre.  But  this  crea- 
tive act  is  repeated  so  often  that  I 
should  not  be  surprised  if  a  looker- 
on    felt    himself    tempted    to    ask : 

"Well ?"      And    yet    there    is 

something  so  inherently  natural  in 
Zorn's  art.  This  genius  of  the  nude, 
who  stands  unparagoned  in  the  realm 
of  modern  painting,  has  become 
what  he  is  by  the  absolute  honesty 
with  which  he  has  pursued  his  aim, 
the  open  worship  he  has  practised  of 
the  naked  woman.  He  can  go  to  a 
painting  with  the  resolution  to  make 
this  time  a  great  composition — "  une 
grande  machine,"  as  they  say  in  Paris. 
But  when  he  sees  his  model  before 
him  in  all  her  naked  grace,  he  bends 
the  knee  once  more  at  that  in- 
exhaustible source  of  beauty,  the 
human  body.  But  it  is  not  a  bend- 
ing of  the  knee  in  the  presence  oi 
the  unattainable.  It  is  just  a  thanks- 
giving that  this  wonder  exists, 
XLVIII.  No.  igo. — December  191 


that  it  is  of  the  earth,  tangible  and  attainable, 
a  consolation  and  a  source  of  enjoyment  for 
man.  And  the  beauty  he  reproduces  is  mundane. 
He  models  the  torso  with  a  marvellous  solidity,  as 
a  symbol  of  the  fullness  and  richness  of  life  ;  he 
touches  caressingly  the  fine  meshwork  of  the  skin  ; 
he  falls  into  an  ecstasy  when  he  finds  a  new  light, 
a  new  tone,  some  unimagined  delicacy,  where  the 
sun-mist  of  the  atmosphere,  or  the  half-open  door 
of  the  timbered  house  throws  its  shifting  shadow 
of  blue  or  green. 

At  the  exhibition  of  Zorn's  pictures  which  opened 
about  the  middle  of  September  in  the  rooms  of  the 
Konstforening  at  Stockholm,  and  in  which  he 
brought  together  a  number  of  his  canvases  painted 
during  the  last  few  years,  one  of  the  most  apparent 
features  was  the  evidence  it  gave  of  his  return  to 
that  blonde,  open-air   painting   by  which  he  first 


PORTRAIT    OK    C.     F.    LIIJEWALCH 


BY    ANDERS   ZORN 


Anders  Zoni 


brought  himself  into  prominence  at  the  close  of 
the  eighteen  eighties.  And  he  has  gained  new 
laurels  on  the  old  well-known  field.  He  has 
probably  hardly  ever  painted  anything  more 
delicate  than  SJoblom's  Scow ;  Dagmar  has  been 
imagined  mainly  as  a  tone  of  soft,  northern  blond- 
ness,  while  Startled  —  a 
picture  of  this  year  showing 
three  young  women  run- 
ning towards  the  water 
— must  perhaps  be  ac- 
counted, from  an  artistic 
point  of  view,  the  richest 
in  conception,  with  its  de- 
Imeation  of  that  typically 
-Swedish,  obliquely  trun- 
cated shore-motif  which 
has  so  often  served  as  the 
frame  of  his  paintings  of 
the  nude.  What  is  most 
worthy  of  our  admiration 
in  these  things  is  the 
manner  in  which  the 
atmosphere  melts,  as  it 
were,  into  human  figure 
and  the  landscape,  and  the 
natural,  innate  freedom  of 
the  movements.  Simply 
astounding  in  the  last- 
named  picture  is  the  way 
in  which  the  artist  has 
caught  and  reproduced  in 
his  canvas  the  light,  un- 
constrained movement  of 
the  startled  women  in  their 
hurry  to  seek  shelter,  and 
their  careful  stepping  over 
the  pine-needles  that  cover 
the  slippery  rocks.  From 
a  psychological  point  of 
view  this  rendering  of 
movement  is  absolutely 
convincing. 

That  feeling  of  subtilised 
French    technique   which 

one  sometimes  experiences  in  the  presence  of  these 
pictures  of  the  nude,  appears  to  me  to  be  less  in 
evidence  in  Zorn's  pictures  of  peasants  in  their 
dresses,  and  in  his  portraits.  He  seizes  his  peasant 
women  (kullor)  with  a  robuster  northern  hand 
when  they  stand  dressed  in  their  many-coloured 
bodices  and  caps.  His  Skerikulla  is  simply  and 
solely  a  happy,  healthy,  peasant  lass,  and  the  artist 
has  expressed  her  joy  of  life  and  her  health  in 
90 


AI.MA.         STATUE 
RKI)   CLAY    BY 


every  line  of  his  brush,  in  every  play  of  sunlight 
and  each  wrinkle  on  her  face.  In  Sunday,  both 
the  model  and  the  sfcimning,  or  mood,  are 
different.  Here  we  have  a  herd-girl,  who,  alone  in 
her  shealing  high  up  among  the  fells,  has  dressed 
herself  in  her  whitest  shift  and  the  best  skirt  she 
has  at  hand,  and  hears  the 
clang  of  the  Sunday  bells 
from  far  away  in  the  dales, 
whither  the  light,  hard  eyes 
look  wistfully  away  from 
the  terrifying  loneliness  of 
the  forest.  In  ]]'atering 
the  Horse,  again,  the  artist 
carries  us  to  Gopsmor,  the 
old-time  Dalecarlian  farm 
to  which  he  every  now  and 
then  retires  in  order  to  be 
able  to  devote  himself  to 
his  art  without  fear  of  in- 
terruption. There  he  him- 
self goes  about,  like  the 
man  in  the  picture,  dressed 
in  sheepskin  jacket  and 
knee-breeches,  the  ancient 
costume  of  Dalecarlian 
men.  Last  of  all  we  have 
Matins  on  Christmas  Dav, 
a  poem  full  of  the  light  of 
Christmas  and  the  dawn 
of  a  new  day. 

But  it  is,  perhaps,  as  a 
portrait  painter  that  Anders 
Zorn  has  won  his  proudest 
laurels  and  made  his  name 
most  widely  known. 
Amongst  portraits  of  lesser 
interest,  the  exhibition 
offered  us  one  of  the  state- 
liest things  he  has  ever 
marked  with  his  name  and 
his  genius.  It  is  "  the 
counterfeit  presentment " 
of  one  of  Sweden's  most 
prominent  business  men 
and  patrons  ot  art  of  late  years — Mr.  C.  F. 
Liljewalch.  It  is  a  robust  nature  the  artist  has 
caught  on  his  canvas  ;  one,  it  is  true,  that  has 
already  begun  to  lose  its  first  vigour,  but  which  still 
has  strength  and  power  of  will  enough  to  be  able  to 
gaze  into  the  great  shadow  with  eyes  that  look  out 
undauntedly  from  beneath  the  gloom  of  the 
eyebrows. 

It  is  of  peculiar  interest  to  compare   this  last 


I TE    MODELLED    IN 
ANDERS   ZORX 


^^^^//// 


"SKERIKULLA"  (SWEDISH  PEASANT 
GIRL).  FROM  THE  PAINTING  BY 
ANDERS   ZORN 


SUNDAY."     FROM   THE  PAINTING 
BY   ANDERS  ZORN 


"  WATERING  THE   HORSE   iDALECARLIAr' 
FROM  THE   PAINTING  BY  ANDERS  ZORN 


'DAGMAR." 
PAINTING 


FKO.M     THE     OIL 
BY   ANDERS   ZORN 


Anders  Zoyu 


phase  of  Zorn's  art  with  the  two  magnificent 
paintings  from  1889  which  were  also  exhibited. 
One  of  them  is  an  old  acquaintance,  the  artist's 
celebrated  portrait  of  Coquelin  cadet,  from  Mr. 
Thorsten  Laurin's  collection,  a  genial,  sketch-like, 
instantaneous  picture  of  the  great  actor,  revealing 
the  shyness  of  genius  and  the  complaisance  of  the 
man  of  the  world.  The  other  is  a  canvas  which  is 
as  good  as  hitherto  unknown,  an  interior  with  five 
figures,  Baking  in  Mora.  It  was  sold  in  France 
shortly  after  it  was  completed,  and  has  only  quite 
lately  come  to  light  again  and  been  brought  to 


PORTRAIT   OF   COQUELIN    CAPET 

(In  the  collection  of  Thorsten  I.aiiriii,  Esq. 


Sweden  by  one  of  our  most  industrious  younger 
collectors,  Mr.  Piltz.  The  intricate  problem  which 
here  confronted  the  artist  has  been  solved  by  him 
with  astounding  confidence  ;  the  child  in  the  fore- 
ground is  the  only  thing  that  does  not  breathe  the 
air  of  the  cottage  ;  the  other  figures  are  full  of  life 
and  activity,  in  spite  of  all  the  ruthless  fore- 
shortening and  reflected  lights. 

In  spite  of  that  advertisement  of  his  labours  as  a 
sculptor  which  is  seen  in  his  portrait  of  himself  in 
the  Uffizi  Gallery  at  Florence  (the  picture  shows 
him  engaged  in  modelling  his  wife's  bust),  there 
are  certainly  many  of 
Zorn's  admirers  who  are 
not  aware  that  the  great 
artist  and  etcher  is  an  ex- 
ceedingly skilful  sculptor 
too.  In  his  exhibition  he 
had  two  items ;  one,  a 
woman's  figure.  Alma,  and 
the  other  an  equestrian 
statuette  of  a  popular 
Swedish  hero  of  medisval 
times,  Engelbrekt,  which 
would  have  been  sufficient 
to  have  assured  him  a 
name  in  the  province  of 
Swedish  sculpture.  Alma 
is  a  female  figure  executed 
in  red  clay,  which  in  its 
plastic  form  translates  the 
sculptor's  ideal  of  womanly 
beauty,  such  as  we  have 
learned  to  know  it  in  his 
work  with  the  brush  :  it  is 
a  miracle  of  graceful  play- 
fulness. In  character  and 
in  the  movement-motif,  the 
other  work,  Engelbrekt,  has 
something  in  common 
with  the  artist's  statue  of 
Gustaf  Vasa  at  Mora.  In 
both  instances  the  tension 
of  soul  has  an  unconscious 
reflection  in  the  constrained 
extension  of  the  muscles. 
Engelbrekt  possesses,  per- 
haps, a  more  delicate  treat- 
ment of  form  than  the  first 
statuette:  it  awakens  a 
desire  to  touch  and 
caress  the  sinuous  sur- 
face ;  one  can  grasp  with 
the  eye  the  generous, 
95 


BV   ANDERS   ZORN 


oi  O 

O  N! 


David  Miiiyhead 


"ENGELBKKKt"    (a    bWEDIill     .MELil.li\  AL     HERO).       MODELLED    B-Y    ANDERS    ZORN 


DAVID  MUIR- 
HEAD,  LAND- 
SCAPE AND 
FIGURE  PAINTER. 
BY  FRANK  W. 
GIBSON. 

A  STRONG  love  of  the 
country  is  natural  to  many 
painters  and  also  to  those 
who  patronise  painting. 
There  is  a  fellow-feeling 
with  both  for  trees  with 
their  colour  and  shade,  for 
distance  and  space  in  skies 
and  clouds,  or  for  sun- 
light on  grass  and  water. 
Amongst  landscape  painters 
there  are  some  who  have 
had  something  to  say,  and 
encouraged  by  apprecia- 
tion and  worldly  success 
have  ventured  to  state 
it  as  persistently  as  they 
can.  Constable  is  a 
firm  fullness  of  form  of  the  magnificently  modelled  past  example  of  this  theory,  and  certainly  justi- 
charger.  Zorn  has  thought  of  the  statue  as  erected  fied  himself  in  the  end.  Mr.  David  Muirhead  is 
in  monumental  form  in  front  of  the  Riksdag  House  a  living  example  of  one  of  those  artists  who  have 
in  Stockholm.  Whether  this  idea  will  ever  become  shared  Constable's  love  of  landscape,  with  its 
a  reality  is  more  than  un- 
certain ;  unfortunately  so, 
for,  if  this  delightful  piece 
of  sculpture,  as  a  monu- 
ment, fulfilled  the  promise 
of  its  present  form — a 
thing  which,  of  course,  it 
is  somewhat  difficult  to 
decide — then  one  of  the 
most  beautiful  but  puri- 
tanically unadorned  open 
spaces  in  the  world  would 
be  filled  with  a  work 
•worthy  alike  of  the  spot 
itself  and  of  Sweden's  most 
celebrated  artist.      A.  G. 

Mr.  W.  G.  von  Glehn's 
^^\zX.■\lx&  New  England,  which 
was  reproduced  in  colour 
in  our  June  number,  has 
been  purchased  under  the 
Felton  Bequest  for  the  Mel- 
bourne National  Gallery.  "the  avenue"  by  david  muirhead 

97 


David  Miiirlicad 


showery  windy  skies,  trees  heavy  with  midsummer 
foliage,  and  the  wet  sparkle  and  glitter  of  English 
landscape  under  such  effects,  all  of  which  he  ren- 
dered with  so  much  truth  and  spirit  and  such 
freshness  of  style.  These  apparently  are  the 
qualities  in  the  great  landscapist's  work  that  seem- 
ingly have  attracted  Mr.  Muirhead  :  but  it  is  an 
attraction  that  has  made  for  good,  for  it  has 
filled  him  with  a  high  ambition,  it  has  made  him 
fastidious  in  his  search  for  forms,  but  it  has  not 
made  him  in  any  degree  a  copyist  of  the  great 
English  landscape  painter  whose  work  caused  such 
excitement  when  it  was  exhibited  at  the  Salon  of 
1824,  and  whose  art,  by  its  aspects  and  feeling, 
must  undoubtedly  have  helped  to  plant  firmly  and 
vivify  French  landscape  painting.  In  England  his 
influence  has  been  equally  great,  if  one  studies  his 
contemporaries,  David  Cox  and  Peter  de  Wint, 
whose  water-colours  had  the  same  feeling  for  air 
and  freshness  :  and  later  Cecil  Lawson  showed  in 
his  work  Constable's  largeness  and  dignity  of  view  ; 


whilst  in  our  own  generation  the  influence  has 
come  back  from  France  in  certain  of  Mr.  1*.  Wilson 
Steer's  landscapes. 

As  a  colourist  Mr.  Muirhead  is  entirely  original  ; 
his  tones  seem  to  be  derived  from  the  close  study 
of  nature's  colour,  and  give  the  idea  of  reality — 
open-air  reality — and  also  of  decorative  effect.  It 
is  one  of  the  essentials  in  a  painting  that  it  should 
be  decorative,  otherwise  its  reason  for  hanging  in  a 
room  is  not  very  clear.  Of  course  a  painting  may 
have  other  qualities,  such  as  a  feeling  for  character 
or  for  sentiment,  like  that  which  Millet  possessed. 
Even  in  the  work  of  artistswho  have  used  symbolism, 
or  those  who  have  illustrated  legends  or  historical 
events  or  everyday  occurrences  of  their  own  time, 
it  will  be  surely  found  that  their  work  only  lives  by 
its  possessing  decorative  qualities  ;  and  bound  up 
with  this  is  that  unity  of  purpose  that  the  artist 
gets  from  selecting  only  such  forms  as  he  can  weave 
into  a  decorative  whole. 

Mr.  Muirhead  has  gone  very  much  his  own  way 


"THE   Mn.L   AT   CERES  " 


BY    DAVID   .MUIRHEAD 


(In  the  possession  oj 
C.  H.  Moore,  Esq.) 


"THE  LOST   PIECE   OF  MONEY' 
BY   DAVID    MUIRHEAD 


THE  FEN   BRIDGE." 
DAVID  MUIRHEAD 


BY 


(In  the  collution  of  St> 
Charles  Darling) 


^^'. 


'Jt£g3tgBgf 


"^■^^^.-w 


rm  *9li!ii()^  f* 


-A   WOODLAND    POOL." 

FROM      THE       PAItJTIMG      BY 

DAVID       MUIRHEAD. 


David  Mnirheaa 


in  forming  an  original  style  of  his  own.  He  began 
his  artistic  career  in  Edinburgh,  where  he  was  born, 
and  he  says  he  had  the  usual  school  drawing  at  the 
Royal  High  School  of  that  town,  and  after  attend- 
ing the  Royal  Institution,  which  is  the  Government 
school,  he  tried  for  and  was  admitted  a  student  at 
the  schools  of  the  Royal  Scottish  Academy,  where  he 
studied  under  Lawson  Wingate,  William  Hole,  and 
R.  Alexander.  After  this  he  came  to  London  and 
attended  Professor  Brown's  class  at  the  Westminster 
Art  School  for  a  little  more  than  a  year.  Before 
taking  up  art  altogether  Mr.  Muirhead  had  some 
training  as  an  architect  under  Mr.  Sydney  Mitchell. 
He  began  to  exhibit  pictures  at  the  Royal 
Scottish  Academy  and  also  at  Glasgow  :  the  first 
painting  he  showed  in  London  was  exhibited  at 
the  Royal  Academy  in  1895 — a  portrait;  at  the 
same  place  in  the  following  year  another  portrait. 
In  1896  he  first  showed  a  landscape  at  the  New 
English  Art  Club.  In  1898  to  the  British  Artists' 
Exhibition  he  sent  two  harbour  scenes  ;  the  larger 
one  was  called  Old  Stonehaven,  the  other  Evening ; 
and  in  the  same  year  at  the  New  English  Art  Club 
the  most  important  landscape  he  had  hitherto  shown. 
The  Village  of  Ceres,  a  fine  pastoral,  the  sky  of 
which  is  painted  with  such  truth  that  the  clouds 
really  seem  to  float  across  it.  The  Mill  at  Ceres, 
which  followed  next  year,  also  gives  the  feeling  of 


sunlight  and  heat.  From  this  date  he  has  been 
faithful  to  the  New  English  Art  Club,  of  which  he 
is  a  prominent  member,  and,  with  the  exception 
of  the  Exhibition  of  International  Art  (where  he 
showed  at  the  first  display  they  held  in  London,  in 
1898,  two  portraits  and  a  marine),  he  has  exhibited 
nowhere  else  :  thus  his  finest  work  has  been  seen 
there,  consisting  of  such  pictures  as  Autumn,  which 
was  a  beautiful  landscape,  full  of  true  sentiment  of 
the  grave  kind  which  Mr.  Peppercorn  so  often 
reveals  in  his  scenes.  Another  very  interesting 
work  is  The  Fen  Bridge,  which  belongs  to  Sir 
Charles  Darling,  a  painting  that  has  in  itself  much 
beauty  of  style  and  feeling  for  decoration  and  the 
qualities  of  paint.  The  Avenue  is  a  canvas  on 
which  is  shown  most  truthfully  and  most  beauti- 
fully the  brilliancy  and  sparkle  of  sunlight  filtering 
into  and  through  the  recesses  of  a  woodland  land- 
scape. It  was  painted  in  1902.  Three  or  four 
years  later  came  the  Woodland  Pool,  a  rather 
similar  subject  but  a  quieter  effect  of  a  sunlit 
natural  scene,  but  none  the  less  true.  The  Wind- 
mill at  Cley  is  full  of  solemn  sentiment  quite  in 
keeping  with  its  grey  tones.  One  of  Mr.  Muirhead's 
recent  landscapes  is  The  Cornfield,  which  was  shown 
at  the  last  Autumn  Exhibition  of  the  New  English 
Art  Club ;  it  is  a  successful  attempt  to  suggest 
light  and  heat.     Various  as  the  artist's  subjects  in 


1 

1 

! 

E^^^^P^*^ 

'  A   CORNFIELD 


(The  tiroperly  Of  Julian  Lousada,  Esq.) 


BY    DAVID   MUIRHEAD 
103 


David  Muirheaii 


landscape  are,  they  all  have  a  definite  personal 
spirit. 

Although  Mr.  Muirhead  is  generally  better 
known  by  his  landscapes  to  many,  he  deservedly 
merits  recognition  also  as  a  figure  painter.  One 
of  his  most  successful  works  is  the  picture  called 
TTie  Lost  Piece  of  Money,  here  reproduced,  which 
was  seen  at  the  New  English  .\rt  Club  some  few 
years  ago.  The  colour  is  subdued  but  rich,  with 
its  deep  reds  and  greys  ;  the  composition,  which 
is  skilfully  planned  and  conceived,  deservedly 
attracted  much  notice  when  it  was  shown.  A 
somewhat  similar  work  is  The  Sisters,  which  was 
seen  at  a  later  exhibition  and  in  which  the  quiet 
dignity  and  perfect  naturalness  of  the  figures  give 
the  picture  a  haunting  beauty. 

His  latest  essay  of  this  kind  is  the  picture  called 
Night  Piece,  here  reproduced  in  colour ;  it  was  ex- 
hibited at  the  Xew  English  -Art  Club  this  summer, 
and  is  destined  by  the  generosity  of  Mr.  Edmund 
Davis  to  adorn  the  new  Salle  .Vnglaise  at  the  Musee 
du  Luxembourg  in  Paris  ;  it  is  a  work  that  Mr. 
Muirhead  has  conceived  with  Pre-Raphaelitish 
intensity. 

An  exhibition  of  nearly  fifty  of  his  works  at  the 
Chenil  Gallery  in  1907  clearly  revealed  the  beauty 
of  his  landscapes,  so  admirable  in  their  design  and 


cool  schemes  of  colour,  also  showing  at  the  same 
time  the  thoughtful  tenderness  of  sentiment  in  his 
beautiful  figure  paintings. 

It  is  always  interesting  to  learn  how  different 
artists  have  worked,  and  by  what  means  they  have 
built  up  their  pictures.  -Some  painters  have  worked 
entirely  out  of  doors,  almost  finishing  their  pictures 
on  the  spot.  Others,  again,  have  worked  in  the 
studio  from  the  slightest  notes,  aided  by  memory. 
Mr.  Muirhead  employs  both  methods  :  the  picture 
called  The  Fen  Bridge  was  painted  entirely  in  the 
studio,  chiefly  from  memory  and  ^^  ith  only  the 
slightest  sketch  to  help  him,  as  the  effect  was  but 
a  fleeting  one  lasting  only  a  few  minutes.  The 
Mill  at  Ceres,  on  the  other  hand,  was  painted  out- 
side, and  very  little  was  done  to  it  when  it  was 
brought  back  into  the  studio,  but  the  effect  was 
one  which  lasted  some  hours  each  day,  and  for 
many  days  in  the  summer. 

Mr.  Muirhead  thinks  that  the  effect  settles  pretty 
much  his  method  of  working.  If  it  is  transitory 
he  makes  many  sketches  and  notes  and  then  works 
upon  them  in  the  studio.  If  it  is  a  recurring  effect 
he  works  on  the  spot  as  much  as  he  can  ;  but 
sometimes  he  paints  a  landscape  which  is  entirely 
composed,  but  then  he  works  for  some  certain  feeling 
and  not  for  anv  realistic  effect.  F.  W.  G. 


y^- 


"Mi-  '^■ 


A   nACKWATER   OX   THE  OUSE" 
104 


BY    DAVID    MUIRHEAD 


(Bypcrmtsiiim  s/ Edmund  Davit.  Etii.j 


-NIGHT      PIECE.'     FROM     THE 

PAINTING  EY  DAVID   MUIRHEAD. 


(  The  property  of  Percivai 
Fawcett^  Esq. ) 


THE   WINDMILL  AT  CLEY 
BY  DAVID   MUIRHEAD 


Opcii-Air  Museums  in  A'orn'ay 


T 


HE  DEVELOPMENT  OF  THE 
OPEN-AIR  MUSEUM  IN  NOR- 
WAY.    BY  GEORG  BROCHNER. 


It  is  with  some  satisfaction  that  the  present 
writer  can  refer  to  an  article  of  his  pubhshed  in 
The  Studio  some  twelve  years  ago,  its  purport 
being  a  plea  for  the  erection  of  an  open-air  museum 
for  London.  The  suggestion  met  with  warm 
approval  in  different  quarters  at  the  time,  but  more 
than  a  decade  had  to  elapse  before  the  question 
was  taken  up  in  earnest.  Now  that  there  seems 
ever)-  likelihood  of  the  plan  approaching  its  con- 
summation a  brief  survey  of  the  development  of 
the  open-air  museum  in  other  countries  during 
recent  years  may  not  be  considered  inopportune. 
I  say  other  countries,  but  as  a  matter  of  fact  it  is 
only  in  Scandinavia  that  the  open-air  museum  has 
as  yet  become  an  institution — and  a  much-treasured 
and  ever-growing  institution — although  a  lively 
interest  in  the  same  is  springing  up  in  diverse 
directions.  The  director  of  the  Skansen  in  Stock- 
holm, the  far-famed  forerunner  and  prototj-pe  of 
open-air  museums,  inforrrrs  me  that  even  the  town 
of  Omsk,  in  once-distant  Siberia,  has  been  making 
inquiries  as  to  how  to  set  about  forming  a  museum 
of  this  description ;  and  at  Amhem,  in  Holland,  a 


society  has  quite  recently  been  founded  for  the 
same  purpose.  In  Germany,  too,  a  lively  interest 
is  taken  in  the  matter. 

There  is  one  feature  common  to  nearly  all  open- 
air  museums — as  I  will  continue  to  call  them — and 
their  number  has  swelled  materially  of  late  years  : 
they  nearly  all  owe  their  origin  to  the  fervent  and 
unselfish  enthusiasm  and  wise  circumspection  of 
one  man,  and  that  not  a  professional  museum 
official,  and  most  of  them  have  sprung  from  a  very 
modest  first  effort,  afterwards,  however,  in  many 
cases  growing  by  leaps  and  bounds. 

Norway,  to  which  country  I  propose  to  devote 
this  first  article,  supplies  an  excellent  and  most 
striking  illustration  of  this  general  rule  in  the 
Maihaugen  Open-Air  Museum,  or  the  Sandvig 
collections  as  they  are  perhaps  more  frequently 
called,  at  the  town  of  Lillehammer.  M.  Anders 
Sandvig  may  well  be  held  up  as  an  ideal  organiser 
in  this  connection,  and  considering  that  he  has  only 
been  able  to  devote  to  this  work  the  spare  time 
which  his  profession  has  left  him,  the  admirable 
results  attained  become  all  the  more  astounding — 
and  yet  he  himself  does  not  by  a  long  way  look 
upon  the  Maihaugen  as  finished  or  complete. 

I  should  like  to  give  M.  Sandvig's  own  definition 
of  his  aim  with  Maihaugen.     It  was  not,  he  says, 


THE    LITTLE   LAKE  AT   THE   MAIH.\UGEN   OPE.N-AIR   MUSEUM,    LILLEHAMMER,    NORWAY 


I08 


.^^^F^'^iv 


r 


%/•    > 


X  < 


109 


Open- 


Ait'  Miiscii>iis  ill  XoriiHiy 


to  make  a  museum  with  scheduled  collections,  or 
only  to  gather  what  one  accidentally  came  upon  of 
half-forgotten  articles  from  bygone  days,  m  one 
place  a  house,  in  another  a  utensil.  Nor  was  his 
aim  to  find  what  had  been  most  excellent  in  work- 
manship from  different  ages,  still  less  peculiar  or 
exceptional  variations. 

"  No,"  says  M.  Sandvig,  "  as  I  in  my  mind's  eye 
see  the  Maihaugen  in  its  ultimate  consummation  it 
shall  be  a  collection  of  koines  where   one,  as    it 
were,   can   walk   straight   into   the   homes  of  the 
people  who  have  lived  there,  learn  to  know  their 
mode  of  living,  their  tastes,  their  work.     For  the 
home  and  its  equipment  are  a  picture  of  the  people 
themselves,  and  in  the  old  hereditary  homesteads 
it  is  not  only  the  single  individual  who  is  mirrored, 
but  it  is  the  whole  race,  generation  after  generation. 
"Nor   is   it   simply   an   incidental  selection   of 
isolated  homes  that,  in  Maihaugen,  I  wish  to  save 
from  destruction  or  neglect.    No,  I  want  to  place  the 
entire  village,  as  a  complete   whole,  in    this   big 
picture-book  ;   not  only  what  might  be  called  the 
manor-house,   with    its    many   buildings    and    its 
equipment  bearing  witness  to  hereditary  pride  and 
affluence,  but  also  the  house  of  the  humble  peasant, 
the  village  craftsman's  out-of-the-way  cottage,  and 


the  Sater  hut  from  the  vast  and  distant  forest. 
And  from  the  top  of  the  hill  the  old  village  church 
shall  send  forth  the  peal  of  its  bells  over  these 
relics  of  bygone  ages." 

M.  Sandvig,  who  took  up  his  residence  at 
LiUehammer  in  the  year  1885,  soon  began  to 
collect  old  furniture,  weavings,  silver,  weapons,  &c., 
from  historic  Gudbrandsdale,  the  Valley  of  the 
\-alleysas  the  place  is  called,  where  for  more  than  a 
thousand  years  a  race  of  proud  freeholders  have 
had  their  home,  the  farm  often  remainmg  in  the 
possession  of  the  same  family  for  five  or  six  cen- 
turies. The  Gudbrandsdalers  bow  to  no  man, 
and  not  a  few  of  them  carry  their  lineage  back  to 
the  kings  of  ancient  Norway. 

If  the  place  which  had  become  M.  Sandvig's 
home  thus  proved  a  fruitful  field  for  his  collecting 
propensity,  he,  on  the  other  hand,  made  the  best 
of  the  opportunities  fate  accorded  him.  No  longer 
satisfied  with  cups  and  cupboards,  he  began  to  buy 
old  houses  in  which  to  place  his  treasures,  and 
altogether  he  purchased  eleven  venerable  buildings 
froni  different  parts  of  the  Gudbrand  valley  ;  with 
great  care  they  were  removed  to  LiUehammer  and 
re-erected  in  his  private  garden.  Eventually  the 
collection  assumed  such  magnitude  that  it  became 


THE   MAIHAUGEN   OPEN-AIR    MUSEl 
1  10 


M  :    VIEW    TROM    THE   ROAO   TO  THE    "  l-ER   l.YNT   STIE, 


LILLEllAMMER 


open- Air  M/i senilis  in  A'or^vav 


THE    MAIHALGEN   OPEN-AIR   MUSEUM:     THE    "  LOKRE  STUE  "    AND   ITS   LIVING-ROOM    (see  f.  //^) 


Opcn-Air  M/isciuiis  in  Xoncay 


a  necessity  to  pro\nde  more  commodious  quarters, 
and  in  the  highly  picturesque  Maihaugen,  with  its 
glorious  scenery,  an  ideal  home  was  found  for 
M.  Sandvig's  old-time  treasures.  Some  eight  years 
ago  this  most  admirable  open-air  museum  was 
ready,  the  Sandvig  collections  having  in  the  mean- 
time been  transferred  to  a  local  Welfare  Societx', 
of  which,  however,  M.  Sandvig  continues  to  be  the 
leading  spirit. 

The  Maihaugen,  as  it  now  stands,  and  still  bear- 
ing promise  of  yet  further  growth,  is  an  almost 
perfect  example  of  what  an  open-air  museum 
ought  to  be,  complete  within  its  natural  self- 
contained  limits.  Only  at  a  future  London  open-air 
museum  a  Maihaugen  would  naturally  become  but 
a  section  and  part  of  a  vast  whole. 

The  oldest  type  of  house  at  Maihaugen,  the 
aarestue,  takes  one  back  many  hundred  years, 
some  four  or  five  centuries  and  beyond,  and  there 
is  over  these  venerable  buildings  a  saga-like  sim- 
plicity, an  almost  Spartan  frugality,  though  in  lines, 
proportion,  and  workmanship  they  are  possessed  of 
a  remarkable  beauty  and  harmony,  witnesses  of 
ancient  northern  style  (if  this  much-abused  word 
may  be  used  in  this  connection)  and  craftsmanship. 
But  there  were  no  windows,  no  fireplace,  not  even 
any  flooring.     In  the  midst  of  the  large  room  (the 


accepted  plan  of  the  aarestue  comprised  a  large 
and  smaller  room,  siuen  ajid  kleveii,  and  an  open 
gallery,  the  svale  or  svahgaiig)  there  was  a  hearth, 
the  aare,  and  above  it  a'good-sized  square  hole 
(the  //ore)  in  the  roof,  which  was  left  open  in  fine 
weather,  and  otherwise  covered  with  a  wooden 
frame,  over  which  was  suspended  a  transparent  skin. 
This  frame,  which  was  called  the  skjaa,  was  worked 
by  a  long  pole,  which  was  an  indispensable  utensil 
in  the  house,  and  when  any  one  came  on  important 
business,  more  especially  a-wooing,  he  had  to  hold 
on  to  this  pole  whilst  he  made  known  the  nature 
of  his  errand.  There  were  also,  at  different  heights, 
two  or  more  smaller  holes  or  slits  in  the  wall,  which 
no  doubt  had  the  double  vocation  of  producing  a 
draught  for  the  aare,  when  the  door — and  lowly  it 
was — happened  to  be  closed,  and  of  enabling  the 
inmates  to  keep  a  look-out,  lest  unwelcome  strangers 
should  come  upon  them  unawares. 

Along  the  side-walls  were  benches,  and  on  the 
end  wall  facing  the  entrance  was  the  high-seat,  the 
seat  of  honour,  and  in. front  of  this  was  the  massive 
table,  with  the  drinking-horn  and  other  utensils. 
On  this  wall  hung  also  the  master's  armour  and 
shield,  spear  and  bow.  A  well-known  Norwegian 
writer  says  of  the  aarestue  that  when  the  big  fire 
blazed  at  Yuletide,  and   the  mead-horn   and  the 


THE   MAIHAIGEN   OPEN-AIR   .MUSEUM  :      A   GROUP  OK    "  SKIAAKER        HOUSES 


open- Air  Mnseuuis  in  Nonvay 


'JOMFRUBUR       OR  MAIDEN  S  BOWER  IN  A  "KAMI 


(jt;e  pp.    J 14,  IlS) 


THE    MAIHAUGEN    OPEN-AIR    MUSEUM:      INTERIOR   OF  AN    "  AARESTUE  "   OR    "  HEARTH"    HOUSE 


113 


Open-Air  Muscmus  in  Xoncuiy 


beer-mug  diligently  went  round,  men  drinking  to 
each  other  across  the  fire,  whilst  merriness  reigned 
on  all  sides,  it  must  assuredly  have  been  cosy  in 
the  old  sooted  aarestue. 

Were  it  necessary  I  would  gladly,  as  far  as  I  am 
able,  affirm  this  assertion,  for  a  peculiar  charm,  a 
feeling  of  trusty  homeHness  pervades  these  old-time 
wooden  houses,  such  as  one  still  may  come  upon 
in  out-of-the-way  places  in  Norway  and  Sweden, 
though  modified  through  the  ages.  They  may  not 
appeal  to  you  at  first  sight,  rather  the  reverse, 
perhaps,  but  they  soon  seem  to  grow  upon  you, 
with  their  timeworn  timber  and  scanty  fitments. 
No  wonder  that  these  old  houses  have  of  late  years 
been  copied,  or  rather  adapted,  by  not  a  few  archi- 
tects and  others,  and  that  timber  is  again  held  in 
high  repute  as  building  material. 

liut  I  am  digressing.  Although  it  is  out  of  the 
question  to  follow  the  ancient  Norse  house  through 
the  various  stages  of  its  evolution,  I  must  cursorily 
mention  some  of  the  other  old  houses  in  M. 
Sandvig's  wonderful  Maihaugen. 

In  Norway  one  formerly  saw,  and  may  still  occa- 
sionally see,  large  clusters  of  separate  houses  all 
forming  one  homestead.  I  )etached  from  the  often 
numerous  outhouses — there  were  at  places  as  many 


as  two  score  or  more  of  them — stood  the  dwelling- 
houses,  not  less  than  three  and  very  frequently 
more,  one  for  the  summer,  one  for  the  winter, 
and  one  for  festive  occasions,  the  number  of  build- 
ings generally  increasing  from  generation  to  genera- 
tion. The  Lbkre  sine*  a  good  specimen  of  a 
Gudbrandsdale  type,  hails  from  Lorn  parish,  high 
up  the  valley.  It  is  what  is  called  a  ramloft-slue,  that 
is,  a^house  with  a  room  {>-afn-/o/t)  on  the  first  floor, 
to  which  there  is  access  up  the  outside  staircase 
through  a  door  in  the  loft  gallery,  or  svale.  The 
plan  of  this  house  is  rather  interesting.  It  is  almost 
square,  which  does  not  clearly  appear  from  the 
accompanying  illustration  (p.  in).  There  is  on 
the  ground  floor  a  large  room,  one  might  almost 
call  it  a  hall,  at  the  end  of  this  a  second,  narrow 
room,  about  half  the  size  of  the  former,  above 
it  is  the  ram/oft,  and  along  this  end  of  the  house 
and  the  one  longitudinal  wall,  but  forming  part  and 
parcel  of  the  house,  runs  a  svale,  which  in  this  case  is 

'■  Stue,  which  in  Danish  means  a  room,  is  the  Nor- 
wegian and  Swedish  (s/iig-a)  for  a  rural  house.  A'am  — 
German  f!aiim,  lOom  or  space.  The  names  Lokrc, 
I'igstad,  Hjellai;  and  My/liiii;  which  occur  later  in  this 
article  in  conjunction  with  slue,  are  apparently  either 
n.-imes  of  places  or  names  of  persons. 


THE    MAIHALllRN   OPEN-AIR    MUSEL  M 


alcJktHOLbE 


open- Air  M  it  scums  in  N^onuay 


THE    MAIHAUGEN    OPEN-AIR    MUSEUM:     THE    "  HJELTAR    STUE"    {see  f.    I  iS) 


THE   MAIHAUGEN   OPEN-AIR    MUSEUM:    THE    "  VIGSTAD   STUE  "   (see  p.    IlSf) 


"5 


Opoi-Air  M/isciniis  iu  .Yonc'cry 


*"*"           1 

Kb'!; 

niH  ,(nJ 

■ 

THE   MAIHAUC.EN   OPEN-AIK    MUSEUM:      THE    "MYITINC.   STUE  "    (see  fi.   ffg) 


completely  panelled  in  on  the  outside,  so  it  really 
becomes  a  corridor ;  and  the  svak  at  the  end,  as 
already  mentioned,  has  t\vo  stories.      The   large 


room  in  the  Lokre  stue  is 
20  feet  by  23,  and  13  feet 
high  from  the  floor  to  the 
ridge-pole  or  roof-tree,  there 
being  no  loft  over  the  big 
room.  It  will  be  readily 
understood  that  this  house 
has  not  sprung  direct  from 
the  aarestue.  Intermediate 
[phases  had  to  be  passed ; 
the  first  little  leaden  window 
has  grown  and  multiplied, 
as  has  the  furniture,  though 
still  by  no  means  excessive  ; 
the/m-  (open  fireplace)  still 
foimd  in  many  Norwegian 
houses,  and  now  having  again 
become  a  regular  institution, 
has  superseded  the  aare,  its 
place  being  in  the  corner 
opposite  the  entrance.  Also 
the  "  high-seat "  has  been  removed  to  the  wall  in 
the  corner  opposite  to  the  pels;  but  the  long 
benches    still    run  along    the    walls,   and    in    one 


THE    .MAIHAUGES    Ol'EN-AIR    MUSEUM!       BEOROOM    OK    PAR:>0\AGE    FROM    VAAGE    (iCe  p.   1 3o) 


ii6 


open- Air  Muse  inns  in  Norivay 


maihal-i.e;,  l'Ii.. 


AND   KITCHEN    IN    PAKSONACE    FROM    VAAGE   (jtV  /.    120) 


Opcu-Aiy  M/iscmiis  in  Noncay 


y'SS'..^:-- 


.EX    OPEN-AIR     Ml-SEUM  :    ONE    OF    THE     BJORNSTAD    CUSTER    OF    HOUSES 
NOW    IN   COURSE  OF   ERECTION 


corner  is  a  bedstead.  The  aare  was  by  degrees 
discarded  everywhere,  holding  out  the  longest  in 
some  far-away  Sater  hut,  but,  as  M.  Sandvig  says, 
the  Ijore-hok  at  last  closed,  as  a  weary  eye  which 
for  centuries  had  gazed  heavenwards. 

The  room  above  the  kleven  (the  smaller  room) 
was  the  maiden's  bower,  jomfruburet,  which,  as 
already  stated,  had  its  separate  entrance  by  way  of 
an  outside  staircase  and  through  the  upper  svak  ; 
there  was  no  pels,  but  two 
small  windows,  and  the 
door   was    ver)'    low.      A 

ijuaint  and  ancient  custom  ,' 

attaches  to  this  sanctuary. 
Even  if  on  other  nights  of 
the  week  the  daughter 
slept  in  the  same  room  as 
her  parents  or  younger 
brothers  and  sisters,  she 
repaired  to  her  bower  on  a 
Saturday  evening  in  order 
to  receive  her  sweetheart. 
That  night,  the  best  of  the 
week,  when  the  lovers  were 
allowed  to  hold  sweet  con- 
verse, she  did  not  undress 
and  decency  was  in  no 
way  outraged — was  it  not 
the  eve  of  the  holy  day  ? 
— -and  although  it  was  not 
considered  good  form  for 
young  people  to  show  their 
iiS 


liking  for  each  other  in 
public  or  be  seen  too 
frequently  together,  these 
nocturnal  week-end 
visits,  at  which  the 
lovers  could  not  even 
see  each  other  and  only 
spoke  in  whispers, 
gave  no  offence  to  any 
one. 

The  \'igstad  stiie  was 
originally  also  a^ramloft- 
s/ue,  but  it  was  altered 
to  its  present  shape  in 
the  year  1707.  It  is  re- 
markable for  its  excellent 
workmanship ;  but  then 
the  ^'igstad  folk  for 
many  generations  were 
famous  for  the  dexterity 
with  which  they  handled 
their  axe  and  their  knife. 
Though  not  in  workmanship,  this  stue  in  other 
respects  must  yield  to  the  Hjeltar  stue,  the  climax 
of  these  three  thoroughly  typical  houses,  and  a  larger 
and  more  elaborate  structure.  It  too  is  a  ramloft- 
stue,  and  its  roof-tree  bears  the  date  1565.  This 
and  the  Lokre  stue  are  the  only  two  fully  preserved 
ramloft-stue  in  Norway.  The  Hjeltar  stue  is  some- 
what broader  and  longer  than  the  latter,  but  hardly 
so  lofty,  and  the  plan  is  very  nearly  the  same,  the 


•MHAUGEN   OPEN-AIR    MUSEUM:   AN    "  AARESTUE '     IN   THE   BJORNSTAD   CLUSTER 
OF   HOUSES   NOW   BEING   ERECTED 


open- Air  Miiseinus  in  Nonvay 


HAMAR  Oi'EN-AIR  MISEI'M,  NORWAY  :  ROOM  IN  A  FARSONAGE  FROM  VANG 


svak,  however,  being  open.  The  interior  is  decked 
out  as  for  a  fite,  the  floor,  well  scoured,  covered 
with  fresh  juniper  branches,  and  the  walls  are 
hung  with  the  best  weavings,  the  women  of  the 
Gudbrandsdale  having  always  excelled  in  this  craft. 
The  colours  are  gay  and  manifold,  as  are  the 
patterns,  which  comprise  motifs  in  endless  variety, 
human  beings  and  animals,  trees  and  flowers,  often 
handled  in  the  quaintest  manner,  as,  for  instance, 
the  Three  Wise  Men  on  horseback,  to  mention  one 
example  amongst  many.  There  are  finely  carved 
utensils  for  sundry  purposes,  and  almost  everything 
which  this  and  the  other  venerable  houses  contain, 
chests  and  cupboards,  spoons  and  drinking-vessels, 
and  countless  other  objects, 
are  not  only  possessed  of 
great  value  either  from  their 
intrinsic  merits  or  as  a 
means  of  illustrating  the 
mode  of  life  and  the  habits 
of  their  former  owners,  but 
many  of  them  have  their 
own  separate  little  story, 
droll  or  pathetic  as  the  case 
may  be,  which  it  has  been 
M.  Sandvig's  delight 
to  hunt  up  and  faithfully 
record. 

Although  the  stabur,  the 
storehouse,  was  not  in- 
tended to  serve  as  a  dwell- 
ing for  men,  it  ranked  above 
the  outhouses,  and  by  de- 
grees rose  to  a  building  of 


distinct  architectural 
interest,  with  two  stories 
and  the  highly  decorative 
svak  round  all  four,  or  more 
generally  perhaps  only  the 
three,  sides,  the  window  then 
being  on  the  fourth,  the  end 
wall,  on  the  upper  story. 
The  stabur,  which  is  still 
frequently  seen  in  Norway 
and  Sweden,  rests  on  legs, 
so  to  speak,  which  again 
stand  on  stones  so  as  to 
keep  out  vermin.  Gar- 
ments, chests,  and  utensils 
were  kept  on  the  first 
floor,  whilst  the  ground 
floor  was  given  over 
to  the  storage  of  pro- 
visions, only  the  smoked 
hams  and  sausages  being  generally  hung  up  in  the 
svak  for  air's  sake. 

The  Mytting  .t//^f  (p.  119)  hails  from  Ringebu  and 
is  probably  rather  more  than  two  hundred  years  old. 
Although  it  tells  of  further  development,  its  exterior 
has  much  in  common  with  the  Hjeltar  and  the 
Lokre  houses,  only  the  ram-loft  of  the  latter  has 
grown  into  a  complete  second  story,  like  the  ground 
floor  with  three  rooms.  The  svale  has  been  re- 
tained, one  on  the  ground  and  two  on  the  first 
floor.  It  is  clear  that  whifiTs  from  foreign  countries 
have  by  this  reached  the  distant  valley,  for  this 
stiie,  amongst  other  outlandish  innovations,  contains 
a  handsome  stove,  with  ornaments  and  coats   of 


-AiK    MUSEUM,    NORWAY:    AN    ALCo\  K    IN    A    HOtSK     1 
RUD   WITH   LINEN-CHESTS,    ETC.    DATING    FROM    1777 


119 


Opcii-Air  Mil  senilis  in  Ah^rway 


HAMAR  on.: 


\IK    \1IM,I    \T,    MIKWAY:    1-,\1UAN<1;     H_>  A   HOI 


arms,  bearing  the  date  1659.  The  long  fixed  benches 
and  fixed  cupboards  have  also  had  to  give  way 
to  a  more  promiscuous  and  arbitrary  order  of  things, 
but  then  it  should  be  pointed  out  that  the  Mytting 
stue  does  not  belong  to  the  group  of  downright 
peasants'  homes,  but  rather  has  been  the  residence 
of  some  official. 

The  old  parsonage  from  \'aage  was  the  home 
of  sixteen  pastors  prior  to  the  year  1786  ;  two  years 
later  it  was  transferred  to  the  pastor,  who  under- 
took to  keep  it  in  repair,  and  since  then  it  has 
passed  from  pastor  to 
pastor  until  bought  for  the 
Sandvig  collections.  It 
was  probably  built  about 
the  middle  of  the  seven- 
teenth century,  and  is  a 
good-sized  one-storied 
house,  square  in  its  plan, 
with  four  rooms,  including 
a  ver)'  large  kitchen  and 
an  open  svak  at  the  one 
end,  which,  however,  does 
not  proceed  right  to  the 
side  walls.  As  with  the 
houses  already  described 
there  is  some  fine  work- 
manship in  the  timber,  and 
the  deviations  from  the 
ancient  aarestue,  at  least 
in  the  exterior,  are  not  of 
any  .great  moment.  The 
interior,  however,  has  be- 
come   far    more    modern. 


and  thu  rooms  as  they  now 
stand  abound  with  regular 
furniture,  though  from  past 
centuries  :  but  the  illustra- 
tions must  speak  for  them- 
selves, although  more 
especially  the  large  kitchen 
well  deserves  some  notice 
I)cing  taken  of  it.  It  w^as 
tile  realm  of  the  pastor's 
wife,  and  hither  all  the 
parishioners  were  wont  to 
come  for  help  and  ad- 
\ice,  and  on  festive  occa- 
sions sumptuous  repasts 
were  prepared  there,  as  is 
demonstrated  by  some  old 
annotations,  one  dinner 
,1:  m;um  i.RiMsKii)  comprising    two    kinds    of 

soup,  two  dishes  with 
entrees  and  piitees  (with  oysters,  cray-fish,  &c.), 
four  different  joints,  partridges,  capons,  half  a 
dozen  different  sweets,  and  plenteous  de.s.sert. 
Times,  after  all,  had  changed  since  the  days  of  the 
ancient  aarestue. 

The  work  M.  Sandvig  lias  done  at  Maihaugen 
is  beyond  lauding,  but  if  praise  were  needed  a 
Swedish  writer  supplied  it  the  other  day,  when 
generously  comparing  Sandvig's  genius  with  that  of 
Artur  Hazelius,  the  creator  of  Skansen. 

It  can  be  no  matter  of  surprise  that  the  results 


BVODO   OPEN-AIR    MUSEU.V,  CURISTIANIA  :    "  K AI-TIH'Si;: 
TIl.EMARKEN 


OR  LOKT-HOUSES  FROM 


Open-^r/ir  Mnscniiis  in  Noricay 


BYODU   OPEN-AIR    MUSEl'M,    CHRISTIAXIA  :   IHE    M ARKET-l'I.ACE  AND   THE   OSTERDALE   HOMESTEAI 


ope  )i- Air  Mil  senilis  iii  A'onvay 


BYGDO   OPEX-AIR    MUSEUM,    CHRISTIANIA  :   THE    ROI.STAl) 
GUDBRANDSDALE 


attained  at    Maihaugen -have    ins])ired    others  to 
follow    in    M.    Sandvig's    stejj.s,    and    in    scxeral 
Norwegian   towns    open-air    museums   have    been 
farmed,  as  at  Lillehammer,  with  a  local  limitation. 
At  Hamar  the  first  move  was  made  some  ten  years 
ago,    several    gentlemen    forming    a    committee, 
amongst  them  M.  Didrik  Gronvald,  who  is  now  the 
leader    of    the    museum 
which    in    due    course 
sprang  into  existence,  he, 
like  the  other  gentlemen, 
doing   all   the   work  gra- 
tuitously.    Through  con- 
tributions   from    different 
quarters,  the  State  even- 
tually assisting  with  a  very 
modest  grant,  it   became 
possible    to    purchase 
several  old   buildings,  of 
which   the    museum  now 
boasts    seven,    and    a 
society,  comprising  some 
two    hundred    members, 
has  in  the  meantime  been 
formed  in  the  interest  of 
the  collections.  A  striking 
house    with    eight     large 
rooms,    dating    from    the 
latter  part  of  the   seven- 
teenth   century,    has    re- 
cently been  acquired,  but 


not  yet  erected,  and 
articles  of  interest  are  con- 
stantly being  added  to  the 
museum. 

Another  open-air 
museum,  the  scope  of 
which  is  to  be  principally 
devoted  to  the  Glomdale, 
was  opened  last  year  at 
Elverum,  and  was  formed 
on  the  initiative,  and 
thanks  to  the  munificance 
of,  some  private  gentlemen 
in  the  town.  The  plan  is 
to  bring  together  typical 
old  houses  from  the 
different  parts  of  the  Glom 
valley,  and  to  equip  them 
in  such  a  manner  that 
they  give  a  reliable  picture 
■oFT-Hor.E  FROM  "*"  "^6   life  of  the  peoplc 

through  the  ages.  Five 
houses  are  already  in 
various  stages  of  completion,  but  the  programme 
is  quite  a  comprehensive  one.  A  large  site  has 
been  given  by  the  municipality,  facing  the  Glommen 
and  the  Prastfos  waterfalls,  which  form  a  highly 
picturesque  frame  round  the  museum  grounds. 
M.  O.  Bull  Aakrann  is  chairman  of  the  committee, 
but  a  society  representative  of  the  different  localities 


•AIll  .NiLstl 


M,  LIIKISTIAMA:   THE  GRIMSCAAI:: 
HOUSE   FROM    HAI.LINGDALE 


Recent  Designs  in  Domestic  Architecture 


Wl  i^j^ 


HOUSE    IX    LEXHAM    GARDEXS, 


KENSINGTOX 

STAXLEY-BARRETT    AXri    DRIVER,    ARCHITECTS 


in  the  district  is  in  course  of  formation    for  the 
purpose  of  taking  the  matter  in  hand. 

With  the  Norsvegian  Folke-Museum  at  Bygdo, 
outside  Christiania,  which  has  a  national  and  not 
a  local  character,  I  have  dealt  in  a  previous  article, 
but  since  then,  thanks 
to  M.  Hans  Aall's  able 
management,  it  has 
gro^vn  into  a  thoroughly 
representative  museum. 
It  now  boasts  twenty-eight 
old  buildings  and  some 
twenty  thousand  articles. 
Space  will  not  allow  me 
to  accompany  the  illus- 
trations with  any  ex- 
planatory letterpress,  nor 
is  such  really  needed, 
inasmuch  as  the  reader 
without  any  difficulty  will 
recognise  similar  types 
to  those  already  de- 
scribed. The  Bygdo 
Open-air  Museum  is  ex- 
tremely interesting,  but 
its  location  does  not  afford 
the  same  scope  as  does 
that  of  the  Maihaugen 
and  one  or  two  others. 


RECENT     DE- 
SI  GN  S     IN 
DOMESTIC 
ARCHITECTURE. 

"  The  Tiled  House," 
here  illustrated,  is  adjacent 
to  the  "  Studio  House," 
of  which  an  interior  view 
was  given  in  one  of  our 
recent  numbers,  and  con- 
trasts strongly  with  other 
houses  in  the  vicinity, 
which  are  mostly  of  an 
early  or  mid-Victorian 
type.  But  for  the  fact 
that  it  looks  so  clean  and 
fresh  by  comparison  with 
its  smoke-toned  neigh- 
bours, the  house  with  its 
stone  mullioned  windows, 
leaded  light  casements, 
rough-casted  walls,  and 
roof  covered  with  old 
tiles,  might  pass  for  a 
much  older  structure  than  these,  but  as  a  matter 
of  fact  it  was  only  completed  about  a  year  ago. 
The  hall,  of  which  an  illustration  is  given,  has  a 
polished,  dark  red  quarried  floor  and  beamed 
ceiling.     At  the  farther  end  the  fireplace,  built  in 


HOUSE    I.X    LEXHAM    GARDENS 


THE    HALL 

STAXLEV 


BARRETT   AXD    DRIVER,    ARCHITECTS 
123 


Rccaif  Designs  ///  Domestic  Anhitccfiiye 


red  bricks  and  tiles,  is  placed  on  a  raised  hearth,  servants'    hands,  but  have  steel  cores    inside  the 

A  screen  forms  one  side  of  the  ingle-nook,  behind  leads.     The    leads    are    rounded    in    sections    so 

which  a  few  steps  lead  to  the   kitchen  quarters  :  that  the  panes  can  be  cleaned  as  easily  as  a  plain 

a  door   opposite  opens  on  to  the  dining-room —  sheet   of  glass.     ANhere  the  beams  do  not  show, 

a  quaintly  shaped  room  fitting  into  one  corner  of  the  ceilings,  instead  of  having  dusty  moulded  cor- 

the  site,  which  is  triangular.     The  hall  communi-  nices,  are  simply  rounded  at  the  angle   between 

cates   by   a   few   stairs   with    the    sitting-room — a  the  wall  and  ceiling.     The  floors  throughout  are 


large  room  (32  feet  by  1 5  feet),  formed  in  the  slope 
of  the  roof,  the  actual  roof  timbers  being  exposed. 
From  this  a  door  opens  on  to  a  large  balcony 
with  a  red  quarried  floor  and  low  parapet  wall  with 


polished.  The  floor  of  the  kitchen  is  a  novelty,  the 
centre  being  formed  in  wood  blocks  for  comfort 
when  sitting  or  standing  round  the  table,  and  the 
surround  is  paved  in  polished  red  quarries.     The 


flat  quarried  top,  and  forms  a  pleasant  place  for     walls  are  enamelled  white  with  a  washable  enamel, 

serving   tea    in    summer. 

Messrs.    Stanley-Barrett 

and  Driver,  of  Gray's  Inn, 

the  architects  of  the  house, 

have  paid  special  attention 

to   economy   of  labour  in 

the  interior    arrangements. 

.All  woodwork  and   angles 

are  rounded,  and  there  are 

no  dusty  mouldings.     The 

leaded   lights    have   no 

saddle-bars  to  cut  the 

^"'••f  Til   r 


"HOUSE   AT   BICKLEV,    KENT 
124 


(Seep.  i2y) 


C.    H.    B.    IJUENNELL,    K.R.I.B.A.,    ARCHITECT 


Recent  Designs  in  Domestic  Aychitectnre 


c5«/.-f.^ 


MORDEN    HOUSE,    BLACKHEATH  :    GROUND   PLAN 


JOHN    BELCHER,    R.A.,    AMI   J.    J.    JOASS,    ARCHITECTS 


which  is  kept  clean  by  simply  sponging  down. 
The  hot-water  supply  is  arranged  on  a  similar  system 
to  the  Thermos  flask  :  by  means  of  pulling  a  lever 
at  night  the  hot  water  is  botded  up  and  a  hot  bath 
can  be  obtained  before  the  kitchen  fire  is  lighted. 

The  house  at  Bickley,  in  Kent,  which  is  shown  in 
our  next  illustration  (p.  124)  has  been  erected  from 
the  designs  of  Mr.  C.  H.  B.  Quennell,  F.R.I.B.A.,  of 
Westminster,  and  carries  on  the  eighteenth-century 
traditions  of  domestic  archi- 
tecture, simplicity  being  the 
keynote  of  the  entire  struc- 
ture, which  in  its  reposeful 
character  presents  a  marked 
contrast  to  the  ostentatious 
kind  of  building  so  often 
met  with  in  the  outer  Metro- 
politan districts  at  present 
in  course  of  development. 
In  planning  the  house  on 
its  present  site  a  special 
point  was  made  of  the  pre- 
servation of  the  fine  old 
oak-tree  shown  in  the  illus- 
tration, this  adding  con- 
siderably to  the  interest  of 
the  exterior.  Red  hand- 
made bricks  of  various  tints 


have  been  used  for  the  walls,  and  hand-made  tiles 
for  the  roofs. 

Morden  House  at  Blackheath  in  Kent,  of  which 
we  give  an  illustration  in  colour  and  a  general 
ground  plan,  occupies  a  site  adjoining  the  grounds 
of  Morden  College  in  a  district  which,  in  spite  of  its 
proximity  to  London,  still  retains  much  of  that 
rural  aspect  which  has  always  made  it  a  favourite 
residential  locality.     As  the  illustration  shows,  the 


PLAN    OF    HOC> 


AT    H.\R1'ENUEN 

(See  next  page  and  p. 


I.    E.     DLXON-SPAIN,    ARCHITECT 
127 


Recent  Designs  in  Domestic  Anhitectnre 


house  is  a  red-brick  structure,  the  roof  being  covered 
with  Westmorland  slates,  while  Portland  stone  is 
used  for  the  principal  windows,  which  are  glazed 
with  leaded  lights.  The  rooms  are  commodious, 
the  largest  of  them,  the  drawing-room,  being  over 
twenty  feet  in  both  dimensions.  A  special  feature 
has  been  made  of  the  garden.  Messrs.  John 
Belcher,  R.A.,  and  J.  J.  Joass  of  Clifford  Street, 
London,  were  the  architects  of  this  house. 

In  planning  the  house  at  Harpenden  in  Hertford- 
shire, shown  on  p.  128,  the  idea  of  the  architect,  Mr. 
J.  E.  Dixon-Spain,  was  to  produce  an  economically 
planned  residence  suitable  for  a  gentleman  of 
moderate  means  and  one  which  should  avoid  the 
banal  characteristics  of  the  usual  type  of  detached 
villa — that  is,  to  ensure  as  much  privacy  as  possible 
in  the  rooms  occupied  by  the  family  and  especially  to 
prevent  the  intrusion  of  kitchen  odours.  Brindled 
stock  bricks  with  red  dress- 
ings for  the  external  walls 
and  red  hand-made  tiles 
for  the  roofs  are  the 
materials  specified  in  this 
case.  The  dining-room 
and  drawing-room,  which 
are  so  arranged  as  to  be 
converted  into  one  large 
room  if  required,  are  pro- 
vided with  French  case- 
ments opening  on  to  the 
garden  on  the  south  side 
of  the  house.  The  floor 
above  contains  five  bed- 
rooms, a  bathroom,  and 
various  offices. 

Herr  Oskar  Kaufmann 
of  Berlin,  of  whose  work 
as  a  designer  of  interiors 
we  give  some  illustrations, 
will  be  remembered  b)- 
many  readers  of  The 
Studio  as  the  architect  of 
the  Hebbel  Theatre  in 
Berlin,  which  was  the  sub- 
ject of  an  illustrated  article 
published  by  us  in  May 
1908.  That  well-thought- 
out  and  monumental  struc- 
ture established  his  repu- 
tation as  an  architect,  and 
since  then  he  has  under- 
taken other  commissions 
of  a  kindred  character. 
One    of    them   is    for  a  a  corner  ok 


large  theatre  at  Bremen,  which  has  just  been  com- 
pleted, while  a  large  Volkstheater  and  a  "  Kinema" 
are  in  course  of  erection  in  Berlin  from  his  de- 
signs. Herr  Kaufmann  is  a  true  modernist  and 
though  he  is  enamoured  of  Barock  and  Bieder- 
meyer,  his  solutions  are  always  individual.  He 
has  a  great  ambition  for  planning  on  a  big  scale, 
and  this  ambition  is  now  being  gratified  by  a  scheme 
for  an  entire  "  Platz  "  with  large  corner  buildings 
surrounding  the  future  "  Volkstheater."  But  in 
spite  of  these  monumental  aspirations,  he  is  far 
from  disdaining  such  work  as  the  arrangement 
of  domestic  interiors  ;  on  the  contrary,  he  takes 
keen  pleasure  in  sohing  the  varied  problems 
these  present.  In  this  branch  of  his  work  a 
penchant  for  grandeur  is  discernible.  In  particular 
he  has  a  great  \o\&  for  the  finer  varieties  of  wood 
and  employs  them  with  good  judgment.     In  the 


MRSERY    DESIGNED    BV    OSKAR    KAIFMAXN,    ARCHITECT 

129 


Recent  Des/ij^us  in  Domes  fie  .Dr/iifeef/we 


l.lBKAkV    WITH     FITTl.NOS    IX    AFRICAN    PEAK     AND     PALISANDER    WOOD.       DESK. NED     FOR    DK.    EPbfEIN     BY   OSKAR 

KAIFMANN%   ARCHITECT 
130 


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Q< 

ah 


o  ^ 
o  ::: 

U  en 


TJie  IVondcr  of  JVork  on  flic  Panama  Canal 


{>anelling  of  the  rooms  he  has  fitted  up  for  Dr. 
Epstein  the  general  surface  is  pleasantly  relieved 
by  the  introduction  of  inlays  or  carving.  The  pre- 
ference of  his  client  for  sculpture  as  the  chief  decora- 
tive feature  of  the  rooms  coincided  entirely  with  the 
architect's  ideas,  but  he  has  contrived  to  counteract 
any  feeling  of  austerity  arising  in  this  way  by  using 
upholstery  of  rich  colours.  In  the  nursery  oval  pic- 
tures with  fairy-tale  subjects  relieve  the  monotony 
of  the  white  enamelled  surface  of  the  wainscot. 

