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y 


THE  INTERNATIONAL 

STUDIO   AN  ILLUSTRATED 
MAGAZINE  OF   FINE  AND 
APPLIED  ART 
VOLUME   FIFTY-ONE 

COMPRISING   NOVEMBER,  DECEMBER,  1913 
JANUARY,  FEBRUARY,  1914 
NUMBERS  201    TO   204 


NEW   YORK    OFFICES    OF    THE    INTER- 
NATIONAL   STUDIO 

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


Index 


AcQUARELLisTi.  FifSl  Exliibttjoii.  Milan  322 

Adams.  Miss  .  .  Si 
Adams.  II.  \V.  One  IIlus  .u.i.ii  1 
Aifleck,  Andrew                                                    cUxviii 

Aid.  GoorRo  cxii 

Air>'.  Miss  A.  146 

Albers.F.     One  Illiis.  31" 

Alexander     ....  ccviii 

Alexander.  Edwin  222 

Alexander.  Herbert  222 
Alexander.  J.  W.                                  clxxviii,  clxxxvii 

Allan.  A.  R.  \V.                                              .      .  151 

Allan.  R.W.        .      .  301 

Allen.  \V.     OnelUiis.  163 

Alma-Tadema.Sir  L.  Si 

Almond.  D.  ,      .      .  142 

Andri.  Ferdinand.     One  lIUis.  23'> 

Anet.  Claude ccxiv 

Animal  Sculptor,   By  Jessie  Lamont.  Three 

Illus cvi 

Araki.  s-te  Tanrei     ...             ....  230 

ArisuRawa.  Prince  Takc.ilo.  Death.  240 
Art  Treasures  of  Mexico.     By  Mary  Worrall 

Hudson.     Five  Illus.      .....  ciii 

Associated  Artists  of  Pillsbtirp.     Fourtli 

Annual  Exhibition.  I9'3 cxxii 

Aumonicr.  J 3<''2 

Awdri',  Margaret  J.     Three  Illus.  270 

Bahr.  A.  W.       .  .  cxlvl 

Baker.  C.     One  Illus.  .  3or.  3"3 

Bakst,  Leon.     By  Gerald  C.  Siordet.     EirIu 

Illus.    , 3 

Bakst,  Leon 112,  cxiiii.  ccvii 

Baldr>-.  A.  Lys.    By  \V.  Russell  Flint.    Eleven 

Illus 253 

Ballin.  Hugo.     Mural  Decoration  in  the  State 

Capitol  of  Wisconsin.     By  Ada  Rainey 


Seven  Illus 

clxxxvii 

Baluschek,  Mans 

.       .        -'34 

Bankhart.  G.  P. 

81 

Barhette.  Josias 

130 

Barnard.  Elinor  M.     Two  lllu:^.  . 

ccxiii 

Bartels.  Prof.  Hans  von.     Dfadi 

321 

Bauer,  Marius  A.  J.     One  Illus 

cxiiii 

Uayes,  Miss  E 

14.' 

Hayes.  C'.ilbert 

.      .          Si 

Bayes.  -Miss  Jessie.     Three  Illus. 

142 

Bayes.  Walter                 .... 

23" 

Bcal.  Cifford                          cxxix.  cxl\ 

i,  clxxxiv.  ccii 

Beaux.  Miss  C. 

.      .        33'^ 

Beck.  Walter.     One  lllii: 

ccxiv.  ccxii 

Beckmanii 

31<l 

Bcham 

clxxviii 

Behmer.  Marcus 

76 

Beika,  \'an»aoka 

2.V1 

Bell.  GeorKe 

14.' 

Bell,  K.  .XnnhiR 

Si,  302 

Belleroche,  Mens  A. 

306 

Bellows,  Georne.     One  Illus, 

cxxv,  clxii 

Bell-Smith,  V.  M.    .      . 

i6