THE  WONDER  OF  WORK  ON 
THE  PANAMA  CANAL.  BY 
JOSEPH   PENNELL. 

I  WENT  to  Panama  because  I  believed  that,  in 
the  making  of  the  greatest  work  of  modem  time, 
I  should  find  the  greatest  inspiration.  The  desire 
to  draw,  to  etch,  to  lithograph  the  Wonder  of  Work 
is  no  new  thing  with  me — it  is  no  new  thing  with 
artists  who  have  always  believed  in  work  as  a 
motive ;  building,  digging,  constructing,  demolish- 
ing, have  from  the  earliest  time  been  the  subject 
of  endless  art. 

And  the  greater  the  artist  the  greater  has  been 
his  interest  in  work — in  the  work  going  on  around 
him^ — the  work  of  his  own  time.  As  the  Church 
gave  up  art,  the  artist  turned  to  another  patron,  the 
State,  and  in  the  recording  of  great  works  under- 
taken by  the  State  there  are  great  motives. 

But  the  study  of  work  for  its  own  sake,  for  its 
grandeur,  picturesqueness,  mystery,  or  pathos,  has 
always  been  a  theme  for  artists  ;  specially  those 
artists  who  have  endeavoured  to  glorify  the  greatest 
work  being  carried  out  in  their  day. 

Rembrandt's  best  etchings  are  of  the  mills  and 
dykes  of  Holland,  the  most  important  works,  the 
most  vital  subjects,  in  his  country  and  his  time. 

\'elasquez's  Spinners  is  of  the  same  quality  as 
the  Meninas,  yet  the  picture  is  but  an  interior  filled 
with  work-women.  I  do  not  call  a  painting  like 
his  Forge,  or  Vulcan,  a  painting  of  work,  for  this, 
fine  as  it  is,  is  a  machine — it  is  not  a  genuine 
thing,  and  in  this  connection  I  would  dismiss  all 
imaginative  renderings  of  work  from  Cimabue  to 
Watts,  though  the  greatest  painting  by  Watts's  far 
greater  contemporary,  Mado.v  Brown,  is  Work.  It 
is  far  easier  to  be  symbolic,  imaginative,  cubic,  in 
one's  studio  than  decorative,  realistic,  actual,  at  the 
mouth  of  a  coal  mine.  It  is  easy  enough  to  give 
a  list  of  great  artists  who  have  glorified  work,  but 
it  is  difficult  enough  to  keep  it  within  limits.  There 
is  Claude,  with  his  harbours ;  Canaletto,  Guardi, 
and  Piranesi  with  the  building  and  destruction  of 
132 


^■enice  and  Rome  ;  Turner — though  he  got 
everything  wrong — with  his  Carthage  that  never 
would  stand  up,  and  a  locomotive  that  never  would 
run.  And  it  is  really  too  funny  to  remember  that, 
while  Ruskin  was  writing  and  damning  the  changing 
character  of  England,  Turner  and  Constable  and 
Crome  were  painting  it  and  immortalizing  it. 

But  in  these  last  days  work  has  become  the 
greatest  thing  in  the  world,  and  more  and  more 
artists  have  turned  to  it,  have  devoted  themselves 
entirely  to  it.  Nearly  every  one  of  Meryon's 
etchings  is  of  work.  Whistler's  Thames  plates  and 
Nocturnes  are  but  the  glorifying  of  work.  Of  the 
canvases  and  drawings  of  Millet  and  of  Segantini 
this  is  equally  true,  and  with  their  contemporaries 
we  come  to  the  greatest  of  all — I  mean  in  that  he 
devoted  himself  entirely  to  portraying  work  in 
sculpture,  in  drawing,  in  painting — Constantin 
Meunier.  No  one  before  in  Europe  had  found 
subjects  in  the  coal  mines  and  iron  furnaces  of 
Belgium.  Of  course  the  sentimental  toiler  had 
been  hauling  canal  boats  and  greeting  his  children, 
with  mills  and  smoke  faintly  suggested  in  the 
distance,  so  as  not  to  disturb  the  sensitive  patron. 
But  Meunier  saw  the  real  \\'onder  of  Work,  \\histler 
its  exquisite  beauty,  its  endless  mystery,  its  perfect 
decoration.  And  there  are  the  Japanese  to  be 
taken  into  account.  It  is  to  these  widely  varied 
artists  that  I,  in  common  with  all  others  who  care 
for  the  Wonder  of  ^^'ork,  owe  my  inspiration. 

With  me  it  is  no  new  thing.  The  drawings  of 
ships  I  made  as  a  boy  from  my  father's  office  were 
followed  by  sketches  of  houses  being  built,  made 
from  our  home  windows ;  and  when,  still  a  boy,  my 
father  took  me  to  the  coal  mines  of  my  native 
State,  I  found  and  drew  subjects  that  I  went  back 
to  and  drew  again  near  forty  years  later — caring 
for  the  subjects  I  had  cared  for  as  a  boy  and 
seeing  that  I  was  right  in  the  things  I  had  then 
drawn.  The  first  magazine  article  I  ever  illustrated 
was  of  work,  and  in  it  is  a  drawing  of  an  oil  refinery. 
The  love  of  and  interest  in  modem  work  is  no  late 
development.  For  years  I  have,  with  two  or  three 
other  men,  been  scouring  Europe  and  America  for 
subjects  ;  you  have  to  hunt  for  them,  for  not  only 
can  no  one  tell  you  where  they  are  to  be  found, 
not  only  must  you  find  them  for  yourself,  but  the 
composition  you  see  one  day  never  returns,  it  has 
got  to  be  done  then  and  there,  either  direct  from 
nature  or  from  memory. 

I  have  hunted  these  subjects  from  San  Francisco 
to  Sorrento,  and  the  more  I  hunt  the  more  I  find, 
and  the  more  I  learn,  for  the  first  time  I  tackled  a 
steel  mill  I  made  a  sorry  mess  of  it.     There  is  as 


The  Wonder  of  Work  on  the  Panama  Canal 


much  character  in  mills  and  mines  as  in  puddlers 
and  miners.  And  unless  one  cares  enough  to  study 
the  anatomy,  the  construction  of  these  huge  works, 
as  one  studies  the  anatomy  of  the  figure,  it  is  useless 
to  try  to  draw  them.  On  the  other  hand,  study 
them  too  much,  or  show  too  much,  and  the  result 
is  a  mechanical  rendering.  Mills  and  harbours  and 
docks  are,  as  Rembrandt  and  Claude  showed,  as 
much  governed  by  the  laws  of  composition  as  any- 
thing else.  And  it  is  these  two  great  facts,  know- 
ledge and  composition,  that  have  got  to  be  kept 
in  mind  when  drawing  the  Wonder  of  Work. 

But  the  average  painter,  or  etcher,  or  illustrator 
simply  does,  without  thought  or  observation,  save  of 
the  man  he  is  prigging  from,  the  subject  he  has  to 
do,  or  thinks  it  is  the  fashion  to  do.  Every  gallery 
now,  every  exhibition — there  are  even  decorations 
which  are  not  decorative  on  public  walls — reeks 
with  the  attempts  of  all  those  who  have  nothing  to 
say  for  themselves  or  have  or  have  not  turned  Post- 
Impressionists,  to  render  work  and  workers,  for  work 
has  become  the  subject  of  their  thieving.  But  to 
those  few  who  care  and  have  proved  by  their  work 
that  they  care,  this  is  the  day  and  the  time  of  the 
Wonder  of  Work,  because  within  a  few  years, 
even  sooner,  with  the  coming  of  electricity,  the 
mystery  of  work,  the  smoke  revealing,  concealing 
mystery  will  have  rolled  away  for  ever.  And  also 
because  to-day  the  greatest  works  that  man  has  ever 
undertaken  are  in  progress. 

There  are  the  dams  in  Egypt  and  Arizona ; 
there  are  the  sky-scrapers  of  New  York.  The 
wonderful  railway  stations  are  all  disappearing  ;  the 
coal  and  iron  mines  becoming  spick  and  span  and 
unpaintable.  Even  the  costume  of  work  is  vanish- 
ing and  the  workman's  character  along  with  it. 

But  at  the  present  moment  the  most  stupendous 
work  the  world  has  ever  seen  is  in  progress  ;  and  it 
was  to  find  out  if  it  was  pictorial — in  the  hope  it 
was — that  I  went  to  the  Panama  Canal.  There 
was  no  one  to  give  me  a  hint — it  was  not  till  I  got 
to  the  Isthmus  that  I  found  some  one  had  been 
there  before  me.  I  had  never  heard  of  him  or  his 
work  and  have  only  seen  one  of  his  drawings. 
Still  I  started  on  a  trip  of  1 5,000  miles  in  search  of 
the  Wonder  of  Work. 

The  day  I  got  ashore  in  Colon,  I  found  it.  I 
had  seen  great  cranes  at  Pittsburg  and  Duisberg, 
but  nothing  like  that  which  stretched  its  great  arm, 
with  great  claws  at  the  end,  over  the  sad  silent 
swamp  at  Mount  Hope — the  graveyard  of  de 
Lesseps's  ambitions.  I  had  seen  in  New  York,  as  I  sat 
on  the  thirtieth  story  of  the  Metropolitan  Building, 
a  chain  come  up  from  below  with  a  man  clinging  to 


it.  But  I  had  never  imagined  anything  hke  the 
group  of  figures  which  rose  out  of  Gatun  Lock  just 
as  I  reached  it  at  dinner-time.  I  had  looked  into 
natural  chasms  and  gulfs — though  nothing  like 
those  I  was  to  see  later — but  I  never  imagined 
anything  so  impressive  as  the  gates  at  Pedro  Miguel 
Lock.  I  have  seen  the  greatest  walls  of  the  oldest 
cities,  but  I  have  never  imagined  anything  so  im- 
posing as  the  walls  of  Miraflores  Ix)ck.  I  have 
seen  the  great  aqueducts  and  great  arches  of  the 
world,  but  I  never  imagined  anything  like  the 
magnificent  approaches  to  Gatun  and  superb  spring 
of  Pedro  Miguel — made  so  by  army  officers  and 
civil  engineers  mainly  to  save  material.  For  there 
are  no  architects,  no  designers,  no  decorators 
employed  on  the  Panama  Canal — just  ordinary 
engineers — and  it  might  have  been  a  good  thing  at 
the  Victoria  and  Albert  Museum  if  an  architect 
had  not  taken  over  the  work  of  an  engineer.  But 
the  engineers  at  Panama  are  great  designers,  and 
great  work  makes  great  decoration. 

Almost  before  I  left  the  Canal  artists  and 
decorators  were  on  their  way  there.  I  hope  it 
may  interest  them  half  as  much  as  it  interested  me. 

I  have  tried  in  these  lithographs  of  the  Canal  to 
show  some  of  the  things  I  saw  as  they  were  this 
spring,  but  even  in  the  few  weeks  I  was  on  the 
Isthmus  many  of  them  changed  completely,  or 
disappeared  for  ever.  What  I  did  is,  at  any  rate, 
a  record  of  what  I  saw.  Not  that  I  came  any- 
where near  exhausting  any  sort  of  subject — from 
every  part  of  the  lock  new  compositions  may  be 
evolved.  I  merely  tried  to  draw  the  things  I  saw 
when  I  saw  them — squatting  on  my  sketching 
stool  where  I  could,  or  when  I  could,  or  on  an  iron 
girder,  in  the  cab  of  an  engine,  a  telephone  box, 
or  on  the  top  of  a  crane.  I  only  remember  refusing 
to  be  suspended  in  a  bucket  a  hundred  feet  or  so 
in  the  air  over  one  of  the  locks,  as  I  was  invited. 

Had  I  not  had  my  previous  experience  in  trying 
to  draw  work,  I  could  not  have  done  even  what  I 
did,  but  the  study  of  great  architecture  is  a 
great  aid,  for  these  huge  locks  are  architectural. 
The  life  of  the  Canal,  the  workmen,  I  hardly 
touched  ;  they  are  but  details  in  the  Wonder  of 
Work  they  have  created.  \\Tiere  often  the  work  is 
fiercest,  there  the  fewest  workers  are  to  be  seen. 
It  is  only  when  the  men  knock  off  that  you  see  the 
thousands  who  are  at  it. 

The  landscape,  the  mountains  crowned  with 
strange  trees,  the  long  level  lines  of  cloud — I 
always  believed  this  to  be  an  invention,  or  a  con- 
vention, of  the  Japanese — that  hang  motionless 
before  the  hills,  the  impenetrable  jungle,  the  native 

133 


The  JFonder  of  Work  on  the  Paiiaina  Canal 


villages,  are  all  subjects.     Subjects  without  end, 
maybe  only  for  nie,  but  for  nie  there  they  were. 

Panama  City  is  as  picturesque  as  a  Spanish  city, 
and  as  full  of  character  :  it  has  yet  to  be  litho- 
graphed, etched,  or  drawn.  There  are  churches, 
courtyards,  balconied  streets,  forts,  shops,  gardens 
— all  awaiting  the  artist  who  has  not  yet  come, 
though,  as  I  have  said,  he  is  on  the  way.  I  wonder 
\\'histler  made  no  record  of  them  on  that  un- 
explained trip  of  his  across  the  Isthmus.  But  I 
went  to  draw  the  Canal ;  I  had  no  time  for  any- 
thing else,  though  some  of  the  vistas  under  the 
royal  palms  on  Ancon  Hill,  looking  down  on  the 
town,  the  Pacific  beyond,  are  as  fine  as  the  Bay  of 
Naples.  And  from  the  sea  Panama  is  very  like 
Naples. 

But  the  Canal  called  me  and  I  had  scarce  any 
time  for  any  of  these  motives. 

In  the  Canal  I  found  the  subjects  I  wanted — 
subjects  such  as  1  shall  never  find  again,  and  it 
will  always  be  a  delight  to  me  that  I  went — went 
on  my  own  initiative  and  not  at  any  one's  bidding. 
If  my  drawings  have  interested  my  own  country 
and  countrymen,  and  others' countries  and  country- 
men, it  is  the  greatest  honoiir  I  could  claim,  and  to 
have  done  some  little  thing  with,  and  for,  great  men 
like  those  who  have  made  the  Canal,  to  have  done 
something  to  record  what  they  have  done  is  what 
I  went  for — and  to  have  interested  them  is  far 
more  than  I  ever  expected.  I  shall  probably  never 
see  the  Canal  again,  but  I  have  seen  it  and  drawn 
it — and  that  was  worth  doing,  and  I  am  glad  I 
went,  for  it  is  the  most  wonderful  \\'onder  of 
Work. 

The  problem  was,  however,  to  draw  these 
wonderful,  stupendous  subjects.  I  had,  before 
leaving  Rome,  from  whence  I  came,  settled  my 
method.  It  was  to  be  lithography.  I  meant  to 
use  it  for  two  reasons — one,  because  I  like  it,  and 
thought  1  could  get  what  I  wanted  more  directly 
with  it ;  the  second,  because  I  felt  almost  sure 
I  could  have  my  drawings  printed  in  Panama — that 
there  would  be  a  government  lithographic  office  on 
the  Isthmus. 

1  took  a  large  supply  of  paper — Scotch  transfer- 
paper  made  up  into  blocks  by  Cornelissen's  of 
London — and  bought  a  large  supply  of  Korn's 
chalks  in  New  York ;  a  pocket-knife  and  a  tee- 
square  completed  my  outfit  for  lithography.  I  had 
also  etching-plates  and  charcoal,  water-colours  and 
pastels.     But  I  trusted  to  lithography. 

The  first  thing  I  found  after  I  reached  Panama 
was   that   there  was  no   government   lithographic 
press,  no  printer ;  and  I  do  not  know  if  there  is 
134 


one  in  the  Republic  of  Panama ;  that,  therefore,  if 
I  could  make  the  drawing.s,  they  must  remain  on 
the  paper  till  I  got  to  New  York  or  San  Francisco. 
As  a  matter  of  fact  they  were  not  put  on  the  stone 
for  nearly  three  months  after,  at  Messrs.  Ketterlinus's 
in  Philadelphia,  and  not  until  after  I  had  carried 
them  some  six  thou.sand  miles  through  hot  and 
cold,  damp  and  dry.  Every  authority  on  litho- 
graphy wrote  me  that  I  would  never  get  any  results 
after  such  treatment  of  the  drawings — that  they 
would  never  transfer — that  they  would  all  be  stuck 
together  in  a  solid  block — and  I  don't  know  what 
other  awful  things.  I  was  pretty  well  certain  myself 
that  they  were  done  for,  at  least,  if  any  one  of  the 
prophets  was  right.  So  in  the  first  place  I  had 
some  of  those  I  did  not  care  much  for — which 
I  had  succeeded  less  well  with — photographed,  so 
as  to  preserve  some  record  ;  then  I  went  to  work 
at  them  with  the  printer,  Mr.  Gregor,  every  single 
one  of  them  being  transferred  to  stone,  and,  for  me, 
Senefelder's  prophecy,  that  for  artists  the  most 
important  part  of  his  discoi'ery  was  the  method  of 
drawing  on  paper,  was  realised.  I  did  this  trans- 
ferring first  in  the  manner  in  which  it  is  done  by 
Way  in  London.  A  little  later,  however,  I  tried  the 
method  of  Goulding — the  method,  incredible  as  it 
sounds,  by  which  you  extract  the  grease  from  the 
paper,  and  transfer  it  to  the  stone,  while  the  carbon, 
or  whatever  it  is,  remains  on  the  paper.  The  artist 
by  this  method  has  his  drawing  and  his  print  both. 

But  I,  or  rather  we — the  printer,  Mr.  Gregor, 
and  I — have  discovered  through  these  drawings 
something  that  Senefelder  never  thought  of,  that 
the  same  drawing  can  be  transferred  any  number 
of  times  from  the  same  original,  and  in  this  way  my 
pilgrimage  to  Panama  has  been  of  technical  value. 

As  to  making  the  drawings,  the  block  kept  the 
paper  flat  and  in  the  windy  gusty  weather  this  was 
much.  I  used  Kom's  Blaisdell  pencils — the  only 
form  of  chalk  I  could  have  used  without  a  crayon- 
holder,  which  I  hate — for  in  the  heat  the  chalk — 
the  copal — got  as  soft  as  crayon  estompe  in  my 
fingers.  In  fact  the  drawings  were  nearly  all  done 
with  copal  or  number  four.  What  they  looked  like 
can  be  seen  in  the  prints,  for  every  print  in  litho- 
graphy is  an  original.  For  illustrative  purposes 
lithographs  are  most  useful,  as  they  reproduce 
perfectly,  and  did  in  this  case.  There  is  nothing 
special  to  remember  or  to  learn  about  lithographic 
drawing,  and  it  is  quite  a  good  thing  to  forget  some 
of  the  things  you  are  told.  But  after  all,  the  subject 
was  the  thing,  and  I  found  the  greatest  subjects  in 
the  Wonder  of  ANork  on  the  Panama  Canal. 

Joseph  Pennell 


■THE  END  OF  THE  DAY— GATUN    LOCK.  '     FROM 
A  LITHOGRAPH    BY  JOSEPH   PENNELL 


'APPROACHES   TO   GATUN    LOCK.        FROM 
A  LITHOGRAPH  BY  JOSEPH  PENNELL 


Vy^—lA. 


•LAYING  THE  FLOOR  OF  PEDRO    MIGUEL   LOCK' 
FROM   A  LITHOGRAPH   BY  JOSEPH   PENNELL 


■THE  GATES  OF  PEDRO  MI3UEL  LOCK.   FROM 
A  LITHOGRAPH  BY  JOSEPH  PENNELL 


■THE    CUT-LOOKING    TOWARDS   CULEBRA 
FROM  A  LITHOGRAPH   BYJOSEPH   PENNELL 


UJ  < 


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The  Grosvcnor  Gallcrv 


T 


HE  INAUGURAL  EXHIBITION 
AT  THE  NEW  GROSVENOR 
GALLERY. 


The  directors  of  the  new  exhibition  rooms  at 
51A  New  Bond  Street  have  certainly  shown  some 
courage  in  their  choice  of  a  name  for  the  place. 
By  calling  these  rooms  the  Grosvenor  Gallery  they 
have  imposed  upon  themselves  the  duty  of  living 
up  to  a  very  high  tradition  and  they  have  openly 
invited  comparisons  with  a  gallery  which  has  a 
very  important  place  in  art  history.  That  they 
should  have  done  so  is  to  be  taken  as  a  good 
augury  for  the  future  of  their  undertaking ;  they 
have  adopted  a  position  from  which  they  cannot 
well  recede  and  they  have  by  implication  committed 
themselves  to  a  policy  which  should  lead  to  notable 
results.  If  this  policy  is  properly  maintained  the 
new  Grosvenor  Gallery  will  be  a  very  welcome 
addition  to  the  London  art  centres  :  it  will  fill  the 
gap  which  has  been  caused  by  the  conversion  of 
the  New  Gallery  to  baser 
uses  and  it  will  provide  an 
appropriate  home  for  many 
art  societies  which,  lacking 
galleries  of  their  own,  are 
always  more  or  less  de- 
pendent upon  chance  for 
finding  suitable  places  for 
holding  their  exhibitions. 

The  new  building  is  ad- 
mirably adapted  to  its 
purpose.  There  are  four 
rooms  and  a  long  corridor, 
all  well  proportioned  and 
pleasantly  lighted  and 
arranged  so  as  to  set  off  to 
good  advantage  the  works 
exhibited  in  them  ;  and 
the  place  is  decorated 
throughout  with  just  that 
degree  of  sumptuousness 
which  gives  a  satisfying 
impression  without  being 
over-insistent.  The  gallery 
is  not  so  large  as  to  require 
a  wearisome  number  of 
works  to  be  placed  in  it  to 
fill  it  sufficiently,  but  it  is 
certainly  large  enough  to 
allow  a  society  with  a  quite 
considerable  members'  list 
to  do  itself  justice  and  to 
make      its     aims     fully 


intelligible.  The  judicious  limitation  of  the  wall 
space  should  make  the  exhibitions  which  are  held 
in  it  more  in  accordance  with  the  modern  de- 
mand, and  more  expressive  of  what  is  best  in  the 
art  of  our  times.  There  will  be  no  excuse  for 
exhibiting  bad  things  in  rooms  so  discreetly 
planned,  no  reason  for  padding  out  a  good  show 
to  make  it  spread  over  an  excessive  wall  area ; 
an  adequate  collection  of  picked  works  can  be 
displayed  under  the  most  favourable  conditions 
and  in  the  way  that  will  bring  out  its  good  qualities 
most  convincingly. 

If  the  inaugural  exhibition  can  be  taken  as  an 
illustration  of  what  we  are  to  expect  at  the 
Grosvenor  Gallery,  art-lovers  have  certainly  ample 
reason  to  rejoice  over  so  definite  an  addition  to 
their  opportunities  of  enjoying  what  is  best  in  the 
art  of  the  moment.  The  directors,  it  seems,  from 
their  "  foreword  ''  to  the  catalogue,  intended  their 
choice  of  current  British  art  for  the  opening  show 
to  be  taken  as  a  profession  of  faith  and  as  evidence 


' KATHLEEN 


BY    HARKlNGrON    .MA.NN 


The  Grosvciior  Gn/lcrv 


"GIRL    IX    A   SI'OTTEIi   FROCK  "' 

BV    EDVTH    S.    RACKHAM 

of  their  desire  to  put  before  the  puWic  "the 
seasonal  output  of  acknowledged  and  rising  artists 
of  this  country  "  ;  but  at  the  same  time  they  promise 
that  forei£n  art  developments  shall  not  be  dis- 
regarded if  they  possess  an  ssthetic  value  and  do 
not  depend  upon  mere  sensationalism  for  what 
interest  they  may  have.  The  desire  to  draw  upon 
ihe  output  of  British  artists  is,  however,  justified  in 
ihe  "foreword"  on  the  ground  that  "'this  source 
affords  more  recent,  interesting,  and  sincere  material' 
than  any  of  the  present  movements  abroad." 

What  an  amount  of  truth  there  is  in  this  con- 
tention could  scarcely  fail  to  strike  any  one  who 
seriously  studied  the  work  in  the  gallery.  Although 
there  were  certain  gaps  in  the  collection  which  to 
some  degree  dimini.shecl  its  representative  character, 
the  assertion  it  provided  of  the  variety  and  value  of 
contemporary  British  art  was  unusually  convincing. 
Hardly  any  of  the  artists  represented  could  be 
accounted  as  of  not  sufficient  prominence  to  be 
144 


included  in  so  ambitious  a  demonstration  of 
the  recent  achievement  of  our  native  school.  In 
its  selection  and  arrangement,  its  sustained  quality 
and  its  sincerity  of  purpose,  the  exhibition  was 
specially  memorable. 

In  landscapes  of  importance  the  exhibition  was 
exceedingly  strong.  Prominent  among  them  was  Mr. 
A\'.  \V.  Russell's  brilliant  study  of  open-air  lighting, 
T/ie  Sands,  an  exquisite  rendering  of  a  vivacious 
subject,  very  subtle  in  its  tones  and  most  attrac- 
tive in  its  freshness  and  luminosity  of  colour, 
l^jually  worthy  of  consideration  was  Mr.  Lavery's 
handling  of  a  somewhat  similar  motive.  The  Lido, 
Veniie,  a  record  of  pervading  sunlight  treated  with 
splendid  confidence,  while  one  of  the  most  com- 
manding in  its  decorative  significance  and  its  power 
of  statement  was  Mr.  Hughes-Stanton's  Fort  St. 
Andre,  I'il/eneiive,  a  very  effective  transcription  of 
nature  seen  with  true  individuality  and  set  down 
with  the  sincerest  conviction.  Mr.  Grosvenor 
Thomas  has  shown  few  things  in  late  years  which 
illustrate  better  his  admirable  art  than  the  Land- 
scape and  the  Sketch  at  St.  Margarets  Bay,  with 
their  most  persuasive  spontaneity  and  rare  beauty 
of  quiet,  well-harmonised  colour. 


"THE    ABBl':    I'ICHOT' 


BV    IRANK    CRAIO 


JEU    DENFANT."       BY 
F.  CAYLEY   ROBINSON 


The  Grosvciwr  Gallcrv 


Mr.  Oliver  Hall  is  one  of  the  most  consummate 
stylists  in  landscape  whom  the  British  school  has 
ever  possessed.  The  pictures  he  exhibited,  Egdeari 
Wood  &r\d  Road  through  the  Xeu'  Forest,  have  a 
supreme  interest  as  examples  of  dignified  design 
from  which  all  the  other  trivialities  have  been 
eliminated  and  in  which  the  great,  salient  facts 
are  stated  with  perfect  appreciation  of  their  value. 
His  sense  of  colour,  too,  is  as  true  as  his  feeling  for 
form,  so  that  there  is  no  flaw  in  the  harmony  of  his 
work,  and  there  is  no  direction  in  which  he  fails  to 
make  his  artistic  intention  perfectly  intelligible. 
Mr.  Peppercorn's  sombre  and  impressive  method 
was  seen  to  advantage  in  his  Ear/y  Morning  and 
The  Path  fiy  the  River,  and  Mr.  Alexander  Jamie- 
son's  executive  skill  was  displayed  most  agreeably 
in  his  picture  of  The  Theatre  of  Marie  Antoinette, 
Versailles,  delightful  in  its  vigorous  directness  and 
breadth  of  manner. 

There  were  included  in  the  exhibition,  too,  a 
number  of  canvases  by  Buxton  Knight  and  Mr. 
Walter  Greaves.  The  examples  of  Buxton  Knight's 
work  were  to  be  heartily  welcomed  because  they 


gave  us  an  opportunity  of  studying  once  more  the 
achievement  of  a  painter  who  ranks  among  our 
greater  men,  and  whose  practice  was  always  guided 
by  a  noble  singleness  of  aim.  The  masculine 
robustness,  the  earnest  seeking  after  truth,  the 
absence  of  affectation  which  distinguished  the 
whole  of  his  production,  made  the  pictures  worthy 
of  the  closer  study.  The  contributions  of  Mr. 
Walter  Greaves,  notwithstanding  the  technical  skill 
displayed  in  them,  were  less  interesting  because 
the  source  from  which  their  qualities  were  derived 
was  so  evident.  As  a  close  imitator  of  Whistler, 
as  a  follower  who  has  learned  all  the  tricks  of 
method  and  all  the  personal  mannerisms  of  his 
master,  Mr.  Greaves  is  extraordinarily  successful, 
but  his  productions  are  necessarily  less  authorita- 
tive than  those  of  Buxton  Knight  because  they  are, 
after  all,  only  reflections  of  what  has  been  done — 
and  better  done — by  a  far  greater  artist,  while 
Buxton  Knight's  works  express  at  first  hand  the 
observations  and  beliefs  of  a  man  who  went  his 
own  way. 

Among   the    figure   pictures   a   very  prominent 


r->- 


i;?24K::>-ct2aKs«^€ 


"THE   SAMi: 
146 


BV    WALTER    W.    RUSSF.I.l 


o  < 

5  < 

O  "T-, 
O  en 

s  Pi 


The  Grosvoioy  Callcrv 


place  must  be  assigned  to  Mr.  William  Orpen's  Th( 
Blue  Hat,  a  charming  picture  of  an  Irish  girl  painted 
with  consummate  skill,  and  Mr.  Glyn  Philpot's 
character  study.  The  S'cilian  Actor,  a  note«-orthy 
example  of  the  practice  of  a  young  painter  who  is 
rapidly  forcing  his  way  to  the  front  rank  by  the 
sheer  strength  of  his  personality.  A  very  different 
type  of  art  was  illustrated  in  The  Coming  of  Spring 
by  Mr.  Charles  Sims,  an  exquisite  fantasy  painted 
with  extraordinary  daintiness  and  delicacy  of  senti- 
ment, and  full  of  subtle  beauty.  It  is  one  of  his 
most  charming  efforts,  delightfully  imagined  and 
perfectly  realised.  Mr.  G.  W.  I^mbert's  Portrait 
Group  with  its  quaintness  of  arrangement  and  a 
certain  novelty  of  manner  is  a  work  displaying 
much  executive  ability  and  one  that  has  an  ad- 
ditional interest  as  embodying  the  portraits  of  some 
well-known  artists :  and  Mr.  Frank  Craig's  The 
Abbe  Pich)t,  though  seen  elsewhere  recently,  lost 
none  of  its  interest  in  its  new  surroundings. 

Mrs.  Rackham's  Girl  in 
a  Spotted  Frock  claims 
particular  mention  as  a 
painting  which  has- both 
soundness  of  technical 
treatment  and  definite  grace 
of  manner.  Its  lowness  of 
tone  was  not  unpleasant 
and  its  reticence  hinted  at  a 
reserve  of  strength  which  is 
rather  stimulating  to  the 
imagination.  Mr.  Spencer 
\\'atson's  Study,  too,  was  a 
picture  which  had  a  distinct 
measure  of  speculative  in- 
terest;  and  Mr.  Maurice 
Greiffenhagen's  Portrait 
was  again  quite  as  attractive 
for  what  it  suggested  as  for 
what  it  made  apparent. 
All  these  three  canvases 
were  valuable  additions  to 
the  exhibition. 

Among  the  other  works 
which  well  deserve  the 
places  given  them  in  this 
excellent  collection  must 
be  counted  Mr.  Von  Glebn's 
agreeable  colour  note,  The 
Garden  Window,  Mr. 
Spencer  ^\■atson's  Troop  of 
Centaurs,  Mr.  Ludovici's 
Time  and  Tide,  Mr.  J.  da 
Costa's  skilful  Sketch  for 
148 


Portrait,  Mr.  \V.  Graham  Robertson's  tender  colour 
arrangement.  Miss  Kitty  Cheatham,  Mr.  Harrington 
Mann's  Kathleen,  Mr.  W.  B.  E.  Ranken's  The 
Bronze  Group,  Versailles,  the  admirable  still-life 
study,  Kggs,  by  Mr.  H.  M.  Livens,  and  the  charac- 
teristic composition,  Jeu  d'Enfant,  by  Mr.  F. 
Cayley  Robinson  ;  and  there  were  two  noteworthy 
compositions  by  Mr.  Robert  Anning  Bell,  The 
Fainting  Nymph  and  The  Two  Marys  at  the 
Sepulchre,  which  represented  excellently  an  artist 
of  great  distinction. 

Mrs.  \'ox\  Glehn's  portrait  of  Gladys  Cooper, 
Mr.  Muirhead  Bone's  pastels,  Mr.  PenncHs 
lithographs,  and  the  sculpture  by  Mr.  Derwent 
\Vood  and  Mr.  R.  F.  Wells  must  by  no  means  be 
overlooked  ;  they,  and  Mr.  Hartrick's  Weary,  Mr. 
Crawhall's  water-colour.  The  Cow,  and  the  two 
lovely  flower  studies  by  Mr.  Francis  James,  helped 
very  appreciably  to  keep  up  the  level  of  one  of  ihe 
best  exhibitions  seen  in  London  for  some  time. 


liV    11.     M.     L1\K' 


"THE   LIDO,  VENICE."      BY 
JOHN   LAVERY,  A.R.A. 


The  Grosvcnor  Gallcrv 


'THE    I'ATH    liV    THE    KHtK 


BY    A.    II.    lEl'rERCORN 


•ROAD  THROUGH  THE   SEW   FOREST 
15° 


BY   OLIVER    HALL 


■•THE     BLUE     HAT.       from   the   oil 
PAINTING  BY  WILLIAM  ORPEN.A.R.A. 


The  Grosvoior  Gallery 


"THE   TWO   MARYS   AT   THK    SKri'I.CHKK 


BV    R.    ANNIXG    BELL 


>KETrll    AT   ST.    MARGARETS   BAY 


l;V    '.ROSVENOR    THOMAS 


153 


O  =3 

<^ 

r-  rh 

o  > 


studio-  Talk 


STUDIO-TALK. 
(From   Our  Own   Correspondents.) 

LONDON. — A  rumour  was  current  during  the 
late  summer  that  the  Council  of  the  Royal 
Academy  was  thinking  of  making  a  new 
-V  departure  this  year  by  holding  an  autumn 
exhibition  consecrated  to  one  of  those  departments 
of  art  which  at  present  are  very  inadequately  dis- 
played at  the  annual  summer  exhibition — that  is, 
to  what  is  commonly  classed  as  "  black  and 
white "  work,  but  as  up  to  the  time  of  going  to 
press  we  have  heard  no  more  of  this  alleged 
intention  we  presume  the  idea,  if  it  really  exists,  is 
not  to  take  shape  this  year.  We  hope,  however, 
that  it  will  be  persevered  in,  and  we  feel  pretty 
certain  that  provided  the  scope  of  such  an  exhibition 
were  made  sufficiently  comprehensive,  it  would 
prove  to  be  popular  among  connoisseurs,  collectors, 
and  art-lovers  generally.  In  the  Black  and  White 
Room  at  the  summer  exhibition  of  the  Academy 
as  at  present  organised  are  to  be  found  a  number 
of  etchings,  drawings,  and  engravings — on  the  last 
occasion  there  were  close  on  two  hundred  works 
fallmg  within  these  categories,  including  a  few 
colour  prints  ;  but  the  exhibits  are  so  crowded  that 
it  is  practically  impossible  to  appreciate  them  at 
their  proper  worth.  That  fault,  as  we  all  know,  is  one 
which  mars  the  entire  exhibition  ;  but  while  the 
accommodation  remains  as  at  present  it  is  difficult 
to  see  how  it  can  very  well  be  remedied  except 
by  the  holding  of  another  exhibition  in  the  autumn. 


If  the  scheme  of  an  autumn  exhibition  of  "  black 
and  white  "  at  the  Academy  is  ever  realised  we 
would  suggest  that  it  should  be  organised  on  as 
broad  a  basis  as  possible.  Original  colour  prints 
should  certainly  be  included,  and  as  there  is  a  great 
deal  of  good  work  now  being  done  in  this  field, 
there  would  be  no  difficulty  in  arranging  an  attrac- 
tive display  and  one  which  would  pleasantly  relieve 
the  monotony  of  purely  black  and  white  work. 
Original  lithographs,  too,  should  be  represented, 
and  here  again  there  is  no  dearth  of  available 
material.  "  Black  and  White  "  would,  of  course,  be 
a  misnomer  for  an  exhibition  organised  on  these 
lines,  as  it  is  even  now  for  the  room  at  the  Academy 
which  bears  this  name,  inasmuch  as  besides  a  few- 
colour  prints  it  usually  contains  drawings  in  other 
than  a  black  medium.  The  term  generally  em- 
ployed on  the  Continent — "Graphic  Art." — seems 
to  us  a  more  appropriate  one.  '  .ij,  '  ' 

The   Royal   Institute  of  Oil  Painters"  Exhibition 


gives  a  better  impression  this  season  than  it  has  for 
a  long  time.  Although  there  are  fewer  works,  this 
is  only  to  be  discovered  by  a  reference  to  the 
catalogue.  If  there  are  fewer  pictures  than  usual 
there  is  more  art.  We  are  very  glad  to  see  this  old 
society  recovering  a  more  influential  position  among 
exhibiting  bodies.  Works  which  should  be  referred 
to  in  a  notice  of  the  exhibition,  which  will  remain 
open  imtil  Christmas,  are  The  Dratviiig-room,  by 
Mr.  I..  Cambell  Taylor ;  Paddington  Station,  by 
Mr.  Henry  Bishcp ;  The  Fountain  of  Bacchus, 
Versailles,  by  Mr.  Marius  Forestier;  A  Critic,  by 
Mr.  W.  Douglas  Almond  ;  The  Valley,  Corfu, 
Greece,\yjWx.W.  Hughes-Stanton;  The  Forest  Pool, 
by  Mr.  A.  Brantingham  Simpson;  Tlie  Gipsy  Camp 
and  Siiver  Morning  by  Mr.  Algernon  Talmage  ; 
Midnight,  by  Mr.  Louis  Sargent ;  Bathers — Lido,  by 
Mr.  John  Lavery,  A.R.A.  :  Aear  Portel,  Pas-de- 
Calais, hy  Miss  Evelyn  Hicks;  A  Bunch  of  Floti'crs, 
by  Miss  M.  I.  Gloag ;  Arundel  Park,  by  Mr.  C. 
Ross  Burnett  :  A  Swarm  in  June,  by  Mr.  Harry 
Fidler ;  Afternoon,  by  Mr.  G.  D.  Davison  ;  Early 
Morning,  by  Mr.  W^.  Lee  Hankey ;  Purple  Anemones, 
by  Mr.  W.  B.  E.  Ranken  ;  May  Bay,  by  Mr.  A, 
Streeton  ;  Brewing  Storm,  by  Mr.  Julius  Olsson  : 
Seaweed  Gatherers,  by  Mr.  Terrick  Williams : 
Spring,  by  Mr.  F.  AV.  Le  Maistre ;  Emsworth, 
Sussex,  by  Mr.  James  S.  Hill ;  Isle  of  Mull,  by  Mr. 
Leslie  Thomson  ;  and  Girl  at  the  Piano,  by  Miss 
Hilda  Fearon. 

There  have  been  autumns  which  have  witnessed 
to  more  interesting  exhibitions  by  the  Royal 
Society  of  British  Artists  than  the  one  now  open. 
It  is,  perhaps,  the  smaller  pictures  that  on  this 
occasion  claim  most  attention,  such  paintings  for 
instance  as  the  fantastic  A  Marked  Passage,  by 
Mr.  R.  J.  E.  Mooney ;  In  a  Calm  and  Quiet 
Bay,  by  Mr.  A.  Carruthers  Gould  ;  The  Shallow 
River,  by  Mr.  Hely  Smith  ;  The  little  Valley,  by 
Mr.  Fred  Milner ;  /;/  Home  IVaters,  by  Mr. 
A.  H.  Elphinstone  ;  Crossing  the  Etany,  by  Miss 
Dorothea  Sharp ;  At  Low  Tide,  by  Mr.  Alfred 
Hartley  :  The  Flooded  Valley  of  the  Ouse,  by  Mr. 
J.  Muirhead  ;  The  Miss  Sahib,  by  Mr.  Frederic 
Whiting  ;  and  A  Threatening  Sky,  by  Mr.  Walter 
Burroughs-Fowler.  The  President,  Sir  Alfred  East, 
makes  the  most  distinguished  contribution  to  the 
oil  paintings  in  his  Autumn  in  Gloucestershire. 
And  in  the  water-colour  room  the  honours  are 
his  again  with  Slurry  Mill,  Kent,  though  here  he 
is  closely  seconded  by  Mr.  J.  Muirhead,  in  A 
Corner  of  the  Mill ;  here  also  Mr.  F.  Whiting  has 
an  interesting   drawing.    Youth   and  Age,   and  the 


Sfiuilio-  Fa  Ik 


work  of  Messrs.  R.  G.  Eves,  A.  M.  Foweraker, 
Giffard  H.  I^nfestey,  W.  T.  M.  Hawksworth, 
C.  Geofl'rey  Holme,  and  D.  Murray  Smith  assists 
in  making  this  the  strongest  part  of  the  exhibition. 
Mr.  Joseph  Simpson  contributes  a  fine  pencil 
drawing,  and  the  miniatures  of  Miss  Underwood 
deserve  comment. 


At  the  conclusion  of  Mr.  Val  Davis's  article  on 
"  The  Art  of  Charles  John  CoUings "  in  our  last 
issue,  we  expressed  our  intention  of  supplementing 
the  reproduction  then  given  of  Mr.  Collings's  water- 
colour  On  the  SJiuswap  Lake  by  another  from  the 
drawings  recently  exhibited  at  the  Carroll  Gallery. 
We  have  now  the  pleasure  of  offering  our  readers 
a  reproduction  of  The  Trappers  Line. 

Messrs.  Ernest  Brown  and  Phillips  have  been 
showing  lately  at  the  Leicester  Galleries  further 
designs,  drawings,  and  models  for  "Hamlet"  and 
other  plays  by  Mr.  Gordon  Craig.  Mr.  Craig  has 
not  yet  been  given  a  full  opportunity  of  proving 
the  practicability  of  his  designs  ;  but  apart  from 
any  question  of  their  practicability,    it   must    be 


said  of  them  they  are  at  once  ingenious,  attrac- 
tive, imaginative,  decorative  and  emotional.  They 
succeed  sometimes  in  being  nearly  all  that  a  work 
of  art  should  be.  Their  fault  is  a  certain  lack  of 
definiteness,  as  if  they  could  not  be  worked  out  in 
detail.  Possibly  this  might  prove  the  case  were 
they  used  for  the  purposes  of  the  stage ;  it  is 
certainly  a  characteristic  of  the  drawings  themselves. 
At  the  same  galleries,  Mr.  George  Clausen,  R.A., 
has  been  having  an  exhibition  of  his  works,  thus 
affording  students  of  his  always  interesting  art 
every  opportunity  to  follow  his  successes.  Many 
of  the  small  still-life  pieces,  such  as  The  Chinese 
Pot  and  Carnations  in  Sunlight,  were  very  beautiful 
in  their  learned  appreciation  of  interior  atmo- 
spheric effects.  The  artist  has  also,  as  is  well 
known,  followed  these  effects  in  the  interiors 
of  bams  and  sheds ;  and  another  phase  of  his 
work,  of  which  many  fine  examples  were  in 
evidence  in  the  exhibition,  is  his  interpretation  of 
sunlight  broken  by  the  contours  of  thickly  foliaged 
branches  of  great  trees  in  country  lanes  and  fields. 
The  eminent  painter  still  remains  experimental, 
and  wonderfully  free  from  mannerism  in  technique. 


A    KRENCH    PASTORAL 


156 


FROM    THE    OIL     I'Al  NTI.S(;    BV    W.     A.    GIBSON 

(Sef  (Glasgow  .Studio-  Talk,  f.  ijg) 


studio-  Talk 


At  the  Stafford  Gallery,  a  very  effective  exhibition 
has  recently  been  held  of  the  work  of  Messrs  S.  J. 
Peploe,  J.  D.  Fergusson,  Joseph  Simpson,  and 
George  Banks,  and  the  ladies,  Miss  Anne  Estelle 
Rice,  Miss  Jessie  Dismore,  and  Miss  Ethel 
Wright.  The  work  of  these  artists  was  seen  to  ad- 
vantage together.  They  cultivate  the  same  quality 
of  colour,  and  concentrate  upon  decoration  rather 
than  upon  representation  in  the  results  they  aim 
at.  They  represent  the  English  wing  of  the  Post- 
Impressionist  school.  It  is  possible  that  the  vital 
elements  of  their  work  would  not,  upon  analysis, 
be  found  to  be  those  involved  in  their  "  profession 
of  faith,''  but  what  is  certain  is  that  the  school 
does  not  send  such  attractive  exhibits  from 
abroad  as  those  brought  together  at  the  Stafford 
Gallery. 

The  Directors  of  the  Carfax  Gallery  have,  during 
the  last  month,  introduced  to  the  public  an  artist  who 
is  quite  unusually  gifted  as  a  colourist — Mina  Loy 
(Mrs.  Stephen  Haweis),  who  descends,  artistically, 
from  Beardsley  and  Conder.  Her  work,  which  has 
many  limitations,  is  carried  through  to  success  on 
the  strength  of  a  fine  imaginative  feeling  for  pattern 
and  an  indisputable  sense  of  colour. 

The  Fine  Art  Society  has  been  exhibiting  a  series 
of  water-colours  of  English  Pleasure  Resorts  by  Mr. 
H.  Dawson  Barkas.  A  considerable  gift  in  com- 
posing and  very  dainty  colour  made  the  exhibition 


a  success.  At  the  same  galleries  an  exhibition  of 
landscapes  by  Mr.  T.  Stirling  Lee  was  an  interesting 
event.  Mr.  Lee,  who  is  so  well  known  as  a  sculptor, 
revealed  a  highly  sympathetic  treatment  of  land- 
scape in  his  paintings. 

C">  LASGOW.— An  exhibition  which  Mr. 
Gibson  held  recently  at  Davidson's 
T  Galleries  attracted  marked  attention. 
-^  When  two  years  ago  the  Corporation 
Committee  recommended  a  Gibson  landscape  for 
the  permanent  collection,  and  when,  presumably 
because  the  artist  did  not  entirely  endorse  the 
opinion  of  the  committee,  the  purchase  was  not 
completed,  there  was  something  like  a  sensation  in 
art  circles.  The  artist  knew  he  was  capable  of 
higher  flights,  and  in  point  of  fact  the  picture  in 
question  has  since  been  literally  repainted  and  his 
art  to-day  more  worthily  represents  his  ideals. 
The  rich  fullness  of  quality  in  the  Scottish  land- 
scapes, the  clear  transparency  of  the  French 
pastorals,  of  which  an  example  is  reproduced  on 
page  156,  and  the  grey  harmonies  in  the  Dutch 
seascapes  admirably  illustrated  his  genius  and 
versatility.  J.   T. 

PARIS. — For  the  American   and    English 
artist  Paris  has  an  enthralling  fascination. 
Some    few    years  ago   Mr.   L.   D  Luard 
passed   through   its  city  gates   with    the 
intention  of  spending  a  few  weeks.     The  few  weeks 


THE   SEINE    IN    WINTER 


I  RO.M    A    I'A^TKI.    IIKAWING    liV    I..     IJ.     lAAKD 


Stiiiiio-Talk 


IKini    A    I  II  \I  K     AMI    IA.-.I  1,1,    nRA\Vl> 


UV    1..     li.    I-LAKl' 


liave  now  become  part  of  years  and  I  doubt  if  any 
other  place  in  the  world  would  yield  him  those 
things  in  which  he  delights  and  which  he  finds  here 
to  aid  him  in  the  expression  of-  his  art.  He  draws 
and  paints  the  tragedy  of  the  life  of   that   city's 


working  horses  with  an  insight  hardly  equalled  by 
those  who  use  the  same  subjects  in  France. 


In   Mr.   Luard's  studio  in  the   Boulevard  Arago 
one  will  find  innumerable  sketches  and  inimitable 


"ox   THE   TOP  OF   THE   DANK" 

1 60 


IROM    A    GIIAI.K    AMI    PASTKL    1IRAWI.\(;    BV    L.    1).     I.IARU 


Studio-  Talk 


A    LllAl.U    AM-    lAsIEl.    lyKA,',.  ..,     1,,     L.     II.    LUAKD 


notes,  all  of  them  little  paramount 
truths,  executed  with  vigour 
and  excellent  design,  of  animal 
life.  He  seldom  if  ever  misses  the 
character  and  action  of  the  subjects 
that  arrest  his  pencil,  the  essence  of 
his  power  of  detailed  restraint  being 
most  notable  in  his  On  the  Top  of  the 
Bank  and  The  Seine  in  Winter.  His 
chalk  and  pastel  drawing  Pulling  is  a 
typical  example  of  an  everyday  occur- 
rence in  the  building  and  rebuild- 
ing of  Paris  and  its  surroundings. 
In  it  Mr.  Luard  has  suggested  the 
sound  of  the  boisterous  whip-cracking, 
as  well  as  the  energy  of  men  and 
submissive  beasts,  which  again  is  so 
well  expressed  in  The  Hai-roiv. 


It  is  in  chalk  and  pastel  that 
Mr.  Luard  seems  to  attain 
iiis  most  masterly  achievements, 
both  mediums  lending  themselves 
agreeably  to  the  speed  neces- 
sary in  depicting  the  fleeting  move- 
ments he  so  keenly  observes.  In  his 
small  oil  croquis,  the  same  vitality 
is  never  lacking,  and  many  of  them 
formed  part  of  a  recent  interesting 
exhibition  of  his  work  held  in  the  gal- 
leries of  Georges  Petit.  Though  Mr. 
Luard  chiefly  confines  himself  to  the 
study  and  painting  of  horses,  he  in 
noway  evinces  narrowness  of  mind  in 
dealing  with  the  widely  different,  art  of 


Bl'ST    OF    KING    .NICHOLAS    I.    OF    MONTE.N'EGRO 

(Sec  f.    162)  liV    IKOF.     RIDOLK    VALUEC 

161 


Stuiiio-Tixlk 


(f^s^Cj' 


■c 


V 


\ 


y^ 


\>^^ 


PEN   SKETCH    BY   SII.TAN   ABPIL-AZIZ   (slM.TAX    OF   TURKEY,    1861-1S76) 


Others.  For  some  years  he  has  devoted  much 
thought  to  the  training  of  the  memory,  and  wiih  a 
searching  enjoyment  he  set  himself  the  perhaps  not 
easy  task  of  collecting  material  for  his  translation  of 
the  notes  and  letters  on  the  same  subject  by  Lecoq 
de  Boisbaudran.  Its  publication  for  the  first  time  in 
English  last  year  under  the  title  of  "  The  Training 
of  the  Memory  in  Art  "  was  rapidly  appreciated  by 
teachers  and  students,  and  occasioned  many  diverse 
criticisms.  Some  day,  perhaps,  Mr.  Luard  will  add 
to  his  translation  some  of  his  own  methods  and  ex- 
periences, which  I  am  sure  will  prove  as  helpful  as 
those  of  the  master  he  has  translated.    E.  .\.  T. 


and  bronze  and  in  larger  works 
of  sculpture.  His  bust  of 
Bishop  Strossmayer,  a  man  of 
high  culture  who  did  much  for 
art  in  Croatia  and  left  his  fine 
collection  to  his  country,  merits 
special  mention  as  a  work 
well  conceived  and  admirably 
carried  out.  Another  of  King 
Peter  of  Servia  is  also  a  good 
work.  Besides  these  he  has  also 
portrayed  the  chief  statesmen, 
politicians,  and  men  of  note 
in  Croatia.  In  all  that  he  has 
done,  Prof.\'aldec  shows  earnest 
search  for  the  truths  of  art. 
He  has  been  awarded  many  distinctions  for  the 
works  he  has  exhibited  in  different  lands,  and  in 
his  own  country  he  has  met  with  well-deserved 
recognition.  A.  S.   L. 


c 


A  GRAM,  CROATIA.— The  portrait  bust 
of  the  King  of  Montenegro  of  which 
an  illustration  rs  given  on  page  i6i, 
^  is  by  Rudolf  Valdec  (Valdets),  one 
of  the  younger  professors  at  the  Art  Academy 
i  n  Zagr  eb, 
as  Agram 
is  called  by 
the  Croatians. 
He  received 
his  art  train- 
ing under  Pro- 
fessors Eberle 
and  Kiihne  in 
Munich.  In  his 
own  country 
(he  is  a  native 
of  K  rapi  na 
in  Croatia) 
Valdec  has 
already  gained 
fame  both 
as  a  portrait- 
ist in  marble 
162 


RACOW. — At  the  home  in  Cracow  of 
the  family  of  the  late  Polish  artist 
Stanislaw  Chlebowski,  who  was  the 
court  painter  of  the  Sultan  Abdul-Aziz, 
I  found  a  simple  album  covered  with  grey  linen, 
containing  drawings  by  the  Sultan — sketches  of 
great  worth.  They  are  the  work  of  a  hand  un- 
trained but  bold.  Only  some  crooked  contour- 
lines  which  at  first  give  one  the  impression  of 
Turkish  writing  :  some  necks  of  horses  and  some 
uplifted  swords,  the  outline  of  a  rising  dust-cloud, 
the  straight  lines  of  masts  and  swollen  sails  ;  but 
in  spite  of  this  simple  manner  there  exists  such  a 
feeling  of  life  and  movement,  such  an  understand- 


\\fj^^ 


PES    SKETCH    BY    SII.TAN    ABDUL-AZIZ 


Stttdio-  Talk 


'^O^'^-' 


the  sketches 
almost  im- 
mediately after 
their  produc- 
tion. The  album 
also  contains 
a  pencil-draw- 
ing by  Chlebow- 
ski  on  which 
the  Sultan  has 
made  corrections 
in  red  ink. 


t!%-^«k 


^JC^A? 


PEN    SKETCH    BV   SULTAN   .4BDUL-AZIZ 


ing  of  rhythm  and  such  a  surety  of  touch,  that  were 
it  not  for  some  few  illogical  details,  only  to  be  per- 
ceived by  very  experienced  eyes,  one  could  suppose 
the  sketches  were  the  work  of  a  very  practised 
artist.  Abdul-Aziz  was  never  taught  to  draw,  and 
perhaps  his  most  important  artistic  education  was 
his  journey  to  Paris  and  London  in  the  year  1867. 


The  album  contains  si.xty-eight  drawings  by 
the  Sultan,  done  in  red  ink  on  separate  pieces 
of  paper,  which  have  been  pasted  into  the  album. 
The  drawing  paper  has  the  watermark :  Joyn- 
son's  improved  extra,  1866.  The  date  of  their 
origin  is  roughly  1866-1870.  Joined  to  the 
album  is  a  letter  of  one  of  the  officials  of  Abdul- 
Aziz,  who  wrote  that  Chlebowski  "avait  son 
atelier    dans    le    Palais  Imperial    et   il    travaillait 


sous  la  direction  et 
subscription  is  : 
Muzzafer,  Mare- 
chal,  Aide-de- 
camp de  S.M.  le 
Sultan,  Gouver- 
neur  General 
d  u  L  i  b  a  n  . 
There  is  also 
a  certificate  of 
Prof.  M.  Soko- 
lowski  who  hap- 
pened to  be  at 
Constantinople 
at  that  very 
time  and  saw 
at  Chlebowski's 


I'inspiration  du  Sultan."     The      derived. 


Abdul  -  Aziz 
used  to  come 
to  the  studio 
of  his  painter 
and  during 
long  artistic  dis- 
cussions, sitting 
in  "the  Turkish  manner,"  used  to  take  a  piece  of 
paper  and  twisting  it  round  his  left  hand  draw  on 
it  with  a  roughly  sharpened  reed.  The  sketches 
are  for  the  most  part  battle-scenes,  attacks  on 
fortresses,  fast  galloping  legions,  boats  full  of 
people  or  vessels  with  swollen  sails,  sometimes  a 
study  of  some  movement  of  a  hand  or  of  a  flag. 
This  album  is  the  most  distinct  document  of  the 
temperament  and  of  the  individuality  of  Abdul- 
Aziz,  a  man  who  possessed  an  uncommon  culture, 
a  wnse  ruler  whose  life  was  greatly  disturbed  by 
court  intrigues  which  prevented  him  from  carrying 
out  many  useful  projects.  M.  Mieczyslaw  Treter 
has  published  in  the  Polish  magazine  "  Lamus,"  of 
which  I  am  editor,  some  notes  on  this  album  of  his 
drawings,  with  some  reproductions,  and  it  is  from 
these    notes    that    the   foregoing    information    is 


M.  Pawlikowski. 


PE.N    SKETCH    BY   SfLTAX   ABDIJL-AZIZ 


163 


Studio-Talk 


'BI:LGARIAN    rF.ASANT   WOMAN    IN    BRIDAL   DRESS 

BY  J.    V.    MRKVITCHKA 


M.  Mrkvitchka  arrived  in  Bulgaria  while 
still  very  young,  almost  immediately  after 
leaving  the  Munich  School  of  Fine  Arts. 
At  the  invitation  of  the  Government  of 
Eastern  Roumelia  he  became  professor 
of  drawing  at  the  lyw  in  Philippopolis, 
and  settling  down  in  that  town  remained 
there  several  years.  Life  in  Bulgaria  had 
not  many  attractions  for  the  young  artist 
in  these  days,  particularly  in  Philip- 
popolis, which  had  no  art  gallery,  no  art 
collections,  no  exhibitions.  Furthermore, 
the  articles  necessary  for  his  work  had  to 
be  got  from  abroad,  and  as  the  railways 
which  now  connect  Bulgaria  with  the 
rest  of  Europe  were  not  then  laid,  com- 
munication was  a  difficult  matter  and 
months  would  elapse  before  orders  could 
be  executed.  But  the  greatest  difficulty 
of  all  was  to  find  models.  Among  the 
people  there  was  a  widespread  super- 
stition to  the  effect  that  the  person  whose 


SOFIA.  --  Bulgaria, 
like  most  Oriental 
countries,  is  a  land 
of  contrasts.  Seven 
or  eight  centuries  ago  the 
arts  flourished  there,  thanks 
to  the  Byzantine  influence  ; 
then,  during  five  centuries 
of  Turkish  subjugation, 
they  were  so  completely 
stifled  that  about  the  period 
of  the  Liberation,  in  1878, 
there  existed  in  Bulgaria 
neither  arts  nor  artists.  But 
in  less  than  twenty-five  years 
after  that  date  the  fine  arts 
in  that  country  had  de- 
veloped to  such  an  extent 
that  work  by  Bulgarian 
artists  attracted  attention 
in  the  Universal  Exhibi- 
tions of  1900  (Paris)  and 
1904  (St.  Louis). 


Foreign  artists  made  their 
appearance  in  Bulgaria  soon 
after  the  Liberation,  as  pro- 
fessors of  drawing  in  the 
newly  created  lycees.  Among 
them  was  a  Czech,  Jan 
Mrkvicka  (Mrkvitchka). 
164 


BULGARIAN    I'EASANl    WOMEN    DANCI.NG 


MRKVITCHKA 


'  AT  THE  WELL."     BY 
J.  V.  MRKVITCHKA 


Studio-Talk 


portrait  was  in  the  hands  of 
another  ran  a  great  risk,  for 
the  possessor  of  the  por- 
trait, it  was  believed,  could 
injure  the  original  in  many 
ways,  could  kill  him,  indeed, 
simply  by  burying  it  1 


Several  artists  from 
abroad  who  arrived  in  Bul- 
garia after  Mrkvitchka  found 
it  impossible  to  put  up  with 
the  miserable  life  they  had 
to  endure,  and  left  it,  never 
to  return.  But  our  young 
painter,  full  of  energy  and 
courage,  was  in  no  way  dis- 
concerted. He  soon  be- 
came acclimatised,  and 
began  to  get  interested  in 
the  young  country,  so  rich 
in  natural  beauty  and  in 
original  types.  •'  At  the 
school,"  he  would  often 
remark  to  his  friends,  "  I 
tried  my  best  to  inspire  my 
pupils  with  artistic  taste  and 
a  love  of  art.  ...  As  for 
myself,  I  lived  a  very  quiet 
life.  The  splendid  scenery 
around  me  and  the  charac- 
teristic faces  1  met  at  every 
step  roused  the  artist  within 
me,  and  made  me  long  to  ioktkah  ..i   mau. 

put   all    these  things  on 

canvas.  I  devoted  myself  to  the  study  of  nature 
and  of  types,  and  in  so  doing  derived  great  pleasure. 
Nowhere  can  one  find  such  varied  types  and 
costumes  as  are  to  be  found  here.  Things  have 
kept  their  natural  imprint ;  neither  the  barbers  nor 
the  fashion  papers  have  yet  succeeded  here  in 
giving  the  same  appearance  to  every  one,  as  is  the 
case  in  your  civilised  countries.  The  homme  du 
peupk  has  preserved  his  manner  of  wearing  his 
clothes,  of  putting  on  his  fur  cap  and  belt,  and  of 
leaving,  his  chest  bare.  .  .  .  All  this  has  something 
individual  about  it,  and  makes  a  most  picturesque 
ensemble.  .  .  .  Studies  of  this  kind  well  repaid  me 
for  my  solitude."  

The   productivity    of   M.    Mrkvitchka    is    truly 

astonishing.     His   works   are   many   and    various. 

He   has    produced   studies,  landscapes,   portraits, 

genre  pictures,  historical  compositions,  and  book 

i66 


Mi;    .-5.  1)Y    J.    V.    MKK\nCllKA 

illustrations.  In  a  word,  there  is  scarcely  a  branch 
of  painting  or  drawing  at  which  he  has  not  tried  his 
hand.  From  the  walls  of  his  studio  dozens  of 
pairs  of  eyes  look  naively  at  you.  They  are  sketches  . 
of  Bulgarian  types,  mostly  women  ;  on  whatnots, 
in  the  corners,  everywhere,  are  piled  heaps  of 
drawings  and  studies,  representing  landscapes,  the 
inhabitants  of  the  town,  their  costumes,  their  em- 
broideries— in  fact,  the  whole  country  itself.  Among 
the  numerous  portraits  of  men,  women,  and  children, 
all  marked  by  an  external  resemblance,  and  realising 
in  characteristic  manner  the  essentials  of  the  person 
depicted,  may  be  mentioned  that  of  the  Czar 
Ferdinand  I.,  in  State  costume,  painted  when  he 
was  Prince  ;  the  late  Princess  Marie  Louise, 
Monsignor  Simeon,  Madame  S.,  and  other  person- 
ages of  prominence  in  the  social  life  of  this  quarter 
of  Europe  ;  also  one  of  the  famous  Bulgarian  monk 
Pais  or  Paiss}-. 


studio-  Talk 


Mrkvitchka's  most  interesting  works,  however, 
are  his  genre  pictures  and  his  historical  com- 
positions. All  these  pictures  are  marked  with  the 
characteristic  imprint  of  the  artist's  talent — full  of 
grace  and  poetry  and  sweetness.  But  the  master  has 
been  no  less  successful  in  pictures  of  another  kind, 
wherein  he  shows  us  tragic  scenes  full  of  horror, 
inspired  by  the  sufferings  of  the  Bulgarians  and 
Macedonians  under  the  Turkish  heel. 


dress.  All  the  other  Bulgarian  painters  have, 
voluntarily  or  otherwise,  come  under  his  influence. 
Hence,  partly  at  any  rate,  we  can  understand  this 
peculiarity  in  Bulgarian  art,  namely,  that  it  did  not 
begin,  as  art  begins  everywhere  else,  by  imitations 
of  classical  works,  but  went  straight  to  realism,  to 
the  artistic  reproduction  of  nature  and  social  life. 


Mrkvitchka  is  known  as  "  the  first  Bulgarian 
painter,"  or  the  "  Father  of  Bulgarian  painting." 
And  either  of  these  titles  is  quite  accurate.  No 
artist  has  depicted  Bulgaria  so  completely  or  in  a 
manner  so  varied ;  none  has  represented  more 
truly  or  more  delicately  the  characteristic  traits  of 
its  inhabitants,  the  expression  of  their  faces,  their 
gestures,  and  the  original  heaviness  of  their  motley 


PORTRAIT   OF    Kl^ 


WD   OF    BULGARIA 


Mrkvitchka's  remarkable  works  have  won  for  him 
the  sympathetic  interest  of  Bulgarians  of  the  highest 
class.      He  was  in  the   good   graces  of  the  late 
Prince  Alexander   of   Battenberg,  who  presented 
him  with  a  brooch  set  with  diamonds.     But  it  is 
the  present  ruler  of  Bulgaria,  Ferdinand  I.,  who 
has  shown  most  kindness  to  the  painter.     Soon 
after  ascending  the  Bulgarian  throne  the  Prince,  as 
he  then  was,  on  arriving  at  Philippopolis,  paid  a  visit 
to  the  painter's  studio,  and  was  agreeably  surprised 
to    find   in    that   provincial 
town  an  artist    of  the   true 
sort.     He   bought   two   pic- 
tures, and  had  them  hung  in 
his  study  over  the  desk  at 
which  he  works.     The   late 
Princess  Marie  Louise,  who 
was  devoted  to  the  arts,  and 
something  of  an  artist  her- 
self, also  had  a  high  opinion 
of  Mrkvitchka  as  a  painter. 
She   commissioned   him    to 
paint  her  portrait,  intending 
to  present  it  to  her  regiment. 
But   when  the  portrait    was 
finished   it    pleased    her   so 
much  that  she  could  not  bring 
herself  to  part  with  it.     After 
the  Princess's  death  the  artist 
did  another — based   on  the 
first — in   the  old    Bulgarian 
style.    The  Princess,  founder 
of  a  new  Bulgarian  dynasty, 
is  represented  seated  on  an 
antique  throne,  under  the 
protection   of  the    Holy 
Virgin,   the    work    being 
executed    in    old-style 
mosaics. 

After  the  annexation  of 
Eastern  Roumelia  to  the 
principality  of  Bulgaria, 
Mrkvitchka  was  appointed 
professor  of  drawing  at  the 
BY  J.  V.  MRKVITCHKA  lyccc    \\\    Sofia,  with   the 

167 


Sfiidio-Talk 


BILGARIAN    PEASANT    STUDY.       KV    ).    V.    MRKVITCHKA 

special  object  of  reorganising  therein  the  teach- 
ing of  drawing,  which  according  to  a  ministerial 
report  was  much  more  advanced  at  Phihppopolis 
than  in  the  capital.  Sofia,  already  the  centre  of 
the  political  and  intellectual  life  of  the  country, 
became,  soon  after  Mrkvitchka's  arrival,  an  art 
centre  as  well.  By  organising  an  exhibition  of  his 
pictures  in  the  Salon  of  the  "Gymnasium" — the 
first  show  of  the  kind  held  in  Sofia— the  painter 
excited  wide  interest  in  art,  and  from  that  date 
the  artistic  movement  in  Bulgaria  may  be  said  to 
have  begun.  In  1895,  thanks  to  the  energetic 
intervention  of  Prof.  J.  Chichmarroff,  the  Society 
of  Artists  and  Art-lovers  was  founded  at  Sofia ; 
the  illustrated  journal  "  Isskoustvo  "  ("Art")  made 
its  appearance  under  the  direction  of  Mrkvitchka 
and  his  friend  A.  Mitoff.  Finally,  in  1906,  the 
then  Minister  of  Public  Instruction,  M.  K. 
VelitchkofT,  poet  and  art-lover,  established  in  Sofia 
a  School  of  Fine  Arts  for  the  purpose  of  creating  a 
foyer  artistitfue,  and  thus  promoting  the  develop- . 
ment  of  national  art  in  the  country.  Mrkvitchka 
was  made  Director  of  the  .school,  and  still  holds 
that  post. 

Several  icons  from  the  artist's  brush  have  been 
168 


executed  in'the  old  style,  to  show  those  students 
at  the  school  who  are  specialising  in  iconography, 
which  plays  so  large  a  part  in  the  ritual  of  the 
1  Eastern  Church  to  which  Bulgaria  as  agnation 
adheres,  how  one  can  adapt  modern  painting  to  the 
'  'Id  Bulgaro-Byzantine  style.  During  the  last  few 
\  ears  he  has  successfully  attempted  decorative' paint- 
ing. A  little  while  ago  he  decorated  the  walls  of  the 
Agricultural  Bank  at  Sofia,  and  more  recently  he 
has  been  occupied  in  adorning  a  mausoleum  at 
Bucharest.  Mrkvitchka  received  the  gold  medal 
at  the  Paris  Exhibition  in  1900  and  at  St.  Louis 
in  1904,  which  proves  that  his  works  are  as  highly 
esteemed  abroad  as  in  Bulgaria  itself.  O.  G. 

BERLIN.— The     Salon    Rabl    has    been 
having  a  show  of  new  landscapes  by  Prof. 
Carl  Langhammer.     Italian  scenery  with 
thunderstorms,   nocturnal    night    effects 
and  picturesque  architecture  are  among  the  motives 


BULGARIAN    PEASANT   STUDY 


J.    \.    MRKVITCHKA 


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Stitdio-Talk 


which  have  fascinated  this  artist,  who  has  also 
found  some  congenial  themes  in  German  parks  and 
pastures.  One  could  enjoy  the  decorator's  love 
for  clouds  and  classical  accessories  and  also  the 
realist's  eye  for  air  and  trees  and  cattle.  Sympath\- 
with  the  subject  pervaded  each  picture  and  in 
contemplative  and  lyrical  interpretation  the  in- 
fluence of  the  Bracht  school  was  traceable. 

The  Salon  Schulte  has  been  showing  the  coillec- 
tion  of  works  grouped  together  under  the  title 
"  Places  of  Labour "  (Statten  der  Arbeit)  which 
has  been  on  view  in  several  German  towns.  This 
homage  to  the  modem  spirit  of  industrialism  has 
opened  new  fields  for  landscape  and  genre  painting. 
Pictorial  themes  have  been  discovered  by  the  artists 
of  all  countries  in  factories,  harbours,  steelworks, 
gla.ssworks,  and  timber-yards.  Frequently  these 
subjects  are  rendered  with  a  social  tendency,  but 
more  often,  perhap.s,  as  purely  pictorial  exercises. 
Eugen  Bracht  evinced  no  decline  of  vigour  in  the 
rendering  of  prosaic  scenes,  and  H.  Heyenbrock 


maintained  his  reputution  as  a  decorative  ex- 
pressionist, although  he  does  not  sacrifice  detail. 
It  was  delightful  to  feel  convinced  of  almost 
dynamic  energ}'  in  the  labourers  of  Robert  Sterl, 
who  is  also  an  exquisite  colourist,  and  Walter 
Klemm  proved  his  customary  directness  in  some 
scenes  of  city  life.  Brangwyn,  Pennell,  Balu.schek, 
and  Paeschke  were  prominent  in  the  graphic 
section.  |.   J. 

BARCELONA.— In  the  .Sal6n  Par^s  the 
distinguished  artist  Santiago  Rusifiol  re- 
cently showed  some  of  his  latest  work, 
executed  during  a  sojourn  in  beautiful 
^'alencia,  Aranjuez,  and  Gerona.  Rusifiol  has 
made  a  name  for  himself  as  the  painter  of  the 
gardens  of  Spain,  and  every  one  of  his  works  dis- 
plays so  much  tenderness  that  one  finds  it  difficult 
in  presence  of  a  collection  of  his  pictures  to  dis- 
cover any  preference,  such  is  the  degree  of  perfec- 
tion achieved  by  the  artist  in  his  special  field.  If 
it  cannot  be  said  that  these  latest  wcjrks  were  better 


"r.\  JARDIN    DE   VALENCIA' 

170 


St/tdio-  Talk 


"VIETX    FAUNE   (aRANIUEZ) 


BY    SANTIAGO    KUSINOL 


than  those  which  preceded  them,  that  is  simply 
because  there  was  no  room  for  improvement.  But 
while  technically  of  equal  merit  some  of  these 
pictures  stand  out  from  the  rest  on  account  of  their 
subjects.  The  picture  entitled  Jardin  de  Valencia 
is  a  delightful  piece  of  work,  not  only  because  of 
the  beauty  of  the  scene  depicted,  but  also  because 
of  the  masterly  way  in  which  the  artist  has  over- 
come the  difficulties  presented  by  the  contrast  of 
light  and  shade.  His  sunshine  communicates  a 
feeling  of  warmth  ;  in  a  word,  it  is  the  real  sun  of 
Spain  that  is  here  depicted.  The  Vieux  Faune  is 
a  scene  from  the  royal  gardens  of  Aranjuez,  and 
this  again  is  a  beautiful  work.  J.  G.  M. 

TOKYO. — The  fleeting  springtime  of 
Japan,  replete  with  memories  com- 
mingling charm  and  interest,  culminates 
in  the  month  of  May  ;  the  holiday  spirit 
runs  strong  in  young  and  old ;  temple  festivals, 
flower  shows,  exhibitions  of  various  descriptions, 
expeditions  to  favourite  spots  in  the  near  neigh- 
bourhood of  the  great  cities  afford  a  ready  excuse 


for  the  casting  aside  of  the  cares  of  office  by  all 
classes  of  the  community.  Among  other  centres 
of  attraction  that  caught  the  popular  taste  this 
year  may  be  mentioned  the  Tenth  Annual  Art 
Exhibition  held  at  Uyeno  Park  in  Tokyo,  which 
always  appeals  to  the  artistically-minded  section  of 
pleasure-seekers  as  well  as  to  students  and  members 
of  the  "  profession,"  printers,  publishers,  and  others 
interested  in  the  advance  of  art  in  Japan.  Like  its 
predecessors,  it  was  open  to  all  Japan,  and  com- 
prised exhibits  of  sculpture,  water-colours,  and  block 
prints.  

It  is  more  particularly  in  connection  with  the 
last  branch  of  work  that  a  word  may  be  said.  The 
exhibitors  were  two  in  number  only,  a  Japanese 
and  an  American,  the  latter,  Mrs.  Bertha  Lum,  an 
artist  whose  name  is  well  known  in  her  own  country 
in  connection  with  block  printing,  on  which  she 
has  been  working  for  several  years.  Her  work, 
which  is  full  of  charm,  shows  that  she  has  been 
able  to  assimilate  the  methods  of  Japanese  artists 
and  printers  to  a  remarkable  extent,  developing 

171 


Studio-Talk 


along  lines  suggested  by  her  own  genius  in  new  and 
original  directions  while  adhering  to  the  procedure 
that  has  come  down  through  generations  of  block 
printers  from  early  days. 


At  the  present  time  block  printing  is  practically 
obsolete  save  as  a  means  of  reproducing  old  prints. 
In  that  branch  several  houses  are  doing  rare  and 
wonderful  work  that  cannot  be  too  highly  com- 
mended, but  as  a  mode  of  expressing  modem  ideas 
the  art  may  be  said  to  be  as  good  as  dead.  Block 
printing  is  employed  for  advertisement  purposes  and 
in  the  production  of  cheap  prints  as  an  economical 
and  effective  method  of  obtaining  certain  desired 
results,  which,  however,  differ  very  considerably 
from  those  shown  in  the  olden  days.  Printed  on 
the  unsuitable  modem  paper  in  colours  that  would 
not  have  been  tolerated  by  the  ancient  masters  of 
the  art  the  productions  of  the  twentieth- 
century  block  printer  are  generally  poor  in 
design  and  composition,  and  it  is  no  wonder 
that  they  fail  to  find  favour  when  compared 
with  the  old  prints,  excellent  reproductions 
of  which  can  now  so  easily  be  obtained. 
During  the  years  Mrs.  Lum  has  been 
engaged  in  this  work,  in  close  touch  with 
artists  and  the  art  of  block  printing  in  Japan, 
little  original  work  has  been  produced  and 
no  progress  made  :  on  the  contrary,  de- 
terioration may  be  detected  if  the  results 
of  the  last  five  years  are  critically  examined. 


Mrs.  Lum  possesses  in  an  unusual  degree 
that  rare  gift — priceless  to  the  artist — good 
colour-sense,  combined  with  an  instinctive 
grasp  of  composition,  and  as  a  medium  for 
their  expression  has  cho-sen  the  process  of 
block  printing  rather  than  water  colour. 
Composition  is  the  keynote  of  the  old 
print.  The  wonderful  faculty  of  seizing 
on  the  best  combination  of  landscape  and 
figure  possessed  by  the  master  makers  of 
the  old-day  prints  would  appear  to  have 
descended  to  Mrs.  Lum,  who,  proceeding 
along  lines  both  new  and  original,  has  pro- 
duced prints  that  for  depth  of  tone  and 
atmospheric  effect  can  be  compared  only  to 
some  dreamy  pastel  rather  than  the  flat  and 
soulless  print  of  modern  Japan. 


surfiice  to  work  on,  the  printer  has  to  press  so 
hard  on  the  block  that  colour  is  rubbed  off,  pro- 
ducing a  thin  effect  on  the  print.  It  has  been 
reserved  for  Mrs.  Lum,  by  paying  the  greatest 
attention  to  the  laying  on  of  colotirs,  to  obtain  from 
the  modern  materials  that  depth  of  tone  that  is  so 
truly  an  admirable  feature  of  the  old  productions. 
By  a  process  of  reprinting  with  a  good  deal  of 
water  it  has  been  found  possible  to  produce  the 
effect  desired,  the  result  being  a  depth  of  colour  and 
warmth  of  tone  that  has  delighted  all  lovers  of  block 
printing.  Added  to  this  technical  skill  are  a  grace  of 
composition  and  an  atmosphere  all  her  own,  instinct 
with  the  thought  and  inspiration  of  to-day,  this 
combination  serving  to  bridge  the  space  separating 
block  printing  from  the  water-colour  drawing. 

The    block    printing    of    olden    times    was   a 


In    the    old    days    the    paper   was    soft 

and  of  rather  loose  texture,  allowing   the 

colour  to  soak  through  in  a  manner  that 

gave  it  depth.     Nowadays,  with  a  harder 

172 


'FISHERMEN 


1  ROM    K   WOOD    PRINT   BY    BERTHA   LUM 


Studio-  Talk 


'  KITE-FLVING 


FROM    A   WOOD   PRINT   BY    BERTHA   LUM 


handicraft,  but  a  handicraft  precious  and  full  of 
beauty,  which  is  fast  becoming  lost  in  this  modern 
age,  when  the  artists  of  Japan  believe  that  they 
can  only  find  expression  and  produce  real  works  of 


art  through  the  medium  of  the  brush.  Mrs.  Lum's 
prints  stand  to-day  as  a  bridge  between,  on  the  one 
hand,  the  prints  of  old  Japan,  from  which  she  has 
learned  the  methods  and  secrets  of  the  technical 


'  WI.SD    .\.Mj    RAI.N 


FROM   A    WOOD   PRINT   BY   BERTHA   LUM 


Art  School  Notes 


>.^ 


FROM    A    WOoli    I'KINT    BY   BERTHA    LUM 


part  of  block  printing,  and,  on  the 
expression  of  the  same  thoughts 
water-colour. 


other  hand,  the 

and  fancies  in 

H.  V.  H. 


ART  SCHOOL  NOTES. 

LONDOX.— At  the  Royal  Academy  on  De- 
cember 2,  in  his  first  lecture  on  chemistry. 
Prof.  Laurie  intends  to  make  a  new  de- 
-^  parture  that  should  be  of  considerable 
value  in  connection  with  the  modem  revival  of  a 
beautiful  and  ancient  art.  The  lecture  will  be 
devoted  to  a  consideration  of  the  palette  of  the 
illuminators  who  practised  from  the  seventh  to  the 
end  of  the  fifteenth  century  and  will  be  illustrated 
with  lantern  slides  of  illuminated  manuscripts  in 
their  natural  colours.  In  his  remaining  addresses 
Prof.  Laurie  will  deal  with  the  proper  selection 
and  use  of  modem  pigments  ;  the  various  methods 
of  wall-painting;  media,  varnishes,  and  tempera 
painting  ;  the  theory  of  colour  in  its  application  to 
painting;  and  the  chemistry  of  building  materials. 
In  view  of  the  possibility  that  the  professorships 
of  painting,  sculpture,  and  archit-ecture  may  be  more 
or  less  in  commission  this  winter,  several  members 
of  the  Academy  have  undertaken  to  give  single 
addresses  in  January  and  February  on  subjects 
connected  with  these  three  branches  of  the  arts. 

The  autumn  e.xhibition  at  the  Birkbeck  School 
174 


of  Art  contained  some 
promising  work  in  painting, 
modelling,  and  design.  An 
admirable  design  for  a 
garden  fountain  in  cast 
lead  was  shown  by  Arthur 
E.  Harvey ;  and  Arthur 
M.  Boss,  the  winner  in 
recent  years  of  many  prizes 
for  drawing  and  painting, 
contributed  a  clever  sketch 
in  oil  of  a  girl  dancing. 
Good  drawings  from  the 
nude  by  Branford  Clarke 
were  accompanied  by  some 
curious  designs  that 
showed  the  influence  of 
Blake;  and  figure  studies 
of  interest  came  from 
William  Howitt.  Com- 
mentlable  work  wa.s  also 
shown  by  Viola  D. 
Dunkley,  Gladys  Hardy- 
Syms,  Grace  M.  Hudson, 
and  Alfred  M.  Shiner  among  others.        \V.  T.  W. 

REVIEWS  AND   NOTICES. 

Mary  the  Mother  of  Jesus.  An  Essay  by  .\lice 
Mevnell.  With  20  plates  in  colour  after  water- 
colour  drawings  by  R.  Anning  Bell.  (London  : 
P.  Lee  Warner  for  the  Medici  Society.)  165.  net. 
— It  is  part  of  Mrs.  Meynell'sgift  in  the  preparation 
of  this  book  to  select  her  illustrator  with  so  much 
success  as  the  results  show  in  this  case.  One  can 
imagine  collectors  many  years  hence  searching 
for  this  edition  for  the  sake  of  the  frontispiece,  a 
singularly  fine  piece  of  colour-reproduction.  Mary 
in  the  House  of  Elizabeth  is  also  a  plate  of  great 
beauty,  adapting  the  sharp  colour-contrast  of 
old  missals  to  present-day  conditions  without  any 
affected  imitation  of  methods  which  were  not  in- 
fluenced as  present  methods  must  be  by  having  to 
recognise  the  printing-press.  The  present- day  pro- 
cesses, and  the  method  they  admit  of,  enable  the 
artist  to  attain,  as  in  the  picture  Mary  ivith  the 
Lady  Saint  Anne,  atmospheric  wealth  of  effect ; 
and  Mr.  Anning  Bell  does  this  without  losing  the 
precious  qualities  of  finish  which  book-embellish- 
ment demands.  In  this  last  respect  he  achieves  a 
success  which  few  attain  to. 

An  Artist  in  Eg}'pt.  By  Walter  Tvndale, 
R.I.  (London:  Hodder  and  Stoughton.)  20s. 
net. — Of  the  numerous  books  on  Egypt  which  have 


S2 


Z     Q 
>     ° 


^;:. 


Reviews  and  Notices 


appeared  during  recent  years  none  have  given  us 
more  pleasure  than  Mr.  Tyndale's  latest  work.  The 
title  is  perhaps  a  little  misleading,  for  -the  author 
has  not,  as  might  be  expected,  attempted  to  deal 
with  the  many  technical  problems  which  present 
themselves  to  the  artist  who  endeavours  to  depict 
the  unique  and  wonderful  beauties  of  the  country, 
more  especially  of  the  atmospheric  effects  peculiar 
to  it,  but  has  given  us,  in  an  agreeable  and  chatty 
manner,  an  account  of  some  of  his  experiences 
during  a  lengthy  sojourn  in  the  country.  Many  of 
his  anecdotes  are  amusing,  while  his  descriptions 
of  the  native  life  and  customs  are  always  interesting, 
for  Mr.  Tyndale  knows  his  Egypt  well.  In  his 
account  of  the  journey  to  Kosseir,  in  some  ways 
the  most  entertaining  part  of  the  narrative,  he  has 
given  a  wonderfully  vivid  description  whkh  will 
appeal  to  those  who  have  experienced  what  the 
author  calls  "the  charm  of  the  desert."  If  we 
have  any  fault  to  find  with  this  engaging  volume  it 
is  that  the  writer  should  have  introduced  the 
gruesome  details  connected  with  the  story  of  the 
Princess  Zohra,  and  with  the  death  of  Abbas  :  or 
the  vivid  description  of  the  horrors  of  the  "  dancing 
dervishes  "  and  other  barbaric  practices  which  have 
now  almost  disappeared.  These  are  not  pleasant 
reading  and  seem  out  of  place  in  such  a  delightful 
book.  The  twenty-seven  illustrations  are  admirably 
reproduced  in  colour.  The  subjects  are  well  chosen 
and  varied,  and  are  treated  in  the  artist's  usual 
sympathetic  and  attractive  manner. 

The  Heroes,  or  Greek  Fairy  Tales  for  my  Childroi. 
By  Charles  Kingslev.  Illustrated  by  W.  Russell 
Flint.  (London :  P.  Lee  Warner,  publisher  to 
the  Medici  Society.)  £,2  \zs.  6d. — Mr.  Russell 
Flint's  colour-books  in  the  Riccardi  Press  editions 
have  frequently  called  for  praise  in  these  columns, 
and  we  have  formerly  noted  how  the  artist's  style 
has  with  each  book  more  perfectly  accommodated 
itself  to  decorative  colour-illustration.  The  present 
work  surpasses  any  of  his  that  we  have  already  re- 
viewed in  its  thorough  understanding  of  the  problem 
of  book-illustration.  There  is  no  sameness  in  Mr. 
Flint's  pictures,  although  he  rightly  retains  uni- 
formity of  style.  He  has  considerable  inventive 
faculty,  both  in  the  conception  of  his  subject  and 
in  the  disposition  of  colour,  in  the  latter  obtaining 
a  great  variety  of  effect.  The  ordinary  edition  of 
"  The  Heroes "  is  limited  to  500,  and  there  are 
two  other  special  editions  restricted  to  a  few  copies 
at  ^'3  3^-  and  ;^  1 5  15.?.  net. 

Co/our  in  the  Home.  By  Ed\v.\rd  J.  Duveex. 
(London  :  George  Allen  and  Co.)  j[^2  2s.  net. — It 
cannot,  of  course,  be  denied  that  there  is  still  room 


for  improvement  in  the  taste  of  the  British  public, 
but  in  view  of  the  great  progress  that  has  of  late 
years  been  made  in  the  decorative  and  industrial 
arts  Mr.  Duveen  surely  goes  too  far  when  he  asserts, 
in  his  richly  illustrated  volume,  that  the  houses  of 
the  middle  and  lower  classes  are  far  less  artistic  in 
their  ornaments  and  furniture  than  the  hut  of  the 
African  savage.  Moreover,  it  is  scarcely  fair  to 
contrast  to  the  detriment  of  his  native  land  English 
and  foreign  modern  aesthetic  feeling,  for,  to  quote 
but  one  case  in  point,  nothing  could  be  more 
blatantly  vulgar  than  most  of  the  residences  in  the 
new  French  seaside  resorts,  that  compare  most 
unfavourably  with  the  many  charming  houses  in 
the  garden  suburbs  near  London.  Other  sweeping 
assertions,  such  as  that  "in  chiracter  and  expression 
both  the  Spanish  and  Venetian  schools  of  painting 
are  deficient,  but  no  fault  can  be  found  with  their 
colouring,"  provoke  hostile  criticism,  but,  due  allow- 
ance being  made  for  a  certain  want  of  balance  of 
judgment  and  inadequacy  of  literary  expression,  the 
book — in  which,  by  the  way,  scarcely  any  reference 
is  made  to  the  illustrations- — contains  much  useful 
suggestion.  The  analyses  of  colours  and  the  defini- 
tions of  their  relations  to  each  other,  though  they 
are  scarcely  likely  to  be  of  much  use  in  educating 
the  ordinary  householder,  display  a  considerable 
knowledge  of  the  subject,  and  the  remarks  on  the 
duties  of  municipal  authorities  might  well  be  laid 
to  heart  by  them.  Mr.  Duveen  would  have  an  official 
to  control  London  streets  and  buildmgs,  with  powers 
similar  to  those  of  the  Dean  of  Guild  in  Scotland, 
and  he  urges  closer  co-operation  between  architects, 
sculptors,  and  painters,  who  should  together  control 
the  builder,  the  manufacturer,  and  the  artisan,  all 
working  together  for  the  common  good. 

Zives  of  the  Most  Eminent  Painters,  Sculptors, 
and  Architects.  By  Giorgio  Vas.^rl  Newly  trans- 
lated by  Gaston  Du  C.  De  Vere.  (London  :  P. 
Lee  Warner  for  the  Medici  Society.)  Vol.  II. 
255.  net. — Thesecond  volume  of  the  new  translation 
of  Vasari's  "  Vite  dei  piu  eccellenti  Pittori,  Scultori 
e  Architetti,"  now  appearing  in  ten  volumes,  well 
maintains  the  high  level  of  excellence  of  the  first, 
the  fine  printing  and  the  beautiful  plates,  some 
in  monochrome,  others  in  colour,  giving  to  it  a 
distinction  as  great  as  that  of  its  predecessor. 
.Specially  well  interpreted  are  the  Madonna  and 
Child  Enthroned,h\  Bernardo  Daddi,one  of  Giotto's 
most  distinguished  pupils  ;  The  Death  of  the  Virgin, 
one  of  the  few  surviving  works  of  Spinello  Aretino  ; 
the  Annunciation,  by  the  gifted  monk  known  as  II 
Monaco;  and  the  Madonna  and  Child  7vith  Angels, 
by  Masolino  da  Panicale,  the  master  of  the  greater 

177 


Reviews  and  Ahtices 


Masaccio.  The  period  covered  in  the  new  volume 
is  tiie  deeply  important  one  that  preceded  the 
Golden  Age  of  painting  in  Italy,  during  which, 
though  Florence  stnll  took  the  lead,  Padua,  Venice, 
and  Bologna  rivalled  that  city  in  the  number  of 
masters  of  genius  produced  by  them,  and  Ghiberti, 
Brunelleschi,  Luca  della  Robbia,  and  Donatello 
were  carrying  on  the  work  begun  in  the  fourteenth 
century  by  Orcagna  and  paving  the  way  for  the  final 
culmination  in  the  work  of  Michael  Angelo  of  all 
that  was  best  in  the  plastic  art  of  the  Renaissance. 
Unspoiled  by  any  notes  or  additions,  this  true 
masterpiece  of  literature  retains  the  quaint  savour 
of  the  original  text,  in  which  the  chatty  chronicler 
gives  his  impressions  of  the  inner  and  outer  lives 
of  the  mighty  wielders  of  brush  and  chisel  whom 
it  was  his  privilege  to  know. 

Robin  Hood.  Illustrated  by  \V.\lter  Crane. 
(Edinburgh  and  London:  T.  C.  and  E.  C.  Jack.) 
-jS.  dd.  net. — Mr.  Walter  Crane's  pencil  still  retains 
its  charm  in  illustrating  for  children,  if  not  quite  all 
its  old  delicacy  and  power  ;  and  in  the  work  under 
review  he  has  had  the  advantage  of  methods  of 
colour-printing  which  were  not  extant  when  his 
first  books  appeared.  Mr.  Crane,  who  is  a  survivor 
of  the  great  romantic  period  of  the  last  century, 
understands  knights  and  friars  and  the  back- 
ground of  scenes  indisputably  reminiscent  of  Old 
England  as  only  one  who  had  shared  in  the 
romantic  revival  could.  Every  year  his  books  link 
us  to  a  past  phase  of  art  which  this  country  cannot 
afford  to  forget. 

A  Book  of  Beggars.  By  \\.  D.\cres  Adams. 
■(Lxjndon:  William  Heinemann.)  5j.net. — It  will 
probably  be  something  of  a  shock  to  Bishops  and 
Lord  Mayors,  aristocratic  ladies  who  give  no 
■change  at  charity  bazaars,  militant  suffragettes, 
members  of  the  Salvation  Army  and  Little  Sisters 
of  the  Poor  to  find  them.selves  classed  by  Mr. 
Adams  in  his  "  Book  of  Beggars "  with  crossing- 
sweepers,  hawkers,  acrobats,  gipsy  fortune-tellers, 
begging-letter  writers,  and  pavement  artists.  No 
respecter  of  persons,  the  caricaturist  touches  off 
with  great  skill  the  idiosyncrasies  of  typical 
examples  of  the  multitude  of  those  who  endeavour 
to  extract  money  from  others,  from  selfish  or 
unselfish  motives.  The  sketches,  which  are  all  full 
of  humour  and  are  moreover  well  printed,  are 
prefaced  only  by  the  old  nursery  rhyme  : 

Hark  !   Hark  !     The  dogs  do  bark 
Beggars  are  coming  to  town. 
Some  in  jags,  some  in  rags 
And  some  in  velvet  gowns. 

— the   idea   suggested  by  the    well-known  refrain 
178 


being  carried  out  by  black-and-white  drawings  of 
dogs  opposite  each  coloured  picture,  their  attitudes 
expressing  with  rare  felicity  the  feeling  of  the  public 
towards  the  particular  beggar  in  question. 

The  Fables  of  .£sop.  Illustrated  by  Edward  J. 
Detmold.  (London :  Hodder  and  Stoughton.) 
i5.f.  net. — Mr.  Detmold's  knowledge  of  animal  life 
makes  him  a  learned  illustrator  of  .-l-^sop.  If  we 
have  a  complaint  to  bring  it  is  not  against  the 
display  of  this  knowledge,  or  his  miraculous  draw- 
ing of  detail,  and  certainly  not  against  his  colour, 
but  against  an  absence  of  humour,  and  emphasis 
upon  the  symbolical  element  of  the  story  which  he 
has  set  out  to  illustrate.  After  all  the  story  should 
be  the  point  with  the  illustrator  of  any  book  where 
the  illustrations  aim  at  being  more  than  marginal 
embellishments  or  fanciful  inventions  off-shooting 
from  the  idea  of  mere  embellishment. 

The  Uffizi  Gallery.  By  P.  G.  Konodv.  M'ith  fifty 
plates  in  colour.  Edited  by  T.  Leman  Hare 
(London  and  Edinburgh:  T.  C.  and  E.  C.  Jack.) 
2\s.  net. — To  make  a  selection  of  fifty  representa- 
tive works  from  the  vast  number  of  masterpieces 
in  the  L'fiizi  Gallery,  which,  as  far  as  Italian  painting 
is  concerned,  contains  the  most  important  collec- 
tion in  the  world,  must  have  been  a  task  of  no 
little  difficulty,  but  it  must  be  admitted  that  it 
has  been  performed  with  considerable  tact  and 
judgment.  Although,  as  a  matter  of  course,  the 
greater  number  of  reproductions  are  of  Italian 
pictures,  ranging  in  date  from  the  time  of  the  early 
Primitives  to  that  of  the  late  Eclectics,  several 
e.xamples  are  also  given  of  the  Northern  Schools, 
including  Memlinc's  Virgin  and  Child  7vith  tivo 
Angels,  Rubens's  Portrait  of  Himself,  and  most 
notable  of  all  the  so-called  Portman  Altar-piece  by 
Hugo  van  der  Goes,  one  of  the  very  few  authentic 
works  of  its  author.  Amongst  the  best  plates  in 
this  attractive  volume,  so  far  as  accurate  rendering 
of  tone  values  is  concerned,  are  Botticelli's  Madonna 
of  tlie  Magnificat  and  Holbein's  Portrait  of  Richard 
South'iVell,  whilst  of  the  scholarly  essays  accom- 
panying them  perhaps  the  most  interesting  is  that 
on  the  Goldsmith  Painters  of  Florence,  the  writer 
displaying  a  very  genuine  appreciation  of  the 
groups  of  artists  who  interpreted  so  well  their 
citizens'  love  of  rich  colour  and  wealth  of  detail. 

Germany.  Painted  by  E.  T.  Compton  and  E. 
Harrison  Compton.  Described  by  Rev.  J.  F. 
Dickie.  20s.  net. — Moscow.  Painted  by  F.  de 
Haenen.  Described  by  Henry  M.  Grove.  7s.  bd. 
net.  (London:  A.  and  C.  Black). — It  is  rather 
difficult  to  understand  why  an  entire  book  should 
be  devoted  to  the  City  of  Moscow  while  a  volume 


Reviews  and  Notices 


only  very  little  larger  should  be  thought  sufficient 
for  the  whole  of  that  vast  agglomeration  of  princi- 
palities, states,  and  kingdoms  which  are  consolidated 
under  the  name  of  the  German  Empire.  The 
Moscow  book  contains,  besides  its  interesting 
historical  and  descriptive  letterpress  written  by  Mr. 
Grove,  the  British  Consul  at  Moscow,  a  map  of  the 
■city  and  sixteen  illustrations  in  colour  and  a  like 
number  in  half-tone.  Mr.  F.  de  Haenen's  pictures 
are  attractive  but  at  the  same  time  one  would  have 
liked  to  see  a  more  characteristic  selection  of 
subjects.  Certain  of  the  pictures  given  m  colour 
seeiri  to  call  less  for  this  treatment  than  some  of 
the  subjects  which  are  treated  in  black  and  white. 
To  write  a  book  under  the  title  "Germany"  must 
have  been  a  somewhat  imposing  task  and  naturally 
the  Rev.  J.  F.  Dickie's  account  cannot  do  more 
than  afford  a  very  cursory  survey  of  the  subject. 
He  takes  the  reader,  however,  for  a  rapid  tour  of 
the  Fatherland  from  east  to  west,  from  north  to 
south,  but  it  is  the  series  of  seventy-five  reproduc- 
tions all  in  colour  which  form  the  feature  of  the 
book.  These,  reproduced  from  water-colours  by 
E.  T.  and  E.  H.  Compton,  give  an  excellent  idea 
of  the  scenery  and  town  architecture  in  different 
parts  of  Germany;  and  besides  being,  as  far  as  one 
can  judge  from  personal  knowledge  of  a  good  many 
of  the  places  depicted,  topographically  accurate, 
the  artists  have  given  proof  of  a  very  pleasant  gift 
of  colour  and  of  composition. 

Whitman's  Print-Collector's  Handbook.  Revised 
by  Malcolm  C.  Salaman.  (London :  G.  Bell 
and  Sons,  Ltd.)  los.  6d.  net. — The  appearance 
of  this  new  and  greatly  amplified  edition  of  "  Whit- 
man's Handbook  "  will  be  warmly  welcomed  by  all 
collectors  and  connoisseurs  of  prints,  among  whom 
the  work  has  always  been  held  in  high  esteem  not- 
withstanding the  limited  scope  of  its  five  earlier 
editions.  The  need  for  amplifying  it  and  making 
its  scope  commensurate  with  the  expansion  which 
has  taken  place  in  print-collecting  in  recent  years 
was,  indeed,  recognised  by  Whitman,  but  his  death 
necessitated  the  delegation  of  the  task  of  revision 
to  other  hands,  and  we  do  not  think  that  any  one 
who  peruses  the  new  edition  will  doubt  the  wisdom 
of  the  publishers  in  entrusting  the  work  to  Mr. 
Salaman.  So  thoroughly  and  conscientiously  has 
he  done  his  work  that  the  usefulness  and  authority 
of  the  handbook  will  henceforth  be  far  greater  than 
hitherto.  What  he  has  done  goes  much  beyond 
what  one  usually  expects  in  a  "new  edition,"  and 
is,  indeed,  almost  sufficient  to  constitute  the  book 
a  new  work.  Nearly  every  chapter  has  been  ex- 
tended ;    new  chapters  on   the    old   colour-prints, 


on  French  line  engravings,  and  on  contem- 
porary etchings  have  been  added  ;  aquatint,  wood- 
engraving,  and  lithography  are  treated  in  separate 
chapters  instead  of  in  brief  sections  ;  and,  what  is 
of  special  importance  to  the  man  who  spends  his 
money  on  buying  prints,  the  chapter  on  "  The 
Money  Value  of  Prints "  has  undergone  very  con- 
siderable extension,  and  Mr.  Salaman's  wide  know- 
ledge is  here  placed  at  the  service  of  collectors 
in  the  shape  of  trustworthy  guidance.  The  new 
edition  contains  sixty  full-page  reproductions,  well 
chosen,  and  like  the  rest  of  the  book  well  printed. 
La  Decima  Esposizione  d'Arte  a  Vetiezia,  igi2. 
By  Ugo  Ojetti.  (Bergamo :  Istituto  Italiano 
d'Arte  Grafiche).  1 2  lire. — As  one  biennial  ex- 
hibition succeeds  another  at  Venice  the  event  is 
always  marked  by  the  issue  of  a  volume  in  which 
are  reproduced  a  large  number  of  the  works 
exhibited  in  the  various  sections,  Italian  and 
foreign,  and  thus  the  series  as  a  whole  forms  a 
valuable  document  in  the  history  of  modem  art. 
The  present  volume,  dealing  with  this  year's 
exhibition  which  has  just  come  to  a  close,  contains 
over  four  hundred  illustrations,  and  the  admirable 
way  in  which  they  are  here  presented  reflects  the 
highest  credit  on  the  Italian  Institute  of  Graphic 
Arts.  Until  two  years  ago  the  task  of  reviewing 
this  international  assemblage  of  works  of  art  was 
discharged  by  Sgr.  Vittorio  Pica,  who  now  holds 
an  official  position  in  connection  with  the  exhibi- 
tion, but  an  able  successor  has  been  forthcoming 
in  Sgr.  Ojetti,  who  now,  for  the  second  time, 
assumes  the  role  of  historian  of  this  notable  event. 
Sgr.  Ojetti  is  quite  candid  in  his  criticisms,  and  is 
especially  outspoken  in  regard  to  the  work  of  the 
painters  of  his  own  country,  which,  in  his  opinion, 
shows  a  general  falling  off  this  year  by  comparison 
with  former  years.  It  is  interesting  to  note  that, 
while  he  also  considers  the  display  of  British 
paintings  unequal  to  those  of  past  years,  he  devotes 
special  attention  to  the  collection  of  lithographs 
sent  over  from  England  by  the  Senefelder  Club. 


Messrs.  George  Pulman  and  Sons,  Fine  Art 
Publishers,  of  Thayer  Street,  Manchester  Square, 
London,  are  issuing  a  series  of  excellent  colour 
reproductions  of  pictures  exhibited  in  the  Paris 
Salons  this  year.  The  prints  with  their  mounts 
measure  14  by  11 J  inches,  and  the  series  comprises 
twenty-four  subjects  of  a  popular  character.  They 
are  sold  at  \s.  6d.  each. 


[A  number  of  reviews  of  recent  publications  are 
unavoidably  held  over  until  next  month. — Editor.] 

179 


The  Lay  Figure 


T 


HE     LAY     FIGURE:     ON    THE 
DISAPPEARANCE   OF   ART. 


'  I  HAVE  been  told  that  art  is  dying,"  said 
the  Art  Critic,  "  that  it  is  on  the  verge  of  absolute 
extinction  and  that  within  a  generation  or  two  it 
will  have  ceased  to  exist.  What  do  you  think  of 
the  prospect  ? "' 

"  I  think  predictions  of  that  sort  are  preposterous, 
and  am  surprised  that  any  one  should  give  utterance 
to  such  ridiculous  nonsense!"  cried  the  Young 
Painter.  "  Art  was  never  so  sound  or  so  vigorous 
as  it  is  at  the  present  time.  It  is  in  a  condition  of 
splendid  vitality,  and  it  has  endless  possibilities  of 
development.     How  could  it  cease  to  exist  ? "' 

"Its  \iulity  may  be  deceptive,  the  last  flicker  of  a 
dying  flame,"'  laughed  the  Man  with  the  Red  Tie. 
"  Really,  I  do  not  think  it  is  in  a  healthy  state  just 
now  :  it  seems  to  me  to  have  a  tendency  to  suffer 
from  convulsions,  and  at  times  it  is  certainly 
rather  feverish.  I  am  not  altogether  satisfied  with 
its  condition." 

"  What  you  call  feverishness  is  only  exuberance 
of  vitality,"  returned  the  A'oung  Painter.  "  Art  is 
breaking  out  in  so  many  new  directions  that  it  can- 
not help  appearing  rather  restless  and  unsettled. 
But  that  is  not  to  be  regarded  as  a  symptom  of 
ill-health,  and  certainly  does  not  suggest  an  early 
decease." 

"  But  some  people  think  this  uneasiness  is  a  sign 
of  decay,"  said  the  Critic,  "  so  there  may  be  some- 
thing after  all  in  the  gloomy  anticipations  of  the 
pessimists.     One  never  knows  I  " 

"  I  don't  care  a  rap  what  the  pessimists  say," 
declared  the  Young  Painter  :  "  it  amuses  them  to 
imagine  all  sorts  of  horrors.  But  I  do  not  believe 
that  art  will  disappear  until  the  human  race 
vanishes  off  the  face  of  the  earth.  The  craving  for 
art  is  one  of  the  strongest  of  human  instincts,  and 
so  long  as  there  are  human  beings  who  have  any 
instincts  at  all  there  will  be  art  in  some  form  or 
other." 

"  Ah,  yes,  in  some  form  or  other,"  broke  in 
the  Man  with  the  Red  Tie.  You  are  admitting  the 
possibility  that  art  as  we  know  it  now  may  die 
out.  No  doubt  there  would  be  something  else 
to  take  its  place,  but  would  that  be  art  as  we 
understand  it  ?  " 

"  Perhaps  not,"  replied  the  Voung  Painter. 
"  Not  having  the  gift  of  prophecy,  I  do  not  profess 
to  be  able  to  say  what  the  art  of  two  or  three 
centuries  hence  may  be  like  ;  but  that  there  will  be 
art,  and  art  that  will  satisfy  the  popular  demand, 
I  feel  perfectly  convinced." 


"  Then  what  the  pessimists  assume  to  be  signs 
of  decay  are  only  warnings  of  a  coming  change," 
commented  the  Critic.  "  I  think  you  are  right.  I 
am  with  you  in  the  belief  that  art  is  one  of  the 
fundamental  human  instincts,  and  that  the  desire 
for  artistic  expression  which  was  an  attribute  of  the 
human  race  in  the  remote  past  when  men  were 
savages  and  lived  in  caves,  will  continue  to  be  one 
of  its  attributes  in  the  far  future." 

"  But  the  art  of  the  future  may  be  quite  unlike 
what  we  now  accept  and  believe  in.  That  is  pos- 
sible, is  it  not  ?  "  insisted  the  Man  with  the  Red  Tie. 
"Of  course  it  is  possible,"  agreed  the  Young 
Painter.  "  I  should  even  be  inclined  to  regard  it 
as  probable.  The  human  mind  changes  with  the 
lapse  of  time,  and  therefore  it  is  only  reasonable 
to  expect  changes  in  the  manner  of  expressing 
mental  impressions." 

"  The  analogy  of  the  past  is  against  you," 
suggested  the  Critic.  "  The  art  of  the  Stone  Age 
differed  not  at  all  in  intention  from  the  art  of 
today,  and  it  differed  little  enough  in  manner  of 
expression.  The  savage  artist,  li\ing  in  a  cave 
hundreds  of  thousands  of  years  ago,  really  saw  and 
interpreted  nature  in  pretty  much  the  same  way  as 
his  present-day  descendants.  He  had  more  limited 
materials,  but  such  as  they  were  he  used  them  quite 
in  the  modern  fashion." 

"  Because  a  thing  has  not  been,  it  does  not  follow 
that  it  never  will  be,"  objected  the  Man  with  the 
Red  Tie.  "  As  art  has  run  for  so  many  years  along 
particular  lines  there  seems  to  me  to  be  all  the 
greater  probability  that  it  will  be  shunted  sooner  or 
later  on  to  other  lines,  ^\^^y  should  not  this 
diversion  be  close  at  hand?" 

"  For  the  simple  reason  that  any  real  or  definite 
diversion  is,  I  believe,  impossible,"  declared  the 
Critic.  Whatever  may  be  the  period  of  art  that 
you  examine,  early  or  late,  you  will  find  that  it  has 
the  same  underlying  motive,  the  same  fundamental 
purpose.  It  is  only  the  convention  of  expression 
that  varies,  not  the  art  itself.  We  may  be  just  now 
on  the  verge  of  a  change  of  convention ;  we  may 
be  going  to  hark  back  to  one  that  has  been  out  of 
favour  for  centuries,  we  may  even  be  going  to  adopt 
a  new  one.  There  are  fashions  in  art  as  there  are 
in  everything  else ;  new  mannerisms  are  always 
being  invented,  played  with,  and  dropped  for 
something  else  ;  there  is  no  finality  in  any  method 
of  aesthetic  expression.  But  behind  the  new 
mannerism  there  will  be  the  same  old  art,  just  as  it 
has  always  been — that  will  never  change  or  die." 
"  No,  of  course  not,"  agreed  the  Young  Painter. 
The  Lav  Figure. 


Harold  and  Laura   Kitii^lit 


T 


HE  ART  OF  HAROLD  AND 
LAURA  KXIGHT.  BY  NORMAN 
GARSTLX. 


It  is  always  interesting  to  watch  the  work  of 
intimate  friends,  and  to  note  the  effect  of  each 
upon  the  other,  the  unconscious  collaboration  of 
minds  not  occupied  with  the  same  work.  In  con- 
sidering the  work  of  a  husband  and  wife  there  are 
still  more  interesting  points  to  observe.  On  the  one 
hand,  temperamental  differences  caused  by  sex  and 
the  divergencies,  both  of  outlook  and  expression, 
which  such  differences  produce  :  on  the  other,  the 
constantly  growing  identity  of  experiences  and  the 
mutuality  of  criticism  act  as  centripetal  against 
centrifugal  forces,  and  it  would  be  as  inconsequent 
to  expect  one  of  binary  stars  to  move  indepen- 
dently of  the  other,  as  to  expect  artists  like  Mr.  and 
Mrs.  Harold  Knight  to  move  in  different  orbits. 

Before  entering  upon  the  slight  sketch  of  these 


painters  I  would  like  to  say  a  few  words  of  a  some- 
what abstract  character,  whose  significance  seems 
to  have  a  bearing  on  their  careers. 

I  think  it  was  the  late  J.  M.  Synge  who 
said  that  "  All  art  is  collaboration."  The  truth  of 
this  axiom  is  probably  less  patent  to-day  than  in 
any  other  age,  for  the  desire  for  personal  self- 
expression  is  so  strong  in  our  time,  and  the  segre- 
gating force  which  that  implies  is  so  imperious, 
that  we  are  apt  to  look  for  and  to  see  the  trees 
before  we  catch  sight  of  the  forest.  In  other  ages, 
artists  fell  into  line  with  their  immediate  com- 
panions, apparently  without  fear  of  submerging 
their  personality  ;  at  least  so  it  appears  now  to  us, 
who  may,  however,  be  deluded  by  the  perspective 
of  time,  which  is  for  ever  playing  tricks  with  our 
judgments.  Thus  it  is  possible  that  the  postponed 
impressionist  of  some  century  yet  unthinkable  will 
see  in  the  pictures  of  to-day  a  likeness  as  close 
as  we  see  in  the  schools  of  Umbria  or  of  Siena. 


'THE  SONNET 

XLVIII.  No.  191. — January  1913 


FROM   THE    I'AINTING    BY    IIAROID   KNIHHT 
-     183 


Harold  and  Laura  Knight 


Still,  whether  the  collaboration  be  masked  or  naked, 
whether  we  admit  it  humbly  or  deny  it  arrogantly, 
the  fact  remains  that  art  is  collaboration,  that 
there  is  no  such  thing  as  an  artist  Melchisedek, 
and  that  originality  is  merely  a  relative  term. 

All  this  is  something  of  a  platitude,  applicable 
even  more  to  all  the  other  activities  of  man, 
and  if  I  lay  stress  upon  it  now  it  is  because  the 
artist,  constrained  by  temperament  and  training 
to  look  in  upon  the  varying  phases  of  his  own 
emotions,  is  apt  to  overlook  the  sources  from  which 
these  emotions  sprang.  Also  that  the  portrayal  of 
emotions  demands  a  convention,  and  a  convention 
implies  a  concession  to  other  artists'  diflferences  of 
outlook  and  temperament. 

Art  is  in  fact  a  language,  constantly  varying 
according  to  the  emphasis  laid  upon  those  phases 
of  nature  that  in  turn  appeal  to  the  artist's  per- 
ceptions. New  phases  require  new  treatment,  an 
increased  vocabulary  to  explain  new  points  of  view, 
but  what  is  e\-ident  is  that  the  vocabulary  must  be 
illuminating  and  not  bewildering,  a  point  not 
grasped  by  some  obscurantist  artists  of  recent  days. 
That  an  artist  should  pant  for  fresh  fields  is  not 
only  right  but  is  a  great  part  of  his  claim  to  be  an 
artist,  for  if  he  loves  only 
what  has  already  been 
done,  he  is  simply  a  con- 
noisseur. But  if  he  should 
have  the  good  chance  to 
climb  some  peak  and  a 
new  world  "  swims  into  his 
ken,''  it  is  no  part  of  his 
business  to  send  back  his 
message  couched  in  the 
language  of  the  first  savage 
tribe  he  meets.  If  he 
wants  to  thrill  us  with  the 
emotions  that  thrill  him, 
he  must  use  the  language 
that  alone  can  thrill  us — 
our  common  tongue. 

^^'hen  we  consider  care- 
fully any  artist's  work  we 
see  two  things.  One  is  the 
compelling  character,  that 
which  foredooms  it  to  a 
certain  mode  of  expression, 
which  is  style — and  we 
know  that  U  style  c'est 
rhomme:  while  the  other  is 
found  in  those  external  or 
adventitious  circumstances 
which    bend    it,  as  the  -the  ki.ack  iacket' 


north-west  wind  bends  the  trees  of  some  exposed 
upland.  The  modification  of  an  artist's  style  by  out- 
ward circumstances  is  of  very  great  significance 
and  is  so  strong  and  so  insistent  as  to  be  often 
confused  with  the  real  inborn  character  :  it  is 
doubtful  indeed  if  even  the  artist  himself  is  able 
to  disentangle  and  apportion  the  various  forces 
that  have  combined  to  produce  his  performance. 

If  we  look  back  into  the  past  we  see  in  Italy 
each  city  developing  a  different  style.  This  tells 
of  a  limited  horizon,  of  difficulties  of  travel  resulting 
in  one  dominating  personality  overriding  the  other. 

When  we  turn  to  our  own  time,  we  find  eclec- 
ticism is  the  striking  characteristic,  the  horizon 
is  boundless,  interchanging  of  ideas  and  im- 
pressions is  the  rule,  added  perhaps  to  something 
of  an  absence  of  the  dominating  personality.  From 
the  oligarchies  of  the  past  we  have  grown  into  tin- 
democracy  of  the  present,  as  would  be  inferred  from 
wide  reading,  knowledge,  international  galleries,  and 
facilities  of  travel. 

All  sorts  of  forces  are  at  work,  all  sorts  of  ideas 
seething  in  the  pot.  The  technical  perfection  of  the 
great  masters  of  the  past  has  brought  its  reaction. 
Their  criterions  of  beauty  have  been  assailed  and 


FROM     llll.    PAINTING    l;V    ilARrilJi    KNlr.HT 


( By  permission  of  Messrs.  Enuil  Brown 
and  Phillips,  the  Leiiester  Galleries) 


DAFFODILS."     FROM  THE   PAINT- 
ING BY   HAROLD   KNIGHT 


Haro/d  and  Laura  k'/iiis/it 


even  more,  artistic  nihilists  are  not  wanting  who 
deny  the  right  of  beauty  to  reign  at  all  as  the 
supreme  object  of  the  artist's  desire.  The  Futurist 
wants  to  destroy  all  continuity  of  artistic  tradi- 
tion ;    the    Post-Impressionist    wants    to "but 

man  is  but  an  ass  if  he  go  about  to  expound  this 
dream." 

What  then  is  to  be  found  in  all  this  confusion  ? 
AVhat  moral  may  one  draw  from  it,  and  whither 
is  it  moving  ?  Is  it  well  with  art  or  is  it  stricken 
with  a  babel  of  madness?  On  the  whole  I  should 
say  that  it  is  well.  It  is  escaping  from  the  house 
of  bondage,  even  if  it  should  have  forty  years  of 
wandering  in  the  wilderness  before  it  enters  the 
Promised  I^nd.  Tradition  and  authority  have  lain 
sore  upon  art :  the  looming  giant  figures  of  the  old 
heroes  had  obsessed  academic  souls  all  over  the 
world,  and  these  in  their  turn  held  the  keys  of 
failure  and  success :  gradually  these  keys  have 
fallen  from  their  hands.  The  prison-house  has 
been  opened,  and  small  wonder  that  the  prisoners 


should  make  first  use  of  their  freedom  to  plunge 
into  unlicensed  orgies. 

These  are  days  when  every  opinion  is  assailed, 
when  the  firm  foundations  of  yesterday  are  the 
shifting  sands  of  today,  and  may  become  the  Dead 
Sea  of  to-morrow,  when  science  is  called  on  cease- 
lessly to  reconsider  her  verdicts.  What,  then, 
should  artists  do  ?  Poor  feeble  folk  I  eternally 
oscillating  between  the  extremes  of  irresponsible 
caprice  and  authoritative  formute.  Let  us  try  and 
get  on  some  sort  of  ground  and  look  round  us. 

Art  may  be  said  to  be  a  sort  of  varying  point,  lying 
upon  a  line  somewhere  between  personal  preference 
and  unpersonal  nature.  Pushed  too  near  personality 
art  becomes  insanity;  set  too  close  to  unassimilated 
nature  it  is  banality.  Here  then,  in  short,  are  the 
Scylla  and  Charybdis,  either  of  which  inay  wreck 
our  bark.  Imitation  of  nature  is  the  foundation  of 
all  art,  but  it  must  never  be  regarded  as  the  end. 
It  is  possible  to  figure  to  oneself  an  imitation  of 
nature  so  exact  and  impersonal  that  it  would  be 


'  .MUSIC 

1 86 


FROM    THE    PAINTING    BY    HAROLD    KNIGHT 


(  By  permission  of  Messrs.  Ernest 
Brown  and  Phillips) 


THE   MIRROR."      FRO:\I   THE   PAINT- 
ING  BY   HAROLD   KNIGHT 


\'i\ 


KXITTING."     FROM   THE   PAINT- 
ING BY  HAROLD  KNIGHT 


( By  permission  of  Messrs.  Ernest 
Brown  and  Phillips) 


( By  permission  of  Messrs,  Eitiest 
Brown  and  Phillips) 


MENDING  STOCKINGS."     FROM   THE 
PAINTING  BY   HAROLD   KNIGHT 


;^i 


Harold  and  Laura  Km'elif 


like  a  mirror  or  the  ideal  photograph,  and  would 
leave  as  little  impression  or  memory  of  itself  behind. 
This,  then,  would  be  one  extreme  over  which  the 
commonplace  reigns.  The  other  extreme  is  the 
fantastic  distortion  of  nature  pushed  to  a  point 
where  only  abnormality  and  insanity  can  abide. 

In  considering  the  work  of  Harold  and  Laura 
Knight  one  cannot  help  feeling  that  whatever  else 
may  be  said  about  it,  it  avoids  all  suspicion  of 
abnormality.  Sanity  of  outlook  and  lucidity  of 
statement  are  the  dominating  factors  of  their  work. 

Their   collaboration  has  been   singularly  close, 
and  began  unusually  soon,  dating  from  their  early 
days  in  the  Nottingham  Art  School,   where  they 
studied  under  \\ilson  Foster,  himself  a  student  in 
Antwerp  and  Paris,  and  from  him  they  learnt  the 
foundation  of  an  art  education — the  capacity  to  imi- 
tate nature  faithfully.     Later  Harold   Knight  went 
to  Paris  and  studied  under  Jean 
Paul    I^urens    and    Benjamin 
Constant.     Here   we    see    the 
international  influences  of 
modem  art  training. 

As  their  schooldays  drew 
to  a  close,  they  both  gradu- 
ally began  to  feel  that  the 
close  imitation  of  nature  was 
not  the  end ;  and  the  per- 
plexity that  comes  on  all  artist 
natures  fell  on  them.  But 
Fate  had  an  eye  on  them  and 
led  them  to  Staithes,  where  a 
group  of  very  admirable  artists 
were  working  at  this  time. 
Fred  Jackson,  H.  S.  Hopwood, 
James  Charles,  H.  Mackie  and 
Fred  Mayor  represented  a 
band  that  would  be  calculated 
to  rouse  enthusiasm.  Anyone 
familiar  with  the  work  of  these 
artists  would  feel  what  a 
wonderfully  stimulating  atmo- 
sphere these  young  people  came 
to  breathe  by  the  windy,  sea- 
lashed,  wholesome  east  coast 
with  its  fisherfolk  and  its  eternal 
story  of  the  elemental  strife 
they  wage. 

Times  were  hard,  though 
this  was  only  a  disguise 
worn  by  Fortune  resulting  in 
good ;  for  amongst  other  ex- 
pedients of  economy  they  were 
constrained  to  do  without 
192 


regular  models,  training  their  memory  systemati- 
cally to  hold  the  necessary  data,  a  discipline  so 
valuable  in  enabling  them  to  give  a  sense  of  move- 
ment and  vitality  to  figures.  Under  these  in- 
fluences they  painted  pictures  having  the  story  of 
the  sea  and  the  primitive  life  of  its  toilers  and  their 
families  as  their  motive.  One  painted  by  Mrs. 
Knight  in  1903,  their  wedding  year,  was  her  first 
Academy  picture.  It  was  called  Mother  and  Child 
and  was  bought  by  Edward  Stott,  A.R.A.  It  is 
hardly  possible  to  fancy  anything  more  calculated  to 
encourage  and  stimulate  a  young  painter  than  the 
purchase  by  an  artist  so  delicate  and  fastidious  in 
taste  and  feeling.  It  was  two  years  before  they 
had  another  slice  of  good  luck,  when  Frank 
1  )icksee  bought  ./  Cup  of  Tea  by  Harold  Knight 
for  Brisbane. 

Their  next   move  was  to  Holland,   which    was 


THE  GREEN    FEATHER"  FROM    TIIK    I  \I\TIS' 

(Canadian  National  Ail   Galliiy,   Olia 


HV     l.AlkA 

va) 


]v 


"THE    BEACH."     from   the 
PAINTING  BY  LAURA  KNIGHT. 


Harold  and  Laura  Knight 


really  a  logical  sequence  to  the  influences  already 
affecting  them.  This  hollow  land,  banked  and 
buttressed  against  the  grey  tumbling  waters  of  the 
North  Sea,  has  always  been  a  land  of  artists  and, 
strangely  enough,  considering  its  artificial  nature,  a 
land  of  landscape  painters.  Great  clouds  sweep 
up  from  the  ocean  and  are  mirrored  in  still  canals 
bordered  by  stately  rows  of  trees.  The  cities,  too, 
built  in  old  days  by  wealthy  burghers  and  prosperous 
merchants  from  Batavia  and  the  East  Indies, 
duplicate  themselves  in  bright,  quivering  reflections 
on  waterways  populous  with  slow- moving  barges, 
radiant  with  the  colour  of  a  paint-loving  people. 

Here  in  the  land  of  Israels,  of  the  brothers  Maris, 
of  Mauve,  of  countless  names  enshrined  in  the 
history  of  art,  the  Knights  set  themselves  to  study 
atmosphere  and  composition.  The  most  obvious 
effect  of  the  Dutch  influence  was  in  causing  them 
to  rely  on  a  very  reticent  scheme  of  colour,  discreet 
greys,  and  rich  mysterious  shadows.  A  certain 
lowness  of  tone  both  in  colour  and  also  in  sentiment 
marks  this  period.  Harold  Knight  painted  a  large 
picture  called   Grace  which  George  Clausen,  R.A., 


bought  for  the  Cape  in  1907  ;  this  was  reproduced 
in  The  Studio  last  year. 

The  next  move  was  to  Newlyn  and  another  page 
is  turned.  The  Newlyn  group  has  always  had  the 
reputation  of  seeing  through  the  grey  fog  that  legend 
attributes  to  the  west  of  Cornwall.  Whether  this 
is  so  or  not,  the  effect  upon  the  Knights  has  been 
the  exact  opposite  for,  with  their  advent,  there  came 
over  their  work  an  utter  change  in  both  their  out- 
look and  method  :  they  at  once  plunged  into  a  riot 
of  brilliant  sunshine,  of  opulent  colour,  and  of  sen- 
suous gaiety.  This,  of  course,  was  not  really  due  to 
their  new  environment,  but  rather  to  reaction — to  a 
healthy  desire  to  experience  other  sensations,  and 
to  test  other  methods.  Their  youth  and  strength 
demanded  a  wider  horizon  than  was  to  be  found  in 
the  poetic  sadness  of  their  low-toned  realisations  of 
the  grave,  serious  lives  of  the  poor. 

It  is  often  an  artist's  fate  to  be  bound  to  a  style 
or  even  to  a  class  of  subject  upon  which  the 
public,  believing  it  to  be  his  speciality,  insists. 
Such  insistence  cramps  the  imagination,  restricts 
the    outlook,    and    finally    condemns    him    to    a 


'  DAUGHTERS   OF   THE  SON 


FROM   THF,    I'.AISTI.NG   BY   L.AURA    KNIGHT 


Harohi  ami  Laura  K}tiiilit 


mechanical  repetition  that  is  really  fatal  to  progress. 
The  English  are  particularh-  sceptical  of  versatility  : 
it  is  often  the  fate  of  what  is  called  a  successful 
artist — namely,  one  who  sells  his  pictures — to  have 
to  repeat  a  worn-out  theme  long  after  it  has  lost 
for  its  creator  all  that  emotion  of  invention  which 
really  makes  it  a  work  of  art. 

Mr.  and  Mrs.  Knight  have  wisely  determined  to 
avoid  this  form  of  paralysis  and  the  work  here  re- 
produced shows  an  entire  change  not  only  in  the 
technical  problems  of  colour  and  handling,  but  in 
their  ver)'  choice  of  motive ;  what  one  must  call 
the  human  side  is  somewhat  neglected  in  favour 
of  subjects  that  give  them  an  opportunity  of  express- 
ing their  pleasure  in  bright  sunshine,  in  pleasant 
rooms,  in  sun-dappled  shade,  peopled  with  graceful 
women.  How  long  this  phase  will  last  we  cannot 
prophesy,  but  the  wisdom  of  extending  one's 
experience  and  making  excursions  into  all  the 
realms  of  painting  can  hardly  be  denied. 

It  might  almost  seem  that  in  speaking  as  I  have 
of   Harold   and    I^ura    Knight's    pictures,    I    am 


regarding  them  as  one  thing,  one  artistic  asset  ; 
this  is  due  to  the  following  up  of  a  train  of  thought 
and  is  not  really  so  :  for  though  the  community  of 
their  experience  has  of  necessity  brought  about 
much  similarity,  still  each  has  a  personality  too 
strong  to  be  absorbed  by  the  other,  as  even  a 
cursory  study  of  their  work  will  show. 

The  difficulties  that  beset  young  artists'  careers 
are  beginning  to  clear  away  for  the  Knights  ; 
fortune  gives  them  of  her  benefits  without  the 
grim  disguise  that  veiled  her  earlier  kindliness  of 
intention,  and  their  pictures  have  been  bought  for 
quite  a  number  of  galleries.  Besides  the  pictures 
of  Harold  Knight  already  named,  Laura  Knight's 
Flying  a  Kite  was  bought  by  Clausen  for  the  Cape  ; 
Sir  Hugh  Lane  bought  her  Boys  for  Johannesburg  ; 
and  Tlie  Green  Feather  has  gone  to  the  National 
Gallery  of  Canada.  Mrs.  Knight  is  an  associate 
of  the  Royal  Society  of  Painters  in  Water-Colours, 
and  her  drawings  are  always  amongst  the  most 
alive  and  stimulating  works  to  be  found  in  the 
Pall  Mall  galleries.  N.  G. 


:v.„e.  ".> 


'FLYING   A   kite' 
196 


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UNTRODDEN     SANDS."       FROM     THE 
WATER-COLOUR  BY  LAURA   KNIGHT 


(  Hy  pn mission  of  Messrs.  hi  nest 
Brown  and  Fhillips) 


■LA   MORT   DU  GYGNt.      from 
k    DRAWING    BY    LAURA    KNIGHT. 


LA   MORT   DU  CYGNE.  '    from 
>    DRAWING    BY    LAURA    KNIGHT. 


M.  Fernaiid  Khnopff's  Villa 


THE  HOME  OF  AN   ARTIST  :   M. 
FERXAND    KHNOPFF'S  VILLA 
AT    BRUSSELS.     BY    HELENE 
LAILLET. 

To  speak  of  the  "  Villa  Fernand  Khnopff  "  is  to 
speak  of  one  of  the  artist's  greatest  works  ;  it  is  the 
expression  of  his  own  personality  which  he  has 
built  for  his  own  satisfaction  ;  it  is  his  immutable 
"Self"  which  he  has  raised  in  defiance  of  a 
troubled  and  changing  world. 

In  the  Avenue  des  Courses,  on  the  outskirts 
of  the  Bois  de  la  Cambre,  in  a  magnificent  rose- 
garden  is  situated  this  strange  dwelling-place  which 
mystifies  many  a  passer-by — "  A  chapel  probably," 
say  some  ;  "  A  vault  built  by  some  eccentric  person," 
guess  others.  Then  they  pass,  but  those  who 
know  what  famous  "  eccentric  "  hides  himself  be- 
hind these  walls  stop  and  consider  the  perfectly 
proportioned  house.  They  have  no  difificulty  in 
guessing  by  what  artist  it  was  designed,  for  in  its 
pure  clear  lines  the  cold  yet  noble  festheticism  of 
Fernand  Khnopff  is  easily  recognised.  There  are 
no  complicated  ornaments,  only  black 
lines  and  golden  circles  ;  here  and 
there  a  monogram  in  black  on  a  golden 
background,  very  simply  and  delicately 
drawn,  stands  out  against  the  pure 
whiteness  of  the  panels.  The  front  of 
the  house  has  an  air  of  reserve,  almost 
of  disdain.  Above  a  black  door,  bare 
of  any  ornamentation,  are  the  words, 
"  Past — Future,"  and  on  the  top  of  the 
gable  is  a  statue  of  Aphrodite.  One 
tries  in  vain  to  classify  this  house  ac- 
cording to  any  definite  style  of  architec- 
ture ;  he  who  occupies  it  has  set  his 
own  seal  upon  it.  and  in  its  singularity 
lies  its  style. 

If  you  are  fortunate  enough  to  gain 
admittance,  the  servant  silently  opens 
the  door  and  shows  you  into  an  ante- 
room decorated  entirely  in  white,  with 
walls  of  polished  stucco.  From  a 
position  of  pride,  a  superb  stuffed  Indian 
peacock  watches  from  the  corner  of  his 
eye;  he  is  the  haughty  guardian  of  this 
austere  dwelling-place.  On  a  slender 
blue  column  stands  a  little  Greek 
statue  which,  with  a  graceful  gesture, 
invites  you  to  silence,  and  on  the  white- 
ness of  the  walls  hangs  a  little  replica  of 
a  picture  which  the  artist  has  entitled 
Um  Aik  hleue.     This  haught\-  woman, 


standing  upright  behind  the  head  of  Hypnos,  ab- 
sorbed in  a  reverie  both  sad  and  mysterious,  holds 
in  her  slender  fingers  the  veil  which  she  has  drawn 
between  dreams  and  reality,  and  is  indeed  a  sym- 
bolic figure.  Above  the  picture  are  inscribed  the 
three  letters  of  the  word  "Soi"  (Self).  This 
ante-room  is  impregnated  with  the  character  of  the 
artist. 

A  silken  hanging  of  a  greyish  blue,  artistically 
faded,  is  raised,  and  Fernand  Khnopff,  man  of  the 
world,  welcomes  you.  But  he  has  hardly  time  to 
assume  this  wordly  mask  before  it  is  laid  aside  ;  on 
the  other  side  of  the  silken  curtain  the  personality 
of  the  "  artist "  alone  exists,  it  imposes  itself  upon 
you  and  is  found  in  all  the  slightest  details  of  the 
harmonious  surroundings. 

It  hardly  seems  possible  to  realise  that  five 
minutes  ago  you  were  in  the  busy  streets  of  Brussels, 
for  here  no  sound  from  the  outside  world  troubles 
the  mind,  no  window  placed  too  low  brings  you 
into  contact  with  life ;  your  imagination  carries  you 
away,  and  }ou  feel  yourself  to  be  far  from  all  that 
is  low,  petty,  mean,  and  worthless  :  you  are  in  the 


TINTED    MARBLE   BUST. 


BY    FERNAND     KHNOI'l  T 


Af.  Fcruaiid  Khuopfi's  Villa 


kingdom  of  the  beautiful  and  in  this  purified  atmo- 
sphere you  feel  a  compelling  need  of  silence  in 
order  that  you  may  attain  for  a  moment  something 
of  the  Ideal.  Yes,  silence  is  necessary  in  this  long 
white  corridor  filled  with  a  soft  and  restful  radiance: 
daylight  enters  only  through  curious  windows  of 
stained  glass  on  which  the  colours  of  blue  and  gold 
in  combination  form  flames  and  fantastic  figures. 
Valuable  drawings  hang  on  the  walls :  among  others 
is  an  admirable  portrait  of  Elizabeth  of  Austria — 
Empress  of  Solitude — and  on  the  white  partition  in 
lettersof  gold  are  inscribed  the  words:  "Everything 
comes  to  him  who  waits" — words  which  are  cer- 
tainly engraved  on  the  persevering  mind  of  the  artist. 
Facing  a  beautiful  white  staircase  is  a  logette  in 
which  an  ivory  mask  is  suspended  from  a  slender 
column  on  the  top  of  which,  held  in  place  as  though 
by  enchantment,  is  a  vase  of  finest  crystal. 

This  white  corridor  leads  into  a  white  room, 
beautiful  but  severe  and  glacial :  several  chairs 
enamelled  in  white  do  not  invite  repose :  in  a  comer 
stands  a  little  table  just  big  enough  to  hold  a  vase 
in   which  a  single  aster  raises  its  delicate  head  : 


facing  the  window  in  a  very  fragile  Venetian  glass 
are  two  little  branches  with  transparent  leaves;  the 
doorway  is  curtained  with  pale  blue  satin,  and 
on  the  walls  hang  studies  of  the  artist's  most  re- 
markable and  attractive  works.  There  is  something 
vague  and  uneasy  in  the  atmosphere  of  this  room  ; 
this  same  head  that  appears  on  each  drawing  has  a 
disquieting  influence — always  the  same  regular 
features,  haughty  and  reserved — yet  this  woman, 
so  continually  reproduced,  seems  to  be  different  in 
each  picture :  her  expression,  though  always  search- 
ing and  profound,  seems  at  times  to  be  disdainful, 
tender,  cunning,  voluptuous,  hard,  glacial,  sad, 
mocking,  or  caressing,  and  when  one  seems  to  have 
guessed  what  the  eyes  are  saying,  one  remains  dis- 
concerted by  the  expression  of  the  mouth.  "  The 
expression  of  the  mouth  is  the  truest,"  says  Khnopff; 
"there  it  is  impossible  to  dissimulate."  One  would 
like  to  remain,  feeling  instinctively  a  need  to  pene- 
trate the  secrets  of  so  complicated  a  mind,  secrets 
that  elude  one  just  as  they  seem  to  be  within  one's 
grasp,  but  something  in  these  faces,  with  their  smiles 
sad  and  disillusioned,  compels  one  to  pass  on  and 


THE    "  WlllTK    room"'    (A    DESCKIPTION    OF   THIS    ROOM    IS    GIVKN    ABOVEJ 


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.M.   KHNOPFF'S   PRINCIPAL  STUDIO 


.]/.  Feniaiid  KJniopff's  J^illa 


leave  them  lo  their  dream  of  beautv  and  ul"  sad- 
ness.'^  It  seems  that  I-'emand  Khnopff  liad  wished 
to  illustrate  the  famoi\s  words  of  Alfred  de  ^  igny 
— that  singer  of  suflerings  nobly  born — "  Silence 
alone  is  great,  all  else  is  weakness."  The  pessimism 
of  the  painter  is  as  sincere  as  that  of  the  poet. 

If  the  artist  did  not  tell  you  so,  you  would  not 
know  that  you  were  in  the  dining-room — how 
should  you  ?  There  is  nothing  to  denote  the  fact.  At 
meal-times  a  little  table  appears,  only  to  disappear 
again  almost  immediately.  Here  again  is  shown 
the  struggle  between  the  ideal  and  the  material. 

Several  steps  at  the  end  of  the  corridor  lead  to 
the  studio,  where  one  feels  more  at  ease  than 
in  the  other  room,  although  the  sense  of  mystery 
is  greater.  Facing  the  door  is  an  altar  .sacred  to 
Hvpnos.  It  is  compo.sed  of  a  crystal  cabinet  resting 
on  a  glass  pedestal  cast  by  Tiffany  ;  below  are  two 
chimeras  of  gilded  bronze  and  these  words  stand 
out  clearly :  "  On  n'a  que  soi."  The  sun  filters 
through  stained-glass  windows  like  those  in  the 
corridor,  and  their  colours  are  reflected  on  the 
white  mo.saic  floor  of  the  studio,  in  the  middle  of 
which  is  traced  a  great 
golden  circle.  On  the  ceil- 
ing, to  correspond,  there  is  . 
another,  where  is  repre- 
sented the  constellation  of 
Libra  (the  Balance)  under 
which  Fernand  Khnopff 
was  born.  A  little  fountain 
murmurs  the  eternal  song 
of  Life,  which  flows  on 
stifling  the  swiftly  passing 
Present,  so  that  the  Past 
and  Future  seem  almost  to 
meet.  At  the  bottom  of 
the  white  marble  basin  lie 
mother-of-pearl  shells,  their 
delicate  colours  shining 
through  the  clear  trans- 
parent water.  Beautiful 
objects  are  scattered  about 
the  room — a  silken  garment 
of  shimmering  hues,  a  rose 
shedding  its  petals,  a  branch 
of  withered  mistletoe,  a 
beautiful  cushion  lying  on 
the  floor,  several  butterflies 
— one  of  so  marvellous  a 
blue  that  the  most  subtle 
combinations  of  colours 
could  not  produce  its  tint 
— and,  on  a  bright  piece  of 
204 


embroidery  by  Lalique,  a  tortoise  cast  in  bronze. 
Khnopff  does  not  like  animals  :  for  a  little  while 
he  tolerated  this  tortoise,  then  finding  it  too  noisy, 
he  put  it  in  the  garden  ;  it  wandered  away  and  he 
found  it  again  dead.  To-day — silent — it  has  re- 
gained its  place  in  the  studio  and  has  been  named 
by  the  artist  "  My  remorse."  In  one  corner  of  the 
room  is  a  couch  the  pure  Empire  style  of  which 
harmonises  with  the  cold  beauty  of  the  room  ;  here 
and  there  hang  artistic  draperies  ;  on  a  pedestal 
stands  the  first  bust  modelled  by  the  artist — it  is 
of  marble  slightly  tinted  and  thus  has  an  almost 
lifelike  appearance — and  near  by  there  is  a  portrait 
of  Mme.  Khnopff,  the  artist's  mother — a  very  fine 
study. 

There  is  not  a  single  detail  in  this  studio  which 
does  not  denote  the  desire  for  complete  harmony  : 
this  strained  search  after  perfection  is  pleasing  to 
certain  sensitive  natures.  Those  who  are  fascinated 
by  his  strange  art  seek  to  read  the  mind  of  Khnopff 
by  means  of  the  numerous  drawings  into  which  he 
has  put  something  of  himself,  but  though  these 
works  are  complete  to  the  slightest  detail,  it  is  very 


THE  "BLiE  room"  ( see  fage  2ob) 


.1/.  Fernaud  Khnopff's  Villa 


ANOTHER   VIEW   OK   M.    FERN'AND   KHNOPFF  S   PRINCIPAL  STUDIO    WITH   THE  ALTAR  TO  HYPNOS  OPPOSITE  THE  STEPS 


difficult  to  interpret  the  artist's  meaning.  Looking 
at  these  drawings  so  admirably  finished,  one  merely 
says  :  "  They  are  very  beautiful."  What  more  could 
one  say?  But  mentally  one  raises  the  mask  of 
lofty  reserve  and  before  these  eyes,  sad,  grave,  or 
ardent,  wide-open  or  half-closed,  before  these  ex- 
pressive mouths  with  lips  thin  and  compressed  or 
half-opened  and  eager,  before  these  smiles  hopeless 
or  tender,  one  experiences  the  most  subtle  emotions 
that  the  arts — sculpture,  painting,  or  engraving — 
can  produce  when  they  express  at  the  same  time 
both  sorrow  and  happiness.  The  face  is  always 
the  same  yet  always  different ;  it  is  a  face  which 
exercises  a  powerful  fascination  because,  though 
very  human,  it  possesses  something  vaguely  super- 
natural. A  lady  who  visited  the  artist  once  asked 
him  this  question  :  "  Should  you  meet  this  woman 
whose  face  seems  to  haunt  you,  would  you  marry 
her?"  "On  no  account,"  was  the  artist's  reply. 
"  I  know  too  well  what  she  has  in  her  mind." 


The  adjoining  room  is  a  second  studio  and 
contains  the  works  in  course  of  execution.  On  an 
easel  rests  a  ver)'  fine  portrait,  already  in  an  ad- 
vanced stage,  of  the  Due  da  Br-abant,  which  the 
artist  will  finish  when  the  young  prince  returns 
from  his  holidays.  Two  engravings  on  marble 
intended  for  the  residence  of  M.  Stoclet  promise, 
by  the  perfection  of  the  design,  the  attitude 
of  the  symbolic  figures,  and  by  the  fineness 
of  the  workmanship,  to  rank  among  the  artist's 
greatest  works.  In  this  room,  too,  are  the  cartoons 
which  Khnopff  in  the  role  of  "  scene-painter  "  has 
made  for  the  scenery  of  certain  operas.  Thanks 
to  his  refined  and  artistic  taste  there  are  in  the 
Theatre  de  la  Monnaie  at  Brussels  costumes  and 
stage-effects  of  the  most  remarkable  beauty.  He 
applied  all  his  energies  to  the  production  of  such 
works  as  "  Le  Roi  Arthur "  and  "  Oberon,"  and 
once  more  the  directors  of  the  theatre  have  ap- 
pealed to  his  brilliant  imagination  and  his  clever 

-°5 


M.  Fcniami  KIniopff's   11 //a 


ANTE-CHAMBER    IN    WHITE   MARBLE   (.'<</.  20l) 

pencil  for  the  scenery  of  "  Parsifal,"  which  is  to  be 
given  next  season. 

Back  through  the  studio  one  goes  to  the  corridor 
and  up  the  large  staircase  to  a  small  ante- room 
which  leads  to  the  "  Blue  Room."  In  this 
"  Chambre  bleue "  Femand  Khnopff  has  placed 
some  of  the  works  of  his  favourite  artists.  There 
is  a  picture  by  Delacroi.x,  a  few  reproductions  of 
the  works  of  Gustave  Moreau,  a  kindred  spirit,  and 
a  very  beautiful  portrait  done  in  red  chalk,  which 
was  given  to  the  artist  by  Bume-Jones.  In  this 
"  Chambre  bleue "  all  the  objects  are  precious 
and  bear  illustrious  .signatures.  Among  others  is 
the  artist's  portrait  of  his  sister.  In  the  bay- 
window,  through  which  nothing  but  green  foliage 
can  be  seen,  a  Malmaison  exhales  its  delicate 
perfume.  It  is  in  this  room,  where  all  the  blues 
are  exquisitely  in  harmony,  that  the  artist  rests  after 
his  work,  soothed  by  the  sounds  of  the  piano  which 
float  in  through  the  open  window  from  the  room 
below,  and  here  in  this  poetical  atmosphere  Femand 
Khnopff  dreams  and  composes  beautiful  works. 

In  his  home,  which  is  the  expression  of  his  ideal, 
far  from  the  world,  cut  off  from  all  outside  in- 
fluences, alone  in  his  haughty  solitude,  Femand 
Khnc^fT  listens  only  to  the  voice  of  art,  and  he 
works  methodically  at  the  development  of  his  , 
206 


conscious  self.  When  young  painters  come  to  ask 
his  advice  he  says  :  "  Above  all,  be  sincere  ;  if  you 
have  nothing  to  say,  say  nothing."  "Art  is  not  a 
necessity,"  he  adds. 

In  this  house  there  is  nothing  to  remind  one  of 
time  or  care  ;  desire  and  regret  are  banished.  The 
artist  follows  the  line  of  life  he  has  laid  down  for 
himself  and  his  attitude  corresponds  to  that 
ICnglish  motto  which  he  has  made  his  own : 
■'  Make  the  best  of  everything."  Born  a  Belgian, 
he  has  an  English  nature,  for  knowing  himself  to 
be  but  little  understood  he  takes  refuge  in  .solitude 
and  silence.  With  a  smile  of  mingled  pride  and 
satisfaction  he  often  repeats  these  words  :  "  Vraiment 
on  n'a  que  soi." 

Pride  in  the  form  of  a  peacock  guards  the  door 
and  Hypnos  sheds  throughout  the  house  the 
atmosphere  of  sleep,  a  sleep  that  leads  to  dreams. 
True  to  his  conception  of  art,  Femand  Khnopff 
lias  reached  the  noblest  realisation  of  his  best  self; 
as  Dumont-Wilden  has  said  of  this  cold  and  beautiful 
house,  it  is  indeed  "  the  fortress  of  an  individuality 
in  perpetual  defence  against  the  \\'orld  and  Life." 


"logette      in   whhf.    makhi.e,    with    a    iapank^e 

embroidery    panel   and   standard    suitorting    a 

bme  class  venetian  vase  and  ivorv  mask 

(see  p.  202) 


VIEW  OF  M.  FERNAND  KHNOPFF'S 
STUDIO  WITH  WINDOW  OPEN- 
ING   ON    TO    THE   "BLUE    ROOM" 


GARDEN  AND  TERRACES  AT 

THE  HILL.  HAMPSTEAD  HEATH 


PHOTOGRAPHED  BY  H.  X.  KING 
(BY  PERMISSION  OF  SIR  WILLIAM  HESKETH  LEVER,  BART.) 


EXTERIOR   OF   THE   LOU.NGE 


208 


o 
z 

D 
O 


THE   PERGOLA 


^^ 


A  COLUMN   OF  THE   PERGOLA 


A   Vietuiese  Exhibition  of  Arts  and  Crafts 


A 


VIENNESE      EXHIBITION 
ARTS   AND  CRAFTS. 


OF 


For  the  first  time  since  the  opening  of  the 
Austrian  Museum  in  Vienna  nearly  fifty  years  ago 
a  summer  exhibition  of  arts  and  crafts  has  been 
held  within  its  walls.  That  this  one  was  held  was 
due  to  the  fact  that  the  members  of  the  Deutscher 
^Verkbund  held  their  annual  meeting  in  Vienna 
this  year,  and  naturally  everybody  concerned  was 
anxious  to  show  the  very  best  in  design  and  in  work- 
manship which  Austria  could  produce.  For  the 
Deutscher  Werkbund  is  a  society  formed  of  artists, 
manufacturers,  industrial  employers,  and  ethers  who 
take  an  interest  in  the  promotion  of  the  modern 
arts  and  crafts,  good  workmanship  in  execution  and 
quality  in  material  being  as  important  as  the 
designs  themselves.  Everything  exhibited  was  of  a 
high  quality,  and  German,  Austrian,  and  Hun- 
garian members  were  highly  satisfied  with  the  result 
of  this  exhibition,  for  it  showed  that  "  our  curious. 


complex,  aspiring  age  still  abounds  in  subjects  for 
esthetic  manipulation,  that  the  material  for  the 
artists  and  their  motives  of  inspiration  are  not  yet 
exhausted."  It  showed,  moreover,  that  the  bond 
between  the  designer  and  the  craftsman  who  exe- 
cutes his  design  is  becoming  ever  closer  and  more 
sympathetic,  for  the  artist  has  dipped  at  the  well 
of  the  craftsman  and  the  craftsman  into  that 
of  the  artist ;  both  work  in  that  unison  and  con- 
cord without  which  no  true  work  of  applied  art 
can  be  created.  Another  point  of  interest  is  that 
the  number  of  artists  who  execute  their  own 
designs  is  gradually  increasing,  for  it  must  be 
remembered  that  many  have  learnt  their  trades  and 
shown  special  talent  for  designing  at  the  Craft 
Schools  (Fachschulen)  before  entering  the  Vienna 
Imperial  Arts  and  Crafts  Schools.  Some  have 
even  served  apprenticeship  in  one  or  other  of  the 
trades  concerned  in  decorative  art.  Another  and 
most  important  factor  in  the  success  of  the 
movement   is    the    fact    that    the    manufacturers 


IlINISa-KOOM  Willi  FTKNITIKK  IN  CAKVEl)  AND  POI.ISHIII)  EBONV  INLAID  WITH  MOTUER-OK  rEARl.,  IlES-Ic.NKD 
BY  PROF.  JOiEF  HOFFMANN,  EXECUTED  BY  J.  SOULEK.  CARPET  BY  BACKHAUSEN  AND  SOHNE.  HANDPRINTED 
SILK   DESIGNED    BY    LOTTE   FROMEL-FOCHLER,    EXECUTED   BY   THE   WIENER    WERKSTATTE.      ( See  a! SO  Chair  on  p.  220) 

217 


A   Viennese  Exhibition  of  Arts  and  Crafts 


were  a  coffee-house  and  a 
"  one-family  "  villa,  designed 
by  architect  Robert  Orley 
and  built  on  the  new  patented 
system,  "  Katona."  The 
house  was  completely  fur- 
nished, everything  being  of 
the  finest  workmanship  and 
designed  by  architect  R. 
Orley,  at  the  cost  of  2000 
kronen,  that  is,  about  ^^84, 
the  cost  of  the  villa  without 
the  ground  being  ^^375. 

Another  attraction  in  the 
garden  was  the  Parkhaus 
designed  by  architect  Ernst 
Lichtblau.  Here  again  ex- 
cellent taste  combined  with 
good  workmanship  was  every- 
where perceptible,  both  as  to 


CABINET    (shown    OPEN   AND    CLOSED)    OF    PALISANDER 

AND      CEDAR      WOOD      RICHLY      INLAID       WITH       OTHER 

WOODS.        DESIGNED    BY     OTTO     I'RUTSCHER,     EXECUTED 

BY    K.    FRANTZ 


themselves   are   taking   more   and    more    interest 
in  it. 

But  in  spite  of  all  these  interests  the  present 
exhibition  would  have  been  an  impossibility  had 
not  the  Ministry  of  Public  Works  (Arbeitsminis- 
terium)  again  given  material  help  to  make  it  possible ; 
and  this  is  a  proof  of  the  great  interest  taken  in  the 
future  of  the  Austrian  arts  and  crafts.  It  is  sig- 
nificant, too,  that  for  the  first  time  the  Municipal 
Authorities  of  N'iennaalsodid  much  towards  making 
the  exhibition  a  success,  for  not  only  did  the  com- 
mune lay  out  the  garden  which,  together  with  the  per- 
gola, treillage,  etc.,  was' designed  by  architect  Cesar 
Poppovits,  but  they  also  have  undertaken  to  keep 
it  in  order,  for  the  garden  is  to  remain  permanent. 
When  to  this  is  added  the  fact  that  Westermann 
and  Co.  have  presented  the  beautiful  terrace,  with 
the  steps  leading  to  the  garden  and  the  colonnades, 
also  designed  by  Cesar  Poppovits,  to  the  museum, 
another  proof  is  given  of  the  growing  interest  taken 
in  these  exhibitions.  The  garden  is  very  beautiful, 
and  is  ornamented  with  numerous  attractive  garden 
seats  in  white-lacquered  wood,  designed  by  architect 
Josef  Zotti  and  executed  by  the  Prag-Rudniker 
Korbwarenfabrication.  Two  other  features  of  it 
218 


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A   J'ic/nicsc  Exhibition  of  .Irfs  and  Crafts 


GARDEN   SEAT   DESIGNED   BY  JOSEF  ZOTTI,    EXECUTED    BY   THE   PXAG- 
RUUNIKER    KORBWAREXFABRICATION 


'I'he  back  was  formed  of 
neavy  hand-printed  silk  de- 
signed by  Lotte  Froniel- 
Fochler  and  executed  in  the 
\\'iener  Werkstatte.  The 
same  material  was  used  for 
the  u[)holstery  of  the  chairs. 
Nothing  more  beautiful  in 
construction,  design,  and 
workmanship  has  been 
exhibited  in  Vienna. 

Another  interesting  in- 
terior was  a  ladv's  boudoir 
designed  by  architect  Otto 
Prutscher,  the  furniture 
being  in  while-lacquered 
poplai  upholstered  in  deep 


the   building   itself  and   its    furniture   and 
decoration. 

Just  behind  the  garden  a  small  part  \vas 
set  aside  for  some  headstones  and  grave 
monuments  designed  by  A.  Basel,  L 
Forstner,  Cesar  Poppo^ts,  and  Michael 
Powolny.  Some  of  these  w-ere  highly  praise- 
Nvorthy,  and  showed  how  very  earnest  the 
artists  are  in  their  desire  for  the  best  that 
material,  design  and  workmanship  can  pro- 
duce. Some  of  the  tombstones  were  of 
stone  or  marble,  with  reliefs,  others  of 
wrought  iron.  There  were,  moreover,  man\- 
other  objects  for  the  decoration  of  the 
cemetery. 

The  interior  of  the  e.\hibition  was  arranged 
by  architect  Carl  Witzmann,  who  once  more 
showed  great  fertility  of  imagination  and 
invention,  for  the  whole  interior  was  again 
transformed  so  that  it  bore  not  the  least  re- 
semblance in  the  manner  of  decoration  to 
the  exhibition  held  six  months  previously,  of 
which  an  account  has  already  been  given  in 
The  Studio.  Whichever  way  one  looked 
one  was  greeted  by  some  real  work  of  art, 
the  same  care  being  given  to  objects  de- 
signed for  and  executed  in  cheaper  materials 
as  to  those  made  of  the  most  costly  ones. 
The  first  attention,  however,  must  be  given 
to  the  interiors,  and  to  Prof.  Josef  Hoff- 
mann in  particular  for  his  dining-room  in 
carved  and  polished  ebony.  Each  panel  of 
the  sideboard  was  formed  of  one  piece  of 
wood,  highly  polished  and  beautifully  carved  ; 
indeed,  it  was  a  joy  to  look  on  this  object, 
which  could  well  merit  a  place  in  a  museum. 
220 


DINING-ROOM      CHAIK      IN      CARVED      AND      POLISHED      KBfiNY 

INLAID  WITH    MOTHER-OF-PEARL.       DESIGNED   BY  PROF.  JOSEF 

HOFF.MANN,    EXECUTED   BY  J.    SOULEK 


(Furniture  by  Carl  Bamberger,  Brick- 
work by  Briider  SehwaJron J 


GARDEN   HALL.     DESIGNED 
BY    PROF.    OSKAR    STRNAD 


i-^i- 


.4   yiciiiicsc  Ilxliibifion  of  Arts  and  Crafts 


WRITING-SET    IN     FAIENCE.       DKSIGNED    BY   KRAU    KROMEI 
BY   THE   WIENER   Kl'NSTKERAMISCHE   WERKSTAriB  (bISC 


blue  satin.  There  was  something  exceedingly  dainty 
and  attractive  about  this  room.  Even  so  another 
boudoir  designed  by  architect  Edward  Wimmer. 
Here  the  walls  were  spanned  with  various  squares  of 
bright-hued  embroidery,  broad  in  design  and  treat- 
ment, all  e.xecuted  on  black  cloth  by  the  designers, 
a  number  of  lady  artists,  some  of  them  members 
of  the  society  of  the  late  students  of  the  Imperial 
School  of  Embroidery.  The  furniture  was  covered 
with  china-blue  hand-priiUed  silk,  which 
gave  it  a  peculiar  charm.  A  reception- 
room,  designed  by  architect  Carl  \\'itz- 
mann,  was  worthy  of  all  praise ;  so  also 
a  dining-room  by  architect  Adolf  O. 
Holub,  the  veining  of  the  wood  (ash) 
being  here  singularly  beautiful,  and  in 
artistic  contrast  to  the  headings  of 
highly  polished  ebony. 

Herr  Orley  exhibited  a  garden  hall, 
designed  to  show  the  use  of  artificial 
pebble-stones  for  wall-facings,  the  effect 
being  very  pleasing.  This  is  known  as 
"  conglomerate,"  and  the  inventor  is  the 
architect  himself.  The  great  vases 
shown  in  the  illustration  are  of  majolica, 
deep  lavender  in  tone.  The  furniture 
is  also  formed  of  a  new  material,  known 
as  "  Press-stoff,"  a  kind  of  compressed 
fibre.  Another  garden  hall  designed 
by  architect  Dr.  Oskar  Strnad  showed 
great  originality  in  the  use  of  brickwork 
and  in  the  construction  of  the  furniture. 
A  third  hall  was  designed  by  architect 
Dr.  Josef  Frank,  and  disclosed  souhd 
instinct  for  comfort  and  utility. 

Of  the  other  e.xhibits  those  shown  by 
the  Wiener  \Verkstatte  were  of  exceed- 
ing beauty  both  as  to  design  and  work- 
man.ship.  These  included  the  plans, 
sketches,  and  drawings  for  the  palatial 

222 


residence  of  Baron  Stoclet 
in  Brussels,  about  which 
more  will  be  said  at  some 
future  date.  Among  them 
is  the  marvellous  mosaic 
frieze  designed  by  the 
eminent  painter  Gustav 
Klimt,  a  work  which  will  go 
to  make  history.  The 
various  designs  for  the  Palais 
Stoclet  have  been  elaborated 
by  its  builder.  Prof.  Hoff- 
mann, in  conjunction  with 
Prof.  C.  O.  Czeschka,  and 
other  leading  Austrian  decorative  artists. 

The  cabinet  designed  by  Prof.  Otto  Prutscher  is 
highly  characteristic  of  this  artist's  style,  which  in 
every  way  is  individual.  Here  too  every  care 
has  been  taken  in  the  choice  of  the  woods.  Many 
interesting  pieces  of  furniture  were  also  exhibited, 
all  of  a  fine  quality  ;  in  every  case  good  judgment 
in  design  was  shown,  and  every  manifestation  of 
good-will  on  the  part  of  artist  and  craftsman. 


KOCHI.ER,    EXE(  ITED 
H    AND   LUIIESCHEK) 


CLOCK    I 
CARL 


N    B'LACK    AMI    WliriK    MOl  II EK-OI     I'ICAK  1  .        M-Mi.NKD     BY 
WITZMANN,    architect:    EXECUTED    BY    KAKL    KKEHAN 


r 


'^ 


<^p 


i 


EMBROIDERED  WALL-HANGING 
DESIGNED  AND  EXECUTED  BY 
FRAU   MELITTA  LOFFLER 


.7    /  leiDicsc  Exhibition  of  Arts  and  Crafts 


WOVEN    BED-Sl'REAI 


.      DESIGNEU    BY   REMIGIUS    GEYLING,    EXECUTED    BY 
HBRRBURGER   AND   RHOMBERG 


It  is  remarkable  how  much  attention  is  now 
being  given  to  porcelain  and  ceramics  generally ; 
it  is  in  a  way  reviving  a  lost  art,  for  ^'ienna  was 
renowned  of  old  for  her  porcelain.  The  artists  show 
a  real  sense  of  beauty  in  design  and  ornament, 
combined  with  an  exact  knowledge  of  the  materials 
in  which  they  are  executed. 
Some  of  the  specimens  shown 
were  of  great  beauty — for  in- 
stance, the  black  and  white 
ceramic  figures  and  vases  de- 
signed by  Profs.  Michael 
Powolny  and  Berthold  Loftier 
and  executed  by  them  in  the 
Wiener  Keramik  -  Werkstatte, 
or  those  designed  by  Frank 
Schleiss  and  his  gifted  wife  Frau 
Schleiss-Simandl,  and  executed 
in  their  Keramik  -  Werkstatte 
in  Gmunden,  which  city  has  for 
ages  been  celebrated  for  its 
ceramics.  Thanks  to  the 
material  help  given  to  them  by 
the  Arbeitsministerium,  three 
girls,  past  students  of  the 
Imperial  School  for  Arts  and 
Crafts,  have  opened  another 
ceramic  workshop  known  as 
the  Keramische  Werkgenossen- 
schaft,and  are  doing  good  work. 
They  are  Rosa  Neuwirth,  Ida 
Lehmann,  and  Helene  Johnova. 
Other  artists  who  specialise  in 
224 


ceramics  are  Hugo  Kirsch,  Olga 
Sitte.  Gertrud  Dengg,  Herr  and 
Frau  Johanna  Meier,  Fritz  Pollak, 
and  Frau  Fochler,  who  all  ex- 
hibited characteristic  work.  Fur- 
ther advance  has  also  been  made 
in  the  Serapis  faience  designed  by 
the  young  architects  Klaus  and 
Gallc.  They  are  highly  original 
in  their  designs,  have  right  feeling 
for  ornament,  and  are  in  every 
way  sincere  in  their  work.  Nor 
must  the  mosaics  designed  and 
executed  by  Leopold  Forstner  be 
left  out,  for  they  are  of  great 
beauty  both  as  to  design  and 
workmanship. 

In  the  designing  of  crystal  glass 
much  individuality  was  also  notice- 
able, some  beautiful  specimens 
being  shown  by  Prof.  Hoffmann, 
L.  H.  Jungnickel,  Oswald  Dittrich,  and  Wilfert 
Waltl.  One  felt  instinctively  that  there  was  right 
feeling  for  the  material  on  the  part  of  the  artist, 
everywhere  a  right  understanding  on  the  part  of  the 
craftsman. 

Among  the   embroideries  shown  were  some  of 


EMBROIDERED   CL-.SHIOX.       DESIG.NED   AND   EXECUTED    EV    IIEUWIG    lOLLAK 


A   Viennese  Exhibition  of  Arts  and  Crafts 


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WOVEN    CUSHION     COVER     DESIGNED    BY    FRI,. 

OSTERREICHER,     EXECUTED       BY      HERRBURGER 

AND    RHOM'BERG 

much  beauty  of  design  and  colour  and  clever 
workmanship,  most  of  the  stitching  having  been 
done  by  the  designers  themselves ;  and  among 
the  artists  contributing  were  Frau  Melitta  Loffler, 
Helene  Geiringer,  Hedwig  Pollak,  Hermine  Weiss, 
Milla  W'eltmann,  and  the  members  of  a  society 
formed  of  past  students  of  the  Imperial  School  of 
Embroidery  (Genossenschaft  der  Absolventinnen 
der  K.K.  Kunststickerei-Schule). 

Weaving  is  another  subject  which  is  drawing  the 
attention  of  the  artists  of  both  sexes.  The  Imperial 
arms  woven  in  gold,  silver,  and  silk  by  Frau  Sretna 
Vrankovic  on  an  ancient  Dalmatian  hand-loom 
and  other  fabrics  were  beautifully  executed,  both 
sides  alike,  and  excellent  also  were  some  curtains 
woven  on  the  same  primitive  stool. 

Batik  is  also  becoming  more  and  more  popula 
with  women  artists,  some  excellent  work  being 
done  in  this  direction  by  Dora  Wibrial,  Dorothea 
Seligmiiller,  Elsa  Stiibchen-Kirschner,  and  Valerie 
Petter. 

Some  good  achievements  were  perceptible  in 
textiles,  many  leading  artists  contributing  to  this 
branch  of  art,  among  them  Profs.  Hoffmann  and 
Otto  Prutscher,  Frau  Peller-Hollmann,  Friiulein 
Osterreicher  and  Remigius  Geyling. 

In  jewellery  and  enamelling  much  inventive 
power  has  been  shown  and  some  good  results 
obtained.  Many  women  artists  have  made  a 
speciality  of  designing  jewellery,  notable  among 
them  being  Sofie  Sander,  whose  career  has  been 
a  very  remarkable  one.  She  has  served  an  ap- 
prenticeship to  a  goldsmith,  worked  in  a  Paris 
workshop,  studied  all  ancient  methods,  with  the 
result  that  she  has  made  a  name  for  herself  on  the 


Continent  as  an  expert  in  classifying  ancient 
jewellery.  She  has  lately  been  called  to  Holland 
and  is  now  a  teacher  in  the  State  Arts  and  Crafts 
School  for  metal-work  and  jewellery  in  Haarlem. 
The  spirit  of  the  true  workman  is  revealed  in  all  her 
work  and  was  also  observable  in  the  jewellery  and 
bijouterie  exhibited  by  Fraulein  von  Stark,  Mar- 
garete  I'Allemand,  Louise  von  Kalmar,  Leopoldine 
Konig,  Hans  Bolek,  Alfred  Sachs,  and  other 
artists. 

It  is  impossible  to  detail  all  the  different  materials 
including  tooled  and  other  leather-work,  note-paper, 
labels,  menus,  &c.,  to  which  the  artists  have  turned 
their  attention.  Their  work  showed  no  lack  of  the 
inventive  faculty,  and  was  intelligently  done. 

A  few  words  must  be  said  regarding  the  models 
of  villas  and  other  dwelling-houses  designed  by 
Prof.  Hoffmann,  Hartwig  Fischel,  Alfred  Keller, 
Robert   Orley,    Freiherr    von    Krauss,    and   other 


CERAMIC    FIGURE.       DESIGNED  BY   FRANK   SCHLEISS,    EXE- 
CUTED  AT  THE  GMUNDENER   KERAMIK-WERKSTATTE 


Rudolf  Bern 


K 


NOTE  ON  THE 
WORK  O  F 
THE      CZECH 

PAINTER,    RUDOLF 

BEM. 


CERAMIC   VASES    AND    FRUIT    STAND.       DESIGNED    BY    MICHAEL     POWOLNY,    EXE 
CUTED   AT  THE   WIENER    KERAMIK-WEKKSTATTE   OK   POWOLNY   AND   LOFFLER 


prominent  architects  who  of  late  years  have  been 
devoting  earnest  attention  to  this  domain.  Some 
of  these  habitations  were  quite  unpretentious, 
others  more  imposing,  but  all  showed  sound  know- 
ledge of  construction  and  much  right  thought  in 
planning,  comfort  and  utility  being  kept  well  in 
view. 

Enough  has  been  said  to  show  how  deep  are  the 
roots  of  modern  decorative  art  in  Austria,  and  that 
the  branches  of  the  tree  are  spreading  in  every 
direction.  Nothing  could  help  to  make  this  fact 
more  convincing  than  the  recent  exhibition  of  the 
work  of  the  students,  male  and  female,  of  the 
Imperial  Schools  for  Arts  and  Crafts.  But  this 
must  be  left  for  a  future  occasion.  Here  it  must 
suffice  to  say  that,  together  with  the  Austrian 
Museum  exhibition,  it  formed  an  organic  whole. 
A.  S.   Levetus. 


The  Czech  painter, 
Rudolf  Bem,  whose  work 
in  landscape  and  figure 
painting  is  represented  in 
the  accompanying  illustra- 
tions, is  a  member  of  the 
"Manes"  association  of 
artists  in  Prague.  One  of 
the  most  talented  pupils  of 
the  academy  under  Prof. 
Hynais,  and  winner  of  many 
prizes,  he  made  his  debut  in 
1893  with  the  exhibition  of 
a  Head  of  Christ,  for  which 
he  was  later  awarded  the  Haag  gold  medal  and  the 
"Grand  Prix."  Bem  very  early  turned  his  atten- 
tion to  portrait-painting  and  soon  gained  repute 
as  the  painter  of  the  highest  Bohemian  nobility 
and  Prague  society.  He  had  no  sooner  gained 
for  himself  a  reputation  for  portraiture  than,  having 


The  Arts  and  Crafts  Exhibition  Society,  of  which 
Mr.  Walter  Crane  is  president,  is  now  holding  its 
tenth  exhibition  at  the  Groivenor  Gallery,  sia  New 
Bond  Street,  and  the  exhibition  will  remain  open 
until  the  end  of  January.  It  has  not  been  possible 
for  us  to  review  this  display  in  the  present  number, 
and  we  have  therefore  been  obliged  to  reserve  our 
comments  on  it  until  next  month,  when  we  hope  to 
give  illustrations  of  many  of  the  objects  on  view, 
as  we  have  done  on  the  occasions  of  previous 
exhibitions.  We  desire  at  the  same  time  to  thank 
those  of  the  exhibitors  who  have  been  good  enough 
to  furnish  us  with  authorisation  to  photograph  their 
exhibits  or  have  sent  us  photographs  of  these. 
226 


CHARCOAL     PORTRAIT     OP     THE     PAINTER 
RUDOLF   BEM 


^'^ 


BEFORE  THE   MIRROR.'      FROM  THE 
PAINTING   BY   RUDOLF   BEM 


Rudolf  Bdm 


won  some  travelling  scholarships,  he  was  taken 
away  to  new  fields  of  labour  in  Paris  and  Munich. 

It  is  said  that  an  artist  who  is  successful  in  por- 
traiture will  surely  be  successful  in  other  branches 
of  art,  and  Mr.  Bern  has  proved  the  truth  of  the 
saying  by  his  work  during  the  last  few  years.  He 
belongs  to  those  among  the  modem  school  of  artists 
who  do  not  specialise  in  any  direction  but  seek 
and  find  beauty  in  all  its  manifestations.  He  is, 
on  the  contrary,  always  ready  to  respond  to  new 
ideas.  Perhaps  he  himself  thinks  he  has  not  yet 
found  a  style  of  his  own,  because  he  continually 
varies  his  work,  from  portraiture  to  nature  and 
back  to  more  decorative  paintings.  But  one  can 
always  trace  the  intention  of  the  artist  to  depict  the 
effects  of  light  and  colour  in  his  work. 

The  pictorial  problems  of  landscape-painting 
have  always  strongly  attracted  him  and  for  a  long 
time  he  devoted  all  his  energy  to  it.  The  result  of 
this  was  a  great  number  of  varied  impressions  of  the 


countries  which  were  the  scenes  of  his  labours. 
The  Modern  Gallery  in  Prague  has  acquired  his 
picture  called  U  Ally'iia  (At  the  Mill),  which  is  a 
beautiful  example  of  an  impressionist's  conception 
of  landscape.  Notwithstanding  his  early  success 
Mr.  Bern  has  happily  escaped  the  great  danger  of 
falling  into  the  habit  of  repeating  a  few  limited 
ideas  mechanically. 

Lately  Bern  has  turned  his  attention  to  the 
Moravian  and  Slovack  peasantry,  with  their  highly 
ornamental  traditional  garb.  These  have  been  the 
subject  of  numerous  studies,  one  of  which  is  here 
reproduced.  I  have  heard  that  he  thinks  of 
settling  in  Moravia,  so  that  he  may  indulge  wholly 
in  the  impressions  fostered  by  the  Slav  peasants 
and  their  love  of  colour  which  comports  so  well 
with  modern  methods  of  out-door  painting.  The 
thoroughness  of  this  artist  does  much  credit  to  his 
many-sidedness.  He  is  a  painter  of  great  technical 
powers,  a  finished  draughtsman  and  a  fine  colourist 


.Mtmk 


TrfiMW 


•  A    WIM.V     DAY 


HE    lAINTING    BY    Rl'DOI.F   BEM 


•A  SLOVACK  PEASANT  GIRL,     a  study 


Japanese  Paintings 


FROM    THE    TAINlIXr,    BY    Kl-DOLK    BEM 


to  boot,  and  may  be  regarded  as  a  worthy  repre- 
sentative of  modern  Czech  painting. 

H.    SCHANZFR. 


T 


HE  OLD   AND   NEW  SCHOOLS 
OF  JAPANESE   PAINTING. 


A  FEW  months  ago  Hermann  Sudermann's 
"  Die  Heimat,"  after  a  run  of  a  week  in  Tokyo, 
under  the  auspices  of  the  Bungei  Kyokai,  a  literary 
and  theatrical  association,  was  suppressed  by  the 
Japanese  Home  Office  mainly  upon  the  ground 
that  it  was  in  a  way  a  protest  against  filial  piety, 
which  constitutes  so  essential  a  part  of  our  national 
ethics.  The  free,  aggressive,  and  independent 
spirit  of  youth  as  e.xpressed  in  Magda  is  indeed 
incompatible  with  the  old  spirit  as  evinced  by  the 
dogmatic  and  obstinate  nature  of  her  father,  and 
must  lead  to  constant  friction  between  the  two. 
But  such  differences  as  these  are  inevitable  in  the 


life  of  a  nation  in  a  state  of  transition,  and  are 
apparent  everywhere  in  Japan.  Note,  for  example, 
the  marked  incompatibility,  the  constant  and 
wearing  friction  between  the  two  schools  of  artists 
known  respectively  as  the  "  Old  "  and  the  "  New  " 
or  "  Progressive  "  school  of  Japanese  painting. 

There  has  been  constant  contention  and 
dissension  between  these  two  schools,  especially 
in  reference  to  the  Mombusho  Bijutsu  Tenrankai, 
that  is,  the  Annual  Art  Exhibition  held  under  the 
auspices  of  the  Department  of  Education.  The 
Mombusho,  in  trying  to  do  away  with  this  friction 
between  the  two  factions,  has  recently  reorganised 
its  jury  system  for  Japanese  painting,  and  the  new 
rules  come  mto  effect  at  the  Autumn  Exhibition 
this  year.  While  the  interdict  against  the  fwo- 
duction  of  "Die  Heimat"  has  been  removed,  as  the 
result  of  some  changes  made  in  the  text,  the  value 
of  the  recent  change  by  the  Mombusho  in  the  jurv 
system  is  yet  to  be  seen. 


Japanese  Paintings 


'RAIN   storm" 


BY   MASUZU   SHUNN'AN 


This  friction  dates  back  to  the  time  when  the 
Annual  Art  Exhibition  was  created  by  law  with  a 
government  subsidy  and  placed  under  the  Depart- 
ment of  Education,  Baron  Makino  being  then  at  the 
head  of  the  Department.  From  the  very  beginning 
the  exhibition  was  generally  recognised  to  be  more 
or  less  in  favour  of  the  new  movement  then  gaining 
ground  in  the  art  world  of  Japan.  The  great 
majority  of  the  judges  were  members  of  the  Tokyo 
School  of  Fine  Arts.  Opposed  to  this  institution 
stood  the  Nihon  Bijutsu  Kyokai,  an  old  and  in- 
fluential art  society  which,  under  the  leadership  of 
Masao  Gejo,  a  member  of  the  House  of  Lords, 
champions  the  "Old"  school.  The  feeling  current 
among  certain  sections  of  Japanese  painters  against 
the  Mombusho  Exhibition  may  be  judged  by  the 
fact  that  the  Kokuga  Gyokuseikai  was  organised  in 


opposition,  this  association  professing  to  encourage 
the  "  true  "  style  of  Japanese  painting.  The  attitude 
of  the  committee  of  judges  of  the  Annual  Art 
Exhibition  towards  the  artists  of  the  "  Old  "  school 
became  so  marked  that  the  Minister  of  Education 
was  recently  questioned  in  the  House  of  Lords  on 
the  subject. 

The  contention  between  the  two  schools 
reached  its  climax  at  the  time  of  the  Fifth  Annual 
Exhibition  of  Art  in  191 1,  when  four  of  the  judges 
sent  in  their  resignations.  They  were  Mochizuki 
Kimpo  ;  Masuzu  Shunnan,  whose  Rain  Storm  is 
included  among  our  illustrations ;  Takashinia 
Hokkai,  whose  Landscape  may  also  be  found 
among  our  reproductions ;  and  Sakuma  Tetsuen, 
all  of  whom  profess  to  belong  to  the  "  Old " 
school  and  who  have  served  on  the  committee  for 
four  consecutive  exhibitions.  According  to  their 
opinion,  it  is  but  a  natural  consequence  of  the 
tendencies    of   the   present   day   that   the   greater 


L.-\-\L';lA1  E 


BY   TAKASUIMA    HOKKAI 


Japanese  Paintings 


1 
1 

1 

i        f 

1 

1 
1 

S: 

w  '^ 

■»*-"■ 

P-; 

"THE    water"    (sIX-I'ANEI.LED    SCREEN) 

ra«r 


IIY    OTAKE    i.HIKUHA 


^\ 


W»    ■  ,    sp 


IM  V  ltd 


"in   THE   YOUNG   GRASS"    (SIX-PAXELLED   SCREEN) 


BV    KONOSHIMA   OKOKU 


number  of  high  awards  should  go  to  the  pro- 
ductions of  the  "  New"  school,  but  they  maintain 
that  the  giving  of  these  awards  to  experimental 
productions  not  worthy  of  the  name  of  art  must 
prove  detrimental  to  the  true  spirit  of  art,  and 
fearing  that  the  present  tendency  will  lead  to 
destroying  the  best  characteristics  of  true  Japanese 
painting,  they  cannot  look  on  calmly  at  the  sad  an.d 
inevitable  end  while  on  the  committee. 

It  is  needless  to  say  that  they  are  denounced  by 
their  opponents,  who  insinuate  that  these  "  Old  " 
school  painters  merely  copy  the  skeleton  of  the 
productions  of  artists  who  worked  in  the  latter 
part  of  the  Tokugawa  period  (1603-1868)  and  can 
hardly  be  called  the  true  Old  Masters  of  Japanese 
art.      They  also  claim  that  the  adherents   of  the 


"  New  "  school  have  in  them  the  spirit  of  the  real 
old  masters  to  which  they  are  trying  to  give  new 
expression,  and  maintain  that  there  is  no  danger 
of  losing  the  best  qualities  of  their  national  art. 

Putting  aside  the  arguments  of  both  parties,  we 
reproduce  here  for  our  readers'  judgment  some  of 
the  more  prominent  works  shown  at  the  exhibition 
of  1 9 II.  Two  of  them,  ///  the  Young  Grass,  by 
Konoshima  Okoku  of  Kyoto,  and  The  Water,  by 
Otake  Chikuha  of  Tokyo,  were  awarded  second 
prizes,  the  highest  bestowed  at  any  of  the  annual 
exhibitions.  The  Two  Girls  in  a  Shower,  by 
Kitano  Tsunetomi  of  Osaka,  was  one  of  the  seven 
which  received  third  prizes. 

The  unfriendly  feeling  between  the  two  schools 
was  brought  to  the  highest  pitch  when  towards  the 

233 


Japanese  Paintings 


'•  THE    RAIN 

close  of  the  exhibition  of  191 1  a  certain  eccentric 
artist,  who  follows  the  Shijo  style,  defaced  the 
works  of  five  members  of  the  committee  by 
drawing  a  large  black  line  across  the  pictures  with 
a  sponge  saturated  with  ink. 
The  works  damaged  in- 
cluded one  by  Sakuma 
Tetsuen,  referred  to  above, 
whose  subject  was  Shoki,  a 
fierce-looking  indindual  who 
drives  away  evil  spirits  and 
ushers  in  happiness  ;  The 
Rain,  by  Takenouchi  Seiho, 
here  reproduced;  and  a 
landscape  by  Kawabata 
Gyokusho,  which  has  already 
appeared  in  these  pages. 

In  order  to  secure  a 
more  harmonious  coopera- 
tion  for  the  unbiased  judg- 
ment of  art  productions,  the 
-Mombusho  has  divided  the 
committee  of  judges  for 
Japanese  painting  into  two 
sections,  each  group  con- 
sisting of  a  chairman  and 
twelve  members.  A  great 
majority  of  the  judges  in  the 
first  section  are  advocates 
of  the  "  Old  "  school,  while 
the  second  sectaon  consists 
234 


chiefly  of  adherents  of  the 
"  New  "  school.  The  four 
judges  who  tendered  their 
resignation  have  been  re- 
tained in  the  first  section, 
while  Viscount  Tamemori 
Iriye,  Mr.  Masao  Tanimori, 
and  Yamamoto  Baiso,  a 
naitga  artist  of  Handa,  near 
Nagoya,  have  been  newly 
appointed  and  added  to 
the  first  section.  This  re- 
organisation has  caused  a 
great  deal  of  discussion 
among  the  artists  of  Japan. 
Many  are  opposed  to  the 
change,  while  not  a  few 
lament  the  fact  that  politics 
seem  to  be  playing  a  part 
in  the  matter.  Whether 
any  real  benefit  or  evil  will 
result  from  the  changes  re- 
mains, of  course,  to  be  seen. 
It  is  interesting  to  note  that  a  rapidly  increasing 
number  of  artists  are  taking  up  the  Western  style 
of  painting.  The  number  of  students  taking  courses 
in  European  paintsing  at  the  Tokyo  School  of  Fine 


BY    TAKENOll 


■TWO   GIRLS    IN    A   SHOWER 


BY    KITANO   TSUNETOMI 


Japanese  Paintings 


"  ON    BENTEiNJIMA  ' 


HL) 


( Kojiikai  Exhibition) 


Arts  is  increasing  out  of  all  proportion  to  those  in 
other  courses,  and  the  former  now  outnumber  the 
students  in  Japanese  painting  by  more  than  two  to 
one.  Furthermore,  a  few  of  our  artists  in  oil  seem 
to  be  assuming  the  right  attitude  towards  Western 
art,  and  the  local  public  is  having  an  occasional 
glimpse  of  the  aesthetic  value  of  oil  painting  as  seen 
in  a  real  masterpiece. 

Two  exhibitions  of  paintings  in  the  Western  style 
were  recently  held  in  Uyeno  Park,  Tokyo,  by  the 
Taiheiyogakai  and  the 
Kofukai,  and  most  of  the 
many  pictures  displayed 
there  were  painted  in  oils. 
They  came  from  all  parts 
of  Japan,  but  the  works 
of  Tokyo  artists  pre- 
dominated. One  could 
not  fail  to  observe  that 
the  present  tendency  is 
towards  strong  and  vivid 
colours.  Judging  from 
their  work,  most  of  the 
young  artists  consider 
brightness  the  prime  re- 
quisite in  oil  painting. 
Apparently  they  are 
striving  to  follow  the  ten- 
dencies of  a  certain  school 
in  France,  with  which 
they  are  somewhat  in 
touch  through  men  who 
have  studied  in  Paris  and  "  low  tide"  (oil) 


are  assuming  the  position 
of  leaders  here.  The 
conservatives  fear  that  the 
younger  painters  in  oil 
are  going  astray,  and,  in 
consequence,  are  pessi- 
mistic about  the  future. 
However,  the  exhibitions 
were  well  attended  and 
it  would  seem  that  the 
Western  style  of  painting 
is  becoming  popular  in 
Ja]5an. 

At  the  exhibition 
organised  by  the  Tai- 
heiyogakai there  were 
over  five  hundred  pic- 
tures. The  Taiheiyo- 
gakai is  an  influential 
society  under  the  leader- 
ship of  prominent  artists, 
among  them  being  Nakagawa  Hachiro,  whose  Sp?-iiig 
Evening  is  reproduced  among  our  illustrations. 
The  society  includes  many  promising  young  artists, 
and  quite  a  number  of  pictures  have  been  pur- 
chased by  the  Empress  as  well  as  by  the  Depart- 
ment of  the  Imperial  Household. 

For  some  time  the  Taiheiyogakai  was  one  of 
the  two  large  rival  societies  of  yogaka,  as  the 
artists  who  follow  the  Western  style  of  painting  are 
called.     The  other  was  the  Hakubakai.     Both  are 


BY    KOBAYASHl    SHOKICHI 


( KoJuiMi  E.xliibitioii) 


BY    ATOMI    TAI 

235 


Sf/idio-  Talk 


^n       of  our  painters  who   have   adopted   the  Western 
'  *  J       style  have  much  to  learn  and  a  great  deal  to  strive 
for.  Harada  JiRO. 


tVBNlNG  ■'    (oil).      bV    NAKAGAWA    IIACHIRO 
(  Taiheiyogakai  Exhibition ) 


ofTshoots  of  the  Meiji  Bijutsukai,  or  Fine  Art 
Society  of  Meiji.  Towards  the  close  of  1894, 
Kuroda  Kiyoteru,  Kume  Keiichiro,  and  others  who 
had  studied  painting  in  Paris  withdrew  from  this 
society  and  founded  the  Hakubakai,  or  "  \\'hite 
Horse  Society,"  which  gathered  many  promising 
aspirants  to  its  fold.  Five  years  later,  "\'oshida 
Hiroshi,  Mitsutani  Kunishiro,  Nagachi  Hideta,  and 
others  broke  away  from  the  mother  society  and 
organised  the  Taiheiyogakai  above  referred  to. 
The  Hakubakai,  however,  having  accomplished 
its  mission,  was  disbanded  about  a  year  ago. 
Recently  an  exhibition  was  organised  by  the  new 
society  called  "  Kofukai,"  which  was  thought  by 
many  to  be  the  "White  Horse  Society"  resurrected, 
as  the  organisers  were  no  other  than  seven  of 
Mr.  Kuroda's  mortjin,  once  active  members  of 
the  Hakubakai.  It  is  asserted,  however,  that  they 
have  nothing  to  do  with  the  disbanded  society. 
The  first  exhibition  of  the  Kofukai  proved  a 
success.  There  were  about  four  hundred  paintings, 
chiefly  in  oil,  about  a  quarter  of  them  being  by 
the  organisers  of  the  society,  including  Atomi  Tai 
and  Kobayashi  Shokichi,  and  there  were  also 
on  exhibition  some  works  by  recognised  masters. 
However,  a  visit  to  this  exhibition  as  well  as 
the  other  noticed  above  convinced  me  that  those 
236 


STUDIO-TALK. 
(From    Our  Own   Correspotidents.) 


ONDON.— Mr.  W.  J.  Laidlay,  whose  death 
took  place  at  Freshwater  in  the  Isle  of 
Wight  on  the  25th  October,  was  a  sincere, 
conscientious  and  sensitive  painter,  and  a 
most  interesting  personalit)'.  He  was  the  actual 
founder  of  the  New  English  Art  Club,  and  throughout 
his  artistic  career  worked  incessantly  in  the  some- 
what fruitless  cause  of  the  reform  of  the  Royal 
Academy.  He  was  the  author  of  several  books 
dealing  with  this  and  kindred  subjects,  including 
"  The  Royal  Academy  :  its  Uses  and  Abuses,"  and 
'Art,  Artists,  and  Landscape  Painting."  For 
some  years  he  was  an  exhibitor  at  the  Royal 
.\cademy,  and  was  also  a  frequent  exhibitor  at 
the  Paris  Salon  and  the  New  Gallery.  Mr.  Laidlay, 
after  graduating  at  Cambridge,  was  called  to  the 
Bar  in  1875,  but  his  love  of  art  triumphed,  and  in 
1879  he  went  to  Paris,  where  for  some  years  he 
was  a  pupil  of  Carolus  Duran  .nnd  Bouguereau. 


'A   SEA   shore"    (oil) 

(  Taiheiyogaka 


BY   KIMURA    RVOICHI 
Exhibition) 


Studio-Talk 


BLUE   HYDRANGEAS 


(  Goiipil  Gallety  Salon  J 


BY  J.    E.    BLANCHE 


We  also  regret  to  record  the  death  of  Mr.  E.  J. 
van  Wisselingh,  the  well-known  expert  and  dealer. 
Mr.  van  Wisselingh  often  showed  both  insight  and 
kindness  in  the  early  encouragement  he  gave  to 
modern  artists  who  have  since  risen  to  fame. 


The  annual  Salon  of  the  Goupil  Gallery  in 
Regent  Street  is  nowadays  one  of  the  leading  events 
of  the  autumn  season  in  London,  and  this  year  it 
fully  maintains  the  high  standard  which  the  proprie- 
tors of  the  gallery  always  strive  to  attain.  In  one 
respect  it  is  of  especial  interest,  for  just  at  a  moment 
ivhen  some  of  the  first  principles  that  have  con- 
trolled the  finest  art  of  our  time  have  been  challenged 
in  theory  Mr.  Wilson  Steer  reasserts  them  here  in 
a  work  which  must  rank  among  the  great  land- 
scapes of  the  present,  and  not  the  less  so  on 
account  of  the  fact  that  for  Mr.  Steer  it  is  small  in 
scale.  We  refer  to  the  picture  called  Low  Tide, 
with  its  sensitive  silvery  colour.  Another  work  in 
this  exhibition  revealing  its  creator's  art  at  its  very 
best  is  Mr.  James  Pryde's  The  Utiknoivn  Corner. 
No    picture    of    a    romantic    street-corner    could 


throw  more  of  a  spell  over  the  right  kind  of 
spectator  than  this  one,  but  as  is  the  case  with  all 
very  subjective  art,  Mr.  Pryde's  pictures  must  have 
the  right  kind  of  spectator — the  "  Pryde "  spec- 
tator. M.  J.  E.  Blanche  is  represented  in  the  exhibi- 
tion by  some  of  the  still-life  pieces  in  which  he  is 
such  a  master;  his  greatest  success  here  is  the 
Blue  Hydrafigeas.  Besides  these  works  of  M. 
Blanche  there  are  some  other  contributions  of  a 
similar  character  to  which  this  Salon  owes  not 
a  little  of  its  distinction,  such  as,  for  example, 
Mr.  William  Nicholson's  Still-Life,  Mr.  W.  B.  E. 
Ranken's  Flower  Piece,  and  Mr.  H.  M.  Livens's 
Sweet  Peas  and  Roses  and  Still-Life.  Mr.  William 
Nicholson  also  exhibits  landscapes  which  are  in  his 
finest  vein,  scenes  in  which  sentiment  is  not  con- 
cealed and  which  in  their  very  simplicity  are  a 
lesson.  That  the  problems  of  interior  lighting 
continue  to  have  a  fascination  for  many  painters  is 
shown  by  various  pictures  in  which  these  problems 
have  been  handled  with  much  ability  and  at  the 
same  time  with  that  kind  of  feeling  which  makes 
them  something  more  than  mere  technical  exercises. 

237 


Studio-Talk 


In  this  connection  we  would  name  especially  the 
Breakfast  in  my  Studio,  by  Mr.  Patrick  ^\'.  Adam, 
R.S.A.  ;  and  the  Petit  Appartement  h  Paris  and 
Ze  Salon  Rose,  by  Mr.  W.  C.  Gore.  Mr.  \A'illiam 
Orpen's  An  Arran  Islander  is  one  of  the  out- 
standing features  of  the  exhrbition.  A  masterly 
piece  of  winter  landscape  is  the  Snow,  Canada,  by 
Mr.  J.  W.  Morrice,  a  painter  who  holds  a  distin- 
guished position  among  the  artists  of  the  Dominion. 
A  striking  contrast  to  this  is  Mr.  D.  V.  Cameron's 
TAe  Peaks,  pitched  in  a  very  low  key — lower  indeed 
than  is  his  wont.  In  a  brief  notice  such  as  this 
we  cannot  do  more  than  indicate  a  few  of  the 
works  which  in  our  opinion  call  for  special  meiition, 
but  besides  those  we  have  just  named  we  must  not 
omit  to  refer  to  Mr.  Henry  Bishop's  From  my  Roof 
Terrace,  Tetuan,  Mr.  Alexander  Jamieson's  Rye, 
The  Port,  Mr.  T.  C.  Dugdale's  The  Little  Pavilion, 
Trianon,  Mr.  J.  B.  Manson's  Still-Life,  M.  Felix 
Vallotton's  Fleurs,  Miss  Hilda  Fearon's  Afternoon 
Tea,  and  pictures  by  Mr.  Algernon  Talmage  and 


Mr.  Philip  Connard.  Post-Impressionism  is  not 
excluded  from  the  exhibition,  but  the  Post- 
Impressionists  represented  seem  to  only  have  one 
ideal  for  a  picture  :  that  of  making  it — especially 
if  it  is  a  still-life  piece — as  much  like  the  pattern  of 
a  Victorian  chintz  curtain  as  possible.  Many  of 
the  artists  succeed,  but  we  find  it  impossible  to 
value  this  ideal  of  decoration  and  success  as  highly 
as  its  exponents  would  wish  it  valued. 


The  Autumn  Exhibition  of  the  Royal  Society  of 
Painters  in  Watcr-Colours,  which  closes  on  the  1 6th, 
ranks  high  among  those  which  this  society  has  held. 
Its  strength  lies  with  the  activity  of  a  small  group 
of  members.  Mr.  H.  Hughes-Stanton  has  never 
given  us  a  water-colour  more  atmospheric  or  better 
composed  than  that  of  The  Dunes  lookin;:;  totvards 
Hardelot,  France.  In  its  remarkable  composition 
this  is  a  completed  picture,  without  losing  the 
actuality  that  is  secured  to  art  by  the  artist  being 
immediately  in  contact  with  nature  while  painting 


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r. „.///-,   W„.-.|.V,/.,.;/; 


BV    HENRV    BISHOr 


(Goufit  Gallery  Salon.) 


-AN   ARRAN    ISLANDER."    from  the 
OIL  PAINTING   BY  WILLIAM    ORPEN.  A.R.A. 


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Sfiidio-  Talk 


it.  Another  artist  to  the  fore  this  year,  with 
work  that  in  its  colour  seems  more  sincere  and 
less  artificial  than  sometimes  heretofore,  is  Mr. 
Lamorna  Birch.  Mr.  Robert  Allan,  in  his  Beccles 
Church  and  In  from  the  Fishing,  is  also  a  very 
interesting  contributor  this  year.  Mr.  Charles  Sims 
exhibits  two  or  three  works  vividly  naturalistic  for 
all  their  fantasy,  and  his  powers  are  very  much 
greater  in  this  naturalistic  presentment  than  in 
his  frankly  artificial  The  Pavilion.  Mrs.  Laura 
Knight's  A  Grey  Day  is  a  salient  feature  of  the  ex- 
hibition, and  two  drawings  by  Mr.  A\'alter  Bayes,  The 
Panorama  Platform  and  Elk  a  fair  espagnol  are 
admirable  and  rare  instances  of  an  artist  success- 
fully fusing  realism  and  decoration.  A  charming 
little  work  is  A  Barn  in  Dorset  by  Mr.  Herbert 
Alexander.  A  fine  instance  of  Mr.  E.  J.  Sullivan's 
command  of  water-colour  is  present  in  his  work 
The  Golden  Girl.  Caerlaverock  Castle  is  perhaps 
the  best  of  Mr.  Paterson's  two  contributions.     Sir 


Ernest  Waterlow,  Mr.  J.  W.  North,  A.R.A.,  Mr. 
Alfred  I'arsons,  R.A.,  and  Mr.  Walter  Crane  are 
well  represented,  and  the  exhibition  owes  much  to 
contributions  by  Mr.  George  Clausen,  R.A.,  and 
Mr.  A.  S.  Hartrick.     

The  interesting  drawing  which  we  here  reproduce 
in  facsimile  is  by  Mr.  Ernest  C.  Bewlay,  whose 
name  may  be  familiar  to  our  readers  as  a  member 
of  the  firm  of  Cossins,  Peacock,  and  Bewlay, 
architects,  of  Birmingham.  This  drawing  and 
others  of  his  which  have  come  under  our  notice 
prove  that  in  Mr.  Bewlay  we  have  an  artist  as  well 
as  an  architect.  

The  Black  Frame  Club's  191 2  exhibition  was 
held  in  the  Dore  Gallery  last  month.  In  this  ex- 
hibition Mr.  E.  Borough  Johnson  exhibited  some 
smail  interior  pictures  of  unusual  interest,  reveal- 
ing his  exceptionally  skilful  technique.     Mr.  Percy 


'  THE   LITTLE    PAVILION,    TRIANON  " 
242 


(  Goupil  Gallery  Salon) 


BY   T.    C.    DUGDALB 


"NEAR  ROTTERDAM."    from  a  chalk 
DRAWING  BY   ERNEST   C.    BEWLAY. 


studio-  Talk 


W.  Gibbs,  in  a  picture  Black  and  Silver,  was 
another  exhibitor  giving  attractiveness  to  the  walls. 
The  late  Mr.  ^V.  J.  Laidlay's  Off  to  the  Fishing 
Ground,  Mr.  Septimus  E.  Scott's  Sunday  Morning, 
Walberswick,  and  exhibits  by  Mr.  Benjamin 
Haughton  and  Mr.  F.  F.  Foottet  were  also  among 
the  most  notable  features  of  the  show. 


At  the  Stafford  Gallery  last  month  the  Senefelder 
Club  for  the  advancement  of  artistic  lithography 
held  its  fourth  exhibition.  It  included  part  of  Mr. 
Joseph  Pennell's  remarkable  series  of  Panama 
lithographs,  fine  prints  by  Miss  Ethel  Sabain,  Mr. 
John  Copley,  Mr.  Anthony  R.  Barker,  Mr.  G. 
Spencer-Pryse,  Mr.  A.  S.  Hartrick,  Mr.  T.  R.  Way, 
and  also  some  prints  by  Mr.  Brangwyn  and  Mr. 
Charles  Shannon  which  had  been  seen  before. 


Mr.  Maxwell  Armfield's  exhibition  at  the  Carfax 
Gallery  in  November  sustained  the  reputation  he 


has  acquired  as  a  master  of  decoration  ;  his  pictures 
are  always  conceived  in  the  spirit  of  decoration, 
form  and  colour  aiming  at  this  with  him,  and  not 
at  reality  of  representation.  Mountain  drawing  is  a 
feature  of  his  work,  and  in  this  vein  his  realism  is 
convincing,  whilst  no  one  knows  better  how  to  take 
advantage  of  the  bold  sweep  of  hill-lines  so  that 
they  resolve  themselves  within  a  frame  into  rhythmic 
composition. 

TORONTO.— At  the  end  of  September  the 
Canadian  National  Exhibition  of  191 2 
closed  its  doors  upon  delighted  visitors 
numbering  nearly  one  million.  It  claims 
the  attention  of  art  lovers  elsewhere  on  account 
of  the  excellent  display  of  pictures  by  Canadian 
artists  in  the  Gallery  of  Fine  Arts,  consisting  of  one 
hundred  and  thirty  compositions  in  oil,  water-colour, 
and  pastel — the  work  of  fifty-five  artists.  They  were 
the  pick  of  some  hundreds  of  works  sent  in  for 
approval  from  every  part  of  the  Canadian  Dominion. 


"WATERFALL    IN    THE    NORTH    COUNTRY' 


FROM   A    W,\TER-i 


JLOUK    BY    K.    H.    BKIGDEN 


studio-  Talk 


Prominent  among  ihem  were  the  following,  arranged 
tor  method's  sake  in  categories. 

Landscape  and  Figures.  The  President  of  the 
Royal  Canadian  Academy,  Mr.  William  Brymner, 
exhibited  two  very  excellent  compositions,  Feeding, 
Chickens  and  Autumn  Days,  both  characteristic 
of  Canadian  environment.  Mr.  Brymner's  strong 
points  are  simplicity  of  treatment,  effective  illu- 
mination, and  harmonious  colouring.  One  of  the 
most  effective  pictures  was  Waterfall  in  the  North 
Country  a  water-colour  by  Mr.  F.  H.  Brigden,  in 
which  the  purple-blues  and  graded  greens  peculiar 
to  Canadian  landscape  are  rendered  with  much 
charm.  In  the  same  category  must  be  named  two 
forest  subjects  by  lady  artists.  The  Edge  of  the  Wood, 
by  Mrs.  Knowles,  and  Winter  Morning,  by  Miss 
Wrinch  — the  former  a  characteristic  summer 
symphony  of  sky  and  landscape  in  the  boundless 
expanse  of  Canada's  azure  atmosphere,  in  which  the 
red  pine  and  the  silver  birch  as  well  as  the  raw  grass 
are  well  rendered ;  the  latter  a  harmonic  score  of  sun- 
lit snow  and  shade,  with  great  pine-trees,  black  and 
bare,  for  bars,  for  the  La.ly  of  the  Snows  is  arrayed 


in  her  flawless  winter  mantle,  whilst  the  Northern 
Lights  reflect  their  peculiar  blues  upon  the  snow. 
Mr.  Homer  Watson,  who  is  known  to  the  British 
public  by  his  pictures  shown  this  year  in  London, 
had  a  "  bit "  of  Canada  seen  through  the  glasses  of 
Rousseau  and  Diaz,  whose  works  he  loves  so  well 
—  The  Source,  a  delightful  arrangement  of  nature's 
greens,  deep  in  colour  and  high  in  finish.  Another 
canvas.  The  Stronghold,  was  decorative  in  character, 
a  dream  of  the  painter's  fancy.  Four  examples  of 
the  art  of  F.  M.  Bell-Smith,  R.C.A.,  were  also  hung. 
Few  men  have  the  courage  of  this  artist  to  approach 
the  mammoth  majesties  of  the  peerless  Rockies 
and  pitch  their  easels  full  in  the  face  of  such 
mighty  works  of  nature.  He  has  dealt  almost 
photographically  with  the  problems  of  mass, 
distance,  and  depth. 

Marine  Subjects.  Mr.  Robert  F.  Gagen  stands, 
perhaps,  at  the  head  of  Canadian  painters  of  sea 
and  river.  To  the  exhibition  he  contributed  three 
striking  canvases— 77«  Jiestless  Sea,  Surf  and  The 
Sunlit  Kecf—aW  painted  on  the  coast  of  Maine. 
There  is  no  British  tone  about  these   paintings  : 


'THE   RESTLESS  SEA 
246 


r.    GAGE.V,    K.C. 


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TORONTO."    BV   LAWREN  S.  HARRIS 


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studio-  Talk 


sky,  rock,  and  water  are  American  in  character. 
There  is  a  boldness  and  tonality  in  Gagen's  treat- 
ment of  water  which  give  distinction  to  his  work. 
He  is  an  adept,  too,  in  rendering  stretches  of  the 
glorious  St.  Lawrence  River,  with  its  emeraldine- 
topaz  tones  of  water,  its  great  indigo-purple  bluffs 
— topped  with  green-russet  downs,  and  weird 
deposits  of  prehistoric  lacustrine  sands  of  ruddy 
hue.  Surf  has  been  purchased  by  the  Canadian 
Government.  Mr.  A.  M.  Fleming's  The  Moon  and 
the  Fading  Day,  painted  off  the  coast  of  Maine,  also 
revealed  a  master  hand  in  the  rendition  of  aqueous 
glories  of  the  eventide.  Mr.  Farquhar  McG. 
Knowles's  Evening  Glow — capriciously  so  styled — 
was  of  quite  a  different  order.  His  good  ship  has 
weathered  fearsome  gales  and  now  lies  at  anchor 
by  the  Quebec  pier,  her  battered  hull  being  the 
painter's   looking-glass    of   the  sun,   reflecting  the 


westering  orb  of  day.  Mr.  Knowles  is  a  past- 
master  in  ship-building  and  ship-sailing — he  knows 
every  detail  from  keel  to  mast-head.  He  has 
painted  many  admirable  compositions  of  battleships 
of  to-day.  One  of  Canada's  best  marine  painters, 
Mr.  W.  M.  Cutts,  was  not  well  represented  :  he  and 
his  artist  wife  were  away  in  England  painting  on 
the  Devon-Cornwall  coast. 


"  THE   CO.NFIDANTE' 


Street  Scenes.  Painters  reveal  their  nationality 
in  nothing  more  clearly  than  in  their  rendering  of 
the  sights  of  every-day  life.  Houses  in  Richmond 
Street,  by  Mr.  Lawren  S.  Harris,  could  only  have 
been  painted  in  Toronto.  This  was  one  of  the 
three  finest  canvases  in  the  exhibition  and  attracted 
attention  on  account  of  its  simplicity  of  composition 
and  the  wealth  of  its  impasto.  The  shadows  of 
the  leaves  of  the  yellowing  maples,  thrown  by  the 
vivid  sun  upon  the  white 
stuccoed  walls  and  green 
jalousies,  are  splendidly 
worked  up  in  secondary 
tones  by  a  full  brush. 
The  effect  is  almost  illu- 
sive, we  have  the  shadows 
of  shadows  dipped  in  grey 
and  gold.  Craig  Street, 
Montreal,  by  Mr.  Maurice 
Cullen,  also  claimed 
general  attention  as  a  fine 
example  of  the  effect  of 
winter's  meagre  and 
solemn  colouring  on 
canvas.  Mr.  Cullen  excels 
in  the  rendition  of  mists 
and  shadows.  In  New- 
foundland—  that  dour 
land  of  ice  and  fog — he 
finds  endless  subjects  for 
his  sympathetic  brush. 
Another  painter  of  much 
promise  in  the  same  line 
of  atmospheric  effects  is 
Mr.  James  E.  H.  Mac- 
Donald.  His  Early 
JVinter's-  Evening  has 
been  purchased  by  the 
Canadian  Government 
for  the  National  Gallery 
at  Ottawa.  The  picture 
of  his,  however,  which 
caused  the  most  interest 
was  Tracks  and  Traffic, 
a  tour  de  force  of  the 
249 


BY    E.    WVLY   GRIER,    R.C.A. 


studio-  Talk 


effects  of  steam  and  snow.  No  such  scenes  may 
be  beheld  anywhere  but  in  Canada,  where  every 
manufacturing  and  transporting  enterprise  is  hustle- 
bustle  evermore.  The  handling  of  such  an  in- 
artistic subject  as  a  Canadian  Pacific  locomotive, 
and  the  tale  Mr.  MacDonald  has  made  it  tell  of  a 
nation's  progress,  are  eloquent  of  his  grasp  of 
actualities  and  his  imaginative  interpretation  of  the 
things  he  sees  and  feels.  In  the  same  category  was 
The  Rag  Market  at  Bruges,  by  Mr.  James  W. 
Beatty,  done  with  very  much  of  the  fullness  and 
soundness  of  the  Dutch  painters  of  to-day. 


Portraiture  and  Animals.  That  Canadian  painters 
have  acquired  distinction  in  the  art  of  portraiture 
was  amplv  proved  by  works  in  this  year's  exhibi- 
tion. Mr.  E.  Dyonnet's  was  the  most  forceful  work 
of  all.  If  An  Old  Inhabitant  may  not  rank  with 
the  famous  and  strong-visaged  men  of  Rembrandt 
and  Franz  Hals  it  is  all  the  same  a  very  capable 
work.  Miss  M.  Shore,  in  her  Sisters,  exhibited  a 
spontaneous  piece  of  work.  She  is  a  disciple  of 
Henri  and  has  acquired  his  clever  eye-glance  ;  her 
colour  shows  the  influence  of  Whistler  as  well  as 
Henri.  The  Confidante  and  The  Huntress  by  Mr. 
Edmund  Wyly  Grier  are  the  work  of  a  romantic 


artist  who  paints  in  a  city  lane  and  lives  in  a 
country  shack.  He  has  the  faculty  of  exciting  the 
curiosity  of  his  visitors.  He  is  especially  fond  of 
transferring  to  his  canvas  personal  idiosyncrasies 
of  his  sitters — such  as  passing  the  hand  through 
the  hair,  twitching  of  the  mouth,  and  so  forth. 
Hence  his  effects  are  actual  likenesses — not  picture 
portraits  only.  Mr.  George  Agnew  Reid's  style  is 
decorative,  which  he  teaches  in  the  highest  ex- 
pression of  painting.  Forceful  by  nature,  he  is  a 
poetic  painter,  and  loves  to  delineate  episodes  of 
Canadian  history.  His  panels,  over-doors,  and 
mantels  are  very  beautifully  designed  and  carried 
out.  Mrs.  Reid  paints  too,  and  paints  well — still- 
life,  flowers,  nocturnes,  and  sunlit  symphonies. 
Certain  other  contributions  were  highly  praise- 
worthy— notably  those  of  Mr.  Gustav  Hahn,  Mr. 
Charles  W.  Jeffery,  Mr.  Herbert  Palmer,  and  Mr. 
H.  Britton.  

Enough,  perhaps,  has  been  said,  although  much 
more  is  worthy  of  communication,  to  show  that 
Canadian  art  is  flourishing,  but  it  needs  sympathy 
and  encouragement.  Canadians  in  general  are  not 
yet  alive  to  the  beauties  of  the  Fine  Arts.  It  takes 
generations  of  delvers  and  builders  to  prepare  the 


^  TJMMl 

"THE  CASTi. 
250 


(Sec  , 


c,  n:xt  page) 


i-KANK    BOtiGS 


Studio-Talk 


'THE   CASTLE   OF   SAUMUR" 


BY    FRANK   BOGGS 


national  edifice  for  painters  and  decorators.  It  is 
proposed  to  hold  a  representative  exhibition  of 
Canadian  art  in  the  capital  of  the  Empire  in  the 
winterof  1913-1914.  Art  lovers  in  London  will  there 
have  opportunities  of  appreciating  and  encouraging 
artists  worthy  of  their  consideration.  The  e.xhibi- 
tion  will  certainly  strengthen  the  ties  which  unite 
the  Mother  Country  and  the  great  Dominion. 

E.  S. 

PARIS. — Mr.  Frank  Boggs,  whose  name  I 
have  frequently  had  occasion  to  mention 
in  connection  with  the  Salons  or  certain 
choice  exhibitions  of  water-colours,  has 
recently  shown  an  ensemble  of  his  most  important 
drawings  in  this  medium  at  the  Galeries  Hauss- 
mann  in  the  Rue  la  Boetie.  This,  therefore,  affords 
me  an  excellent  opportunity  of  saying  a  few  words 
about  the  distinguished  art  of  this  painter  and  of 
calling  attention  to  the  place  of  honour  he  has 
achieved  for  himself  'vc\  modern  water-colour. 


Frank  Boggs  was  the  friend  of  Jongkind,  which 
of  course  implies  that  he  is  not  a  very  young  painter. 
He  has,  however,  worked  in  silence,  indifferent  to 
success,  and  hence  it  arises  that  fame  has  come  to 


him  rather  late  in  life,  though  it  is  not  on  that  account 
any  the  less  brilliant.  Then,  too,  though  Boggj 
worked  with  Jongkind  one  is  certainly  not  justified  in 
affirming  that  he  was  the  pupil  of  the  latter.  There 
existed  between  them  a  certain  similarity  of  inspira- 
tion and  both  have  made  use  of  methods  which 
often  showed  a  close  kinship.  Boggs  is  an  ad- 
mirable painter  of  Paris.  His  water-colours  reveal 
an  impeccable  draughtsmanship  while  they  remain 
very  broad  and  free  in  style.  He  bestows  much 
care  upon  his  skies,  which  are  always  treated  most 
spiritedly,  and  upon  waters  with  their  myriad 
reflections  which  he  paints  with  consummate  skill. 


The  most  important  among  these  works  are  those 
which  form  the  unforgettable  series  depicting  the 
castles  of  the  I,oire.  In  these  the  artist  has  really 
achieved  a  profound  mastery  of  his  medium.  He  has 
rendered  with  rare  ability  all  the  fine  contours  of 
these  calm  landscapes  and  those  chateaux  which 
are  among  the  marvels  of  French  architecture, 
setting  down  their  sombre  note  in  his  composi- 
tion and  drawing  the  irregularities  of  their  towers, 
their  keeps  and  terraces.  Amboise,  Chenonceaux, 
Blois,  Chambord,  Saumur,  Loches,  Chinon,  Azay- 
le-Rideau,    Montreuil-Bellay — all    these    we    find 

2SI 


studio-  Talk 


and  vice-president  of  the 
Berlin  Secession,  superin- 
tends the  making  and 
dressing  of  these  dolls  after 
her  own  designs,  so  that 
they  all  bear  the  impress 
of  the  artist,  and  one  of 
their  great  recommenda- 
tions in  the  eyes  of  parents 
and  other  dispensers  of 
gifts  is  that  they  are  both 
unbreakable  and  washable, 
being  made  of  a  substance 
invented  by  Frau  Kruse. 


"  THE   CASTLE  OF   MONTREUIL-BELI  AV 

represented  in  first-rate    ejcamples    of  this   clever 
artist's  work.  H.   F. 

Bl^RLIN. — The  Royal  Academy  of  Arts 
has  made  an  effort  to  show  by  a  finely 
arranged  exhibition  of  East  Asiatic  Art 
the  extent  to  which  the  best  productions 
of  Chinese  and  Japanese 
sculpture,  painting,  and 
applied  art  are  represented 
in  the  leading  German  col- 
lections. Only  a  few  choice 
pieces  were  admitted,  and 
no  attempt  was  made  to 
fill  gaps  by  inferior  pro- 
ductions. With  this  most 
instructive  show  Prof. 
Arthur  Kampf  ended  his 
unusually  successful  presi- 
dency of  these  Academy 
exhibitions. 


At  the  Keller  and  Reiner 
Salon  recently  attention  was 
drawn  to  the  unusual  talent 
of  the  young  painter, 
sculptor,  and  draughtsman, 
Fritz  Gartner.  A  rising 
BY  FRANK  BOGGs  German  Meunier   or 

Millet  here  announced 
himself,  a  lover  of  labour  in  all  its  various  forms, 
in  the  fields,  in  gardens,  mines,  factories,  and  in  the 
harbour.  One  saw  here  pictures  painted  in  un- 
broken colours,  jubilant  or  subdued,  plastic  works 
of  robust  form  and  rhythmic  vitality,  and  etchings, 
drawings,  and  lithographs  which  grasped  nature's 
aspects  in  lines  at  once  simple  and  confident.     A 


\\'hen  on  two  previous 
occasions  illu^rations  were 
given  in  these  pages  of 
Frau  Kathe  Kruse's  dolls 
lively  interest  was  aroused 
in  these  really  artistic  pro- 
ductions. This  talented 
woman,  who  is  the  wife  of 
Prof.  Max  Kruse,  sculptor 


WASHABLE   AND    UNBREAKABLE  DOLLS 


DESIGNED   BV    KATHE    KRt  SE 


Studio-Talk 


'  REST  "  BY    FRITZ  GARTNER 

( By  permission  of  the  Neue  Photographische 

Gesellschaft,  Berlin) 


realist  of  almost  primitive  vigour  was  here  the  pro- 
ducer, an  artist  whose  best  revelations  spring  from 
rural  solitude.  The  humour  of  the  socialist  is 
missing  in  these  plodding  men  and  w^omen.  How- 
ever trenchantly  the  burden  of  toil  is  expressed,  its 
consequences  are  not  made  to  appear  degrading  but 
salutary  in  health  and  structure.  At  times  this 
painter  of  naturalism  is  seized  with  a  Zolaesque 
enthusiasm  for  la  grande  fertilite  or  the  devo- 
tional raptures  of  Breton  or  Millet  in  presence  of 
his  patient  models  in  the  peaceful  fields.  He  sees 
with  the  modernist's  eye  and  can  render  dazzling 
sunlight  or  dawn,  summer  and  winter,  with  equal 
sureness.  The  decorative  element  forms  a  strong 
point  in  his  selection,  and  he  does  not  tie  himself 
down  to  a  limited  range  of  subjects.  His  abilities 
appear  of  equal  strength  in  painting,  sculpture,  and 
the  graphic  arts,  and  the  indefatigable  exercise  of 
such  versatile  gifts  keeps  his  productive  qualities 
fresh.  Fritz  Gartner  was  born  in  1882  at  Aussig,  but 
lives  and  works  in  the  ^^'estphalian  country,     .\fter 


having  studied  in'Munich  under  Hackl,  Lofftz,  and 
Marr,  he  settled  at  Schloss  Malinckrodt,  where 
he  has  his  open-air  studio.  He  is  a  member  of  the 
different  Secession  groups  and  of  the  Deutscher 
Kiinstlerbund,  and  became  known  by  his  contribu- 
tions to  "  Jugend.''  His  pictures  and  plastic  works 
have  been  going  the  round  of  the  chief  towns  in 
Austria  and  Germany  and  attracting  a  well-deserved 
attention.  J.  J- 

STOCKHOLM. — During  the  past  summer 
the  capital  of  Sweden  was  able  to  offer 
its  citizens  pleasures  they  seldom  have  an 
opportunity  of  enjoying,  and  its  visitors 
some  most  effective  attractions.  In  the  wonder- 
fully beautiful  Stadium,  the  genial  creation  of  the 
architect  Torben  Grut,  athletes  from  every  quarter 
of  the  globe  engaged  in  friendly  rivalry  for  classic 
laurels    and    more    modern    medals,    while    else- 


\ 


"  EVENING  "  BY   FRITZ  GARTNER 

(  By  permission  of  the  Neue  Photo- 
graphische Gesellschaft,  Berlin) 


253 


Sfiidic-Talk 


where  the  Artists'  Association  (Konstnarsforbundet) 
opened  one  of  the  most  important  exhibitions  of 
modem  art  that  have  been  offered  to  the  Swedish 
pubhc  for  a  very  long  time.  It  is  seven  years 
since  this  society  met  in  one  common  exhibition 
in  the  capital  of  Sweden,  on  which  occasion  it 
celebrated  the  twentieth  anniversary  of  its  foun- 
dation. The  exhibition  this  year  was  of  quite  a 
different  character.  The  golden  age  of  Swedish 
"  stiimning  "  painting — the  painting  expressive  of  a 
mood — is  past.  Eugen  Jansson's  night  visions  of 
Stockholm,  Karl  Nordstrom's  gloom-filled  west 
coast  breakers,  Thegerstrom's  moonlight  parks, 
which  had  replaced  the  transparent  everyday 
pictures  of  the  eighties,  have  had  in  their  turn 
to  make  way  for  new  and  sunnier  artistic  ideals. 


Prince  Eugen,  whose  work  dominated  the  second 
largest  room  at  the  exhibition,  still  stands  with  one 
foot  fast  fixed  on  the  ground  where  he  has  created 
so  many  delightful  works  of  art.  I  lately  had  the 
opportunity  of  describing  in  the  pages  of  this 
magazine  the  course  of  his  artistic  development, 
the  stages  of  which  were  illustrated  in  this  exhi- 
bition by  a  choice  collection  of  his  finest  landscapes. 
Hut  that  which  attracted  the  chief  attention  of  the 


beholder  was  the  great  altar-piece  for  Kiruna 
Church.  The  very  idea  of  choosing  a  landscape 
as  the  motif  of  an  altar-piece  is  as  new  as  it  is 
remarkable.  Its  signification,  at  a  time  when  the 
ability  to  give  a  new  and  simple,  yet  convincing, 
reading  to  old  Biblical  subjects  seems  to  be  almost 
entirely  dead — the  Danish  artist  Joakim  Skov- 
gaard  is  the  one  brilliant  exception — cannot  easily 
be  over-estimated,  even  if,  as  often  enough  happens 
perhaps,  it  is  misunderstood  and  abused.  It  is 
hardly  necessary  to  speak  of  the  purely  artistic 
value  and  the  immense  decorative  qualities  of  this 
vast  canvas.  But  no  one  who  does  not  know  what 
the  Kiruna  mining  district  is,  no  one  who  has  not 
trodden  these  streets  which  begin  at  the  point,  so 
to  say,  where  tree-growth  ceases  and  which  at  no 
time  during  the  year  are  entirely  free  from  snow, 
can  in  full  measure  appreciate  the  geniality  of  the 
way  in  which  the  entire  subject  has  been  grasped. 
For  the  fertile  central  Swedish  landscape  depicted 
here,  with  its  light,  cool  colours,  its  overflowing 
sunshine,  its  noble  and  magnificent  form  prompt- 
ing the  imagination  to  flights  far  beyond  the 
horizon,  must,  to  a  soul  tortured  by  a  weari,some, 
month-long  winter  night,  be  a  veritable  vision  of 
the  glades  of  Paradise. 


^•;^  -  J.  "ir 


'SNOW  AND  OlEN    WATER,    SANDll.Mi: 


I  Kl>.\I     IllL    t>IL    1',\1,\'1IM.     IJV    AXI.I.    .^JUUEKG 


■^s 


'RETURNING   FROM   CHURCH."     FROM   THE 
OIL  PAINTING   BY  CARL  WILHELMSON 


Sfiuiio-Talk 


In  the  room  thus  filled  by  the  Kiruna  picture  a 
wall  was  reserved  for  Acke.  The  sphere  in  which 
this  talented  but  variable  artist  moves  embraces 
both  persons  and  places.  Of  the  former,  attention 
may  be  specially  called  to  the  portrait-group  of  the 
Bonnier  family,  which  breathes  of  the  intimacy  of 
hsmie-life.  But  that  which  perhaps  most  strongly 
appeals  to  Acke  is  the  strand  where  sea  and  land 
embrace  and  which,  with  its  constantly  varying 
character,  is  one  of  the  most  grateful  fields  of  labour 
in  Swedish  landscape  art.  The  breakers  that  wash 
the  soft  curves  of  the  reef  sing  to  him  a  clear, 
ringing  melody ;  in  this  translucent  atmosphere  the 
very  bodies  seem  to  have  acquired  something  trans- 
parent, like  a  hand  which  is  held  with  lightly  closed 
fingers  towards  the  sun. 


life.  In  the  bathing  scenes  it  is  the  aerial  perspec- 
tive that  creates  the  artistic  transformation  ;  in  the 
athlete  and  acrobat  delineations  he  searches  for 
the  nerves  and  muscles  lying  beneath  the  surface. 


Rikard  Lindstrom  looks  with  darker  and  manlier 
gaze  at  the  meeting-place  of  land  and  sea.  The 
earth  is  more  substantial,  the  water  heavier,  and  the 
movement  consequently  stronger  than  in  Acke's 
work.  His  masterpiece  was  Evening  Gltnv,  in  which 
the  colouring,  difficult  to  reproduce,  has  reached 
an  intensity  that  can  hardly  be  surpassed.  For  Axel 
Sjoberg,  again,  the  embrace  of  sea  and  land  is  not 
an  expression  of  intoxicating  ecstasy ;  it  is  rather 
strife  between  two  adverse  forces  that  seek  to 
annihilate  each  other.  Ice  covers  the  hard  waters 
until  there  approaches  a  spring  day  when  they 
break  their  bonds  and,  in  the  hour  of  deliverance, 
are  transformed  into  a  mighty,  destroying  force. 
Karl  Nordstrom,  the  doughty  leader  of  the 
Association  in  its  polemic  warfare  ever  since  its 
formation,  has  outlived  his  artistic  Sturm  und 
Drang  period.  The  skerries  have  become  for  him 
a  pleasant  summer  resort  which  it  is  a  delight  to 
depict  in  new  colours  and  with  a  fresh  technique. 


At  first  sight  there  would  seem  to  be  little  in 
common  between  the  Eugen  Jansson  who  ten 
years  ago  gave  us  the  night  views  of  Stockholm 
and  the  artist  of  the  same  name  who,  in  the  largest 
room  of  the  exhibition,  on  vast  fields  of  canvas, 
depicted  the  healthy,  unfettered  life  of  the  Swedish 
sailor.  Yet  we  recognise  certain  characteristics  of 
former  days.  A\e  still  discover  in  every  delineation 
of  the  human  figure  a  disinclination  to  reproduce  a 
clearly  evident,  material,  tangible  surface.  The 
artist  sometimes  goes  so  far  in  his  paraphrase  of 
veritable  consistency  that  illusion  becomes  almost 
delusion  ;  and  although  Jansson's  chief  interest  is 
clearly  being  drawn  more  and  more  to  the  delinea- 
tion of  the  naked  model,  there  is  no  realistic 
actuality  to  be  expected  in  his  pictures  of  moving 
256 


When  Gosta  von  Hennigs  carries  us  with  him 
into  the  arena  it  is  not  to  admire  the  muscle  play 
of  the  acrobats,  but  to  enchain  our  attention  by 
the  brilliant  dresses  and  the  display  of  purely 
physical  feats  of  agility.  He  looks  with  an  in- 
dulgent smile  at  the  equilibristic  performances  of 
the  human  animal.  His  canvases  posse.ss  the 
uniform  colouring  and  the  thorough  surface  tech- 
nique of  the  modern  hoarding  picture.  The  drawing 
is  summary,  but  often  reproduces  with  con\nncing 
truth  the  impression  of  movement.     His  dazzling 


BRONZE    STATUETTE   OF    THE    LAP- 
LANDER JOHAN  THUURI.      BY  CHRISTIAN 
ERIKSSON 


studio-  Talk 


KJELUBERGbTi.NUEN,    LOtODEN 


FROM   THE    PAINTING    liY    KIKAKl)   LlNUbTkuM 


colours  are  combined  with  extraordinarj-  bravura 
and  intensity.  

I  hardly  know  of  any  one  besides  Carl  Larsson 
who  could  have  as  much  right  as  Carl  Wilhelmson 
to  be  entitled  the  most  Swedish  of  our  artists. 
Carl  Wilhelmson  alone  has  been  able  to  express 
the  open  and  independent,  the  mild  yet  storm- 
worn,  the  conscientious  while  gloomy  traits  of  the 
national  character.  Take,  for  instance,  the  wonder- 
ful canvas,  Returning  from  Church,  a  memorial 
to  a  race  of  people  nourished  and  chastened  by 
the  sea  and  the  clergy.  There  is  about  it  some- 
thing of  the  simple  and  solemn  tone  of  a  confession 
of  faith  :  "  I  believe  in  the  bitterness  of  life  ;  I 
believe  in  the  blessing  of  work,  the  cheering  glory 
of  colour,  and  the  healing  light  of  the  sun."  It  is 
one  of  those  creations  to  which  an  artist  can  gather 
his  powers  but  once  in  his  lifetime.  And  this  he 
can  do  only  if  he  be  a  great  artist.  No  technique 
is  cleaner  and  more  transparent  than  Wilhelmson's, 
and  here  without  doubt  it  celebrates  one  of  its 
greatest  triumphs. 


Wilhelmson's  portraits,  in  spite  of  their  excellent 
qualities,  give  us  a  hint  of  the  limits  of  his  powers. 
They  show  that  this  very  clever  observer  is  not 
possessed  of  an  imagination  mighty  enough  to 
fathom  the  depths  of  involved  mentalities.  His 
delineations  of  men  and  women  have  something 
dry  and  uninteresting  about  them  when  they  re- 
produce individuals  in  whom  culture  is  supreme. 
But  this  limitation  has  been  of  decided  service  to 
AVilhelmson ;  it  has  preserved  his  delineations  of 
peasant  life  from  all  exaggerated  features,  and  has 
added  to  all  their  other  wonderful  artistic  qualities 
that  of  documentary  truthfulness. 


Richard  Bergh  is  Wilhelmson's  antipodes  as  a 
portrait  painter.  For  him  the  exterior  is  merely  a 
means  of  expression  for  the  psychic  ego  of  the  sitter. 
His  portrait  of  Dr.  Ekman  is  a  delightful  canvas. 
Never  has  the  technical  ability  of  the  artist  been 
greater  than  here  ;  never  has  his  eye  been  sharper. 
It  is  clear  that  it  is  delineation  of  personality  that  is 
the  alpha  and  omega  of  Richard  Bergh's  art ;  it  is 
for  him  a  problem  the  solution  of  which  demands 

257 


Sfii(iio-Ta/k 


"HORSES    IN    movement" 


FROM    THE    PAINTING    BY   NILS    KREIIGER 


almost  as  much  concentration  of  thought  as  the 
purely  technical  details  themselves. 


A  contrast  as  great  as  that  just  noted  between 
W'ilhelmson  and  Richard  Bergh  as  depicters  of 
men  is  that  existing  between  the  animal  paintings 
of  the  first-named  artist  and  Nils  Kreuger.  Both 
are  excellent  painters  of  the  horse,  but  they  see 
their  model  from  altogether  different  points  of  view. 
For  Wilhelmson  the  horse  is  the  beast  of  burden, 
the  faithful  helper  and  comrade  of  man  in  each 
day's  toil.  Nils  Kreuger,  on  the  other  hand,  sees 
in  the  horse,  not  the  most  useful,  but  the  noblest  of 
animals.  He  loves  the  horse,  not  beneath  a  heavy 
yoke,  but  in  proud  and  untrammelled  freedom. 
He  seeks  for  him  on  the  expanses  of  (Dland  and  the 
sea-strand  slopes  of  Halland.  Here,  in  the  open 
spaces  where  man's  hand  is  hardly  seen,  he  has 
caught  the  expressions  for  his  sensitive  and  varying 
moods,  which,  with  a  mere  degree  of  difference  in 
the  bearing  of  the  head  apd  neck,  can  show  all  the 
scales  of  feeling  between  pride  and  humility,  watch- 
ful unrest  and  confiding  calmness.  So  rich  is  this 
theme  for  the  artist  that,  beneath  his  hand,  it  is 
always  new,  however  unimportant  the  variations  of 
the  motive  may  be. 

The  sculpture   division   of  the   exhibition   was 
dominated    by    two    names — those    of    Christian 
Eriksson   and    Carl    Eldh.     In   all    the    range    of 
258 


Swedish  sculpture  there  can  scarcely  be  found  such 
concentrated  power  as  Eriksson's  Archer,  in  whose 
iron  muscles  there  is  such  a  world  of  energy  as 
promises  that  the  arrow  shall  fly  far  and  sure  when 
the  moment  for  action  comes.  The  statue  is  a 
well-known  one,  however,  like  most  of  those  in 
Eriksson's  magnificent  collection.  But  there  were 
some  new  things,  too,  the  most  remarkable,  un- 
doubtedly, being  the  statuette  of  Johan  Thuuri, 
the  celebrated  Laplander.  This  is  not  merely  a 
portrait,  it  is  a  whole  race  that  the  sculptor  has  here 
given  us,  with  austere,  slight  forms,  in  the  gleam- 
ing, shadowy  bronze.  The  bearing  and  the  very 
position  of  the  body  are  so  very  characteristic  of  the 
race.  Carl  Eldh  has  a  gentler  and  more  lightsome 
nature.  Sometimes  it  seems  as  if  he  wanted  energy 
to  pursue  an  artistic  conception  to  its  final  issue. 
But  feeling  remains  to  the  end,  and  this  it  is  that 
ennobles  his  best  work  ;  this  it  is  that  makes  Voutk 
his  masterpiece,  which,  thanks  to  the  generosity  of 
Zorn,  will  form  part  of  the  collection  belonging  to 
the  National  Museum,  for  which  another  of  the 
sculptor's  best  w'orks,  A  Young  Girl,  has  also  been 
ac(|uired.  A.  G. 


M 


ADRID. — Eduardo    Chicharro    forms 

ont-  of  that  small  band  of  artists  who 

do   not   thrust  themselves   and   their 

productions  before  the  public,  but  who 

wcjrk   to  satisfy  their  own  private  lesthetic   ideals. 


Studio-  Talk 


He  lives  isolated,  aloof  even  from  contemporary 
artistic  movements.  A  Castilian,  deeply  attached 
to  his  country,  he  has  transcribed  that  attachment 
in  some  magnificent  pictures  depicting  the  customs 
of  Castile ;  poet,  he  gives  free  rein  to  his  poesy  in 
certain  fine  decorative  works ;  and  lastly,  as  a  painter 
in  the  true  sense  of  the  word,  as  a  lover  of  colour, 
he  delights  also  in  studies  of  light,  impressions  of 
movement  and  in  various  "effects." 

Chicharro  does  not  paint  the  peasants  of  Castile 
because  they  are  picturesque,  but  because  he  finds 
himself  in  the  closest  affinity  with  them,  because 
their  past  is  his  own  and  because  the  soil  over 
which  they  bow  themselves  and  from  which  they 
draw  their  sustenance,  this  parched  earth  which  we 
see  in  the  background  of  his  pictures,  is  the  soil 
of  his  own  fatherland,  scorched  by  his  own  sun. 
All  these  Castilian  works  of  Chicharro  are  intimately 
realistic ;  but  there  is,  so  to  say,  an  immediate 
realism,  and  there  is  a  second  realism  infinitely 
more  lofty  than  the  first,  which  represents  not  only 
what  is  seen  but  what  is  felt. 


After  the  contemplation  of  these  arid  plateaux 
these  immense  horizons  in  which  there  is  nothint 
to  distract  or  rest  the  eye, 
Chicharro  dreams  of 
another  nature  where  the 
vegetation  is  luxurious  and 
abundant,  where  nothing 
offends  or  wearies  the  eye, 
where  all  the  forms  are 
beautiful  not  only  with  a 
beauty  of  character  but 
also  with  a  beauty  of  har- 
mony, for  he  is  Latin  in 
temperament  despite  all 
the  appeal  of  atticism. 
From  this  aspiration  to 
escape  at  times  from  the 
all-compelling  love  of  his 
own  land  come  no  doubt 
certain  landscapes  in  his 
decorative  panels,  such  as 
L' Inspiration,  with  delicate 
tones  and  numerous  con- 
tours to  arrest  the  eye. 
These  stand  as  the  anti- 
thesis of  his  Castilian 
pictures  in  which  he  is 
preoccupied  with  the  verity 
of  his  transcriptions  of 
nature,  and  his  decorative 


panels  become  thus  symbolical  works  in  which 
even  the  central  idea  is  a  figment  of  the  artist's 
brain.  Here  we  find  him  introducing  figures,  for 
he  finds  them  the  most  apt  to  reproduce  his 
thought ;  but  these  forms  are  not  there  for  them- 
selves alone — despite  their  corporeal  appearance 
they  do  not  exist  as  human  beings,  but  are  present 
as  manifestations  of  passions,  of  eternal  ideas  of 
humanity.  Chicharro  makes  use  of  no  special 
mythology  but  employs  the  s\mbolism  slowly 
created  by  mankind,  symbols  of  everlasting  import 
which  he  feels  in  himself  and  which  are  concordant 
with  his  artistic  emotions,  and  which  he  re-creates 
in  himself  in  the  image  of  his  own  personality. 
Chicharro  does  not  boast  of  his  philosophy,  and  if 
his  decorative  works  are  so  profoundly  philosophical 
it  is  because  they  are  the  purest  and  truest  ex- 
pression of  his  artistic  sensibilities  and  thought. 
Hence  their  simplicity  of  line,  hence  that  emotional 
quality  which  we  find  in  still  greater  degree  in  the 
sketches  which  are  the  first  essays  towards  their 
creation.  All  these  panels,  even  to  the  mournful 
mediaeval  triptych  Les  Trois  Epouses,  are  of  the  genre 
of  "  inward  "  picturing,  of  "  thoughtful  "  painting. 


Chicharro  has  been  described  as  a  "  colourist," 


l-K    IIIJSSU    PK    HI'KOO.NDK" 


BY    KUl'AKDO   ClllCHAKRO 


Sfiidio-Talk 


'  I.  INSriRATlON    1.1>     Kk  l>    Rr.\H 


\  N  I       \    I     A ! : 


BY    KLII'AKDO    i  IIIUIIARKO 


and  certain  critics  have  thought  with  this  appellation 
to  define  his  character.  This  definition  is,  how- 
ever, very  superficial,  and  first,  because  the  term 
colourist  is  frecjuently  misapplied.  Many  use  it  to 
denote  the  painter  who  achieves  brilliant  effects  by 
the  employment  of  extreme  tones.  In  this  .sense 
Chicharro  is  not  a  colourist,  and  despite  the  greyness 
of  colour  which  he  sometimes  affects,  he  is  classic 
in  the  best  sense  of  the  word,  and  remains  always 
master  of  his  drawing.  However,  if  we  imply  by 
"  colourist  "  a  painter  who  affirms  his  individuality 
by  the  aid  of  paradoxically  correct  tones,  then  is 


Chicharro  a  powerful  colourist.  In  his  work  the 
inspiration — the  technique — all  is  naturiil.  In  each 
picture  he  renews  his  comprehension  of  his  art,  and 
each  production  is  simply  the  logical  continuation 
of  his  ffisthetic  effort.  Sober  at  times  to  the  point 
of  dryness,  with  unprecedented  delicacy  in  the 
treatment  of  certain  iiands,  certain  faces  of  women, 
he  attains  an  almost  .scientific  boldness  in  the 
expression  of  movement,  in  dashing  in  a  figure  or 
suggesting  a  smile,  or  the  rustle  of  gauze  by  a  single 
stroke.  His  colour,  at  timesj  so  rich,  at  times  so 
transparent,  and  so  fluid,  follows  the  form  always 


'  LES    TROIS    EPOUSEb 
260 


l:V    ElllAKHO    cmCUAKKO 


Art  School  Notes 


so  closely  that  Chicharro's  technique  becomes  an 
integral  part  of  his  subject  and  may  not  be 
separated  therefrom.  M.  X. 

ART  SCHOOL  NOTES. 

tOXDON.— At  the  exhibition  of  the  Royal 
College  of  Art  Sketch  Club,  held  last 
month  in  the  iron  building  behind  the 
-^  Natural  History  Museum,  the  most  re- 
markable feature  was  the  preponderance  of  land- 
scape. The  figure  studies  and  the  designs  in 
which  the  figure  was  used  were  few  in  number  and 
in  no  single  instance  remarkable  for  quality  :  and 
the  prizes  offered  for  applied  art  brought  forth  few 
works  of  interest.  In  the  landscape  competitions 
all  the  students  seem  to  have  taken  part,  and  the 
walls  were  covered  with  what  appeared  to  be 
innumerable  sketches  of  the  sea-coast  and  the 
country-side.  Some  of  them  were  very  good,  but 
it  is  unfortunate  that  nearly  all  the  members  of  the 


1.  ADOKATION    DES   EVAX(;ILES   (SOUVENIR    DE  ORKCE)  " 


sketching  club  should  neglect  figure  composition 
and  decorative  design.  It  is  a  failing  that  has 
been  remarked  before  in  this  column  and  one 
which  the  students  should  endeavour  to  remedy. 
Mr.  L.  Underwood  gained  two  prizes  for  landscape 
and  a  third  for  a  clever  interior.  The  judges  in 
the  competitions  included  Sir  George  Frampton, 
R.A.,  Mr.  P.  Wilson  Steer,  Mr.  John  Lavery, 
A.R.A.,  Mr.  I).  Y.  Cameron,  A.R.A.,  and  Mr.  C.  J. 
Watson,  R.E. 

REVIEWS   AND   NOTICES. 

Hercules  Brahazon  Brabazon  (1821-IQ06)  :  His 
Art  and  Life.  By  C.  Lewis  Hind.  (London  : 
G.  Allen  and  Co.)  21J.  net. — Mr.  Hind  once  im- 
plied— vide  his  book  "  The  Post-Impressionists  " — 
that  "  Beauty  "  was  a  mere  term,  but  he  makes  an 
extravagant  reference  to  the  beauty  in  Brabazon's 
art,  and  in  this  he  is  wise,  for  if  we  could  take  the 
"Beauty"  out  of  it — the  beauty  of  colour  repre- 
senting atmosphere — 
nothing  would  be  left. 
Brabazon's  place  in  art 
will  be  kept  by  an  un- 
rivalled quality  of  colour, 
and  an  impressionable- 
ness  that  made  the  artist 
one  of  the  finest  of  the  Im- 
pressionist school.  For 
the  rest  Mr.  Hind  has 
drawn  an  extremely  sym- 
pathetic portrait  of  the 
distinguished  country 
gentleman  about  whom 
all  this  is  to  be  said.  The 
gift  of  sympathy,  which  in 
A-  'i^Sjft  itself  is  a  gift   of  under- 

'^f^    !^^H  standing,    is    pre-eminent 

iflB&B^^I  ill  the  biographical  part  of 

■^       ""^VvB  ''^^    book.     A    lover   of 

nature,  Brabazon  had  the 
fervent  art  of  a  lover,  and 
to  have  been  the  subject 
of  a  memoir  by  a  writer 
incapable  himself  of  fer- 
vour would  have  been  an 
unfortunate  climax  to  his 
career.  This  is  the  last 
charge  that  could  be  pre- 
ferred against  Mr.  Hind. 
The  illustrations  are  en- 
titled to  the  very  highest 
praise  :  it  is  a  wonderful 
261 


BY   EUIJARDO   CHICHARRc; 


Reviews  nt/d  Notices 


thing  to  report,  in  the  case  of  an  art  so  peculiarly 
dependent  upon  its  refinements  as  Brabazon's,  that 
justice  has  been  done  in  reproduction  to  some  of 
its  most  elusive  qualities. 

Epochs  of  Chinese  and  Japanese  Art.  By  EkNKsr 
F.  Fenollosa.  2  vols.  (London  :  W.  Heine- 
mann.)  365-.  net. — The  lamented  death  of  Ernest 
Fenollosa  occurred  before  the  completion  of  a 
vsork  on  which  he  had  spent  many  years  of  studious 
labour  and  research.  He  left  but  a  rough  draft 
in  lead  pencil,  in  which  some  mistakes  and  many 
omissions  were  naturally  discovered.  Shortly 
before  he  died,  when  urged  to  correct  and  complete 
his  manuscript  he  would  say,  "  I  cannot  finish  it 
until  another  visit  to  Japan.  .  .  .  There  are  cor- 
rections to  be  made,  dates  to  be  filled  in,  cer- 
uin  historical  facts  to  be  verified,  and  all  these 
can  be  done  in  Japan  only."  To  rectify  errors 
and  make  good  omissions  was  a  formidable 
ta.sk  for  his  widow  to  undertake  ;  but  after  a 
special  visit  to  Japan,  and  three  years'  work  in 
which  she  has  had  the  assistance  of  Japanese 
experts,  she  is  at  last  able  to  give  to  the  world 
these  two  sumptuous  and  valuable  volumes — 
worthy  monuments  to  her  husband's  memory. 
Materials  for  the  adequate  study  of  the  painter  s 
art  in  China  and  Japan  have  been  most  difficult  to 
obtain  by  students  in  the  West.  It  is  only  during 
the  last  few  years,  thanks  to  the  illuminating  articles 
in  that  excellent  Japanese  periodical,  the  "  Kokka," 
and  to  the  works  of  Anderson,  Fenollosa,  Binyon, 
iMorrison,  Okakura,  and  one  or  two  others,  that  the 
true  genius  of  the  great  artists  of  the  Orient  has 
been  made  apparent.  Not  the  least  valuable  of 
these  works  are  the  two  volumes  now  before  us. 
Their  treatment  of  the  subject  is  excellent  and 
commands  at  once  the  sympathy  of  those  who 
desire  to  fathom  the  Ksthetic  motives  of  the  artist 
rather  than  the  historical  or  the  merely  technical 
side  of  art.  Not  that  historical  and  technical 
questions  are  ignored  by  the  author,  but  they  do  not 
form,  as  with  so  many  writers,  the  main  topics  for 
consideration.  The  poetical  qualities  of  landscape 
art  as  exemplified  in  the  works  of  Kakei  orof  Sesshiu 
are  such  as  to  place  them  very  high  in  the  estimation 
of  critics  in  the  countries  of  their  origin,  and  also  of 
all  lovers  of  art  who  have  taken  the  trouble  to 
acquaint  themselves  with  their  mysteries.  The 
magnificent  decorative  paintings  of  Koyetsu,  of 
Korin,  of  Sotatsu  have  a  nobility  of  expression  and 
execution  which  cannot  fail  to  inspire  the  artist,  be 
he  Eastern  or  Western.  Mr.  Fenollosa  treats  of 
them  with  a  keen  appreciation  of  their  true  value, 
and  all  careful  readers  of  his  work  will  receive  a 
262 


stimulus  to  their  conceptions  of  the  higher  forms 
of  the  painter's  art  that  will  prove  an  excellent 
antidote  to  certain  decadent  tendencies  now  in 
evidence  whic^  are  an  abnegation  of  all  that  is 
most  desirable  in  the  craft. 

Catalogue  of  the  Etched  Work  of  Frank  Brangwyn. 
(London  :  The  Fine  Art  Society,  Ltd.)  £^t,  3^-. 
net. — Those  who  have  followed  closely  the  develop- 
ment of  Mr.  Frank  Brangwyn's  work  in  etching 
cannot  fail  to  have  been  impressed  by  two  facts, 
namely,  the  remarkably  high  standard  of  his 
achievements  and  the  extent  of  his  output.  When 
we  consider  the  quality,  the  number,  and  the 
dimensions  of  the  plates  he  has  produced  during 
the  last  ten  years  it  is  difficult  to  realise  that  this 
means  of  artistic  expression  is  not  the  only  one 
with  which  he  has  occupied  himself.  What  he  has 
accomplished  as  a  decorative  artist  and  as  a  painter 
of  virile  canvases  has  gained  for  him  a  unicjue 
position  amongst  leading  contemporary  artists,  yet 
as  an  etcher  he  occupies  an  equally  high  place. 
Every  new  plate  by  him  is  awaited  with  interest 
and  is  eagerly  sought  after  by  an  ever-increasing 
public.  To  understand  the  reason  of  his  success 
we  have  only  to  examine  this  complete  catalogue, 
which  will  be  heartily  welcomed  by  the  artist's  many 
admirers,  by  collectors  and  by  students.  The 
numerous  illustrations  (which  include  reproductions 
of  practically  all  his  etchings  that  have  appeared 
since  igoo)  convey  an  excellent  idea  of  the  originals, 
though  naturally  the  larger  plates  suffer  in  the  un- 
avoidable reduction.  It  is  interesting  to  trace  in  this 
long  series  of  plates,  numbering  exactly  two  hundred, 
the  sure  and  rapid  development  of  Mr.  Brangwyn 
as  an  etcher.  His  early  work  bears  the  stamp  of 
his  sturdy  individualism,  his  dominating  person- 
ality, and,  as  we  are  told  in  the  introduction  to  the 
catalogue,  "  work  so  original  and  so  vigorous 
compelled  attention,  and  before  long  what  had 
been  begun  by  the  artist  purely  as  a  relaxation  for 
himself  and  a  pleasure  to  his  friends  was  followed 
up  for  an  evergrowing  public.''  His  more  recent 
plates,  by  their  wonderful  freedom  of  execution, 
show  him  the  complete  master  of  his  medium,  and 
display  those  splendid  decorative  qualities  and  that 
originality  of  conception  which  characterise  his  work 
in  other  mediums.  The  value  of  this  admirable 
catalogue  is  not  confined  to  the  illustrations.  Each 
plate  is  briefly  described,  and  particulars  of  the 
various  states  are  given  where  necessary.  The 
volume  is  a  worthy  record  of  the  work  of  a  great 
artist. 

Architectural  Drawing  and  Draughtsmen,  By 
RjaiiNAi.j)  Bi.o.Mi-iKi.u,  A.R.A.  (London  :   Cassell 


Reviews  and  Notices 


and  Co.)  \os.  (3d.  net. — Prof.  Blomfield's  in- 
teresting work,  though  intended  mainly  for  students, 
deals  with  a  subject  which  is  of  great  importance 
to  all  who  are  interested  in  fine  draughtsmanship. 
Many  reproductions  of  excellent  drawings  ac- 
company the  text,  including  some  fine  examples  by 
Piranesi.  At  the  present  time  there  are  a  number 
of  exceedingly  accomplished  draughtsmen  and 
etchers  both  in  this  country  and  on  the  continent 
whose  architectural  drawings  are  well  worth  inclu- 
sion in  a  volume  which  might  supplement  this 
valuable  one  of  Prof.  Blomfield's  by  dealing  with 
work  by  contemporary  artists. 

Portrait  Medals  of  Italian  Artists  of  the  Re- 
naissance. By  G.  F.  Hill.  (London :  P.  Lee 
Warner.)  \bs.  net. — The  beautiful  and  delicate 
Italian  medals  of  the  fifteenth  and  sixteenth 
centuries  well  deserve  a  volume  devoted  entirely 
to  them,  so  great  is  their  historic  as  well  as  their 
esthetic  value,  but  few  will  be  disposed  to  cavil 
with  Mr.  Hill  for  supplementing  the  examples  he 
gives  of  them  in  his  finely  painted  and  charmingly 
illustrated  volume  with  other  portraits  of  the  same 
period.  True  his  reason  for  doing  so,  that  the 
latter  will  be  welcome  to  those  who  find  objects  so 
small  as  medals  a  trial  to  their  patience,  is,  to  say 
the  least  of  it,  inadequate,  but  Raphael's  exquisite 
sketches  of  the  head  and  hands  of  Bramante,  the 
portraits  of  Titian  from  the  Prado  and  Stockholm 
galleries,  and  Memlinc's  Niccolo  di  Forzore 
Spinelli — the  last,  by  the  way,  not  even  by  an 
Italian  master — are  so  fascinating  that  no  con- 
noisseur could  wish  them  away.  In  his  selection 
of  actual  medals  for  reproduction,  Mr.  Hill  explains 
that  he  has  been  guided  solely  by  an  iconographical 
intention,  that  is  to  say,  he  has  given  more  thought 
to  the  accuracy  of  the  likeness  in  them  than  to 
their  technique,  and  he  goes  on  to  remark  that 
"  the  Italian  medal  is  a  truly  significant  reflection 
of  the  Italian  character,  the  art  of  striking  them 
having  been  first  developed  in  Italy  because  of  the 
relation  of  that  country  to  antiquity.  To  bring  the 
great  men  of  the  past  before  their  eyes  was  the 
main  object  of  the  collectors  of  the  Renaissance, 
and  the  next  step  was  obvious  :  to  follow  the 
example  of  those  great  men  and  have  your  own 
portrait  put  upon  a  coin."  Hence  the  evolution  of 
the  profile  likeness  of  the  Italian  medal,  which  was 
soon  developed  to  a  high  degree  of  excellence. 

Die  Ideate  Landschaft.  By  Dr.  Joseph  Gr.amm. 
(Freiburg-ini-Breisgau  :  Herdersche  Verlagshand- 
lung.)  2  vols.  36  mark. — With  characteristic 
Cierman  thoroughness,  I)r.  Gramm,  who  is  one  of 
the   professors   at   the    University  of  Freiburg-im- 


Breisgau,  traces  the  evolution  of  landscape  art  from 
its  first  beginnings  in  classic  times  to  the  end  of  the 
sixteenth  century,  leaving  its  later  developments 
for  future  consideration.  He  opens  his  most 
learned  dissertation  on  the  general  principles  of 
the  interpretation  of  nature  with  Goethe's  oft- 
quoted  words  :  "  Wir  wissen  von  keiner  Welt  als 
im  Bezug  auf  den  Menschen ;  wir  wollen  keine 
Kunst,  als  die  ein  Abdruck  dieses  Bezugs  ist." 
Having  thus  as  it  were  struck  the  key-note  of  his 
work,  he  proceeds  to  analyse  the  relations  between 
nature  and  her  intrepreters,  to  define  the  difference 
between  the  ideal  and  the  real,  to  dissect  the  ele- 
ments of  composition,  and  enumerate  the  materials 
employed  by  artists,  leaving  in  the  end,  it  must  be 
confessed,  a  somewhat  confused  impression  on  the 
mind  of  the  reader.  Fortunately  the  actual  history 
of  landscape  art  is  less  profound,  and  the  well- 
chosen  illustrations  which  form  the  second  volume 
serve  as  an  excellent  commentary  on  it,  although 
the  quaint  supplementary  designs,  in  which  the 
compositions  are  intersected  with  lines  purporting 
to  indicate  the  preliminary  conceptions  in  the  minds 
of  the  painters,  are  not  altogether  edifying. 

The  Bells  and  other  Poems.  By  Edgar  Allan 
PoE.  Illustrated  by  En.MUND  Dulac.  (London: 
Hodder  and  Stoughton.)  15^.  net. — One  opens 
this  book  with  some  curiosity.  Mr.  Dulac  has  been 
one  of  our  most  successful  illustrators  of  comedy  and 
fairy-tale  in  colour,  he  has  the  lightness,  gaiety,  and 
sense  of  grace  which  make  him  very  happy  in  the 
illustrating  of  everything  where  these  qualities  are 
required.  He  is  very  successful  with  an  eighteenth- 
century  setting,  for  there  is  a  way  in  which  it  might 
be  said  that  as  an  artist  he  descends  from  Watfeau. 
We  find  Mr.  Dulac  in  this  book  departing  from 
the  styles  most  suited  to  book  illustration  ;  and 
after  the  fashion  of  too  many  illustrators  this 
season,  he  ventures  into  complication  of  colour 
which  does  not  lend  itself  to  the  requirements  of  a 
book  in  the  lap.  It  is  strange,  too,  that  this  mis- 
take intrudes  an  air  of  commonplace  in  the  illus- 
trations, most  unexpected  in  work  from  this  artist. 
Painting  is  one  art,  book  embellishment  another. 
Proof  is  not  wanting  here  that  Mr.  Dulac  is  capable 
of  a  profound  note  in  design,  but  few  of  his  designs 
have  a  chance  against  the  dye-like  colours  in  which 
the  refinement  of  his  compositions  is  destroyed. 
The  cover  of  this  volume  is  delightful  in  its 
scheme  of  gold  upon  grey,  if  somewhat  dainty  for 
the  sombre  genius  of  the  poetry  it  contains. 

Hours  of  Gladness.  By  M.  Maeterlinck.  Illus- 
trated by  E.  J.  Detmolii.  (London  :  George  Allen 
and  Co.,  Ltd.)     2\s.  net. — We  must  confess  that 

263 


Revteics  mid  A^oHcrs 


Nfr.  Detniold,  whose  work  we  have  always  admired, 
does  not  seem  quite  the  perfect  illustrator  of 
Maeterlinck.  Maeterlinck  has  the  very  genius  of 
indefiniteness,  at  every  point  in  his  essays  and 
plays  the  concrete  merges  into  the  abstract  and 
objective  things  lose  their  sharp  contours.  His 
ideal  illustrator  would  have  been  Whistler,  perha])s, 
as  Debussy,  the  A\'histler  of  music,  interprets  him  in 
another  art.  The  drawings  of  Mr.  Uetmold,  whose 
work  goes  beyond  Pre-Raphaelitism  in  precision  of 
definition,  are  lacking  in  the  suggestiveness  required 
on  this  occasion.  Taken  upon  their  merits  in  the 
case  of  a  book  where  the  absence  of  "  atmosphere  '' 
would  nor  matter  they  would  show  a  profound 
knowledge  of  plant  form  and  the  skill  in  interpret- 
ing it  by  line  which  have  long  given  the  artist  a 
reputation.  Perhaps  many  people  may  like  to 
iiave  this  volume  on  that  account.  The  volume 
has  been  prepared  and,  as  to  the  cover,  decorated 
with  every  regard  to  the  best  effects  that  can  be 
obtained  in  .seasonal  editions  of  this  kind. 

S/inkespean's  Romeo  and  Juliet.  Illustrated  by 
W.  H.^THKRKi.L,  R.I.  (London  :  Hodder  and 
."^toughton)  io.y.  M.  net. — Mr.  Hatherell's  artistic 
interpretation  of  .Shakespeare  is  not  a  bit  in  the 
spirit  of  the  interpretations  that  Mr.  Granville 
Barker  has  been  striving  to  put  upon  the  works  of 
the  Elizabethan  playwright  at  the  Savoy  Theatre. 
There  the  attempt  has  been  successfully  made  to 
render  Shakespearean  drama  in  a  remote  and 
romantic  setting,  in  a  time  which  the  costumes  and 
architecture  in  the  scenes  do  not  specifically  date. 
In  Mr  Hatherell's  illustrations  it  is  evident  that 
great  pains  in  the  rendering  of  costume  have  been 
taken,  the  fantastic  avoided,  and  the  matter-of-fact 
point  of  view  embraced.  .Ml  the  out-of-door  scenes 
are  extremely  naturalistic.  'I'he  highly  modern,  im- 
pre.ssionistic  handling  of  colour  seems  to  bring  the 
subject  it  treats  of  quite  up  to  date,  and  for  those 
who  like  their  classics  in  this  style  no  artist  could 
serve  them  with  more  ability  and  invention  than 
Mr.  Hatherell.  This  book  as  a  whole  is  very 
attractive. 

.^sop's  FabUi.  A  new  translation  by  \'.  S. 
N'ernon  Jones.  With  an  introduction  by  G.  K. 
Chesterton,  and  illustrations  by  Arthl-r  Rack- 
H.\M.  (London  :  \S .  Heinemann  ;  New  York  : 
Doubleday,  Page  and  Co.)  6.f.  net.— In  noticing 
another  edition  of  .'Ksop  which  has  appeared  this 
season  we  commented  on  the  lack  of  humour 
shown  in  the  drawings  of  animals  illustrating  it, 
remarkable  though  these  were  in  other  respects. 
As  may  well  be  supposed,  Mr.  Rackham's  drawings 
are  not  open  to  this  criticism.  Humour  there  is 
264 


in  all  of  them,  and  occasionally  one  is  prompted  to 
ask  if  it  is  not  carried  too  far,  but  -Ksop,  of  course, 
not  being  a  natural  history  book,  a  certain  licence  is 
not  only  allowable  but  even  called  for.  Mr.  Rack- 
ham  has  made  thirteen  drawings  in  colour  and  a 
large  number  in  line  for  the  text  of  this  attractive 
volume,  and  Mr.  Chesterton  has  written  an  intro- 
duction in  which  he  lays  it  down  that  "  there  can 
be  no  good  fable  w'ith  human  beings  in  it." 
U'hether  this  is  true  or  not,  some  of  the  best  of 
Mr.  Rackham's  drawings  are  those  with  human 
beings. 

While-Ear  ami  Peter.  Ky  Nl-ii.s  Hkiiu;r(.. 
Illustrated  by  Cecil  All  UN.  (London:  Macmillan 
and  Co.)  6.f.  net. — Mr.  Cecil  Aldin  is  in  his  element 
in  illustrating  this  tragi-comedy  of  animal  life,  to 
which  he  contributes  sixteen  plates  in  colour.  The 
chief  dramatis  persoiur  here  are  White-liar,  a  fox, 
and  Peter,  a  fox-terrier,  the  villain  and  hero  of  the 
piece  respectively,  the  rest  of  the  cast  being  made 
up  of  sundry  birds,  beasts,  and  human  beings. 
Needless  to  say  the  hero  triumphs,  and  the  villain 
suffers  the  penalty  of  his  crimes,  as  does  an  eagle 
with  whom  he  entered  into  a  diabolical  plot.  The 
story  is  written  in  an  entertaining  vein  and  is 
attractively  presented. 

She  Stoops  to  Coitqiter.  liy  Olu  i;k  ( ioi.iisMnii. 
Illustrated  by  Hu(;h  Thomson.  (London  : 
Hodder  and  Stoughton.)  155.  net. — Mr.  Thomson 
has  executed  some  two  dozen  or  more  drawings  in 
colour  to  illustrate  this  edition  of  Goldsmith's 
old  favourite,  besides  a  number  of  line  drawings 
interspersed  in  the  text.  His  colour  drawings 
comport  with  the  printed  page  as  well  as  any  we 
know,  but  delightful  as  they  are  for  the  most  part, 
we  cannot  suppress  our  preference  for  the  pen 
drawings  in  which  he  excels.  In  all  his  illustrative 
work  Mr.  Thomson  shows  a  conscientious  re- 
gard for  historical  accuracy  ;  hence  it  is  rare  to 
find  an  anachronism  in  his  portrayal  of  old-world 
scenes.     This  volume  has  a  very  ornate  cover. 

Parsifal,  or  the  Legend  of  the  Holy  Grail.  Re- 
told from  antient  sources,  with  acknowledgment 
to  the  "Parsifal"  of  Richard  Wagner,  by  T.  W. 
Roi.LESTON.  Presented  by  AVii.lv  Poganv. 
(London:  G.  G.  Harrap  and  Co.)  15^.  net. — 
We  have  from  time  to  time  when  noticing  books 
decorated  and  illustrated  by  Mr.  Pogiiny  remarked 
on  the  exuberance  of  his  decorative  fancy,  which 
has  at  times  threatened  to  run  away  with  him.  In 
"  presenting  "  this  rhymed  version  of  Parsifal  Mr. 
Pogany  has  restrained  his  fancy  somewhat,  but 
there  is  still  quite  enough  decorative  embellishment. 
As  a  draughtsman  he  displays  marked  ability,  and 


Reviews  and  Notices 


this  is  accompanied  by  a  lively  feeling  for  colour. 
In  this  book  the  illustrations  in  colour  are  of  two 
sorts  ;  some  are  printed  separately  and  stuck  on  to 
grey  mounts ;  the  others  are  printed  direct  on  to 
the  grey  paper  and  have  lost  much  of  their  brilliance 
in  the  process,  so  that  the  contrast  between  the 
two  kinds  is  at  times  quite  startlmg. 

Poems  of  Passion  and  Pkasi/iv.  By  Ella 
Wheeler  Wilcox.  Illustrated  by  Dudley  Ten- 
N.\N'T.  (London:  Gayand  Hancock.)  15j-.net. — The 
artist  illustrating  Miss  Wilcox  does  not  lack  invention 
and  considerable  technical  skill,  but  in  his  illustra- 
tions we  seem  to  miss  that  note  of  poetry  which 
is  essential  in  illustrating  poetry.  This  is  another 
book  bound  and  printed  with  remarkable  care. 

The  A/iigic  World.  By  E.  Nesbit.  (London  ; 
Macmillan  and  Co.)  6s. — The  name  E.  Nesbit  on 
a  book  has  become  something  of  a  guarantee  of 
excellence,  and  these  stories  by  this  popular  writer, 
in  which  the  fairy  and  magical  element  is  skilfully 
interwoven  with  the  ordinary  life  of  her  boy  and 
girl  heroes  and  heroines,  should  be  much  in  demand 
this  Christmas  time.  The  illustrations  are  the  work 
of  H.  R.  Miller  and  G.  Spencer  Pryse,  the  latter 
contributing  three  clever  drawings  to  a  tale  of  "  The 
Princess  and  the  Hedge-Pig." 

Folk  Tales  0/ Bengal.  By  the  Rev.  Lal  Beharl 
Illustrated  by  Warwick  Goble.  (London  :  Mac- 
millan.) 15J.  net. — Mr.  Coble's  book  adds  to  the 
list  of  those  prepared  and  illustrated  with  care  for 
the  season,  having  a  very  attractive  cover  and  a  full 
complement  of  illustrations  in  colour. 

This  time  last  year  Messrs.  Bell  and  Son  offered 
a  treat  to  admirers  of  the  late  Sir  AV.  S.  Gilbert's 
genius  in  the  reprints  of  three  of  his  famous  Savoy 
Operas — Patience.,  The  Pirates  of  Penzance,  and 
The  Mikado,  each  accompanied  by  eight  full-page 
colour-plates  by  Mr.  Russell  Flint.  This  year  they 
have  added  four  more  volumes  to  the  series — 
Princess  Ida,  Ruddigore,  The  Yeomen  of  the  Guard, 
and  The  Gondoliers,  each  containing  the  same 
number  of  coloured  plates  by  the  same  artist, 
which  form  delightful  accompaniments  to  the 
text.  The  volumes  are  bound  in  cloth  covers 
specially  designed  for  the  series,  and  at  the  price  of 
T,s.  bd.  net  are  sure  to  meet  with  public  favour. 

Messrs.  T.  C.  and  E.  C.  Jack  offer  this  season  a 
group  of  books  for  juveniles  which  will  prove  as 
popular  as  those  they  have  published  in  the  past. 
Interesting  to  boys  and  girls  alike  is  Mr.  \\'.  1!. 
Synge's  Book  of  Discovery  {js.  6d.  net)  in  which  tlie 
author  gives  a  brightly  written  narrative  of  explora- 
tion from  the  days  of  antiquity  right  down  to  the  very 
days  in  which  we  live.   The  volume  is  very  fully  illus- 


trated, and  some  interesting  old  maps  are  repro- 
duced. Miss  Steedman,  who  has  a  notable  gift  for 
entertaining  the  young,  tells  in  Oitr  Island  Saints 
(■js.  6d.  net)  the  story  of  SS.  Alban,  Augustine, 
Kentigern,  Patrick,  Bridget,  Cuthbert,  and  others 
whose  names  and  deeds  are  writ  large  in  the  history 
of  the  British  Islands,  and  eight  illustrations  in 
colour  are  contributed  by  Miss  M.  D.  Spooner. 
And  then  in  A  Nu?-sery  History  of  E>igland  {^s. 
net)  Mrs.  E.  O'Neill  unfolds  in  a  series  of  short  but 
connected  stories,  suited  to  the  comprehension  of 
little  ones,  the  progress  of  the  nation  from  the  dark 
days  of  the  Druids  right  down  to  our  own  wonder- 
ful times,  Mr.  George  Morrow  providing  an  unfail- 
ing source  of  entertainment  in  a  series  of  a  hundred 
pictures  in  colour  and  many  drawings  in  black 
and  white.  The  Story  of  Rome  {-js.  dd.  net)  will 
not  perhaps  be  quite  so  popular  with  juvenile 
readers  as  the  volume  just  referred  to,  but  the 
narrative  as  told  by  Miss  Mary  MacGregor  will 
certainly  prove  more  palatable  to  them  than  the 
more  recondite  histories  with  which  they  are 
familiar  in  the  schoolroom  ;  and  the  coloured  illus- 
trations by  Messrs  Paul  Woodrofile,  W.  Rainey,  and 
Dudley  Heath  will  make  it  additionally  acceptable. 
Louisa  Alcot's  little  Women  has  for  many  years 
been  a  nursery  classic,  and  though  its  popularity 
can  hardly  be  so  great  to-day  as  it  was  two  or  three 
generations  back,  the  tasteful  edition  which  the 
Religious  Tract  Society  offers  at  7^-.  6d.  net  will  no 
doubt  have  the  effect  of  reviving  interest  in  what 
is  a  really  charming  story.  Mr.  Harold  Copping  has 
supplied  a  number  of  illustrations  in  colour  which 
show  good  technical  qualities. 


The  latest  of  Mr.  Edmund  Hort  New's  series  of 
Oxford  drawings  is  one  giving  a  view  of  the  famous 
High  Street,  showing  on  the  right  of  the  spectator 
the  front  of  Queen's  College,  the  creation  of  AVren 
and  his  pupil  Hawksmoor,  and  on  the  left  the  front 
of  Univeristy  College,  while  above  the  buildings  at 
the  farther  end  rises  the  spire  of  St.  Mary's  with  its 
cluster  of  pinnacles.  The  drawing  has  been  repro- 
duced by  lithography  by  Mr.  Way. 

The  manufacturers  of  the  popular  Waterman 
fountain  and  safety  pens  are  offering  them  in 
numerous  choice  styles  suitable  for  presentation, 
those  cased  in  silver  or  gold  being  admirably 
adapted  to  this  purpose.  The  merits  of  these  pens 
are  too  well  known  to  need  reiteration.  Messrs.  L. 
and  C.  Hardtmuth,  who  are  the  sole  agents  for  them 
in  Europe,  also  offer  many  dainty  novelties  in  their 
famous  "  Koh-i-Noor  "  brand  of  pencils. 

26:; 


TJic  Lay  Figure 


T 


IIK    LAV     FIGURE:     ON     THE 
ART   OI"   ILLUSTRATION. 


1  )o  you  not  think  that  book  illustration 
has  become  a  little  inefficient  of  late  years  ? ''  said 
the  Plain  Man.  "The  demand  for  illustrated 
literature  has  grown  greater  than  ever  and  yet  the 
artists  are  less  able  than  they  were  formerly  to 
make  the  best  use  of  their  opportunities.  Illus- 
tration, as  illustration,  seems  to  me  to  have  lost  its 
spirit  and  character  and  to  be  generally  lacking  ii\ 
interest."' 

"That  is  rather  a  severe  indictment,"  laughed 
tlie  Man  with  the  Red  Tie  :  "  and  one  that  I  find 
it  a  little  difficult  to  endorse.  Are  you  not  for- 
getting what  a  number  of  clever  men  there  are  now 
who  devote  them.selves  to  illustrative  work  and 
what  a  high  standard  there  is  to-day  of  technical 
achievement  ?" 

"  Oh,  I  do  not  deny  the  cleverness  of  the 
modem  illustrators,"  returned  the  Plain  Man  : 
"and  I  do  not  deny  that  there  are  some  excep- 
tional men  who  are  keeping  up  the  best  tradi- 
tions of  their  art.  But  -what  about  the  others  ? 
There  are  lots  of  them  who  can  turn  out  remark- 
ably skilful  drawings  and  whose  work  is  as  accom- 
|>lished  as  any  one  could  wish  it  to  be  :  but  don't 
you  think  that  you  want  something  more  than 
mere  cleverness  of  execution  in  an  illustrative 
drawing  ?  " 

"  Vou  have  made  rather  a  good  point  there," 
broke  in  the  Art  Critic.  "  Vou  are  right.  Clever- 
ness of  execution  is,  of  course,  as  important  in 
illustrative  work  as  it  is  in  all  other  forms  of 
artistic  production,  but  the  true  illustrator  needs 
to  be  something  more  than  a  merely  skilful  crafts- 
man. He  has  to  work  under  certain  restrictions 
and  he  has  to  keep  in  view  a  certain  jjurpose  in 
everything  he  does.  If  the  purpose  of  his  work  is 
missed  its  cleverness  alone  will  not  make  it 
satisfactory." 

"  But  you  will  derive  a  vast  amount  of  pleasure 
from  looking  at  a  really  able  piece  of  work — what 
more  need  you  have  ? "  asked  the  Man  with  the 
Red  Tie.  '•  Personally,  I  feel  quite  satisfied  with  a 
book  which  is  full  of  memorable  works  of  art :  it 
is  a  real  joy  to  me  and  it  seems  to  me  to  have  quite 
fulfilled  its  mission." 

"  Because  in  your  mind  its  only  mission  is  to  be 
a  picture-ljook,"  a.sserted  the  Critic.  "  But  that  is 
where  you  miss  the  whole  point  of  the  argument. 
What  is  the  use  of  filling  a  book  with  works  of  art 
which  are  obviously  suitable  only  for  places  on 
the  walls  of  a  gallery  ?  The  function  of  an  illus- 
266 


iration  is  to  illustrate,  and  an  illustrated  book  is, 
or  ought  to  be,  a  good  deal  more  than  a  mere 
picture-book." 

"  You  mean  th:U  the  illustrations  in  a  book  ought 
to  have  an  intimate  connection  with  the  letter- 
press" interrupted  the  Plam  Man  ;  "and  that  they 
ought  not  to  be  simply  independent  works  of  art." 

"  Precisely,  that  is  just  what  I  do  mean,"  replied 
the  Critic,  "  the  illustrations  to  a  story  must  be 
pictorial  explanations  of  what  the  author  has  written 
if  they  are  to  fulfil  the  purpose  for  which  they  have 
been  brought  into  existence.  They  must  not  be 
extraneous  and  independent  things,  mere  artistic 
abstractions.  They  depend  for  their  meaning 
upon  the  text  and  it  should  not  be  possible  to 
separate  them  from  it  or  to  assign  to  them  any 
independent  interest." 

"  Do  you  really  mean  to  say  that  if  the  illustrator 
does  not  merely  repeat  the  ideas  of  the  author  his 
illustrations  must  be  bad  ? "  asked  the  Man  with 
the  Red  Tie.  "  Is  he  not  to  be  allowed  any 
opinion  of  his  own  ?  '' 

"  Ijnphatically  he  must  subordinate  himself  to 
the  writer  of  the  book  if  his  work  is  to  be  good  of 
its  kind  and  to  have  the  right  meaning,''  declared 
the  Critic.  "He  must  strictly  respect  the  limita- 
tions which  are  imposed  upon  him  by  the  very 
nature  of  the  undertaking  to  which  he  is  committed, 
but,  of  course,  within  these  limitations  he  must 
strive  to  make  the  best  display  of  his  own  capacities. 
In  other  words,  he  must  handle  artistically  the 
material  provided  for  him." 

■'  \'ou  would  seriously  cramp  his  liberty  ©faction 
and  freedom  as  an  artist,"  complained  the  Man  with 
the  Red  Tie. 

"  I  do  not  think  so,"  returned  the  Critic.  "  1 
would  only  ask  him  to  have  that  thorough  under- 
standing of  his  mission  that  is  essential  for  success 
in  all  artistic  effort,  whatever  may  be  the  class  to 
which  it  belongs.  The  illustrator,  if  he  is  to  be 
efficient,  must  work  in  the  closest  sympathy  with 
the  author  :  he  must  never  allow  any  of  the  details 
of  his  drawings  to  contradict,  or  to  be  out  of  con- 
nection with  the  details  of  the  text.  He  must 
choose,  too,  to  illustrate  those  episodes  in  the  story 
which  are  most  significant  and  best  explain  the 
spirit  of  what  has  been  written.  He  must  recognise 
the  dramatic  points  of  the  letterpress  and  handle 
them  with  intelligence.  He  must  strive  to  make 
more  clear  the  purpose  and  intention  of  the 
author  and  the  special  aims  of  the  book.  In  fact, 
he  must  understand  what  illustration  really  means, 
and  what  are  its  inevitable  obligations." 

TnK  L.w  FK;rKi£. 


Philip  Coiiuard 


T 


HE  PAINTINGS  OF  PHILIP 
CONNARD.  BY  MARION  HEP- 
WORTH   DIXON. 


It  was  Theophile  Gautier,  if  I  remember  aright, 
who  divided  mankind  into  two  classes — the  flam- 
boyant and  the  drab.  Art  obviously  has  its  drab 
and  flamboyant  impulses,  and  we  may  deem  our- 
selves lucky  when  fashion,  the  almighty  arbiter, 
permits  an  artist  to  be  something  other  than  the 
adroit  purveyor  of  a  new  sensationalism.  For 
fashion,  the  desire  for  the  strange  and  the  bizarre, 
is  so  all-paramount  at  the  present  day  that  I  marvel 
not  at  all  that  the  Post-Impressionist,  the  Cubist, 
and  the  Futurist  should  have  arrested  the  attention 
of  our  somewhat  timid  British  critics.  "  It  is  new, 
it  is  strange  and  not  a  little  incomprehensible," 
these  good  gentlemen  appear  to  say,  "  let  us  hasten 
to  praise  what  is  new  and  strange  and  incompre- 
hensible lest  we  be  convicted  of  old-fogeyism." 

Now  in  the  attitude  of 
both  the  critic  and  that 
section  of  the  public  which 
follows  the  newer  criticism, 
the  fundamental  principle 
on  which  all  serious  art 
subsists  is  curiously  and 
wantonly  evaded.  The 
real  test  is  apt  to  go  by 
the  board.  No  one,  for 
instance,  questions  the 
sincerity  of  the  artist,  yet  it 
is  by  his  sincerity  in  the 
last  instance  that  he  must 
stand  or  fall.  "Have 
something  to  say  before 
you  sit  down  to  write," 
George  Meredith  was  wont 
to  insist,  and  the  maxim 
holds  equally  good  in  the 
sister  art  of  painting ;  for 
the  artist  who  merely 
imitates  or  simulates  is  lost, 
there  is  no  health  in  him. 
And  it  matters  not  if  he 
imitates  a  cherished  master 
or  the  most  triumphantly 
successful  of  modern 
schools.  If  he  be  anything 
but  himself  his  work  will 
avail  him  nothing.  It  will 
be  necessarily  a  reiteration, 
a  thing  which  smells  of  the 
lamp. 


In  the  dominant  personality  of  Mr.  Philip 
Connard,  the  subject  of  this  article,  we  have  a 
healthy  antidote  to  the  something  morbid  which 
threatens  to  engulf  our  younger  schools  of 
painters.  Life  for  him  at  any  rate  is  no  im- 
penetrable riddle.  On  the  contrary,  it  is  some- 
thing to  portray  and  enjoy.  At  the  same 
time  it  should  be  said  that  Mr.  Connard  is  a 
painters'  painter  in  the  sense  that  his  manifest 
delight  is  in  his  pigments.  Indeed,  so  distinctive 
is  the  handling  of  this  trenchant  impressionist 
that  his  smallest  still-life  has  a  significance  for 
those  who  distinguish  artistry  from  mere  picture- 
making.  With  Mr.  Connard  it  is  not  the  fascina- 
tion of  the  unknown,  but  rather  the  actual  thing 
seen  which  haunts  and  preoccupies  him.  Others 
may  seek  the  barren  moor,  the  rock-bound  coast, 
Mr.  Connard's  muse  is  the  muse  of  the  Great  City. 
Not  that  he  deals  as  a  rule  with  any  of  the  sterner 
realities  of  modern  capitals  or  suggests  the  greater 


THE   GUITAR 
(  By  permission  of  Mc: 


BY    PHILIP    CONNARD 
Ernest  Brown  and  Phillifs,  The  Leicester  Galleries) 


XLVIII.  No.   192. — Febkiary  1913 


'^  C,']   —  269 


Philip  Coiiuard 


issues  and  complex  problems  of  a  turgid  twentieth 
century.  Mr.  Connard  is  not  a  Brangwyn.  Let  us 
confess  at  once  he  is  a  master  dealing  with  small 
things — a  summer  day  in  Kensington  Gardens,  a 
little  supper  with  a  couple  of  masks  for  convives. 
or  better  still  with  the  cherished  family  group  in  the 
shadowy  house  at  Chelsea. 

With  Mr.  Connard  the  manner,  not  the  matter,  is 
the  thing.  In  paint  he  seeks  quality,  in  handling  dis- 
tinction, and  if  he  properly  disdains  the  anecdote,  he 
no  less  eschews  the  orthodox  and  obvious.  Given 
the  man,  how  could  he  do  otherwise?  Forceful 
is  the  adjective  which  best  describes  Mr.  Connard's 
talent,  a  talent  which  in  some  extraordinary  way 
communicates  a  stimulation  to  the  spectator.  No 
one  without  a  strong  individuality  could  so  project 
himself  over  the  footlights  and  hold  us  suspended 
in  just  the  rare  mood  in  which  the  artist  himself 
conceived  his  subject.  This  .something  compelling 
is  an  art  in  itself,  and  belongs  only  to  the  painter 
bom.  "  Put  troublesome  problems  aside,''  this 
artist  seems  to  say  to  us,  "  in  a  bowl  of  flowers,  a 


dish  of  fruit,  a  face  seen  in  a  mirror — here  in  the 
simplest  things  are  enough  beauty  and  mystery  to 
last  us  a  life-time."  For  above  all  things  Mr. 
Connard  is  an  artist  sure  of  himself.  I  do  not 
think  that  it  would  be  possible  for  him  to  alter  his 
outlook  on  life  or  to  convey  a  different  message. 
As  an  accomplished  writer  and  astute  critic  has 
recently  said  :  "  The  artist  who  questions  his  own 
inspiration  can  hardly  expect  others  to  accept  it  un- 
questioningly."  Of  course.  But  Mr.  Oliver  Onions 
— the  writer  in  point — seems  to  me  to  lay  more 
than  particular  stress  upon  Mr.  Philip  Connard's 
materialism. 

As  a  plain-speaking  realist  he  is  busy  delineat- 
ing his  own  world,  the  actual  visual  world  around 
him.  But  I  should  grossly  mislead  the  public 
if  I  labelled  Mr.  Connard  a  mere  realist.  As  a 
matter  of  fact  it  is  part  of  his  artistic  good  manners 
to  be  reserved.  Each  picture  of  his  is  in  a  sense  a 
synthesis,  a  study  in  elimination.  In  truth  he 
seems  to  be  heading  towards  that  greater  unification 
of  expression  which  is  the  trend  of  the  twentieth 


'summer" 
270 


rA>A 


sioii  oj  Messrs.   Hi 


Marchant  and  Co. ) 


BY   PHILIP  CONNARD 


'    Q 

W  a, 
CO  ^ 


1^1 


THE   LITTLE   BALLERINA" 
BY   PHILIP  CONXARD 


( By  perniissioi:  of  Messrs.   WiUiam 
Marchant  and  Co.) 


Philip  Coiinard 


"STILL-LIFE."     BY    PHILIP 

CONNARD 

(In  the  possession  of  Dr. 

Rice-Oxky) 


century.  "Few  people," 
exclaims  Mr.  Chesterton 
in  his  emphatic  way,  "  will 
dispute  that  all  the  typical 
movements  of  our  time  are 
upon  the  road  towards 
simplification.  Each  sys- 
tem seeks  to  be  more  fun- 
damental than  the  other 
.  .  .  each  seeks  to  re- 
establish communication 
with  the  elemental,  or,  as 
it  is  sometimes  more 
roughly  and  fallaciously 
expressed,  to  return  to 
nature."  Now  the  direct- 
ness of  Mr.  Philip  Con- 
nard's  art  is  as  palpable  as 
his  strict  economy  of 
means.  Each  work  would 
seem  to  be  the  outcome 
of  a  preliminary  study  so 
searching  that  the  thing 
portrayed  has  (by  some 
subtle  brain  process)  been 
purged  and  simplified  be- 
fore it  is  portrayed  on 
canvas.     The    more    con- 


sistently things  are  con- 
templated, the  more  they 
tend  to  unify  themselves. 
Here  in  a  nutshell  is  Mr. 
Connard's  secret. 

The  history  of  the  artist 
can  be  told  in  a  dozen 
lines.  Born  at  Southport, 
Philip  Connard  began  the 
serious  business  of  his  life 
when  he  won  a  National 
Scholarship  at  South  Ken- 
sington. An  additional 
scholarship,  given  by  the 
British  Institute,  enabled 
the  student  to  cross  the 
Channel,  where  for  six 
months  he  studied  under 
Benjamin  Constant  and 
Jean  Paul  Laurens. 
The  tuition,  however,  did 


i^lLj-i  ■       ^^'^^H^^^^^^^^^^^l 

1 

[^^^H 

1 

1 

^fi^ 

h  >^^^H 

■v*4.  J^W 

F^PsH 

•^  V.1KJ  Wa 

u  ur^^^^ 

^^nii9^  ^<m 

1  jTmB^^^I 

fm^*^-- 

\^fm^^^  jj^^^ 

■    s^ 

/jjf  M  fliNg^^^^^^^B 

"FLOWERS   OF   Sl'RING  " 

( By  pennissiou  of  Me: 


BY    PHILIP    CONNARIl 
rs.  Ernes!  Hrou-n  and  Phillips) 

273 


Philip  Connarii 


not  include  painting.  Returning  to  London  the 
student  accepted  a  position  as  art  master  at  the 
Lambeth  School  of  Art,  and  began  a  series  of 
black-and-white  illustrations  for  the  Bodley  Head. 
It  was,  however,  at  the  New  English  Art  Club  that 
Mr.  Connard  first  attracted  the  attention  of  picture- 
lovers  and  won  the  suffrages-  of  an  enthusiastic 
public  of  his  own.  From  the  New  English  Art 
Club  to  the  Goupil  Gallery  is  not  a  far  cry,  and  at 
Messrs.  Marchant  and  Co.'s,  in  Waterloo  Place, 
some  of  Mr.  Connard's  finest  paintings  have  since 
found  a  temporary  home.  Thus  A  May  Morning, 
first  exhibited  at  the  New  English  Art  Club,  was 
seen  at  the  Goupil  Gallery  before  being  pur- 
chased for  the  Musee  du  Luxembourg  in  Paris. 
So  was  the  luminous  and  inspiring  canvas  called 
Below  Toiver  Bridge,  a  picture  kindly  lent  for 
illustration  in  these  pages.  Calm,  serene,  yet  pal- 
pitating with  light  and  air.  Below  To'wer  Bridge  is 
one  of  the  artist's  finest //c//;  air  compositions.  It 
has  imagination   in  it,   but  also  a  wise  restraint. 


Even  more  alluring  in  some  of  its  phases  is  the 
kindred  picture  Barges  Unloading,  which  we  are 
also  enabled  to  give  in  a  black-and-white  repro- 
duction. Indeed,  much  as  I  admire  Belotv  Tower 
Bridge,  Barges  Unloading  seems  to  surpass  it  in 
the  originality  of  its  composition  and  the  fine  rhythm 
of  its  movement.  AVho  can  say  that  London  dock- 
yards are  ugly  in  the  presence  of  such  a  canvas  ? 
The  beauty  as  well  as  the  dignity  of  labour  could 
hardly  be  better  emphasised. 

Conceived  in  another  vein  altogether  is  the 
picture  called  Summer,  which  boldly  vindicates 
Monet's  dictum  that  light  is  the  only  subject  for  a 
picture.  Bathed  in  light  assuredly  is  this  brilliant 
impressionist  study,  which  depicts  a  picnic-party 
scattered  in  the  idle  hours  of  a  dazzling  noonday. 
The  Abbey  Ruins,  a  canvas  purchased  by  the 
Corporation  of  Bradford  (who  have  kindly  allowed 
its  reproduction  in  this  magazine),  is  another  study 
of  scintillating  sunlight.  But  the  subject  is  envisaged 
on  larger  lines.     In  it  Mr.  Connard's  passion  for 


1 


'THE   FOLNTAIN 


(  :■;,  Uniiission  of  M, 


<:l  PhiUips) 


BV    PlilLir   CONNARD 


^^^ 


( Ry  permission  of  Messrs.  Willian 
Marchant  and  Co. ) 


THE  GUITAR  PLAYER 
BY  PHILIP  CONNARD 


Philip  CfliiJiard 


simplification  or  unification  is  seen  in  its  happiest 
phase.  Vet  the  theme  is  intensely  modern  both  in 
its  handling  and  in  the  disposition  of  its  various 
groups  of  figures.  Had  Mr.  Connard  done  nothing 
else  he  would  have  proclaimed  himself  an  uncom- 
promising realist  in  the  figures  of  a  couple  of 
faultlessly  attired  holiday-makers,  who  occupy  the 
right-hand  corner  of  the  canvas.  It  is  not  often, 
if  I  remember  aright,  that  the  artist  thus  portrays 
the  actual  f;ishions  of  his  day.  Like  many  of  his 
Chelsea  brethren  Mr.  Connard  aftects  the  wide 
hoop  and  fringed  bodice  of  the  mid-Victoriaai  era. 
It  comes  therefore  with  no  surprise  to  us  when  we 
find  the  arti.st's  Guitar  Player  attired  in  a  gown 
which  might  have  been  worn  by  the  Empress 
Eugenie  or  a  damsel  in  Frith's  Derby  Day.  .\nd 
in  truth  the  gracious  pose  of  the  lady  seems  in  no 
way  impeded  by  the  hoops  and  flounces  and  fringes 
of  an  artificial  costume,  a  costume  which,  viewed 
apart  from  prejudice,  is  perhaps  neither  more 
cumbersome  nor  more  ungainly  than  that  worn 
in  a  piquant  eighteenth  century. 

But  I  must  hasten,  if  in  the  briefest  way,  to 
describe  the  Connard  E.xhibition  inaugurated  by 
Messrs.  Ernest  Brown  and  Phillips  at  the  Leicester 
Galleries    last   summer,  where   both    The   Supper 


and  the  canvas  entitled  Bayswater  were  first  shown 
to  the  outside  public.  Kindly  lent  for  reproduc- 
tion in  colour  by  their  owner,  the  canvases  need 
no  legend  or  foot-note  to  explain  them.  Joyous 
lightheartedness  is  their  key-note,  for  whether  the 
spectator  is  brought  face  to  face  with  a  masquerade 
in  a  Chelsea  studio  or  with  a  white-robed  woman 
dawdling  in  a  boat  near  the  splashing  fountain  of 
Kensington  Gardens,  the  electrical  and  vivacious 
impression  is  the  same.  I  know  of  no  other  artist 
indeed  (with  the  sole  exception  of  Mr.  Sims)  who 
.so  imbues  us  with  the  fine  hilarity  of  nature  as 
does  Mr.  Connard.  \\'hat  can  surpass  the  sunny 
warmth  and  glow  of  the  little  canvas  entitled  The 
Founlain  ?  Spontaneity  is  of  its  essence — scintil- 
lation radiates  from  every  touch  of  the  brush.  It 
may  seem  an  exaggeration  to  say  that  the  small 
picture  called  Floivers  of  Spring — a  picture  depicting 
a  simple  little  girl  standing  in  the  sunlight  gazing 
at  a  bouquet  of  flowers — made  me  catch  my  breath 
with  astonishment — yet  all  virile  and  compelling 
art  has  this  note  in  it.  For  it  is  in  the  most 
elemental  of  themes,  as  I  have  already  suggested, 
that  Mr.  Connard  finds  his  chief  inspiration.  As  a 
tour  de  force  of  mere  painting  it  would  be  hard  to 
beat  the  Still-Life.     The  round  bellied  water- bottle, 


'BARGES  unloading"  ( Jiy  permission  of  Messrs.   William  MarchanI  and  Co.)  Bv   I'HILii'  con.nard 

276 


Ti- 


(Byftnmaicn  c/ 


■BAYSWATER.      from  the  OIL 


( By  permission  of  Messrs.  Williant 
Marchant  and  Co. ) 


'BELOW  TOWER  BRIDGE 
BY  PHILIP  CONNARD 


^^'\ 


// '.  Elmer  Schoficld 


with  its  vivid  black-and-white  reflections,  is  a 
stroke  of  genius  in  itself.  "  It  is  only  when  we 
have  seen  a  thing  for  the  hundredth  time  that  we 
see  it  for  the  first  time,"  says  the  chief  of  modern 
paradoxical  writers.  Well,  Mr.  Connard  is  one  of 
the  artists  who  sees,  that  is  what  differentiates  his 
work  from  that  of  other  artists. 

Two  of  the  painter's  most  characteristic  canva.ses 
delineating  the  well-known  interior  with  figures  at 
Chelsea  are  also  among  our  illustrations.  The 
first  (from  the  Leicester  Galleries)  is  named  The 
Guitar,  and  shows  us,  beyond  the  now  familiar 
group  of  mother  and  children,  the  reflection  of  the 
artist  at  work  in  a  long  mirror.  The  second  and 
larger  black-and-white.  The  Little  Ballerina,  has 
even  more  distinction  and  felicity  of  composition. 
In  it  Mr.  Connard  touches  on  the  true  mystery  of 
the  interior.  There  is  magic  in  the  lighting.  The 
canvas,  indeed,  is  steeped  in  atmosphere,  and 
conveys  to  the  spectator  that  subtle  mixture  of 
intimacy  and  aloofness  which  only  a  master  knows 
how  to  convev.  M.  H.  D. 


A 


N  AMERICAN  LANDSCAPE 
PAINTER:  \V.  ELMER  SCHO- 
FIELD.     BY  C.  LEWIS   HIND. 


A  KKNOWNED  marine  and  pastoral  painter  sat 
in  a  deep  chair  smoking  a  discoloured  pipe  and 
frowning.  It  was  a  winter  evening ;  we  were 
gathered  around  the  club  fire,  and  one  of  the  party 
— you  may  be  sure  that  he  was  a  figure-man — was 
readingaloud  with  glee  passages  from  that  egregious 
book  by  "  Cosmos  "  on  "  The  Position  of  Land- 
scape in  Art."  Suddenly  the  renowned  marine  and 
pastoral  painter  stirred,  rose,  and  said  with 
vehemence  :  "  Look  here  I  landscape  painting  is 
much  more  difficult  than  figure.  The  model  is 
always  moving,  and  if  you  do  the  right  thing,  and 
always  paint  in  the  open,  you  have  to  be  as  strong 
as  an  elephant  to  stand  the  exposure.  I  tell  you 
landscape  painting  is  much  more  difficult,  and  the 
sea  is  still  more  appallingly  difficult.'' 

With  that  he  stalked  away.  I  moved  apart 
also,  for  the  discussion  promised  to  be  profitless. 


'OLD  COVERED   BRIDGE 
280 


Pitj^mKfki*:-Mr^VSin^^,:^y-rs*^i\^;3^^]^\^^^^^ik^-'.%\^i%7.1ltTI       I    XI 


( Purchased  for  Stale  Mitstum 
of  Uruguay) 


"FIRST  DAYS  OF  SPRING" 
BY  VV.  ELMER  SCHOFIELD 


//'.  Elmer  Schoficid 


Moreover  I  had  promised  to  write  an  appreciative 
little  article  on  the  art  and  life  of  my  friend  Scho- 
field.  and  I  didn't  want  to  make  myself  angry  ar- 
raigning a  typical  "  Cosmos  "  foolish  statement  to 
the  effect  that  one  of  the  causes  of  the  present 
chaotic  condition  of  the  art  of  the  painter  in  England 
is  "  the  undue  importance  given  to  landscape.' 
"  Undue  importance,"  I  can  hear  the  landscape 
painters  of  Great  Britain  murmur  ;  "  what  we  suffer 
from  is  undue  neglect." 

W.  Elmer  Schofield  is  not  an  Englishman.  He 
is  an  American,  bom  in  1S67  at  Philadelphia, 
Pennsylvania,  who  spends  much  of  his  time  in 
England,  finding  it  pleasant  and  profitable.  He 
cannot  complain  of  neglect.  "  Who's  Who " 
contains  many  lines  of  small  type  detailing  a  number 
of  American  public  galleries  which  are  the  fortunate 
owners  of  his  pictures,  with  a  list  of  the  gold  and 
silver  medals  awarded  to  him.  His  recreation 
is  not  given.  His  recreation  I  should  say  is 
painting.  At  St.  Ives,  where  we  first  met,  I 
never  encount-ered  him  on  the  golf  links  or  on 
the  tennis   ground,  but  he  was  always  to  be  found 


any  day  in  any  weather  happy  as  a  boy,  vigorous 
as  a  footballer,  painting  the  colour,  movement,  and 
majesty  of  some  Cornish  cove,  such  a  wild,  brilliant 
cove  as  is  here  reproduced  in  colour. 

He  is  an  open-air  man,  wholesome,  healthy, 
hearty,  and  his  art,  sane  and  straightforward, 
reflects  his  temperament.  Were  I  to  talk  to  him 
of  Meryon's  sense  of  guilty  secrets  in  decaying 
buildings  :  of  a  dim  and  delicate  inward  dream 
by  Matthew  Maris  :  of  the  subtle  decadency  of 
moments  with  Gustave  Moreau,  Schofield  would, 
I  think,  spring  to  the  open  door  and  start  forth 
on  a  ten-mile  tramp,  or  rush  away  to  spla.sh  on 
a  si.N-foot  canvas.  He  is  for  "  the  wind  on  the 
heath,  brother,"  the  free  limbs  of  life,  the  big 
movement  and  the  big  line  in  nature,  vast  rivers 
and  vaster  spaces,  the  outlook  of  Walt  Whitman 
and  Adam  Lindsay  Gordon,  not  of  Blake  or  W.  B. 
Veats.  Among  his  compatriots  he  is  as  near  to 
the  vigorous  banner  of  Winslow  Homer  as  he  is 
far  from  the  tenderly  tinctured  oriflamme  of 
Twachtman.  His  art  is  virile  and  outstepping, 
crisp  and  candid,  and  I  should  not  wonder  if  he 


"THE   BASIN,    BOl  I 
282 


BY    W.    ELMER   SCHOFIELD 


(In  the  colleclion  of  Dr.  Woodward) 


'WINTER   IX   PICARDY."     BY 
W.  ELMER  SCHOFIELD 


IV.  Ehuey  ScJioficld 


with  Metcalf  and  Redfield,  to  mention  but  two 
others,  became  the  founders  of  an  American  school 
of  landscape,  rooted  and  grounded  in  the  soil,  and 
expressing  broadly  and  simply  the  rolling  spacious- 
ness and  clear  atmosphere  of  their  land.  I  re- 
member a  few  years  ago  at  an  exhibition  of  the 
Pennsylvania  Academy  a  series  of  landscapes  by 
Schofield,  Metcalf,  and  Redfield.  They  have  left 
a  memory  of  spaciousness,  of  an  open,  unsophisti- 
cated landscape-land,  with  great  rivers  and  thin 
sky-stretching  trees,  nature  seen  expansively,  the 
pigment  laid  on  in  broad,  simple  strokes,  the  figure 
rarely  or  never  introduced,  nature  as  she  is  viewed 
by  steady  eyes,  Paris  trained,  but  remaining  in- 
herently amd  essentially  American. 

The  vigorous  art  of  this  orderly  out-of-door 
school  is  well  exemplified  by  Schofield's  Old 
Covered  Bridge  on  the  Schuylkill  river  in  mid- 
winter, when  the  snow  tingles  in  the  sunshine  and 
the  bare  thin  trees  are  silhouetted  in  the  clear  light. 
\'ou  may  note  the  same  big,  simple  statement  in 
another  of  his  American  pictures  reproduced  here, 
Firsf  Days  of  Spring,  and  in  the  Winter  Morning, 


Richmond.  Here,  as  always,  it  is  mass  not  detail 
that  attracts  him.  Even  when  he  chooses  a  scene 
such  as  The  Channel  Boat,  Dieppe,  bustling  with 
detail,  the  numerous  figures  are  subordinated  to 
the  broad  general  effect.  So  here  is  an  art  without 
mystery,  never  coy,  rarely  suggestive,  not  brooded 
upon,  done  on  the  spot,  and  carried  through  to 
success  by  sheer  enthusiasm  to  represent  scenes 
that  have  moved  and  subjugated  the  artist. 

Anent  the  vexed  question  as  to  whether  a  land- 
scape should  be  painted  en  plein  air  from  start  to 
finish,  or  reasoned  out  in  the  studio  from  sketches 
and  memory,  there  can  be  but  one  answer.  Each 
man  must  choose  the  method  by  which  he  wins 
the  completest  expression  of  himself.  Unlike  the 
marine  painter  mentioned  in  the  opening  paragraph, 
Schofiekl  loves  the  fight  against  the  discomfort  of 
temperature  and  weather.  It  is  part  of  the  game, 
spurring  him  to  tackle  "  the  wonderful  things  out 
of  doors."  To  quote  his  own  words:  "Zero 
weather,  rain,  falling  snow,  wind — all  these  things 
to  contend  with  only  make  the  open-air  painter 
love  the  fight." 


'WINTER    MORMN'J,    RICHMOND    (VORKn) '' 
284 


BY    W.    ELMER    SCHOl  lELD 


i( Metropolitan  Museitiii 
of  Art,  New  York) 


'SAND  DUNES   NEAR  LELANT 
BY  W.  ELMER  SCHOFIELD 


JV.  Elmer  Sclwfichi 


Had  not  Schofield  been  a  painter  he  would 
certainly  have  chosen  some  kind  of  life  in  the  open 
combined  with  travelling.  Fate  has  been  kind  to 
him.  He  works  under  the  sky,  he  travels,  and  he 
has  the  joy  of  knowing  that  all  he  sees  ministers  to 
the  improvement  of  his  chosen  work.  I  suppose 
he  would  say  that  England  is  his  adopted  home, 
but  he  is  often  on  the  wing.  Recent  letters  I  have 
had  from  him  come  from  places  as  far  apart  as 
Bedford  and  Polperro,  some  of  the  illustrations  to 
this  article  show  that  Boulogne  and  Picardy  are 
also  among  his  painting  grounds,  and  when  I  wrote 
to  him  in  November  last  I  had  to  address  him  at 
Washington  where  he  was  fulfilling  his  duties  as 
one  of  the  hanging  committee  of  the  Winter  Exhi- 
bition of  the  Corcoran  Art  Gallery. 

I  suppose  a  man  becomes  a  painter  because  he 
must,  because  there  is  nothing  else  he  wants  to  do. 
Young  Schofield,  being  a  Philadelphian,  naturally 
spent  his  first  year  or  so  of  study  at  the  Pennsylvania 
Academy  of  Fine  Arts.  Then  Paris  called  him, 
she  always  does,  and  in   1892,  at  the  proper  age 


of  twenty-five  he  was  at  Julian's  under  Ferrier, 
Bouguereau,  and  Aman-Jean,  who  had  a  class  of 
his  own  apart  from  Julian's.  He  soon  wearied  of 
that  useful  but  rather  stuffy  kind  of  teaching,  and 
spent  his  hours  out  of  doors  by  the  Seine  and  in 
the  forest  of  Fontainebleau.  Rambles  in  Brittany 
followed,  and  in  1903  he  came  to  England,  to  St. 
Ives,  where  he  spent  four  years.  Now,  as  I  have 
said,  he  fluctuates  between  England  and  America, 
rarely  able  to  resist  the  vigorous  delight  of  a 
painting  winter  in  his  native  land.  There  he  is 
working  at  this  moment,  perhaps  in  zero  weather, 
with  rain  and  falling  snow  and  tugging  winds, 
enjoying  it  immensely. 

I  sit  by  the  club  fire,  trying  to  comfort  the 
marine  and  pastoral  painter,  trying  in  the  intervals 
of  talk  to  read  an  article  in  an  American  magazine 
by  Mr.  Birge  Harrison  entreating  Americans  to 
paint  their  own  land.  That  Schofield  is  doing, 
and  I  am  not  sure  but  that  he  is  achieving  his 
best  work  when  he  is  painting  at  home  in  zero 
weather.  C.  L.  H. 


"THE   CHAN.NEL    BOAT,    DIEPIE   ' 


286 


(The  propaly  of  A.  D.  Marks,  Esq.) 


BY   \V.    ELMER   SCHOFIELD 


-v^l 


•'A  CORNISH  COVE."    from  the  oil 
PAINTING  BY  W.  ELMER  SCHOFIELD 


MARCH   SNOW."     BY  W. 
ELMER  SCHOFIELD 


Tlic  Arts  mid  Crafts  Society's  Exhibition 


THE  ARTS  AND  CRAFTS 
SOCIETY'S  EXHIBITION  AT 
THE  GROSVENOR  GALLERY. 
(First  Artick.) 
The  last  exhibition  of  the  Arts  and  Crafts  Exhi- 
bition Society  was  held  in  January  and  February, 
19 10,  at  the  New  Gallery  in  Regent  Street,  which 
at  that  time  had  already  been  disposed  of  by 
its  original  proprietors  and  was  destined  in  the 
future  to  be  used  for  purposes  widely  different 
from  those  for  which  it  was  originally  designed. 
As  soon  as  it  was  vacated  by  the  Arts  and  Crafts 
Society  the  destruction  of  the  New  Gallery  as  a 
place  of  exhibition  was  commenced,  and  it  was 
not  long  before  the  rooms  in  which  so  many  in- 
teresting shows  bad  been  held  were  turned  into  a 
restaurant.  Galleries  suitable  for  important  ex- 
hibitions are  comparatively  rare  in  London,  and 
the  President  of  the  Arts  and  Crafts  Society  in  the 
preface  to  the  catalogue  of  the  exhibition  of  1910 
expressed  his  misgi\ings  as  to  the  possibility  of 
finding  suitable  headquarters  in  the  future.  Mr. 
Walter  Crane,  who  is  of  a  sanguine  and  hopeful 
spirit  where  art  is  concerned,  hinted  that  it  would 
not  be  amiss  for  the  nation  to  provide  some  per- 
manent home  for  periodic  exhibitions  of  art  and 
craftsmanship  which  n>ight  be  some  guide  in  taste 
to  the  public  and  also  help  to  maintain  a  standard 
in  workmanship.  It  was  at  the  same  time  suggested 
in  these,  and  I  believe  in  other  columns,  that  the 
London  County  Council,  which  owns  and  controls 


so  many  schools  of  arts  and  crafts,  might  give  some 
aid  in  this  direction  or  that  the  Royal  Academy 
might  lend  some  of  their  rooms  for  exhibition 
purposes.  However,  nothing  was  done  and  the 
Arts  and  Crafts  Society  might  have  been  homeless 


SILVER   PENDANT  SET    WITH    PEARL    BLISTERS   AND  TUR- 
ULOISE.      BY    KATE   M.    EADIE 


SILVER   NECKLET   SET   WITH    OPALS 
290 


BY    KATE   M.    EADIE 


this  year  it  it  had  not 
been  for  the  establish- 
ment, exactly  at  the  right 
time,  of  the  new  Gros- 
venor  Gallery  in  Bond 
Street. 

This  gallery  cannot 
offer  the  Society  the  space 
it  enjoyed  at  the  New 
Gallery,  or  at  the  Grafton 
Gallery,  where  the  exhi- 
bition was  on  one  occa- 
sion held.  Nevertheless 
there  is  space  enough  in 
the  new  quarters,  and 
the  rooms  in  which  the 
present  exhibition  is  held 
are  as  perfect  as  they  can 
be  in  planning  and  light- 
ing.    The    favourable 


TIic  Arts  ana  Crafts  Society  s  ExJiibitioii 


'  ROSE    LATTICE       :    SILVER  AND    ENAMEL    NECKLACE  SET  WITH    OPALS  AND    PEARLS.       BY  ARTHUR  AND  G.   C.  GASKIN 


"KEY  OF  spring":    SILVER    NECKLACE   WITH    ENAMEL, 
CRYSTALS,    AND  AQUAMARINES.      BY  ARTHUR    AND   G.    C. 


"  BLUE   peacock"  :   SILVER  AND  GOLD    NECKLACE  WITH 

OPALS   AND   FINE  ORBEN    PASTE.       BY  ARTHUR  AND  G.  C. 

GASKIN 

291 


The  Arts  ami  Crafts  Society  s  ExhUntion 


GOLD    AND     SILVER      I-KNOAVT    SET    WITH      Ol'ALS     AND 
EMERALD    FASTE.      BY    FRANCES   RAMSAY 


"LOVE"s  garland"  brooch  by  A.  AND  O.  C.  CASKIN 
GOLD  PENDANT  WITH  OPALS,  ETC.,  BY  R.  J.  EMERSON 
BROOCH    BV    H.    M.    TRAVERS   AND  G.   R.    SEDDI'NG 


JEWELLED  COLLAR  : 
292 


'THE    INSPIRATION    OF    WOMANHOOD 


BY    R.    C.    PRICE 


The  Arts  and  Crafts  Society  s  Exhibition 


— ^^^^^_ 

i 

6 

SILVER     NECKLET    SET   WITH     MOONSTONES    AND   WHITE    TOfRMALINES 
BY    VIOLET   RAMSAY 


GOLD    AND    SILVER    -'XINE        NKCKl.ViF.    SKI     Willi    rARBrM  I.KS 

BY   VIOLET   RAMSAY 


display,  to  which  the  present 
simple  background  of  brown 
paper  is  in  no  way  detrimental. 

In  the  interval  that  has 
elapsed  between  the  closing  of 
its  last  exhibition  and  the  open- 
ing of  the  present  one  the  Arts 
and  Crafts  Society  has  lost,  by 
the  death  of  Mr.  Lewis  Day,  one 
of  its  earliest  and  most  hard- 
working members.  Mr.  Day, 
to  whose  ability  and  energy  Mr. 
Crane  pays  a  tribute  in  his  in- 
troductory notes  to  the  cata- 
logue, was  connected  intimately 
with  the  foundation  of  the 
.Society,  which  originated  in 
some  informal  meetings  of 
artists  and  craftsmen  held  at 
various  studios  thirty  years  ago. 
It  is  interesting  to  recall  at  this 
moment  that  the  first  of  these 
meetings  was  held  at  the  house 
of  Mr.  Lewis  Day. 

The  exhibition  at  the  Gros- 
venor  Gallery  resembles  its  pre- 
decessor of  19  to  in  its  freedom 
from  extravagance,  and  also,  it 
must  be  confessed,  in  its  lack 
of  new  motives.  It  gives  a 
general  impression  of  skilled 
craftsmanship  following  recog- 
nised and  respectable  lines, 
with    a    corresponding   output 


impression  that  is  given  by  the  exhi- 
bition on  first  entering  the  gallery  is 
due  in  some  degree  to  the  beauty  of 
the  rooms,  but  more  to  the  way  in  which 
the  various  articles  are  grouped  and  dis- 
played. Some  critics  have  found  fault 
wiih  the  result  of  the  labours  of  the 
committee  of  arrangement,  but  they 
cannot,  I  think,  have  made  sufficient 
allowance  for  the  extreme  difficulty  of 
placing  with  any  degree  of  symmetry  or 
order  the  great  number  of  heterogeneous 
objects  shown  by  the  Arts  and  Crafts 
Society.  The  silk  curtains  which 
draped  the  walls  of  the  Grosvenor 
during  the  time  of  the  inaugural  exhi- 
bition of  pictures  have  been  removed 
for  the  purposes  of  the  Arts  and  Crafts 


FOR     "THR     SHRPHiEARDES    CAl.RNDAR 
TRKSS).       BY   ALFRED    DE   SAUTY 


(KEI.M9COTT 


The  .'Irts  and  Crafts  Society's  Exhibition 


lOR    MRS.    11K0UM> 


•'  iON.NEli 

BY   GWLADYS   EDWARIlS 


of  good  and  frequently  interesting  woik,  but 
all  unstirred  by  any  fresh  emotion.  There  are 
many  pleasant  patterns  and  much  dexterity  of 
hand,  but  no  great  designer  or  craftsman  rises 
above  the  ruck  to  lead  the  way  into  fresh  fields 
of  invention.     In  this  there  is  nothing  surprising, 


for  the  appearance  of  a  genius  in  the  applied  arts 
is  as  rafre  or  rarer  than  that  of  a  greet  painter  or  poet. 
In  looking  at  the  large  collection  of  jewellery  at 
the  Grosvenor  Gallery  it  is  curious  to  think  that 
not  a  single  piece  was  shown  in  the  first  exhibition 
..f  the  Arts  and  Crafts  Society  in  1888  :  and  only 
six  pieces  (all  contributed  by  one  craftsman)  in  the 
second  exhibition  of  1889.  The  standard  of  this 
work,  which  was  very  low  at  first,  has  risen  steadily, 
and  at  the  later  shows  of  the  Arts  and  Crafts  Society, 
as  well  as  at  the  exhibitions  of  the  National  Art 
("ompetition,  some  admirable  jewellery  has  been 
seen.      Most  of  the  jeweller-craftsmen  nowadays 


COMMON    PRAYER,    BOUND   IN   BLUE   LEATHER,  EMBROI- 
DERED.      DESIGNED    BY   MRS.    M.    E.    NOBLE,    EXECUTED 
IS   ST.    veronica's   WORKSHOIS,    WESTMINSTER 

294 


C,    FOR    BI.ADES'S    "ENEMIES  OF   BOOKS'' 

r.V   ALFRED   DE  SAUTY 
( By  {•cniiission  of  A.  MiUkinay,  Esq.) 


design  their  ornaments  in  such  a  fashion  that  they 
can  be  worn  by  the  average  woman,  whereas 
many  of  their  earlier  efforts  were  only  fit  for  the 
show-cases  of  a  museum.  The  jewellery  in  the 
present  exhibition  is  more  individual  in  character 
than  it  was  in  19 10,  when  a  sort  of  family  likeness 
in  design  and  material,  and  even  in  colour,  could 
be  traced  through  many  of  the  cases. 

The  "  Rose  Lattice"  necklace  by  Mr.  and  Mrs. 
Arthur  Gaskin  is  a  very  attractive  example  of  their 
work,  the  setting  of  opals  and  pearls  being  very 
effectively  designed  and  blending  in  a  charming 
way  with  the  silver  and  enamel.  The  "  Love's 
Garland  "  brooch,  of  which  an  illustration  is  given 
in  the  group  of  three  objects  shown  on  p.  292,  is 
a  perfect  posy  of  coloured  stones  arranged  round 
an  opal  heart.     Another  piece  by  the  same  artists 


(By  permission  of  the  Provost 
of  Eton  College) 


ROLL  OF  HONOUR  OF  ETONIANS  WHO  SERVED  IN 
THE  SOUTH  AFRICAN  WAR.  BINDING  DESIGNED 
BY  DOUGLAS  COCKERELL  AND  EXECUTED  BY 
E.  W.  MARCH  AND  J.  IZZARD,  ALL  OF  W.  H.  SMITH 
AND  SON'S  BOOKBINDING  WORKSHOPS 


The  Arts  (11/ (i  C raffs  Socicfy's  Ex/iibifioii 


THE    RACh    t.l-     l.KA\h>    ■    (  \  Al.  i-,  1-Kb>.-.  j.       BOUM) 
BY   MISS  SYBIL    PVE 


■'ClTlli    AMI    r>VCHF.  ■'    (\At.H     PRESS).       BOl:NIl    BV 
MISS   SYBIL    I'YE 


LIFE  OF  BOLINGBROKE."    BOUND  BY  SIR  EDWARD 
SULLIVAN,    BA-RT. 


296 


"rsEunoxiA  epidemica."  bound  in  brown  morocco, 

WITH  GOLD  I'OINTILI.E  DESIGN,   BY  KATHERINE   ADAMS 


The  Arts  ami  Crafts  Society's  Exliibition 


MIRROR    FRAME, 


HE    SCHOONER 
BV   JOSEPH    E.    SOUTHALL 


in  which  colour  has  been  a  principal  object  in  the 
design  is  the  "  Blue  Peacock  "  necklace  of  silver 
and  gold,  opals,  and  fine  green  paste.  A  silver 
necklace,  the  "  Key  of  Spring,"  is  also  shown  by 
j\Ir.  and  ^Irs.  Gaskin.  Mr. 
R.  J.  Emerson's  pendant,  with 
its  tiny  nude  figure  in  relief 
on  a  plaque  of  gold,  is  good 
alike  in  design  and  execution. 
The  gold  brooch  in  the  same 
case  by  Mr.  H.  M.  Travers  is 
remarkable  for  the  quaint 
charm  of  its  little  enamel  pic- 
ture. Miss  Frances  Ramsay's 
gold  and  silver  pendant  set 
with  opals ;  her  sister  Miss 
\'iolet  Ramsay's  gold  and 
silver  Vine  necklace  and 
silver  necklace ;  Mr.  R.  (_'. 
Price's  jewelled  collar,  "  The 
Inspiration  of  Womanhood  "  ; 
and  the  pendants,  necklaces, 
and  clasps  by  Miss  Kate  M. 
Eadie  are  also  to  be  com- 
mended in  the  jewellery 
.section. 

Mr.    Alfred    de    Sauty's 
"  Shepheardes    Calendar,"  in 


dull  green  leather  with  a  simple  geometrical  pat- 
tern of  squares  and  circles,  is  one  of  the  best  of 
many  good  book  covers  at  the  Arts  and  Crafts 
Ivxhibition.  Another  interesting  cover  by  Mr.  de 
-Sauty  is  "The  Enemies  of  Books  "  Mr.  Douglas 
Cockcrcll's  design  in  red  and  gold  for  the  cover  of 
the  Etonians'  Roll  of  Honour  gives  an  impression 
of  stately  formality  that  is  in  keeping  with  the 
dignity  and  size  of  the  volume  :  and  the  cover  in 
brown  morocco  by  Miss  Katherine  Adams  of  the 
"  Pseudoxia  Epidemica"  has  an  unostentatious 
charm  that  appeals  to  the  book-lover.  Sir  Edward 
Sullivan,  in  his  green  cover  for  the  ''  Life  of  Boling- 
broke,"  and  Miss  Gwladys  Edwards,  in  the  gold 
and  grey  binding  for  Mrs.  Browning's  Sonnets,  are 
more  individual  than  most  of  the  designers  ;  but 
the  boldest  of  them  all  is  Miss  Sybil  Pye,  who,  in 
"  The  Race  of  Leaves"  and  "  Cupid  and  Psyche," 
makes  determined  effort  to  break  away  from  con- 
ventional patterns.  Mrs.  Noble's  blue  leather 
pr.iyer  book,  with  a  design  of  formal  branches  and 
foliage  embroidered  by  Miss  Jessie  Bayes  is  a  fine 
piece  of  colour. 

Furniture  is  less  prominent  in  the  exhibition 
than  it  was  in  1910,  perhaps  because  the  smaller 
space  forbids  the  display  of  many  considerable 
pieces  such  as  cabinets  and  sideboards.  This 
may  also  account  for  the  absence  of  bedsteads,  of 
which  there  is  not  a  single  example.  Edinburgh 
sends  an  unusually  large  proportion  of  the  furniture. 


dik^lli 


PAINTED  AND  GHDED  CABINET.      EXECUTED  BV  JESSIE  BAVES, 
F.    STUTTIG,    EMMELINE   BAVES,    AND    KATH-l.EEN    HGGIS 


297 


The  Arts  and  Crafts  Society's  Exhibition 


MIRROR     IN     CARVED    AND     GtLDRD     FRAME.        BY 
JOSEPH    ARMITAGE;   GILDING   BY  EDGAR  ARMITACE 

including  many  things  designed  by  Sir  Robert 
Lorinier.  An  upright  book  cabinet  in  kingwood, 
with  a  dull  green  marble  top,  and  a  music  cabinet 
in  Italian  walnut  are  the  most  striking  of  these. 
Sir  Robert  is  less  happy  with  his  leather  waste- 
paper  pails,  which  are  heavy  and  clumsy  and  never 
likely  to  supersede  the  handy  basket.  Mr.  George 
Jack's  fireplace  of  oak  and  grey-green  marble,  in- 
tended for  a  new  room  at  Dunsany  Castle,  is  an 
imposing  piece  of  work  which  is  not  seen  to  the 
best  advantage  at  the  Grosvenor.  A  good  side- 
board in  English  walnut  shown  by  Mr.  Hamilton 
T.  Smith  :  the  book  and  print  case  in  black-bean 
by  Mr.  Ambrose  Heal ;  and  the  arm-chair  of  walnut 
with  a  tall  back  and  a  buff  leather  seat  by  Mr.  A. 
Romney  Green,  are  all  worthy  of  attention.  The 
green  painted  chairs  by  Mr.  Alfred  Powell  decorated 
with  floral  devices  are  described  as  from  an  old 
pattern,  but  it  is  one  not  worth  reviving.  The 
most  remarkable  of  several  examples  of  gilt  and 
decorated  furniture  is  the  cabinet  designed  by 
Miss  Jessie  Bayes  and  executed  by  her  with  the 
assistance  of  Mr.  F.  Stuttig,  Miss  Emmeline  Bayes, 
and  Miss  Kathleen  Figgis.  The  design  and  draw- 
ing of  the  picture  panels  of  the  doors  are  a  little 


weak,  but  the  cabinet  is  upon  the  whole  an  able 
and  creditable  piece  of  design  and  workmanship. 
Another  cabinet,  simpler  in  shape  but  as  elaborate 
in  decoration,  shown  by  Mrs.  A.  P.  Trotter,  is 
I)ainted  in  colour  ground  in  varnish.  The  blazoned 
shieldswhich  form  such  an  interesting  pattern  on  the 
gold  doors  are  laid  in  with  wax  melted  in  copal  and 
the  whole  is  finished  with  numerous  coats  of  copal 
applied  in  the  manner  of  the  old  coach-painters. 
Equal  p.iins  have  been  lavished  on  the  inner  sides 
of  the  doors,  which  are  adorned  with  allegorical 
painting?  of  Hope  and  Truth.  The  corner  cup- 
board of  painted  mahogany  by  Mr.  Joseph  Armit- 
age  is  of  greyish  blue  with  a  gilt  decorative  border 
of  swans  and  foliage.  The  steel  hinges  (by  Mr. 
Edward  Spencer)  add  not  a  little  to  the  effective- 
ness of  this  work  by  Mr.  Armitage,  who  shows  in 
addition,  among  other  interesting  things,  a  mirror 


CORNER  CUPBOARD,  MAHOGANY,  CARVED,  PAINTED, 
AND  GILDED.  BY  JOSEPH  ARMITAGE  ;  HINGES 
DESIGNED   AND    EXECUTED    BY    EDWARD  SPENCER 


ENGRAVED  AND   PAINTED  CEDAR   SCREEN 
PANEL.     BY  ALLAN   F.  VIGERS 


The  Arts  and  C raffs  Socicfy's  Exhibition 


POT-POURRI    BOWI.-STAND  AND  COVER  (WOOD), 

CARVED,     PAINTED,    AND    GILDED     BY    JOiEl'H 

ARMITAGE 


in  caned  and  gilded  frame  and  a  potpourri  bowl 
and  cover  of  original  and  aUractive  design. 

Mr.  J.  E.  Southall's  mirror  frame,  The  Sc/woner, 
is  delightful  in  shape,  and  the  little  picture  of  the 
harbour  with  its  white-sailed  ship  relieves  the  plain 
gold  surface  in  a  happy  fashion.  An  excellent 
piece  of  work  of  its  kind  is  an  engraved  and 
painted   screen   panel  of  cedar-wood  contributed 


by  Mr.  Allan  F.  .  \'igers.  The  panel  is  de- 
corated with  an  intricate  incised  and  coloured 
design  showing  in  the  lower  portion  an  arcade 
with  quaint  figures  of  heraldic  animals.  It 
is,  however,  in  the  frieze  above  the  arcade 
that  the  best  work  of  Mr.  Vigers  is  to  be 
found  in  the  shape  of  a  procession  of  fifteenth- 
century  ladies  and  their  attendants  in  robes  and 
trains  of  gold  and  vermilion.  .Miss  de  la  Mare's 
panel  for  an  overmantel  illustrating  The  Marriage 
of  Griselda  is  gay  and  bright  in  colour  but  seems 
too  important  as  a  decoration  for  the  humble  fire- 
place of  red  brick  it  is  intended  to  surmount.  Mr. 
Heywood  Sumner's  water-colour  Thickets — Bury 
is  a  landscape  treated  decotatively  but  with  a 
sufficient  measure  of  realism  to  make  it  attractive 
as  a  picture.  The  subdued  colour  of  the  copses 
and  water-meadows  is  at  once  pleasant  and 
harmonious. 

A  notable  abstention  from  the  furniture  section 
of  the  present  exhibition  is  Mr.  Ernest  W.  Gimson, 
whose  sole  exhibit  is  a  competitive  design  for  the 
Federal  Capital  of  Australia,  whereas  on  the  last 
occasion  he  was  represented  by  more  than  a  score 
of  items.  Mr.  Gimson  stands  in  the  very  front 
rank  of  our  workers  in  wood,  and  the  absence  of 
any  examples  of  his  mature  and  agreeable  crafts- 
manship detracts  from  the  interest  of  this  section 
at  the  Grosvenor  Gallery.     Mr.  C.  F.  Voysey,  who 


lANEI.   FOR   OVERMANTEL:    "THE   MARRIAGE  OK   GRISELDA' 
300 


A.    DE    LA    MARE 


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riic  Arts  aiii^'  ( 


■/r's    Ilxhibifioii 


1pi'i««^ 


CLItOAKlJ    IN    VtkMli    loLlli   (jlluWN    OPEN    AND   CLOSEU) 

(Lent  by  Miss  Cundred  Trolley) 


KV    MRS.     ALVS    TROTTER 


contributed  work  in  metal  and  wood  on  the  last 
occasion,  sends  nothing  this  time. 

The  large  gallery  at  the  Arts  and  Crafts  Exhibi- 
tion suffers  from  a  superfluity  of  designs  for  stained 
glass.  Some  of  these,  however,  are  very  good,  and 
among  the  best  are  the  cartoons  for  a  window  in 
Abbotsbury  Church  designed  by  Mr.  Robert 
Anning  Bell. 

There  is  only  one  contribution  from  the  firm 
founded  by  William  Morris  but  it  ranks  with  the 
finest  things  in  the  exhibition.  It  is  a  large  panel 
of  Arras  tapestry  designed  by  Mrs.  Adrian  .Stokes 
and   executed  by  Mr.  B.  J.  Martin.     Some  good 


tapestry  of  a  more  modest  kind  is  shown  by  Mr. 
Edmund  Hunter.  Mrs.  M.  Dibdin  Spooner's 
unfinished  panels  for  the  altar-piece  of  St. 
Christopher's  Church,  Haslemere,  are  notable  for 
the  individuality  of  the  heads  in  the  designs. 
They  look  like  portraits  and  are  in  any  case  a 
welcome  departure  from  the  conventionality  of  the 
heads  in  the  ordinary  church  picture. 

In  the  next  article  reference  will  be  made  to  the 
other  classes  of  work  on  view  at  the  Arts  and 
Crafts  Exhibition,  such  as  pottery,  glass,  metal- 
work,  &c.,  and  a  further  series  of  illustrations  will 
be  given.  W.  T.  Whitley. 


The  La  yard  Collection 


T 


HE  LAYARD  COLLECTION 
IN  VENICE.  BY  ALFREDO 
MELANI. 


Destined  for  the  National  Gallery  in  London 
by  a  long-standing  bequest  of  Sir  Henry  Layard, 
the  famous  Assyriologist  and  Ambassador  of  his 
Britannic  Majesty  at  Constantinople,  a  diplomat 
and  a  perfect  gentleman,  the  Layard  collection 
in  Venice  has  been  justly  considered  as  among 
the  most  important  private  collections  of  "  La 
Dominante,"  and  in  Italy  it  ranks  as  one  of  the 
most  remarkable  on  account  especially  of  five  or 
six  works  of  the  very  first  order  which  the  National 
Gallery  will  have  reason  to  congratulate  itself 
upon  possessing.  These  works  comprise  the  Por- 
trait of  Mohammed  II  and  the  Adoration  of  the 
Magi  by  Gentile  Bellini,  three  Carpaccios,  in  par- 
ticular that  in  which  Saint 
Ursula  is  depicted  taking 
leave  of  her  parents,  and  a 
Portrait  of  an  U/iknoivn  Man 
formerly  attributed  to  An- 
tonello  da  Messina,  but  to- 
day catalogued  as  a  Luigi 
Vivarini. 

Besides  these  works,  the 
importance  of  which  can  in 
no  wise  be  questioned,  the 
Layard  Collection  contains  a 
series  of  pictures  for  the  most 
part  of  the  Venetian  school, 
or,  to  speak  more  correctly, 
of  the  schools  of  ^"enetia.  So 
we  find  Cima  da  Conegliano 
side  by  side  with  Bartolom- 
meo  Montagna,  the  nervous 
painter  of  Vicenza ;  here 
Paris  Bordone  gives  utterance 
to  his  pictorial  harmonies  by 
the  side  of  Francesco  Bon- 
signori,  the  Veronese  painter 
who  betrays  the  influence  of 
Mantegna  in  a  group  con- 
sisting of  the  Madonna  and 
Child  with  various  saints,  the 
Virgin  and  infant  Jesus  typify- 
ing the  maternal  sentiment 
most  admirably ;  here  also 
we  find  represented  Sebastian 
Luciani,  known  as  Sebastiano 
del  Piombo,  of  the  Venetian 
school,  a  pupil  of  Giambellino 
and  of  Giorgione,  and  after-  "mohammed  a' 


wards  the  friend  of  Michael  Angelo  ;  Jacopo  dei 
Barbari,  who  was  influenced  by  Giambellino  and 
Antonello  da  Messina  ;  Pierfrancesco  Bissolo,  the 
pupil  of  Giambellino  ;  and  Andrea  Previtali,  another 
pupil  of  the  same  Giambellino,  all  belonging  to  the 
group  of  artists  of  Bergamo  who,  having  established 
themselves  in  Venice,  contributed  to  the  progress 
of  art  in  that  city. 

Of  eclectic  taste.  Sir  Henry  Layard  did  not  by 
any  means  confine  his  acquisitions  solely  to  the 
schools  of  Venetia  ;  he  extended  his  range  con- 
siderably, and  the  more  so  because  it  was  not  his 
wish  merely  to  create  a  gallery,  but  rather  to  pro- 
vide himself  with  a  refined  home.  This  it  is  that 
gives  to  his  mansion,  the  Palazzo  Cappello  on  the 
Grand  Canal,  its  smiling,  cheerful,  and  even  modern 
aspect,  notwithstanding  the  presence  of  pictures  of 
the  fifteenth  and  sixteenth  centuries  and  numerous 


(Photo.   Aliitari ) 


BV   CENTiLB   BELLINI 


riic  Lavani  Collection 


archxological  rema-n?.  The  various  ohjds  dart 
harmonise  admirably  with  the  pictures  and  charm 
the  eye  without  undue  insistence  upon  their  num- 
ber or  their  preciousness.  By  this  I  mean  to 
imply  that  the  residence  of  Sir  Henry  Layard  has 
none  of  that  character  which  demands  the  hushed 
voice  and  silent  tread  as  in  a  museum,  but  remains 
the  home  of  a  gentleman  of  good  taste,  to  whom 
perhaps  the  great  picture  galleries  do  not  give 
a  sufficiently  convincing  pi  oof  of  their  utility. 
Nevertheless,  Sir  Henry  Layard,  as  every  one 
knows,  b--quealhed  his  collection  to  the  National 
Gallery  in  London,  leaving  the  enjoyment  of  it  and 
of  his  residence  during  her  lifetime  to  Lady  layard. 
By  the  recent  death  of  this  lady  the  bequest  now 
becomes  operative. 

I  have  referred  to  the  most  important  works 
in  the  collection.  Among  these,  especially  from 
the  historical  point  of  view,  the  portrait  by  Gen- 
tile Bellini   of  Mohammed  H  is   of  quite   excep- 


tional significance,  and  bears  the  value  of  a  real 
treasure.  It  was  painted  by  the  younger  son  of 
Jacopo  Bellini  when  on  a  visit  to  the  Ottoman 
Court  in  1479.  The  famous  conqueror  of  Con- 
stantinople lives  upon  this  canvas  of  Gentile, 
although  the  master-portraitist  of  the  Layard 
Collection  speaks  here  only  with  the  voice  of  his 
first  period  ;  but  this  is  in  truth  a  merit  in  a  picture 
that  will  henceforward  find  a  home  in  the  National 
Gallery,  for  besides  the  portrait  supposed  to  be 
of  (iirolamo  Malatini,  this  gallery  at  present  pos- 
sesses no  other  example  of  the  work  of  Gentile. 
Msitors  to  that  great  collection  will  be  particularly 
impressed  by  the  colour  of  this  fine  portrait,  which 
Venice  give?  up  with  the  greatest  regret.  This  re- 
,L;ret  is  more  than  natural,  for  the  Mohammed  II  of 
the  Layard  Collection  has  very  intimate  associations 
with  the  history  of  the  localiiy,  quite  apart  from  its 
artistic  value. 

In  a  similar  degree  the  picture  by  Carpaccio,  An 


"AN    I.NXIDE.NT    IN    THE   LIFE  OF   S.    URSULA' 


(Photo.  Alitiari) 


BY    VITTORE   CARI'ACCIO 


The  Lava  I'd  Collection 


"THE   MADONNA   WITH    THE   DIVINE   SON    AND   VARIOUS   SAINTS" 


BY    FRANCESCO   BONSIGNORI 


Incidi  nt  in  the  Life  of  Saint  Ursuia  (to  say  nothing 
regarding  the  Adoration  of  the  Magi  by  Gentile 
Belh'ni)  causes  a  pang  of  regret  in  the  hearts  of  all 
N'enetians,  indeed  of  all  Italians  who  think  of  its 
departure.     For  the  most  legitimate  successor  of  the 


Bellinis,  Vittore  Carpaccio,  the  ravishing  exponent 
of  contemporary  life  and  customs  in  Venice,  painter 
of  works  harmonious  in  colouring,  faultless  in  per- 
spective, and  refined  in  detail — this  Carpaccio, 
who  should  have  accompanied  Gentile  to  Constanti- 


■JOIIN    THE    liAllIil,  A    LUliur,  AND    A    SAINT" 


{Photo.  All  liar  I) 


liY    BARTOI.OMMEO    MONTAGNA 

3°S 


The  Larnrd  Collection 


'AI  ORATION    ur    nil,    MAi. 


[i; 


jKNTILi:    r.El.l.lM 


nople,  is  a  painter  whom  it  is  impossible  to  replace, 
and  this  picture  in  the  I^yard  Collection  is  exquisite. 
I'oetically  conceived,  the  sea  which  stretches  out 
before  the  group  of^aint  Ursula  and  her  parents 
has  all  the  grace  and  naivete  of  the  Master  of  tlie 
Scuola  degli  Schiavoni  so  dear  to  John  Ruskin. 
On  looking  at  this  picture  in  the  Palazzo  Cappello 
one  experiences  the  most  profound  impression,  an 
impression  greater  than  that  made  by  the  two  other 
Carpaccios  belonging  to  the  collection,  an  Assump- 
tion and  a  curious  .lii^ustus  and  the  Sibyl. 


A  great  deal  of  imjjortance  at  the  present  time 
is  given  to  the  Po?-trait  oj  an  Unknoum  Man,  b) 
Luigi  \'ivarini.  And  here,  indeed,  we  have  a 
jjicture  which  gives  a  very  high  idea  of  this  master's 
work,  and  on  looking  at  it  one  may  well  think  of 
Antonello,  save  that  there  is  rather  less  insistence 
upon  detail.  Energy,  brilliant  colour,  sound 
modelling — these  are  the  characteristics  of  this 
iconographic  [tainting  which  is  destined  for  a  ])lacL- 
in  the  National  Ciallery  near  to  that  grand  Portrait 
of  a  Itf////^!,'- y)/rt;/,  supposed  to  be  the  painter  him- 


'  CHRIST   .NAILED   TO  THE   CROSS  ' 
306 


(Photo.  Atinari) 


GERMAN    SCHOOI, 


The  Laxani  Collection 


self,  from  the  brush  of  Antonello  da  Messina, 
which  I  would  not  place  second  even  to  the 
Condoltiero  of  the  Louvre. 

The  Hellinis,  the  Carpaccios,  the  ^■ivarinis 
represent  then  the  fine  flowers  of  the  Layard 
Collection,  but  for  us  certain  other  works,  not  from 
the  hand  of  any  of  these  masters,  are  equally 
important  and  interesting.  Such  is  the  Allegorical 
Figure  nf  Spring,  by  Cosimo  Tura,  that  noble  ^^aster 
of  the  School  of  Ferrara  and  Court  Painter  to  the 
I  )ukes  of  Este,  a  realist  who,  though  dry  and  metallic 
in  his  drawing  and  always  careful  of  details,  displays 
considerable  fantasy  in  this  picture  of  the  Layard 
Collection.  The  drapery  of  this  Spring  is  finer 
and  more  striking  than  one  could  have  expected 
from  a  master  who  was  at  times  a  little  untamed 
in  his  style.  I  incline  also  greatly  towards  the 
beauty  of  a  Montagna,  Joh)i  the 
Baptist,  a  Bishop,  atid  a  Saint 
(the  Saint  supposed  to  be  Saint 
Catherine),  not  forgetting  also 
in  this  short  notice  two  works 
by  Cima  which  may  be  assigned 
to  the  school  of  the  master  who 
is  usually  so  good  a  draughts- 
man, an  excellent  Knight  in 
Adoration,  by  Palma  \'ecchio, 
a  beautiful  Saint  Jerome,  by 
Savoldo,  a  remarkable  Sodoma, 
and  I  would  give  prominence  to 
a  Botticelli,  Portrait  of  Lorenzo 
de'  Medici,  by  asking  whether  the 

Florentine  painter  can  really  be 

recognised    in   this   portrait   of 

the    Layard   Collection,  and 

whether '  his  name   should  not 

rather   be   replaced   by  that  of 

Raffaellino    del    Garbo  ?     Our 

Botticelli  (or  .Sandro  Filipepi,  as 

they  prefer  to  call  him  at  the 

National  Gallery)  will  not  then 

greatly  enhance  the  British  Col- 
lection, which  is  already  rich  in 

several  Botticellis. 

The  Layard  Collection  con- 
tains, further,  several  poriraits  by 

Moroni,  by  Moretto  da  Brescia, 

and  in  particular  a  Hugo  van 

der   Goes   and   a  Gerardo  van 

Haarl  e  m — a  Mado?ina  and  Child 

by  the  former  and    Crucifixion 

by   the   latter,    both   of  them 

pictures  which,  while  giving  an 

exotic  varietv  to  the  collection, 


at  the  same  time  augment  its  interest.  Italy  pos- 
sesses one  fine  work  by  Hugo  van  dcr  Goes  at 
Florence  in  the  Hospital  of  S.  Maria  Novella — 
The  Adoration  of  the  Magi,  a  very  large  picture, 
with  which  this  painting  in  the  Layard  Collection 
cannot  bear  comparison,  though  it  represents  fairly 
well  the  school  of  the  Netherlands.  We  lament 
the  loss  of  the  other  Dutch  painting,  Gerardo  van 
Haarlem's  Crucifixion,  a  picture  of  profound 
emotional  qualities,  of  beautiful  colour  and  original 
composition  ;  but  even  were  it  less  interesting  its 
value  to  us  would  be  still  increased  by  the  fact  that 
Italy  is  far  from  rich  in  Dutch  works,  notwithstand- 
ing the  fact  that  many  Dutch  painters  lived  in  this 
country  in  the  fifteenth  and  sixteenth  centuries. 

It   is  well  known   that  Italy  has  a  severe  law 
against  the  exportation  of  works  of  art,  and  so  a 


PORTRAIT   OF   AN    IINKNOWN    MAN 

(PlwlO.    Aim 


1)V    I.CUU    VIXARINI 


5o8 


Recent  Designs  lu  Domestic  Architecture 


question  has  been  raised  as  to  the  rights  the  Govern- 
ment may  have  over  the  Layard  Collection.  I 
cannot  go  into  the  matter  at  length  here  ;  suffice  it 
to  say  that  certain  of  the  pictures  have  been  released 
from  restriction,  among  which  number  are  the  two 
Gentile  Bellinis,  the  Carpaccio  picture  of  St. 
Ursula,  the  portrait  by  Luigi  Vivarini,  the  Spring 
byCosimoTura,the  Sebastiano  del  Piombo,and  one 
by  Giambellino.  These  pictures  came  to  Italy  from 
England  in  1875,  ^"^d  so  the  law  does  not  impose 
its  noli  me  tangere  upon  these  masterpieces  which 
have  found  a  home  at  the  Palazzo  Cappello.  An 
ingenious  opposition  urged  that  the  question  should 
be  reopened  in  order  to  prove  that  the  exportation 
of  these  works  in  the  first  case  was  illegally  effected 
so  that  these  pictures  after  returning  again  to  Italy 
may  not  find  their  final  home  in  England,  although 
Sir  Henry  Layard's  will  leaves  no  doubt  as  to  his 
intentions  on  this  point.  But  this  idea  has  not 
found  favour  with  our  Ministry  of  Public  Instruction, 
which  has  decided  to  adhere  to  its  former  con- 
clusion as  to  the  rights  of  England  in  the  matter. 
As  regards  the  other  works  which  were  not  the 
subject  of  any  discussion,  the  law  regarding  their 
exportation  will  be  applied  in  very  definite  terms. 
Personally,  both  as  an  Italian  and  as  an  artist,  I  am 
all  for  liberty,  and  here,  as  I  have  elsewhere  in  my 
books  and  writings,  I  would  encourage  the  idea  of 
the  most  unrestricted  indulgence  from  every  point  of 
victt-.  We  possess  quan- 
tities of  paintings  by  our 
masters  which  might  well 
be  exchanged  with  much 
benefit  to  the  variety  of 
our  collections.  For  my- 
self, I  would  willingly  give 
to  England  some  of  our 
Bernardino  Luinis  or 
Gaudenzio  Ferraris,  in  ex- 
change for  some  works  by 
Reynolds,  Gainsborough, 
or  Turner,  and  many 
artists  and  collectors  are 
of  my  way  of  thinking  in 
this  matter.  An  idea  is, 
however,  afloat  which  may 
conciliate  both  Italy  and 
England  :  it  is  that  Eng- 
land— that  is  to  say,  the 
National  Gallery — should 
enter  into  possession  of 
the  collection  at  the 
Palazzo  Cappello,  and  for- 
getting   London  and    the  a  small  country 


fogs  of  the  Channel,  should  open  a  section  of  its 
art  treasures  in  the  bright  Italian  sunlight — in  brief, 
that  the  Palazzo  Cappello  should  become  a  depen- 
dance  of  the  National  Gallery,  a  sort  of  English  or 
Anglo-Italian  oasis  in  Venice  for  the  numerous  in- 
tellectual colony  of  the  biondi  figli  d' Allnone  who 
visit  Venice  and  Italy.  A.   M. 


R 


ECENT  DESIGNS  IN  DOMESTIC 
ARCHITECTURE. 


"The  country  cottage,  of  which  an  illustra- 
tion is  given  below,  has  been  designed  by  Mr. 
R.  F.  Johnston,  architect,  of  London,  and  in 
plan  is  exceedingly  simple  and  convenient,  the 
accommodation  consisting  of  a  large  living-room 
and  a  parlour  of  comfortable  dimensions  on  the 


R.    K.   JOHNSTON,    ARCHITECT 


Recent  Designs  in  Domestic  .-Jrc/iitectnre 


THE    HOMESTEAIi.  MARI.OW.  Rti  KS 


R.   K.  JOHNSTON,  ARCHITECT 


ground  floor,  while  on  the 
floor  above  there  are  two 
bedrooms,  a  bathroom  and 
offices  with  various  con- 
veniences such  as  linen 
cupboards.  The  elevations 
have  been  simply  treated  in 
rough-cast  with  brick  quoins. 
The  roof  is  covered  with  old 
red  tiles  which  harmonise 
well  with  the  foliage  of  the 
background. 

A  building  of  larger 
dimensions  bv  the  same 
architect    is    illustrated    on 


5° 

11.  s 
X  S2 


J 


J 


Recent  Designs  in  Domes  fie  Areliiteetiiyc 


page  310,  where  a  view  of  the  garden  front  of 
"The  Homestead"  at  Marlow  in  Buckinghamshire 
is  shown.  The  materials  employed  in  this  case 
are  small  hand-mide  red  bricks  of  uniform  colour 
but  varying  texture  with  a  rough  joint  left  free  from 
the  trowel,  brick  mullioned  windows  and  lead  case- 
ments. The  roof  is  covered  with  rough  hand-made 
red  tiles.  The  design  in  this  case  also  is  simple 
and  depends  for  its  effect  on  the  proportion  of  the 
various  gables  and  chimneys.  The  accompanying 
ground-floor  plan  shows  the  simple  arrangement 
of  the  various  rooms,  but  omits  the  loggia  adjoin- 
ing the  drawing-room.  On  the  first  floor  there  are 
five  bedrooms,  bathroom,  and  usual  offices,  maids' 
bedrooms,  housemaids'  pantries,  &c.  The  garden 
has  been  laid  out  in  sympathy  with  the  house. 

Ashford  Chace,  of  which  we  reproduce  a  drawing 
in  colour,  was  erected  from  designs  by  Messrs. 
Unsworth,  Son  &  Inigo  Triggs,  of  Petersfield,  on  a 
beautiful  site  in  a  fold  of  the  wooded  hills  about 
two  miles  from  that  pleasant  Hampshire  town. 
It  takes  the  place  of  an  older  house  in  the  valley 
below,  the  gardens  of  which  have  been  adapted 
and  brought  into  relation  with  the  new  buildings  by 
a  long  alley — which  unfortunately  could  not  be 
illustrated  in  the  view.  The  house  is  approached 
(HI  the  north  side  through  a  picturesque  old  barn, 
leading  into  a  quintagonal 
court.  The  entrance-hall 
has  been  planned  on  an 
axial  line,  which  is  a  con- 
tinuation of  the  line  of  the 
alley,  connecting  the  old 
gardens  with  the  new 
house.  The  arcade  on  the 
first  floor,  above  the  patio, 
which  is  shown  in  the 
drawing,  adjoins  the  nur- 
series, and  is  intended  for 
the  children's  open-air 
playroom.  A  feature  of  this 
house  is  the  patio  and 
loggia,  opening  through  a 
portico  from  the  dining 
room,  and  available  for 
meals,  the  service  being 
equally  well  arranged  for 
either.  There  is  a  fountain 
in  the  centre  of  the  patio, 
and  a  double  flight  of  steps 
leads  down  to  a  small  en- 
closed Moorish  garden,  to 
which  the  overflow  from  the 
patio    fountain  is    carried 


tlirough  a  wall  fountain,  thence  going  into  an  incised 
water  maze,  and  on  to  a  lily  pond  in  the  centre  of  the 
garden.  From  this  point  the  flight  of  steps  shown 
in  the  drawing  descends.  The  view  shows  the  but- 
tressed retaining  wall  of  this  garden,  which  became 
necessary  owing  to  the  distance  of  the  old  garden 
from  the  house  and  the  exposed  position  of  the 
neiv  site.  Mr.  Unsworth  made  a  special  study  of 
Moorish  gardens  with  their  wind-shelters  and  sun- 
traps  with  the  idea  of  applying  them  to  meet  our 
great  need  of  being  able  to  live  more  comfortably  in 
our  gardens  and  enjoy  an  open-air  life.  We  take  the 
occasion  to  express  our  deep  regret  at  his  death, 
which  took  place  in  the  early  part  of  October. 

The  great  revolutionary  movement  in  art  with 
which  the  names  of  William  Morris  and  John  Ruskin 
will  always  be  associated  has  made  rapid  progress 
on  the  Continent,  and  especially  in  Germany  and 
Austria.  In  Bohemia  the  movement  has  mademuch 
headway,  thanks  to  the  efforts  of  men  who,  instead  of 
blindly  following  tradition,  have  thought  for  them- 
selves and  recognise  that  there  can  be  no  true  pro- 
gress in  architecture  unless  the  needs  of  the  times 
are  kept  in  view.  Among  those  who  have  figured 
prominently  in  espousing  progressive  ideas  is  Jan 
Kolera.  Born  forty  years  ago  at  Brunn,  the  capital 
of   Moravia,  he  pursued   his   studies  first  at   the 


VILLA   AT   CF.RNOSICK,    BOHEMIA 


jn;KA,    ARCHITECT 


Recent  Des^igus  hi  Doniesfie  Arcliitectiire 


CLUB-HOUSE   AT   FROSTEJOV,    MORAVIA 


TROF.    IAN    KOTERA,    ARCHITECT 


Bohemian  townof  Pilsen,  and  then  went  to  Vienna, 
where  his  evident  gift  for  architecture  soon  secured 
him  the  favour  of  Prof.  Otto  Wagner.  Under  the 
guidance  of  this  eminent  architect,  whose  teachings 
have  had  such  far-reaching  influence,  not  only  in 
Austria  but  in  Germany  and  other  countries  of 
Europe  as  well,  Kotera  soon  took  part  in  the  modern 
movement  in  architecture,  together  with  the  late 
Josef  Olbrich  and  Prof.  HoflTmann.  Returning  to 
Bohemia,  his  home,  the  change  of  habitat  naturally 
meant  a  turning-point  in  the  development  of  his 
art.  For  some  years  his  countrymen  absolutely 
refused  to  recognise  him.  However,  at  the  Spring 
exhibitions  of  "the  Rudolfmum  "  (the  Prague 
Sdlon)  his  work  distinguished  itself  by  its  origin- 
ality and  pronounced  individuality,  and  he  was 
awarded  numerous  prizes.  The  character  of  his 
work  at  that  period  showed  perhaps  a  tendency 
towards  the  romantic,  but  a  lively  fancy  is  a 
national  trait  of  the  Czechs.  Some  of  the  exhibi- 
tion interiors  arranged  by  him  at  this  stage  of  his 
314 


career  were  illustrated  in  these  pages  at  the  time 
{see  vol.  27,  pp.  143-145,  and  vol.  31,  pp.85,  86). 
The  club-house  at  Prostcjov  was  built  in  1906-7. 
The  building  comprises,  besides  club-rooms,  a 
theatre,  lecture  halls,  a  restaurant  and  a  coffee- 
room.  It  stands  in  an  open  space  or  park,  and 
was  carried  out  in  an  unpretentious  commercial 
way.  Thereafter  his  work  entered  on  a  new  stage 
of  development,  beginning  with  the  building  of  a 
"vodarna,"  or  water-works,  at  Vrsovice,  and  a 
villa  at  Cernosice,  the  latter  built  to  serve  as  a 
place  of  retirement  in  the  recesses  ot  a  forest. 
Amongst  his  latest  works  may  be  mentioned  a 
music-publisher's  premises  at  Prague  ;  a  bank  at 
Serajevo,  in  Bosnia ;  the  Hotel  Urban  at  Konig- 
gratz,  and  the  museum  at  Koniggriitz,  which  was 
started  in  1908,  and  is  being  now  finished.  The 
chief  part  of  this  building  is  to  be  devoted  to 
pedagogic  purposes,  such  as  lecture-rooms,  work- 
shops, e.xhibition-rooms,  library,  and  reading- 
rooms.     A  colony  of  houses  for  workmen  at  Laun 


3'5 


Sfiidio-Ta/k 


FRONT    ELEVATION    OF    AN     HOTEL    AT     HRADEC     KRALOVE 
BOHEMIA.       PROF.  JAN    KOTKRA,    ARCHITECT 

has  been  started  this  year,  and  when  finished  it  will 
represent  a  ton-n  of  about  500  workmen  and  their 
families,  with  all  possible  modem  improvements 
within  reach,  such  as  swimming  baths,  club-build- 
ings, schools,  storehouses,  iVc.  At  present  Kotera 
is  engaged  in  the  preparation  of  plans  for  the  new- 
building  of  the  Bohemian  University  at  Prague  :  he 
is  professor  at  the  Academy  of  Art  in  that  city,  and 
both  as  teacher  and  as  artist  he  is  well  capable  of 
leading  otliers. 

STUDIO-TALK. 
(From  our  Own  Correspondents.) 

IONDOX.— The   forty-eighth  exhibition  held 
by  the  New  English  Art  Club  came  to  a 
close  at  the  galleries  of  the  Royal  Society 
-^  of  British  Artists  a  few  days   ago,  and 
though  it  cannot,  in  our  opinion,  be  regarded  as 
quite  so  successful  as  some  of  the  exhibitions  held 
3'6 


by   the   Club   in  recent  years,  there  was 
much  in  it  that  was  quite  worthy  of  ranking 
amongst    the    best   efforts   of  the   Club's 
members  and  guests.     The  list  of  absten- 
tions   was    rather   considerable,  including 
such    prominent  supporters  as   Mr.  J.   S. 
Sargent  (who,  however,  is  not  an  invariable 
contributor  to  the  winter  exhibitions),  Mr. 
Muirhead  Bone,  Mr.  Philip  Connard,  Mr. 
Cayley    Robinson,    Mr.    \\".    W.    Russell, 
Prof.  Tonks,  Mr.  F.   H.  S.  Sheplierd,  Mr. 
Max  Beerbohm,and  Mrs.  Swynnerton.    Mr. 
Augustus  E.  John's  painting  T/ie  Mumpers^ 
a  work  of  heroic  dimensions  scarcely  justi- 
fied by  the  subject — a  group  o*"  gipsies  in 
various  attitudes — drew  a  great  many 
people  to  the  galleries,  some   to   extrava- 
gantly praise,  others   to   deplore,  for   the 
immense  canvas  gave  evidence  alike  of  the 
genius  and  wilfulness  of  its  painter.     The 
source   of  the  great  vitality  informing  its 
affected   incompetence  may  safely  be 
ascribed  to  the  realistic   and   not   to   the 
decorative  elements  of  the  jjainting.     At 
all  points  there  was  proof  of  original  and 
close  observation  of  life,  and  it  was  this 
which  imparted  vitality  and  stirred  the  spec- 
tator, in  spite  of  the  deliberation  with  which 
it  was   cloaked  in  bizarre   colour  and  ex- 
travagance of  outline.     Mr.  William  Orpen, 
in  his  picture  Morning  Breeze  (an  entirely 
appropriate  name  to  give  10  it)  and  in  his 
other  picture  called  In  the  Tent,  showed  him- 
self peculiarly  sensitive  in  the  interpretation 
ol  atmosphere,  both  the^e  two  small  canvases  being 
fragrant  with  fresh  air — and  this  is  the  more  remark- 
able as  coming  from  the  greatest  painter  of  interior 
genre  that  we  have.     Like  Rossetti,  Mr.  A.  McEvoy 
has  so  much  temperament,  and  imparts  so  much 
of  it,  and  also  so  much  poetry,  to  forms  which  in 
another  artist's  woik  would  assert  incompetence, 
that  one  cannot  use  that  word  in  relation  to  the 
works  exhibited  by  him.     Seeming  to  fail  on  the 
surface   as  judged  by  the  readiest  standards,  his 
pictures  impart  something  to  our  imagination  ;  even 
a  portrait  group  of  an  everyday  character  is  not 
presented  to  us  by  the  painter  without  a  glamour 
unconsiously  transmitted  to  the  theme.     Another 
very  interesting  artist  exhibiting  on  this  occasion 
was  Mr.   J.   1).   Innes.      His    landscapes   perhajjs 
recall  scenes  from  old  jjaintings  rather  than  from 
nature,  but  they  are  all  the  more  romantic  on  this 
account,  and  the  romance  is  sustained  by  a  pro- 
found sense  of  colour.     The  exhibition  contained 


Studio-  Talk 


not  a  few  really  fine  landscape  paintings  ;  Prof. 
V.  Brown's  On  the  Thames,  ^liss  Alice  Fanner's  A 
Breeze  off  Ramsgate  and  A  View  of  Southampton 
Water  and  the  Solent  from  Hamb.'e,  Mr.  Fairlie 
Harmar's  The  Laurel  JFalh,  Mr.  C.  M.  Gere's  A 
Cotswold  Holiday,  and  Mrs.  Evelyn  Cheston's 
Sedgemoor  should  be  mentioned  in  this  connection. 
Mr.  Wilson  Steer's  successes,  too,  were  entirely  with 
his  landscapes,  chiefly  with  the  picture  With  the 
Tide,  a  work  full  of  silver  light.  There  were  many 
small  pictures  of  great  interest,  such  as  a  Study  of 
Roses  in  tempera,  by  Miss  M.  Sargant  Florence, 
At  Home,  by  Mr.  Maxwell  Armfield,  The  Houses 
Opposite,  by  Mr.  Alfred  Hayward,  The  MagicWand, 
by  Mr.  Rudolf  Ihlee,  By  the  Sea,  by  Mr.  Donald 
Maclaren,  Fille  a  la  Lanterne,  by  Mr.  Alfred  P. 
Allins"n,  and  A  Barge,  by  Mr.  Charles  Stabb.  The 
portrait  by  M.  Antonio  Mancini  exhibited  the 
painter's  mannerisms  in  excess,  for  all  its  resource 
of  technique  and  beautiful  manipulation  of  black. 
With  the  exception  of  Near  Rotherham,  Professor 
Holmes  seemed  inclined  to  repeat  himself,  while, 
on  the  other  hand,  Mr.  \\'illiam  Rothenstein  broke 


with  great  success  into  new  ground  with  his  Panei 
^or  a  hypothetical  decoration  to  symbolise  the  religions 
of  East  and  West ;  and  he  was  also  represented  by 
a  remarkably  fine  portrait.  Miss  Ethel  Walker's 
vivacious  Decoration  for  Spring  should  be  men- 
tioned. The  work  of  Mr.  David  Muirhead  was 
also  interesting  this  year.  Amongst  the  drawings 
and  water-colours  noticeable  features  were  a  por- 
trait study  by  Mr.  W.  Rothenstein,  Bidston  Hill, 
by  Mr.  E.  G.  Preston,  Calderari,  by  Mr.  A.  E.  John, 
"  La  Gosse,"  by  Mr.  A.  Rothenstein,  In  the  Garden 
of  Images,  by  Miss  Ethel  Walker,  Font  cT  Avignon, 
by  Mr.  Francis  S.  Unvvin  ;  the  etchings  of  Mr.  D. 
.S.  MacLaughlan  ;  an  etching.  An  Old  Cart-shed, 
by  Mr.  C.  .S.  Clieston  ;  the  water-colours.  Crossing 
Rocks,  by  Miss  U.  Tyrwhitt,  The  Barn,  by  Mr. 
Wilson  Steer,  and  those  of  Mr.  A.  W.  Rich  ;  and  a 
coloured  wood  print  by  M.  Emilc  Verpilleux,  The 
Railway  Station.  

Mr.  Joseph  Pennell,  in  the  remarkable  litho- 
graphs he  exhibited  at  the  Fine  Art  Society's 
galleries  last  month,  discovers  a  genuine  vein  of 


■A    BREMi:    111!      KAMM.AIL 


( .\\u'  E/ii'iis/i  .-in  dub) 


BY   ALICE   FAN.NER 
3'7 


studio-  Talk 


'•A   COTSWOLIi   HOLIKAV 


(New  English  Art  Club) 


BY   CHARLES    M.    CERE 


poetry  in  industrialism,  and  his  emotional  assertions 
are  profoundly  satisfying  when  the  emotional 
impulses  which  sustained  achievement  even  in 
such  a  master  as  Rembrandt,  for  instance,  are 
challenged  as  to  their  right  of  expression  in  the 
graphic  arts  by  the  theorists  of  Post-Impressionism, 
who  purport  to  ofler  us  something  so  much  more 
within  the  province  of  art  in  their  place.  In 
his  exhibition  Mr.  Pennell  included  the  famous 
Panama  series  of  lithographs,  of  which  some 
examples  have  already  appeared  in  these  pages,  and 
others  from  Rome,  Spain,  Chicago,  Belgium,  the 
Yosemite  \'alley  and  California  in  America,  and 
England — notably  the  English  manufacturing  towns. 
Sometimes  it  is  the  mass  of  an  immense  cliff,  at 
other  times  the  great  sweep  of  a  modem  bridge,  or 
again  a  huge  pile  of  modern  masonry,  but  in  all  cases 
the  artist  contrasts  with  the  energy  and  immensity 
of  nature  the  still  more  feverish  energy  of  man  and 
the  infinite  subtlety  of  his  invention.  Mr.  Pennell's 
lithographs  present  a  picture  of  a  great  war  going 
on  all  over  the  modern  world,  of  beauty  in  a  new- 
shape  warring  upon  beauty  in  the  old. 


The  Camden  Town  Group,  holding  their  third 
exhibition  in  December  at  the  Carfax  Gallery,  have 
receded  rather  than  advanced  as  an  artistic  society 
since  their  previous  exhibitions.  It  is  not  very 
difficult  to  simplify  nature's  colours  into  the  vivid 
flat  colours  which  poster-artists  rightly  affect.  This 
318 


sort  of  thing  is  often  very  interestingly  achieved,  and 
there  are  instances  of  this  in  the  present  exhibition. 
But  there  is  nothing  in  this  procedure  to  call  for 
that  solemnity  of  pose  which  is  characteristic  of  the 
exhibitors  in  the  Camden  Town  exhibitions.  We 
prefer  Mr.  J.  B.  Manson's  virility,  and  sometimes 
charm,  and  Mr.  Spencer  F.  Gore's  unconscious 
poetry  in  landscape  to  the  pattern-making  pure  and 
simple  of  Mr.  Ginnerand  Mr.  Drummond,  for  in  the 
case  of  neither  of  these  latter  artists  are  the  patterns 
always  good — and  when  they  are  not  that,  we  are 
bound  to  ask  what  else  of  value  they  are.  Mr. 
W'yndham  Lewis's  Danse  might,  perhaps,  be  in- 
teresting were  we  in  possession  of  the  theory 
explaining  the  absence  of  all  resemblance  to  any- 
thing in  the  nature  of  dancing  figures ;  without 
that  key  the  title  of  his  work  merely  indicates  a 
picture-puzzle — something  which  we  hope,  in  spite 
of  every  effort  of  the  Post-Impressionist  school  to 
the  contrary,  will  always  be  rated  in  this  country 
below  a  picture.  We  are  in  saner  regions  with  the 
art  of  Messrs.  H.  Lamb,  R.  P.  Bevan,  W.  Ratcliffe, 
and  Walter  Sickert.  The  last-named  artist  has  an 
uncanny  gift  in  the  interpretation  of  a  depressing 
atmosphere,  moral  and  physical,  and  in  painting 
his  touch  is  infinitely  less  sensitive  than  in  his 
drawings,  in  which  the  brilliance  of  the  execution 
enlivens  the  greyest  themes. 


Last  month  we  had  to  record  in  these  columns 


^'^ 


N  E  W-Y  t  A  R  C  A  K  D 
OR  SURIMONO.  A 
CHROMO-XYLOGRAPH 
AFTER       HOKUSAI. 


Studio-  Talk 


the  passing  of  one  of  the  founders  of  the  New 
Enghsh  Art  Club,  Mr.  \V.  J.  Laidlay,  who,  how- 
ever, withdrew  from  the  Club  in  1892  and  there- 
after became  more  closely  associated  with  the  Royal 
Society  of  British  Artists.  The  foundation  and 
early  history  of  the  New  English  are  again  recalled 
by  the  election  of  Mr.  Henry  H.  La  Thangue, 
A.R.A.,  to  full  membership  of  the  Royal  Academy, 
for  Mr.  La  Thangue,  too,  was  among  those  w-ho 
helped  to  start  the  Club  on  a  career  which  has 
fully  justified  the  aims  of  its  promoters.  He  was 
elected  an  Associate  of  the  Royal  Academy  in 
1898,  his  Man  with  the  Sty  the  having  been  acquired 
under  the  Chantrey  bequest  two  years  previously. 
He  resides  in  Sussex  and  it  is  from  this  county, 
so  rich  and  varied  in  its  scenery,  that  the  artist  has 
drawn  many  of  the  subjects  of  his  pictures.  The 
example  we  now  reproduce  formed  part  of  a 
representative    collection    of    pictures   by    British 


artists  exhibited  in  Melbourne,  Australia,  some  two 
or  three  years  ago,  and  we  believe  has  found  a 
home  in  one  of  the  public  galleries  in  Australia. 


The  first  exhibition  of  the  Society  of  Humorous 
Art  in  December  provided  good  Christmas  fare. 
Besides,  it  was  an  admirable  idea  on  the  part  of  artist 
humorists  to  link  themselves  in  a  society  identified 
with  the  aim  they  all  have  in  common,  however 
various  their  styles.  An  exhibition  of  this  kind 
also  affords  a  good  opportunity  for  distinguishing 
the  characteristics  of  the  individual  members.  Mr. 
Raven-Hill  and  Mr.  Charles  Pears  penetrate 
furthest  into  reality,  thus  proving  their  ability  to 
support  the  great  traditions  of  "  Punch,"  with  which 
periodical  their  names  are  associated.  At  the 
other  extreme  in  "  farce  "  as  opposed  to  "  comedy  " 
perhaps  Mr.  W.  Heath  Robinson  must  be  admitted 
to  be  the  most  artistic  in  method  and  spontaneous 


'IN   A   SUSSEX   ORCHARD 


BV    U.    11.   I. A    TIIAM.I  F,   R.A.    KlKi  T 


Sfiidio-  Talk 


..SLOAl.i.No    llMiifck 


1  Ku;.:    A    WATLK-COLUUR    URAWlM.    1;\     s.    NmII     SIMMONS 


MARCHE  Al'X    VEAl 


322 


FROM    A   WATRR-COLOUR    liRWVI.NG   BY   S.    NOEL   SIMMONS 
(  A'"  feniiissicn  of  Messrs.  Chas.  Chen  it  and  Co. ,  Ltd. ) 


studio-  Talk 


in  his  conceits.  The  careful  portraiture  of  "  type  " 
is  the  field  in  which  Mr.  George  Belcher  excels, 
while  at  the  opposite  pole  to  his  method  we  have 
the  extreme  simplification  and  obviously  "  comic  " 
intentions  of  Mr.  Hassall.  Mr.  George  Morrow 
seems  possessed  of  an  inexhaustible  fund  of  humour. 
Mr.  Rene  Bull  follows  in  England  the  method  of 
the  late  Caran  d'Ache  ;  Mr.  Dudley  Hardy,  as  this 
exhibition  proved,  cannot  quite  reconcile  himself 
to  the  business  of  sheer  humour  ;  in  him  the  con- 
siderable artist  and  considerable  humorist  seem 
to  struggle  with  each  other  rather  than  to  combine, 
as  with  the  artists  above  mentioned.  These  do  not 
complete  the  list  of  exhibiting  members,  but  they 
indicate  sufficiently  the  scope  and  interest  of  the 
exhibition,  which  was  held  at  Messrs.  Manzi,  Joyant 
and  Co.'s  Gallery  in  Bedford  Street,  Covent  Garden. 


comprise  a  display  of  the  sea  pieces  of  Mr.  Terrick 
Williams  at  the  Leicester  Gallery,  sincere  and 
accomplished  impressions  of  harbour  scenes,  and 
the  decorations  by  Mr.  George  -Sheringham  at  the 
Ryder  Gallery  in  the  style  recently  illustrated  in  a 
notice  of  his  decorations  in  these  columns. 


E 


The  Chenil  Gallery,  Chelsea,  recently  exhibited  a 
series  of  drawings  by  Mr.  Noel  Simmons.  It  will 
be  evident  from  repro- 
ductions we  have  made 
from  three  of  these  that 
the  artist  is  a  draughts- 
man of  exceptional  talent 
and  also  that  he  does  not 
work  within  a  limited 
range  of  subjects.  Nor 
does  he  shirk  complica- 
tion of  incident  in  liis 
compositions.  His  draw- 
ings are  all  the  more 
admirable  for  a  happy 
taste  in  colour  in  the 
instances  in  which  they 
are  comjjleted  in  water- 
colour.  Here,  it  seems 
to  us,  is  the  very  illus- 
trator some  publisher  or 
othsr  must  be  in  search 
of,  if  the  artist  can  be 
brought  to  adapt  his 
talent  to  the  conditions 
of  book-printing.  The 
precision  of  his  execution 
is  fascinating  at  a  time 
like  the  present  when  the 
impressionistic  move- 
ment seems  fading  into  a 
general  content  with  mere 
sloppiness  of  drawing. 


1)INBURC;H.— Eight  Scottish  artists,  for 
so  one  may  still  designate  Messrs.  Lavery 
and  Harrington  Mann,  have  formed  them- 
selves into  an  exhibiting  society  and  taken 
a  lease  of  premises  in  Shandwick  Place,  Edinburgh, 
in  which  they  propose  to  hold  for  short  periods 
twice  a  year  exhibitions  of  their  work.  These  consist 
of  one  main  gallery  with  an  annexe  and  two  small 
rooms  on  the  flat  above,  all  decorated  in  a  scheme 
of  light  grey  which  gives  that  reposeful  feeling  so 
helpful  in  an  exhibition.  The  new  brotherhood 
does  not  spring  from  any  antagonistic  feeling 
towards  the  Academy  or  other  large  societies,  but 


Other    exhibitions    of 
interest    in     December 


'•ROOF   REI'AIRS''  !  FROM    A   WATER-COLOUR    DRAWINC.    liV   S.    NOEI.  SIMMONS 

( liv  feniiission  of  Messrs.  C/ias.  Chenil  and  Co..  Ltd.) 


L'ATTENTE."     BY 
DAVID  ALISON 


(Society  Of  Eight,'' Edinburgh ) 


Studio-Talk 


is  the  outcome  of  a  desire  by  the  members  to  have 
their  work  shown  free  from  the  restrictions  which 
operate  in  general  exhibitions.  The  members  of 
the  new  society  in  addition  to  the  two  already 
named  are  Messrs.  P.  W.  Adam,  R.S.A.,  James 
Paterson,  R.S.A.,  James  Cadenhead,  A.R.S.A., 
F.  C.  B.  Cadell,  David  Alison,  and  A.  G.  Sinclair, 
and  their  first  exhibition  was  held  last  month. 

In  the  large  room  each  artist's  work  was  groujied 
by  itself,  an  arrangement  satisfactory  to  both  the 
artist  and  the  public.  Mr.  Lavery's  contributions 
were  three  figure  subjects  and  two  landscapes,  the 
former  a  chic  figure  of  a  Marseillaise,  a  low-toned 
Diana  returning  from  her  morning  ride,  and  Anna 
Pavlova  as  a  Bacchante,  opulent  in  its  red  and 
purple  colour.  Mr.  Harrington  Mann  was  repre- 
sented by  portraiture  ;  his  Little  French  Peasant,  a 
group  of  a  mother  and  child,  and  particularly 
Annabel,  a  picture  of  a  chubby  little  girl  in  white, 


being  remarkable  for  their  beautiful  simplicity  of 
treatment  and  well-modulated  colour.  The  lead- 
ing feature  of  Mr.  Paterson's  contribution  was  a 
panel  of  twelve  small  pictures  in  oil  representing 
Highland  scenery.  •     

Mr.  Adam  has  for  many  years  now  specialised 
in  interiors,  and  this  type  of  subject  formed  almost 
the  whole  of  his  contribution.  His  principal  picture 
was  Autumn,  the  interior  of  a  drawing-room  in  which 
the  leading  colour-note  was  vases  of  Michaelmas 
daisies,  a  remarkable  modulation  of  purple  tones 
being  carried  throughout  the  apartment.  Mr.  Caden- 
head's  work  has  never  been  seen  to  such  advan- 
tage as  in  this  exhibition.  His  art  in  its  scholarly 
simplicity  does  not  always  reveal  its  full  beauty 
in  an  ordinary  e.xhibition  surrounded  by  disturbing 
influences.  The  six  landscapes  had  each  a  dis- 
tinctive note  and  yet  they  were  so  related  that  one 
could  study  them  as  a  symphonic  presentment  of 


■  HOUSES    NEAR    FEKCH 


(Salon  Sthiille,  Berlin.  — By  permissioti  of  Herr  Kan  Ilabcrslock) 


y.-\       M  I    -I  iircH 


y 
o 

D 

25  Q 
CO  J 


Studio-  Talk 


nature  with  a  melodic  beauty  of  form  and  colour 
m  which  there  is  no  dissonance.  The  French 
influences  which  have  gone  far  to  mould  Mr. 
Cadell's  work  were  seen  in  some  impressions    of 

femininity  that  were  convincing  in  their  very 
audacity. 

The  most  important  of  .Mr.  Alison's  work  was 
LAttente,  a  large  picture  which  is  reproduced— 
an  ambitious  work  for  an  artist  of  his  experience, 
but  containing  its  own  justification.  Mr.  Sinclair 
showed  a  good  full-length  portrait  of  Lady  Dunedin 
and  Dutch  and  Venetian  landscapes,  while  in  the 
other  rooms  most  of  the  group  were  represented 
by  water-colour  or  crayon  drawings.  A.   E. 

BERLIN.—  The  Salon  Schulte  inaugurated 
the  Berlin  autumn  season  with  a  com- 
prehensive exhibition  of  works  by  Carl 
Schuch.  This  master,  who  died  in  1903, 
was  a  member  of  the  Liebl  and  Triibner  circle, 
but  was  quite  unknown  to  the  wider  public.  Twice 
have  posthumous  collections  of  his  works  attracted 


notice  at  Schulte's,  and  the  power  and  persuasive- 
ness of  his  talent  have  quickly  ranged  him  among 
the  German  classics  of  the  nineteenth  century. 
The  strong  impression  which  emanates  from  his 
art  results  both  from  its  pictorial  and  from  its  emo- 
tional qualities.  A  technique  which  has  absorbed 
the  teachings  of  Ruisdael,  Courbet,  and  Manet,  but 
which  is  alwa)-s  remarkable  for  absolute  sureness 
and  saneness,  and  a  pronounced  spirituality  make 
an  immediate  impression.  Colour  remained  his 
ideal,  and  although  he  loved  a  limited  palette  his 
tones  laugh  and  glow  and  his  shading  is  wonder- 
fully rich.  Local  colour  always  dominates,  but 
perspective  and  atmosphere  are  never  neglected. 
Schuch's  speciality  was  still-life.  He  arranged  a 
few  simple  objects  before  a  neutral  background, 
but  simple  as  they  were  they  were  mostly  conceived 
througii  a  medium  of  grandeur,  almost  of  majesty. 
The  same  spirit  is  \ividly  revea-led  in  his  landscapes. 
The  artist  studied  under  Halanska  in  Vienna,  his 
native  town,  and  after  much  travelling  settled  in 
Munich.  He  worked  and  travelled  with  his  friend 
Triibner,  lived  for  some  years  in  \'enice  and  Paris, 


.MAIL-CO.ACH    IN    A    STi 


(Sulon  Schulle.  Berlin) 


HV    K.l  r.KMO    Ll-CAS    THE    EI.IigR 


< 

Q 
Pi 

<  Q 

o 


y. 


Siiidifl-  Talk 


■  RISING    STORM    NEAR    TORBOLE 


(  KdUr  and  Reiticrs  Salon.  Berlin) 


BY   ZBNO   DIEMER 


and  died  in  Vienna  when  only  fifty-seven.  However 
old-masterly  his  art  may  seem,  he  fully  assimilated 
modern  teachings. 


Among  a  Spanish  collec- 
tion at  the  Salon  Schulte 
the  newly  discovered  art  of 
Eugenio  Lucas  the  elder) 
who  died  in  Madrid  in 
1870,  was  a  noteworthy 
introduction.  The  hand 
of  a  real  painter  was  here 
mirrored  in  scenes  from 
reality,  of  halcyon  or 
dramatic  character.  ^\'e 
became  aware  of  a  lover 
of  decorative  grotesqueness 
as  well  as  of  amiable  sim- 
plicity. A  racy  Spaniard 
of  great  versatility,  he  occa- 
sionally reminds  one  of 
Goya  and  Herrera,  but  also 
of  the  suave  genre-man- 
nerists of  his  countrv. 


At  Messrs.  Keller  and 
Reiner's  Salon,  Prof.  Zeno 
Dienier,  of  Munich,  has 


given  his  admirers  an  opportunity  ot  studying  the 
fruits  of  his  latest  labours.  The  interest  in  this 
landscapist,  who  proves  his  ability  to  cope  with  the 
boldest  tasks,  is  everywhere  considerable.     How- 


'■  I.NTERIOR 


(  BuJapcsl 


KSAR   KLNWALD 


studio-  Talk 


ever  truthfully  he  records,  it  is  no  meticulous 
topography  that  he  presents  to  us ;  we  remain 
aware  of  the  working  of  an  almost  romantic  mind. 


Fritz  Gurlitt's  Salon  has  again  claimed  attention 
for  Wilhelm  Triibner,  and  a  number  of  portraits, 
landscapes,  mythoiogical  and  religious  subjects, 
testified  to  this  master's  many-sidedness.  A  new 
feature  of  these  rooms  is  an  artistically  arranged 
cabinet  of  prints  placed 
under  the  management 
of  Herr  Wolfgang 
Gurlitt.  Original  prints 
by  I^ibl  and  I.ieber 
mann,  Munch,  Matisse, 
and  Pechstein,  point 
to  a  broad  policy. 


Z.  The  Salon  Paul 
Cassirei  recently  in 
augurated  a  consider- 
ably enlarged  gallery 
with  a  kind  of  retro- 
spective exhibition.  All 
the  artists  who  have 
enjoyed  the  favour  of 
this  firm  since  its  loun- 
dation  were  represented 
among  them,  the  lead- 
ing impressionists  and 
neo-impressionists,  \'an 
Gogh  and  Cezanne,  and 
also  living  artists  like 
Liebermann,  Corinth, 
Slevogt,  U.  Hiibner, 
Beckmann,  Brock- 
husen,  W.  Rosier,  Gaul, 
and  Barlach. -•  The 
presence  of  Corot, 
Gericault,  Delacroix, 
Courbet,  Menzel,'Leibl 
and  Triibner  pointed  to 

a  compromise  which  can  only  be  greeted  as  whole- 
some in  these  days  of  ultra-radicalism. 

J-  J- 

BUDAPEST.— The  exhibition  at  the  Buda- 
pest Academy  last  spring  was  of  less  than 
usual  interest  owing  to  its  being  over- 
crowded with  works  which,  however  com- 
mendable as  the  efforts  of  students,  fell  far  below  the 
standard  expected  from  an  important  society  like 
this.  That  there  is  much  movement  in  art  in 
Hungary  was  everywhere  apparent,  but  it  was  equally 
330 


STUDY   OK   A    HEAD 

(Budapest  Arademy ) 


apjiarent  that  though  high  ideals  are  being  searched 
for,  these  have  not  yet  been  realised  in  any  palpable 
form.  More  thought  ought  to  be  shown  in  the 
general  arrangement  of  the  exhibits  :  there  should 
be  less  crowding,  and  above  all  there  should  be  far 
fewer  pictures  hung.  If,  however,  close  search  was 
necessary  to  find  the  really  good  work,  how  refresh- 
ing it  was  when  found  I  Take,  for  instance,  a  land- 
scape by  Baron  Mednyansky  pregnant  with  medita- 
tive feeling,  or  the  fine 
animal  drawings  and 
portraits  by  Oszkar 
Glatz  :  here  no  parad' 
ing  of  originality,  no 
undue  striving  after 
effect  was  to  be  dis- 
cerned. The  portraits 
by  ("lusar  Kunwald 
likewise  showed  sim- 
plicity of  treatment  and 
right  restraint.  His 
Interior  Portrait,  here 
reproduced,  conveys  an 
idea  of  his  methods, 
but  a  refreshing  feature 
of  his  work  is  that  he 
never  repeats  himself. 
The  landscapes  by 
Robert  Nadler  and  Ede 
Aladar  I  lies  were  of 
much  interest,  and  how 
lull  of  life  and  energy 
were  those  Hungarian 
scenes  of  village  life 
which  Miksa  Bruck 
delights  to  paint !  Prof. 
Benczur  sent  some 
flower-paintings  full  of 
fragrance  and  of  a  liiu- 
coloration.  From 
Gyula  Conrad  there 
were  some  fine  paint- 
ings of  ancient  towns  particularly  happy  in  the 
treatment  of  the  architecture  and  water ;  romantic 
scenes  from  Andor  Dudits  ;  still-life  subjects  by  J. 
Pentelei  Molnar  and  Jozsef  Manyai ;  from  L.  Kesdi 
Kovacs  wood  .scenes  in  which  this  artist  showed  his 
predilection  for  old  copper  and  silver  beeches,  which 
are  always  well  placed  in  their  right  setting  and 
admirabh-  rendered.  Bela  Ivanyi-Griinwald's  village 
scenes  betrayed  his  love  for  those  strong  colour- 
effects  which  Hungary  offers  in  such  abundance,  and 
some  good  work  was  shown  by  Ferenczy,  Istvan 
Zador,  Rezso  Kiss,  Laszlo  Tatz  (a  young  artist  of 


HV    lANOS    l-ASZTOK 


(Seepage  33^) 


HIS    HOLI.\I';SS   POPE    PIUS   X  " 
BY  DR.    HORATIO   GAIGIIER 


Studio-  Talk 


great  promise),  and 
Gyula  Clatter.  There 
was  little  sculpture 
shown,  but  work  of  a 
high  quality  was  ex- 
hibited by  Ede  Teles, 
1  )ezs6  I^nyi,and  JJnos 
Fcisztor,  whose  study  of 
a  female  head  is  here  re- 
produced.      A.  .S.  L. 


VIKNXA.- 
l)r.  Hora- 
tio Gaigher, 
whose  por- 
trait of  His  Holiness 
Pope  Pius  X  is  repro- 
duced on  p.  331,  is  a 
native  of  Tyrol,  and 
took  his  degree  and 
practised  in  medicine 
before  relinquishing  it 
for  art,  to  which  his 
inclinations  had  been 
drawn  since  his  earliest 
years.  He  was  entirely  self-taught  until  he  went 
to  Bushev  to  study  under  Prof.  Herkomer.     Later 


SIXTEENTH-CE.VTURY 
BEULE 


he  studied  under 
Fleury  and  Lefebvre 
in  Paris,  and  afterwards 
accompanied  Prof. 
Herkomer  to  Spain, 
where  he  made  the 
best  use  of  the  oppor- 
tunities offered  to  him. 
On  his  return  to  his 
native  country  Dr. 
Gaigher  settled  in 
Meran.  He  has  done 
some  very  good  por- 
traits both  in  oils  and 
in  water-colours,  in 
which  medium  he  has 
been  highly  successful. 
It  is  chiefly  in  the 
autumn  and  winter  that 
he  paints  portraits,  in 
the  spring  and  summer 
he  gives  himself  up  to 
studying  the  life  and 
habits  of  the  Italian 
peasants  dwelling  in 
South  Tyrol.  His 
work  reveals  the  spirit  of  a  true  and  searching 
artist.      The  picture  of  His  Holiness  Pius  X,  who 


CHATELAINE 
(GHENT) 


■MARKET-rl.ACE   AT  EBORO  ' 


( BuJaHst  Academy ) 


BY    MIKSA    BRUCK 


Studio-  Talk 


"SXO\V-CI.AD    birches' 


BY    G.   A.  FJ.-ESTAn 


is  shown  in  full  canonicals,  was  painted  in  a  hall 
of  St.  Peter's  Church,  Rome,  where  the  Pope 
granted  him  four  sittings.  The  lineaments  of  the 
sitter  have  been  well  studied — the  artist  has  brought 
into  prominence  the  chief  characteristics  of  the  noble 
features,  the  mild  expression  coupled  with  profound 
seriousness,  the  look  of  patient  suffering.  The 
drapery  has  been  judiciously  handled  and  always 
with  due  consideration  for  the  main  requirement, 
which  is  to  give  us  a  picture  of  His  Holiness  as  he 
really  is.  A.  S.  L. 

GHENT.— The  bust  by  M.  de  Beule, 
reproduced  on  page  332,  is  a  fitting 
product  of  this  old  Flemish  city,  in 
which  the  spirit  of  the  Middle  Ages 
still  lingers  in  spite  of  the  ceaseless  progress  of 
modern  industrialism. 

AMSTERDAM.— The    chalk    drawing,    At 

/\        Kortenhoef,  by  Mr.  Wysmuller,  of  which 

/    \       a  reproduction  is  given  in  the  form  of 

1.        \.    a  supplement,  is  an  excellent  example 

of  his   interpretation   of   Dutch    landscape   in    a 


medium  which  he  employs  with  much  feeling. 
Other  examples  of  his  work  were  included  in  the 
recent  Special  Xumber  of  The  Studio  entitled 
"  Pen,  Pencil,  and  Chalk." 

STOCKHOLM.— Although  Stockholm  is 
one  of  the  loveliest  summer-cities  of  the 
world  its  inhabitants  usually  desert  it  at  the 
end  of  May  or  beginning  of  June,  when 
all  the  big  theatres  close  and  art  exhibitions  are 
discontinued.  From  this  rule  an  exception  was  made 
last  summer,  when  our  two  most  important  societies 
of  artists,  Konstnarsforbundet  and  Svenska  Konst- 
narernas  Forening  arranged  large  and  interesting 
exhibitions,  which  The  Studio  has  already  noticed. 
Gustaf  Fjsestad,  a  well-known  Swedish  artist, 
following  the  e.xample  of  these  societies,  held  a 
"  one-man  "  show  at  the  end  of  the  summer  in  the 
galleries  of  the  Swedish  Art  Union. 


Fjrestad's  very  original  art  is  not  quite  unknown 
to  the  art-loving  English  public,  as  he  sent  some  of 
his  best  landscapes  as  well  as  his  tapestries  to  the 
Swedish  Exhibition  at  Brighton  in  the  summer  of 

335 


studio-  Talk 


'•SKI    TRACKS    IX    THE    WOOD' 


BY   G.  A.  FJ.ESTAI) 


191 1,  where  so  many  of  the  best  Swedish  artists 
were  well  represented.  In  Germany,  Austria,  and 
Italy,  Fjasstad  has  for  several  years  been  known  as 
a  painter  of  snow  pictures,  and  leading  art-critics 
have  devoted  long  and  enthusiastic  articles  to  his 
work.  At  this  last  exhibition  he  showed  some  big 
snow  scenes  such  as  the  Snow-dad  Birches  and  Ski 
Tracks  in  the  Wood,  pictures  with  running  water 
such  as  The  River  and  Water  and  Rocks,  and 
tapestries  woven  after  his  designs  by  his  sisters  ; 
also  some  paintings  of  the  nude,  but  these  must  be 
considered  as  more  or  less  failures.  T.  L. 

WELLINGTON,  NEW  ZEALAND. 
— Art  in  New  Zealand  has  re- 
ceived a  decided  fillip  this  year 
through  the  exhibition  held 
under  the  auspices  of  the  New  Zealand  Academy 
of  Fine  Arts  at  Wellington,  the  capital  city  of  the 
Dominion,  in  May  and  June  last.  In  191 1  the 
State  made  a  grant  of  ^500  (for  the  purchase  of 
336 


pictures)  to  each  of  the  art  societies  in  the  four 
chief  centres.  The  process  by  which  a  previous 
and  similar  grant  had  been  expended  being  con- 
sidered to  have  been  somewhat  unsatisfactory,  the 
Council  of  the  New  Zealand  Academy  of  Fine 
Arts,  the  Wellington  Society,  then  presided  over 
by  the  late  Mr.  H.  S.  Wardell,  decided  to  enlist 
the  assistance  of  Mr.  George  Clausen.  Mr.  Clausen 
was  therefore  asked  if  he  could  induce  some  British 
artists  of  repute,  more  particularly  those  of  the 
modern  school,  to  send  out  a  certain  number  of 
pictures  from  which  a  selection  could  be  made, 
first  by  the  Wellington  Society,  and  later  on  by 
similar  societies  in  other  centres.  Mr.  Clausen 
called  in  the  aid  of  Mr.  John  Baillie,  of  the  well- 
known  Baillie  Galleries  (himself  a  New  Zealander 
by  birth),  and  the  latter  took  the  project  up  with 
such  enthusiasm  that  he  offered  to  bring  out  a 
really  represent  ative  collection  of  pictures  and  take 
charge  of  the  whole  arrangement.  An  agreement, 
on  terms  highly  satisfactory  to  the  Academy,  was 


■  < 


Sfiidio-  Talk 


^ 


(See  Stockholm  Studio-  Talk) 


\.    Ill  ^TAI> 


concluded,  and  in  May  the  exhibition,  comprising 
over  500  oils,  water-colours  and  etchings,  was 
opened  in  a  large  building  lent  free  of  charge  by 
the  Wellington  Harbour  Board,  and  transformed 
with  a  little  trouble  and  much  good  taste  into 
an  artistically  decorated  and  well-lighted  art  gallery. 


The  Council  of  the  Academy,  now  presided  over 
by  Mr.  H.  M.  Gore,  a  local  amateur  artist,  to 
whose  personal  enthusiasm  and  unsparing  industry 
much  of  the  success  attained  by  the  exhibition  has 
been  due,  started  a  public  subscription  fund,  the 
Wellington  City  Council  leading  the  way  with  a 
grant  of  ;^iooo  and  the  Academy  adding  its  own 
^500  grant.  Leading  citizens  and  wealthy  men 
throughout  the  province  contributed  liberally,  with 
the  result  that  in  all  some  ^7000  was  raised, 
practically  the  whole  of  which  was  devoted  to  the 
purchase  of  pictures  from  the  collection  sent  out 
from  England. 

Amongst  the  pictures  either  purchased  by  the 
338 


Council  of  the  New  Zealand  Academy  or  presented 
by  various  local  clubs  and  private  citizens  were, 
amongst  the  oils.  Melton  Fisher's  Rose  Makers  of 
the  East  End  ^^350  ;  Glyn  W.  Philpot's  Girl  at 
Her  Toilet  i^osdX  Institute  of  Oil  Painters,  1907), 
;^2  5o  :  George  Houston's  Spring  in  Ayrshire, 
jC^oo  :  R.  W.  Allen's  Port  Soy,  ;£42o  :  George 
C\a.usens//ay/»akers,  j£2oo ;  J. h.G\o:ig's-Bair/iante 
and  Fauns,  £^\d,o;  Frank  Craig's  Goblin  Market, 
^^420  :  Oliver  Hall's  Salter  Moss,  Cuml>erland, 
;^ioo  ;  Henry  Moore's  Hii^hland  Pastures,  ^^"350  ; 
David  Farquhaison's  Waiting  for  Darkness,  ^"250  ; 
Mouat  Loudan's />V//f  and  Gold,  ^^250  ;  Bertram 
Priestman's  The  Brook,  ^£150  ;  Mary  Young  Hun- 
ter's Gabrielk,  ;^i75  ;  E.  A.  Walton's  Sunshine  and 
Shade,  ^^300  ;  also  examples  of  the  art  of 
H.  Hughes-Stanton,  Lee  Hankey,  Austen  Brown, 
Charles  Sims,  Oswald  Birley,  Harold  Knight, 
and  others.  From  the  water-colours,  examples 
by,  amongst  others,  Lucy  Kemp-Welch,  Lee  Han- 
key, Nelson  Dawson,  H.  S.  Tuke,  Terrick  Williams, 
H.     Teed,     Fred     Stratton,     Spenlove-Spenlove, 


Siiiiilio-  Talk 


G.  Thomson  and  Sir  Alfred  East  were  chosen  by  the 
Council,  and  a  selection  was  also  made  from  a  fine 
collection  of  etchings  by  Frank  Brangwyn. 


It  will  be  seen  by  the  above  that  the  ('ouncil 
has  displayed  that  spirit  of  eclecticism  which  is  ne- 
cessary to  some  extent  when  pictures  for  a  public 
gallery  are  being  chosen.  The  permanent  collec- 
tion of  pictures  belonging  to  the  Academy,  which 
will  be  handed  over  later  on  to  the  trustees  of  the 
National  Gallery  when  a  suitable  building  is  avail- 
able, include  several  pictures  of  outstanding  merit, 
notably  a  fine  Brangwyn,  Santa  Maria  delta  Satute  : 
a  Moffat  Lindner  (a  nocturne,  Amsterdam) ;  an  ex- 
cellent example  of  David  Murray,  also  pictures  bv 
G.  C.  Haite,  Laura  Knight, 
Bertram  Priestman, 
Wilson  Steer,  Fred  Hall, 
Lamorna  Birch,  and  Mrs. 
Stanhope  Forbes,  besides 
some  good  examples  of 
New  Zealand  and  Aus- 
tralian art.  When  the 
National  Gallery  is 
erected,  as  we  hope  it  will 
be  within  the  next  two 
years,  it  will  contain  the 
nucleus  of  what  should, 
in  course  of  time,  become 
an  institution  worthy  of 
the  Dominion,  one  which 
will  not  only  do  good 
service  to  the  community 
by  instilling  a  taste  for 
the  beautiful  in  the  minds 
of  the  people,  but  will 
also  provide  a  stimulus 
to  better  work  on  tiie 
part  of  our  local  art 
students. 

The  exhibition  re- 
mained open  for  several 
weeks  and  was  very  largely 
attended  by  the  public. 
As  might  have  been  ex- 
pected, many  of  the  pic- 
tures, not  being  of  the 
once  conventional,  mid- 
Victorian,  anecdotal,  or 
purely  pictorial  type,  ex- 
cited a  variety  of  criticism, 
some  of  which  was  not  a 

'•  CLAIR    DK    l.UNK 

little    amusing.       Mr. 


Frank  Brangwyn's  Card  Players  (purchased  by  a 
special  commissioner  sent  over  by  the  Melbourne 
Public  Gallery  authorities)  was,  in  particular,  the 
subject  of  much  discussion.  A  vote  as  to  "  the 
most  popular  i>icture  "  being  taken,  this  distinction 
was  awarded  to  Mr.  G.  Young  Hunter's  portrait  of 
his  wife.  

Since  the  Wellington  Exhibiton,  Mr.  Baillie  has 
taken  portions  of  his  collection  to  other  centres — 
Christchurch,  Auckland,  and  Dunedin — where 
sales  have  been  very  satisfactory.  In  December 
1913,  a  Dominion  Exhibition  of  Industries  and 
Fine  Arts  is  to  be  opened  at  Auckland.  A  special 
feature  will  be  made  of  the  Art  Gallery,  of  whicii 


( rhi'aiclfhia  Watcr-Colo)   Citib) 


liV   GASTON    LE    MAINS 


339 


Studio-Talk 


Mr.  Bail  lie  has  been  appointed  manager.  It  is 
probable  that  the  pictures  he  will  bring  out  to 
Auckland  may  be  more  pictorial  and  popular  in 
their  -ippeal  than  those  he  has  shown  here,  but  no 
doubt  there  will  be  a  generous  leaven  of  lliat 
purely  modem  an  which  constituted  such  a 
pleasant  feature  of  the  exhibition  here. 


The  Twenty-fourth  Annual  Exhibition  of  the 
New  Zealand  Academy  of  Fine  Arts  was  opened 
early  in  October.  The  general  quality  of  the 
work  shown  was  voted  somewhat  disappointing,  but 
it  is  just  possible — indeed  it  would  be  well  were 
it  so  in  fact — that  the  public  taste  has  now  been 
educated  to  a  higher  standard  and  that  local  effort 
may  be  found  just  a  trifle  unsatisfying.  Some 
good,  strong,  sincere  work  was  shown  by  H.  Linley 
Richardson,  R.B.A.,  Owen 
Merton,  R.B..\.,  Mina 
Amdt — the  two  last  being 
young  New  Zealand  artists 

now   studying    in    Europe  ^ 

— Mrs.  Burge,  Mrs.  'I'ripe, 
and  others,  and  marked 
improvement  was  evi- 
denced in  the  work  of  some 
of  the  younger  local  artists, 
plein  air  studies  being  now 
more  numerous  than  was 
wont  to  be  the  case. 

Ch.xklks  Wilson. 


Pll  I  LA  I)  E  L- 
I'H  I  A.-  The 
competition  for 
the  Beck  prize, 
awarded  to  the  best  work 
that  has  been  reproduced 
in  colour  for  the  purpose 
of  publication,  gave  to  the 
tenth  annual  exhibition  of 
the  Philadelphia  Water- 
Color  Club,  recently  held 
in  the  galleries  of  the 
Pennsylvania  Academy  of 
the  Fine  Arts,  a  character 
quite  unique  and  most  in- 
teresting. The  result  was 
a  display  of  the  best  work 
of  many  of  the  leading 
illustrators  of  the  United 
States,  and  to  the  credit 
of  the  Academy  it  must 
be  said  that  the  greater 
34° 


part  of  them  have  received  their  training  in  its 
schools.  Mr.  N.  C.  Wyeth's  illustrations  of 
"  Treasure  Island ''  were  among  the  most  effective 
works  of  this  class.  Mr.  Thornton  Oakley's  /(7;/«r 
Market,  Hathi,  a.nd  Water  U'ojncn,  Udaipi/r,  gaxe 
one  a  good  idea  of  the  riot  of  colour  that  lends  such 
a  peculiar  charm  to  the  street-life  of  East  Indian 
towns.  Miss  Jessie  Willcox  Smith  exhibited  a  series 
of  admirable  illustrations  of  Dickens's  works,  and 
Miss  Blanche  Greer  a  number  of  drawings  for 
Charlotte  Bronte's  "Tales  of  the  Islanders."  Mr. 
George  Harding's  Off  Cape  Race  and  T/ie  Neiv- 
foiindland  Coast  were  good  examples  of  his  art. 
Mrs.  I'^lizabeth  Shippen  Green  Elliott  showed  some 
of  her  popular  pictures  of  child-life.  Taking  them 
all  together  tliey  formed  a  comprehensive  display  of 
the  best  types  of  American  illustration  and  showed 


"A   STREET  OF   CAlfib  "  BY    H.    C.    MERRILL 

( PhitaJelphia  Watey-Colcr  Club) 


(Philadelphia  n\:t.i-Cohr  Cluh) 


UP   THE   WILD   HILL' 
BY   LUCY  S.  CONANT^ 


studio-  Talk 


marked  progress   in  the  attainment   of   the  more 
serious  qualities  of  art  work. 


Of  the  easel  pictures  not  necessarily  meant  for 
reproduction,  and  painted  in  any  medium  other 
than  oil,  Mr.  H.  C.  Merrill's  Street  of  Cafes  com- 
manded attention  as  having  most  of  the  essentials 
of  a  genuine  work  of  art.  frankly  attractive  to  the 
layman   and   lacking   the   sensational  eccentricity- 
that  so  frequently  mystifies  him.     Mr.  Everett  I.. 
Warners  Broadway  Tabernacle  at  Xis;/it,  which  was 
awarded  the  Isidor  prize  at  the  Salmagundi  Club, 
was  another  highly  successful  effort  to  render  tiie 
poetic  charm  that  commonplace  streets  and  build- 
ings assume  under  certain  conditions  of  lighting 
and    atmosphere.      Mr.    Albert    H    Sonns   Fonte 
Vec:hio,  Verona,  showed  that  he  is  a  colourist  of  the 
first  order.     Mr.  Gaston  le 
Mains   exhibited    Clair  de 
Lune    and    Le    Maiioir 
Ahandonne,    works     stimu- 
lating the  imagination,  and 
both  of  them  fine  examples 
of  finished    craftsmanship. 
Mr.  Walter  Gay  contributed 
a  number  of  works  of  very 
high  degree  of  excellence, 
especially    notable    among 
them   being    his    views    of 
the  interior  of  the  Chateau 
du    Breau.      Two    of    the 
works  of  the  late  Thomas 
P.    Anshutz    were    shown, 
Becky  Sharp  and  A  Bird, 
life-size  figure  subjects,  and 
probably  the  last  work   of 
this  talente)d  painter,   who 
died  but  a  few  months  back. 
Mr.  John  McLure  Hamil- 
ton's   portrait    of   Mrs. 
Edward    Hornor  Coates 
showed   the  clever   execu- 
tion of  an  artist  sure  of  his 
method,  and  was  withal  an 
excellent    likeness    of    his 
sitter.         

Some  interesting  portrait 
studies  in  chalk  monotone 
by  Miss  Cecilia  Beaux  gave 
evidence  of  careful  search 
for  the  individuality  of  the 
subject.     Breton  fisherfolk 

■"  .  .  "LA    BO.NNE    MEXAGtRE 

and  their  cottage  interiors 
342 


formed  the  materiel  of  a  group  of  Miss  Elizabeth 
Xourse's  works,  very  successful  as  human  docu- 
ments descriptive  of  the  hard  life  of  these  sun-tanned 
toilers  of  the  sea.  Miss  Alice  Schille  was  repre- 
sented by  a  number  of  well-painted  examples :  among 
them  siiould  be  ■  mentioned  a  landscape,  Broken 
Clouds,  and  A  Pig  Market,  particularly  vibrating 
with  colour  and  true  in  values.  Miss  Lucy  S. 
Conant's  group  of  water-colours  of  Alpine  scenery 
were  very  convincing  and  showed  close  study  of 
mountain  features  and  atmosphere.  Mr.  Henry  B. 
Snells  Lighthouse  was  a  capital  bit  of  his  work 
and  absolutely  realistic  in  effect.  A  group  of  Mr. 
Fred  \\"agner's  water-colours  and  pastels  of  near-by 
localities  showed  in  a  most  conclusive  way  that  it 
is  not  necessary  for  the  artist  to  go  far  afield  for  his 
subjects.     Mr.  George  Walter  Dawson's  group  of 


(Philadelphia  JVafer-Color  Club) 


BY    ELIZABETH    NOURSE 


(Philadelphia  Water-Color  Cliih) 


GARDENIA   ROSES."     BY 
LILIAN  WESTCOTT    HALE 


Sf/idio-  Talk 


•VORYU  KWANNOn'  (WOOD  SCVLPTLRE).      BY 
SEKl.NO  SEIUN 


flower  paintings  gaYC  an  unusual  note  of  distinc- 
tion to  the  exhibition,  especially  the  careful  studies 
of  Water-lilies  and  Roses.  A  beautiful  drawing 
in  monotone  entitled  Gardenia  Roses  by  Lilian 
Westcott  Hale  should  be  mentioned. 


One  of  the  rooms  \Yas  devoted  exclusively  to  the 
display  of  fifty -one  etchings  and  lithographs  by  Mr. 
Joseph  Pennell,  quite  a  number  of  them  being  of 
localities  in  Philadelphia  \vhich  Mr.  I'ennell  has 
discovered.  E.  C. 


T'  )KVO. — One  of  the  most  interesting  ex- 
hibitions recently  held  in  Uyeno  Park 
was  that  of  wood-carving  by  the  members 
oftheNihon  Chokokukai,  a  society  com- 
posed of  twelve  more  or  less  well-known  sculptors 
under  the  presidency  of  Okakura  Kakuzo,  the  art 
critic.  It  was  particularly  interesting,  not  only 
because  it  was  the  first  independent  exhibition  of 
344 


the  kind  ever  held  in  Japan,  but  also  because  it 
showed  marked  progress  in  Japanese  wood  sculp- 
ture as  seen  in  some  very  excellent  work.  The 
general  tone  of  the  exhibition  bespoke  sincerity 
and  earnestness  of  effort  on  the  part  of  the  artists 
to  give  the  very  best  of  which  they  were  capable. 
.•\  few  groups  were  shown,  such  as  Yamazaki 
Choun's  Yamasodachi,  depicting  an  old  woman  of 
the  mountains  with  a  sturdy  boy  reared  by  her,  and 
Mori  Hosei's  three  laughing  figures,  Kokei  Sansho. 
Single  figures,  however,  predominated,  more  stress 
being  laid  upon  the  expression  of  the  inward  feeling 
than  on  mere  beauty  of  line.  AVith  one  exception 
all  the  work  exhibited  dealt  with  the  human  figure. 
This  exception  was  a  carving  of  the  -Sacred  Cow 
which  furnished  milk  for  Buddha,  a  work  admirably 
executed  in  teak  by  Yamazaki  Choun.  Scarcely 
any  of  the  figures  exceeded  two  feet  in  height,  as 
most  of  the  pieces  were  designed  as  okiinono, 
ornaments  for  the  tokonoma  or  post  of  honour  in 
the  guest-room  of  the  Japanese  house. 


'  HACOROMO,  THE  MOON   MAIDEN  "  (WOOD 
SCULPTURE).        BY   HAVASHI    BIUN 


Studio-  Talk 


"AX     AITEAL    TO    THE     MOON"     (WOOD    SCULPTURE) 
BY   MORI    HOSEI 


The  rare  gift  of  Japanese  artists  of  making  the  best 
use  of  natural  materials  by  taking  every  advantage 
of  their  characteristics  was  clearly  shown  at  this 
exhibition  in  their  use  of  wood.  How  cleverly  the 
natural  grain  of  the  wood  has  been  utilised  to 
bring  out  special  qualities  and  feelings  was  shown 
in  The  Pointing  of  a  Finger  executed  by  Hiragushi 
Denchu,  showing  the  popular  legendary  Chinese 
personages,  Kwanzan  and  Jittoku,  pointing  to  a 
star  they  have  just  discovered ;  Serene  Music  (a 
girl  playing  on  the  shd)  an  exceptionally  clever 
work  by  Ishimoto  Gyokai,  and  a  representation  of 
the  homely  looking  Hotei,  one  of  the  seven  gods  ol 
fortune,  by  the  same  carver ;  the  graceful  K'lvannon 
by  Sekino  Seiun  ;  also  in  Hosei's  An  Appeal  to  the 
Moon.  In  fact  almost  all  the  pieces  showed  this 
aptitude  for  utilising  the  grain  of  the  wood  most 
effectively,  and  adapting  the  style  of  carving  to  the 
quality  of  the  wood. 

Formerly  only  a  few  kinds  of  wood,  more  or 
less  costly  in  themselves,  were  used,  but  now  ex- 
periments are  being  made  with  a  larger  variety 
drawn  from  different  parts  of  the  country.      I3y  the 


use  of  a  new  and  comparatively  little  known  species 
of  wood  from  Hokkaido  called  domo,  for  his 
splendid  piece  Koan,  a  Chinese  sage  on  a  turtle, 
Voshida  Hakurei  has  brought  out  an  expression  of 
delightful  repose  upon  the  face  of  the  sage,  whose 
heavy  wet  garment  trails  in  the  water,  while  the 
hard  shell  of  an  old  turtle  is  partially  submerged. 
l'>y  taking  tsiibaki,  or  camellia,  for  his  Hakuzoshi, 
one  of  the  performers  in  a  No  dance,  Shimomura 
Seiji,  a  brother  of  Shimomura  Kwanzan,  the  well- 
known  Japanese  painter,  has  very  admirably 
expressed  the  texture  of  the  robe  worn.  And 
again  by  using  ho,  or  white  magnolia  wood,  Naito 
Shin  has  been  able  to  give  most  delicate  colouring 
to  his  delightful  and  clever  figures  Punting  and 
A  Girl  of  the  Fujiivara  Period  in  the  Nara  style  of 
carving. 

At  the  same  exhibition  were  found  a  {&\s  works 
by  Hayashi  Biun,  who  died  recently  at  the  age  of 


IRENE    MUSIC 


(WOOU   SCUl.rTUKK) 
BY    ISHIMOTO 


JVOKAI 

343 


/\!cr/e-ii's  (Hid  N^otices 


"IIOTEl"    (WOOD  SCII.ITIRE) 


BY    ISHIMrvTd   C.YOKAI 


fifty.  While  a  mere  boy  he  took  lessons  from 
Takamura  Toun,  and  latei  became  a  monjin  of 
Tamaruka  Koun,  who  is  now  the  head  professor 
in  clay-modelling  at  the  Tokyo  School  of  Fine 
Arts.  Biun  did  much  in  the  way  of  making 
replicasof  ancient  wood  sculpture,  especially  the  old 
Buddhistic  images  of  Nara,  and  a  number  of  them 
are  now  kept  in  the  Imperial  Household  Museum. 
At  one  time  he  was  a  teacher  at  the  Art  School  of 
Kyoto,  but  for  the  last  fourteen  years  of  his  life  he 
taught  woodcar\ing  at  the  Tokyo  School  of  Fine 
Arts.  He  was  awarded  a  second  prize  at  the  Paris 
Exposition  of  1900.  H.\rad.\  Jiro. 

ART  SCHOOL  NOTES. 

EDINBURGH.— The     College     of     Art 
Students  Club,  which  numbers   about  a 
couple  of  hundred  members,  held  an  ex- 
hibition  of  paintings,    water-colour  and 
chalk   drawings    in    the    college    at   the   end   of 
November.     The  exhibits,  one  hundred  and  forty- 
346 


four  in  number,  did  not  represent  work  done 
in  the  institution  so  much  as  the  result  of 
summer  sketching  expeditions  and  home- 
work in  which  individual  characteristics  had 
scope  for  expression.  The  result  was  a 
display  of  work  which  gave  evidence  of  the 
soundness  of  the  teaching,  the  good  guidance 
of  the  student  in  craftsmanship  withtmt  at- 
tempting to  lay  down  any  conventional  form 
of  expression.  The  best  feature  was  the 
feeling  for  colour,  ever  a  distinguishing  mark 
of  the  Scottish  school,  while  the  weakness 
was  the  lack  of  sufficient  importance  given 
to  accurate  draughtsmanship.  The  exhibi- 
tion as  a  whole  showed  a  considerable 
advance  over  last  year.  .\.   E. 

REVIEWS  AND  NOTICES. 
Ballads  Weird  and  Wonderful.  Drawings 
by  ^'ER^•ON  Hill.  (London:  John  Lane.) 
2 IX.  net. — Mr.  Vernon  Hill  is  not  a  super- 
ficial craftsman  ;  he  has  something  better  on 
hand  than  the  search  for  a  short  cut  to  im- 
mediate effectiveness.  He  does  not  seek  to 
evade  difficulties  of  constructive  drawing  by 
resorting,  wherever  such  difficulties  occur, 
to  those  friendly  if  often  trivial  devices  of 
pattern-making  that  can  always  afterwards 
be  labelled  "decoration."  His  work  is  very 
classical  in  feeling,  very  cold  and  sculp- 
turesque in  result ;  it  expresses  a  great  taste 
for  the  horrible — which  always  lies  so  very  close 
to  the  ugly — but  its  horror  is  that  of  intellec- 
tual invention  rather  than  that  of  feeling  ;  horror 
and  ugliness  are  deliberately  exploited,  it  seems 
to  us,  as  a  certain  way  of  making  an  impression 
on  the  spectator.  In  its  precision  the  drawing 
is  almost  Pre-Raphaelite,  and  at  every  point  it  is 
wholesomely  certain  in  its  intention.  The  illus. 
tration  to  "  Hugh  of  Lincoln  "  does  not  betray  the 
prevalent  thirst  for  unpleasant  form,  but  it  in  no 
point  falls  beneath  the  other  illustrations,  in  fact  it 
is  an  improvement  on  many,  thus  showing  that  the 
artist's  range  is  not  as  narrow  as  one  might  at  first 
suppose,  not  so  limited  to  the  repulsive  as  the  first 
impression  of  his  book  conveys.  The  ballads 
illustrated  are  taken  from  ancient  legendary  collec- 
tions, and  the  volume  is  bound  in  grey  leather  with 
cover  design  in  gold. 

The  Life  and  Letters  of  Frederic  Shields.  Edited 
by  Ernestine  Mills.  (London:  Longmans, Green 
and  Co.)  \os.  6d.  net. — The  claim  put  forward  by 
his    latest   biographer   that  Frederic  Shields   was 


Reviews  and  Notices 


'  one  of  the  greatest  modern  interpreters  of  the 
universal  language  of  art,"  will  scarcely  be  conceded 
by  those  most  competent  to  judge,  but  this  very 
fact  adds  pathos  to  the  record  of  his  long  struggles 
against  overwhelming  odds.  He  had  the  nervous 
irritability  that  so  often  accompanies  genius  with- 
out the  compensating  mental  strength  that  would 
have  enabled  him  to  rise  above  his  bodily  weak- 
nesses. Even  the  voices  of  nature,  such  as  the 
songs  of  birds,  that  are  a  delight  to  many  who  share 
his  hatred  of  the  noises  of  the  town,  were  abhorrent 
to  him,  and  his  whole  life  was  spoiled  by  a  super- 
sensitiveness  for  which  even  those  who  loved  him 
best  had  constantly  to  make  allowance.  His  treat- 
ment of  his  girl-wife,  whom  he  left  on  their 
wedding-day,  sent  to  a  boarding-school  soon  after- 
wards, and  lectured  in  his  letters,  scolding  her  for 
her  spelling,  and  telling  her  "  not  to  show  self-will 
or  disobedience  because  it  would  reflect  shame  on 
him  if  she  did,"  alienates  the  sympathies  of  the 
reader,  but  that  there  must  have  been  something 
very  lovable  about  him  in  spite  of  his  stern  un- 
bending character  is  proved  by  the  strong  affection 
felt  for  him  by  many  of  his  gifted  contemporaries. 
Not  the  least  interesting  portions  of  a  book  that  is 
full  of  psychological  suggestions  are  the  accounts 
of  Shields'  relations  with  Madox  Brown,  Rossetti, 
Morris,  and  Holman  Hunt.  Amongst  the  typical 
works  reproduced  some,  including  One  of  the  Bread 
Watchers  and  Whistle  and  Answer,  display  con- 
siderable imaginative  power. 

Stitches  from  Old  English  Embroideries.  By 
Louisa  F.  Pesel.  Portfolio  No.  i.  (Bradford 
and  London  :  Percy  Lund,  Humphries  and  Co. 
Ltd.)  1^,5.  net. — At  the  request  of  the  authorities 
at  the  Victoria  and  Albert  Museum,  South 
Kensington,  Miss  Pesel  recently  worked  a  set  of 
diagrams  of  stitches  which  occur  in  Old  English 
embroideries,  and  these  having  now  been  placed  on 
exhibition  in  the  textile  section  at  the  museum, 
she  has  been  allowed  to  have  them  reproduced  in 
colour  for  publication.  Hence  this  little  portfolio, 
which  contains  thirty-five  diagrams  of  stitches 
selected  from  examples  of  seventeenth  and  eigh- 
teenth century  work.  The  stitches  are  exhibited  on 
a  large  scale  in  strongly  contrasting  colours,  and  both 
the  finished  side  and  the  reverse  side  are  shown,  so 
that  with  the  notes  at  the  foot  of  each  diagram  the 
method  of  manipulation  is  made  perfectly  clear. 
We  commend  this  portfolio  to  the  attention  of 
needleworkers,  who  will  find  in  it  many  interesting 
varieties  of  stitch  which  are  probably  unknown  to 
some  of  them. 

The   English   Fireplace.     By  L.   A.   Sml-ffrev. 


(London  :  B.  T.  Batsford.)  £2  2s.  net.— In  this 
sumptuous  and  exhaustive  treatise  upon  a  subject 
which,  though  primarily  of  architectural  interest, 
yet  acquires  a  more  general  significance  when  it  is 
remembered  that  the  hearth  has  been  from  time 
immemorial  the  centre  of  the  home  and  family  life, 
Mr.  Shuffrey  traces  the  development  of  the 
chimney  piece  and  firegrate  with  their  accessories 
from  the  earliest  times  up  to  the  beginning  of  the 
nineteenth  century.  As  regards  its  architectural 
value,  the  fireplace,  though  originally  constructed 
on  a  strictly  utilitarian  basis,  grew  in  importance, 
during  the  Gothic  and  Renaissance  periods,  to 
such  a  point  as  to  become  the  most  prominent 
feature  of  the  room,  and  henceforward  we  find  it 
reflecting  faithfully  all  the  subsequent  different 
styles  in  architecture.  The  volume  is  well  indexed 
and  contains  two  hundred  illustrations  in  the  text. 
The  chief  feature  is,  however,  the  series  of  one 
hundred  and  thirty  excellent  reproductions  in  collo- 
type after  photographs,  chiefly  by  Mr.  W.  Gals- 
worthy Davies,  of  some  of  the  finest  examples  of 
fireplaces  in  England. 

A  History  of  Painting  in  North  Italy.  By  J.  A. 
Crowe  and  G.  B.  C.w.\lcaselle.  Edited  by 
Tancred  Borenius,  Ph.D.  (London  :  John  Mur- 
ray.) 3  vols.  jQt,  35.  net. — Enriched  with  numerous 
excellent  reproductions  of  characteristic  works  of 
the  painters  considered,  and  brought  into  line  with 
the  results  of  modern  research  by  copious  scholarly 
notes,  this  new  edition  forms  a  worthy  supplement 
to  the  equally  successful  reissue  of  the  same  authors' 
companion  publication  recently  brought  out  by 
Mr.  Murray.  But  for  a  few  necessary  corrections, 
such  as  changes  in  the  official  names  of  galleries, 
&c.,  the  editor  has  left  untouched  the  original  text, 
which  even  at  this  late  day  still  ranks  amongst  the 
classics  of  art.  That  certain  experts  differ  from 
the  conclusions  of  the  learned  collaborators  as  to 
the  authorship  of  some  few  pictures  does  not  really 
detract  from  the  value  either  of  their  technical 
criticism  or  of  the  historical  data  collected  by  them, 
so  just  is  their  estimate  of  the  distinctive  qualities 
of  each  artist,  so  unwearying  was  their  patience  in 
the  collection  of  information.  To  (juote  two  cases 
in  point,  how  clearly  traced  are  the  different  cur- 
rents in  Venetian  art  in  the  early  fifteenth  century, 
and  how  vividly  realised  is  the  struggle  that  took 
place  towards  its  close  between  the  Vivarini  and 
Bellini,  and  their  respective  followers.  No  less, 
however,  it  must  be  added,  has  been  the  industry 
displayed  by  their  last  editor  in  sifting  the  vast  mass 
of  material  that  has  accumulated  during  the  last 
half-century.     The  list  of  authorities  ijuoted  from 

347 


Reviews  atid  Notices 


by  Dr.  liorcnius  fills  ten  closely  printed  jxiges, 
but  even  this  gives  no  adequate  idea  of  the  labour 
involved  in  his  work  as  editor.  In  every  case  he  gives 
the  present  location  of  the  paintings  mentioned  in 
the  text,  involving  long  and  tedious  investigations, 
refers  wherever  possible  to  pictures  from  the  hands 
of  the  painters  criticised  to  which  no  allusion  is 
made  by  the  authors  of  the  book,  and  here  and 
there  he  proves  on  what  slight  grounds  important 
conclusions  have  been  based,  as  when  he  expresses 
his  opinion  that  the  much-quoted  epitaph  on  the 
Barbarelli  tomb,  on  which  was  founded  the  popular 
belief  as  to  the  origin  of  Giorgione,  was  wrongly 
reported. 

An  Account  of  Medun'al  Figure- Sculpture  in 
England.  By  Kd\v.\rli  S.  Prior,  M.A.,  F.S.A., 
and  Arthur  G.\rdner,  M.A.,  F.S.A.  (Cam- 
bridge :  The  University  Press.)  J[^t,  3^-.  net. — 
The  joint  authors  of  a  book  that,  even  without  its 
deeply  interesting  text,  must  be  a  delight  to  all 
lovers  of  the  noble  art  of  decorative  figure-sculpture, 
on  account  of  the  vast  number  and  the  beauty  of 
its  illustrations,  go  to  the  very  root  of  the  matter 
under  discussion.  Not  only  do  they  describe  and 
classify  all  the  most  characteristic  examples  of  this 
delightful  craft  that  still  survive  in  England,  and 
bring  out  clearly  the  close  correlation  between 
their  style  and  that  of  the  buildings  they  adorn, 
they  realise  the  very  spirit  that  animated  those 
who  executed  them.  "The  maker  of  images  for 
a  medisval  church,"  they  say,  "  was  in  no  hotbed 
of  culture,  was  no  sophist  of  the  schools  or 
champion  of  this  or  that  artistic  faith.  But  par- 
ticularly he  had  no  power  of  choice  in  the  message 
he  had  to  deliver  :  the  selection  and  discovery  of 
the  motives  for  sculpture  had  been  made  for  him 
dogmatically  by  the  verified  creed  of  Christendom. 
...  If,  as  working  in  stone  he  could  not  rival 
the  marble  artist  in  .  .  .  perfection  of  finish,  yet 
the  spiritual  forces  which  came  to  him  from  the 
tradition  of  the  church  make  themselves  evident. 
.  .  .  He  managed  to  embody  in  sculpture  some- 
thing of  the  divine  power  which  was  moving  the 
world  of  sculpture."  A  general  survey  of  the 
materials  and  subjects  of  architectural  sculpture  is 
succeeded  by  a  chronological  histor)-  of  the  art 
from  Pre-Conquest  to  Gothic  times,  every  page 
bearing  witness  to  the  enthusiasm  of  the  writers, 
their  highly  developed  critical  faculties  and  in- 
timate acquaintance  with  the  religious  and  political 
conditions  of  which  the  buildings  of  each  succes- 
sive period  were  to  a  great  extent  a  reflection. 
Of  very  special  value  are  the  chajHers  bringing 
out  the  singular  indifference  to  individual  fame 
348 


that  esjjecially  in  the  Mid-Gothic  era  characterised 
the  men  who  gave  up  their  lives  to  the  erection  and 
embellishment  of  the  glorious  churches  in  which 
their  genius  found  its  fullest  expression.  The 
whole  book  is,  however,  full  of  appreciation  of  the 
personal  element  that  is  so  important  a  factor  in 
all  good  work  and  of  recognition  of  the  fact  that,  in 
sjjite  of  occasional  slight  influence  from  abroad, 
Knglish  figure-sculpture  was  from  first  to  last 
essentially  national. 

Art  in  Egypt.  By  G.  Maspero.  (London  ;  W 
Heinemann.)  ds.  net. — This  little  volume  belongs 
to  the  series  of  art  histories  in  which  it  is  intended 
to  give  a  coup  d'a:il  or  general  sketch  of  the  develop- 
ment of  art  in  various  countries,  each  volume  being 
entrusted  to  a  recognised  authority.  In  the  one 
before  us  the  distinguished  scholar,  M.  Maspero, 
whose  writings  on  Ancient  Egypt  are  held  in  high 
esteem  by  all  archajologists,  reviews  the  artistic  pro- 
ducts of  the  remarkable  people  whose  civilisation 
astonishes  us  more  and  more  as  our  knowlege  of  it 
increases.  The  point  emphasised  by  the  author  in 
regard  to  their  art  is  the  subordination  of  that  art 
to  religious  utility  throughout  its  entire  history — 
and  not  only  plastic  and  pictorial  art,  but  industrial 
art  as  well.  He  remarks,  too,  that  it  was  from  the 
same  cause  that  sculpture  came  to  assume  the 
leading  r/jk  in  art  of  the  Egyptians,  whose  religious 
ideas  demanded  the  most  durable  medium  for  their 
embodiment.  The  blow  which  struck  at  the  national 
religion,  struck  also  at  its  art,  and  it  disappeared — 
became,  to  use  the  author's  words,  "  as  extinct  as  the 
races  of  monsters  we  find  embedded  in  the  lower 
strata  of  our  globe."  Like  the  other  volumes  this 
one  also  is  copiou.sly  illustrated  and  well  printed. 

The  Story  of  a  Hida  Craftsman.  From  the 
Japanese  of  Rokujiuyen  by  F.  Victor  Dickins. 
(London  :  Gowans  and  Gray.)  \os.  hd.  net. — 
The  craftsman  in  Old  Japan  was  an  honoured 
personage.  He  was  an  artist,  in  some  cases  to  be 
ranked  with  its  greatest  painters.  This  was  only 
natural  when  we  remember  to  what  a  high  degree 
of  artistic  and  technical  excellence  he  at  times 
attained.  Rokujiuyen's  romance  deals  with  a 
worker  in  wood  from  Hida,  who  was  invested  with 
certain  supernatural  powers.  The  novel,  written  in 
the  early  days  of  the  last  century,  is  of  interest  as 
portraying  some  characteristics  of  Japanese  life  and 
legend  in  feudal  times.  The  reproductions  which 
accf)nipany  the  work  are  reduced  from  the  wood- 
cuts of  Hokusai,  but  while  exhibiting  something 
of  the  prowess  of  the  great  master  of  illustration, 
they  suffer  somewhat  from  over-reduction  in  size. 
Mr.   Dickins's  excellent  translation  is  accompanied 


Reviews  and  Notices 


by  notes  which  will  be  found  of  especial  value  to 
the  general  reader. 

Byzantine  Churches  in  Coiislantinople.  By 
Alexander  Van  Millingen;  M.A.,  D.D.,  assisted 
by  Ramsav  Traquair,  A.R.I. B. A.,  W.  S.  George, 
F.S.A.,  and  A.  E.  Henderson,  F.S.A.  (London  : 
Macmillan  and  Co.)  31  J.  dd.  net. — Displaying  as 
it  does  a  consummate  knowledge  of  its  subject, 
this  study  of  the  Byzantine  Churches  in  Con- 
stantinople forms  a  valuable  sequel  to  the  author's 
earlier  volume  in  which  the  Turkish  capital  is 
considered  chiefly  as  a  citadel.  Enriched  with 
numerous  plans,  reproductions  of  buildings  as  a 
whole,  and  of  characteristic  details  of  their  structure 
it  gives  an  exhaustive  description  of  the  evolution 
of  the  Byzantine  style  of  ecclesiastical  architecture 
with  many  most  interesting  accounts  of  notable 
events  connected  with  the  surviving  examples  of 
it.  The  one  drawback  militating  against  the  full 
acceptance  of  the  scholarly  writer's  conclusions  is 
that  he  does  not  do  full  justice  to  the  originality  of 
the  style  under  discussion,  for  he  asserts  that  the 
various  schemes  in  which  the  churches  of  the 
Byzantine  Empire  were  planned  were  all  derived 
from  the  three  main  types  that  prevailed  in  the 
Roman  world  in  the  early  fifth  century,  namely, 
the  basilican,  the  octagonal,  and  the  cruciform. 
He  even  goes  so  far  as  to  assert  that  there  is 
"nothing  either  in  the  planning  or  construction  of 
St.  Sophia,  in  which  the  Byzantine  style  culminates, 
which  cannot  be  derived  from  the  buildings  of  the 
Roman  Imperial  period."  By  adding,  however, 
the  significant  words  "  with  the  exception  of  the 
pendentive  "  he  contradicts  himself,  for  he  admits 
"  that  it  was  a  feature  which  had  to  be  evolved 
before  the  dome  could  be  used  with  freedom  in  any 
building  plan  on  a  square."  It  is  the  employment 
of  the  cupola  roofing  in  a  square  central  space  with 
the  aid  of  the  pendentive  that  is  the  fundamental 
principle  of  the  Byzantine  style,  differentiating  it 
from  every  other,  and  fully  justifying  the  claim  that 
the  architects  who  invented  the  admirable  con- 
trivance owed  little  to  their  Roman  predecessors. 
As  a  matter  of  fact  Byzantine  architecture,  by  its 
bold  and  original  treatment  of  plan,  roofing,  and 
decoration,  gave  new  life  to  an  art  that  was  sinking 
into  decadence  and  exercising  a  most  important 
influence  in  Western  Europe,  the  Cathedral  of  St. 
Mark  at  Venice  and  the  less  ornate  church  of  San 
Vitale  at  Ravenna  owing  their  chief  distinction  to 
the  adoption  of  the  style  of  Byzantium. 

Austria  :  Her  People  and  their  Hotneiands.  By 
James  Baker,  F.R.G.S.,  etc.  (London:  John  Lane, 
The  Bodley  Head.)  2  is.  net. — It  is  a  very  fascinating 


panorama  that  Mr.  Baker  and  his  artist  collaborator 
Mr.  Donald  Maxwell  present  to  us  in  this  volume. 
In  varietyofsceneryand  population  there  is  assuredly 
no  more  interesting  country  in  Europe  than  that 
over  which  the  venerable  monarch,  Francis  Joseph, 
rules  as  Emperor.  But  in  spite  of  its  manifold 
attractions  it  remains  to  a  large  extent  a  terra  incog- 
nita to  the  majority  of  tourists,  nor  can  it  be  said 
that  the  literature  concerning  the  country  is  over- 
abundant. Mr.  Baker's  book  is  written  mainly 
from  personal  observation  afforded  by  numerous 
journeys  extending  over  nearly  forty  years,  and  he 
has  wisely  given  prominence  to  the  less  familiar 
aspects  of  the  country  and  the  life  of  its  inhabitants ; 
but  he  has  interwoven  a  certain  amount  of  histori- 
cal information  which  adds  to  the  interest  of  the 
book.  He  has  found  an  able  collaborator  in  Mr. 
Maxwell,  whose  forty-eight  drawings  reproduced  in 
colour  give  the  reader  some  well-chosen  glimpses 
of  the  varied  urban  and  rural  scenery  of  the  Austrian 
dominions. 

Life  in  the  JP'est  of  Ireland. — Drawn  by  Jack 
B.  Yeats.  (Dublin:  Maunsel  and  Co.)  5.^.  net. 
— Mr.  Yeats  does  not  draw  in  an  accomplished 
professional  sort  of  vvay  ;  his  work  rather  reminds 
us  of  the  frank  disregard  of  academic  precision 
drawing  which  was  characteristic  of  illustrators 
of  early  \'ictorian  time.  But  Mr.  Yeats  observes 
very  closely,  and  informs  all  his  pictures  with  the 
actuality  which  results  only  from  a  never-resting 
study  of  nature,  and  thus  it  is  that  though  his 
work  is  sometimes,  perhaps  consciously,  amateurish 
in  style,  it  is  never  empty  in  feeling  or  mediocre 
in  result ;  it  really  does  illustrate  its  theme, 
realistically  as  well  as  decoratively,  giving  a  con- 
vincing impression  of  life  in  the  West  of  Ireland, 
and  with  the  aid  of  colour  making  an  entertaining 
book. 

Little  Songs  oj  Long  Ago.  The  original  tunes 
harmonised  by  Alfred  Moff.xt.  Illustrated  by 
H.  Willebeek  Le  Mair.  (London :  Augeners 
Ltd.  and  A.  and  C.  Black.)  y.  net. — This 
charming  book,  uniform  with  "  Our  Old  Nursery 
Rhymes "  which  was  reviewed  some  little  time 
back  in  these  pages,  contains  a  further  series  of 
old  Nursery  songs  with  musical  accompaniment 
and  a  number  of  illustrations  in  colour  by  Miss 
Le  Mair.  We  have  nothing  but  praise  for  the 
delightful  work  of  this  clever  young  Dutch  artist, 
and  have  seldom  seen  more  attractive  illustrations 
to  a  children's  book.  Miss  Le  Mair's  figures  are 
sympathetically  and  daintily  drawn,  and  she  pos- 
sesses a  sense  of  colour  and  a  feeling  for  decoration 
both  quite  remarkable. 

349 


The  Lav  Fii^itrc 


T 


HE  LAY  FIGURE:  ON  ART 
I,  RAZES  AND  THEIR  MEAN- 
ING. 


'•  I  WONDER  whether  there  is  any  connection 
between  the  general  increase  of  insanity  and  the 
irresponsible  character  of  modem  art  develop- 
ments," said  the  Art  Critic.  "  I  see  that  lunacy 
experts  declare  that  we  are  fast  approaching  the 
time  when  the  world  will  be  equally  divided 
between  mad  people  and  sane." 

■'  The  art  world  has  already  passed  that  stage, 
I  should  say,"  asserted  the  Plain  Man.  "  The 
majority  of  modern  artists  seem  to  me  to  be  dis- 
tinctly unbalanced — I  wish  I  could  think  that  even 
half  of  them  were  still  sane." 

"What  standard  of  sanity  do  you  set  up?" 
inquired  the  Man  with  the  Red  Tie.  "  Do  you  call 
ever)-  one  mad  who  does  not  subscribe  to  common- 
place conventions,  or  do  you  admit  that  an  artist 
can  be  markedly  original  and  still  be  quite  sane  ?  " 

"'Great  wits  to  madness  are  allied,'"  quoted 
the  Plain  Man.  "  Of  course  originality  is  not  a 
symptom  of  insanity  if  it  is  properly  balanced  and 
under  control,  but  when  it  gets  out  of  hand  it  is 
rather  apt  to  stray  in  the  direction  of  irrational  and 
extravagant  eccentricity.  If  you  lose  the  grip  of 
your  great  wits  you  are  in  some  danger  of  going  off 
the  rails  altogether." 

"  Ves,  that  is  not  a  bad  way  of  putting  it,"  broke 
in  the  Critic.  "Impatience  of  the  commonplace, 
which  is  the  stimulating  cause  of  originality,  is  an 
admirable  characteristic  so  long  as  it  is  guided  by 
reason  :  but  it  is  decidedly  dangerous  when  it  breaks 
away  from  proper  restraints.  Without  discipline, 
the  desire  to  be  original  leads  to  something  which 
can  not  unfairly  be  called  insanity." 

"  As  it  has  in  modern  art,"  commented  the  Plain 
Man.  "  We  are  now  in  the  middle  of  a  movement 
which,  beginning,  no  doubt,  in  an  honest  desire  to 
break  away  from  the  commonplace,  has  gone  to 
such  unreasonable  lengths  that  it  has  ceased  to  be 
sane." 

"Quite  so;  a  legitimate  effort  to  find  new  forms 
of  expression  has  thrown  off  all  discipline  and  has 
degenerated  into  a  craze,"  agreed  the  Critic. 

"  But  what  you  call  a  craze  can  surely  be  helpful 
to  the  progress  of  art,"  cried  the  Man  with  the  Red 
Tie.  "  Does  it  not  introduce  new  ideas  and  open 
up  fresh  points  of  view  ?  Does  it  not  lead  the  way 
to  better  things  ?  " 

"  If  you    look    upon  it  merely  as  a  temporary 
expedient,  as  a  violent  remedy  the  effects  of  which 
pass   off  quickly,    it   may   quite    possibly   do    no 
35° 


permanent  harm.  But  the  craze  is  always  some- 
thing of  a  danger  to  the  stability  of  art  and  it  causes 
a  great  deal  of  trouble  while  it  lasts,"  returned  the 
Critic.  "  The  point  to  consider  is  whether  in  the 
long  run  it  does  any  real  good." 

"  While  it  lasts  it  is  responsible  for  the  produc- 
tion of  a  great  deal  of  work  which  is  artistically 
indefensible,"  argued  the  Plain  Man.  "That  is 
what  I  complain  of." 

"There,  no  doubt,  you  are  right,"  replied  the 
Critic.  "In  movements  of  this  kind  there  are 
always  some  who  go  further  than  others  in  their 
craziness.  The  present  craze  in  painting  and 
sculpture  is  almost  exactly  parallel  to  the  so  called 
art  nouveau  craze  in  the  region  of  design  and  archi- 
tecture over  which  so  many  people  lost  their 
heads,  and  which  in  its  extreme  developments  was 
characterised  by  an  utter  disregard  of  the  funda- 
mental principles  of  construction  and  by  ignorance 
of  the  true  meaning  of  decoration." 

"  Still,  if  there  were  no  vehement  outbreaks  there 
would  be  no  art,"  decJared  the  Man  with  the  Red 
Tie.  "  It  would  settle  down  into  a  condition  of 
stupid  somnolence  and  would  finally  die  for  want 
of  exercise." 

"  It  might;  I  admit  the  danger,"  said  the  Critic. 
"  The  passing  craze,  violent,  unreasonable,  insane 
even,  as  it  is,  must  be  accepted  as  the  means  by 
which  art  is  roused  when  it  shows  signs  of  becom- 
ing torpid.  The  remedy,  to  us  who  are  brought 
into  contact  with  it,  may  seem  to  be  worse  than 
the  disease,  but  the  patient  derives  some  benefit 
from  it,  and  after  the  shaking  up  is  able  to  go 
about  his  business  again  in  better  health  and  with 
a  definite  renewal  of  vitality.  Harking  back  again 
to  the  art  ?iouveau  craze,  we  know  that  in  those 
places  where  it  went  to  greatest  extremes  it  has  in 
the  end  given  place  to  great  respect  for  constructive 
principles  and  repugnance  to  meaningless  decora- 
tion. We  may  therefore  take  heart  and  hope  for  a 
parallel  result  from  this  present  craze." 

"Then  it  comes  to  this,  that  artists  must  go 
mad  periodically  for  the  good  of  art,"  exclaimed 
the  Plain  Man. 

"  I  am  afraid  so,"  answered  the  Critic  ;  "  and  I 
suppose  as  the  insanity  in  the  world  increases 
they  will  get  madder  and  at  more  frequent 
intervals.  But  you  must  credit  them  even  in  their 
most  irrational  exploits  with  an  unconscious  good 
intention  to  do  the  best  they  can  for  art." 

"  That  may  be  so  in  certain  cases,"  retorted  the 
Plain  Man,  "but  I  have  often  wondered  whether 
some  of  them  are  not  deliberately  perpetrating  a 
big  practical  joke  on  us."        The  Lav  Figure. 


N 
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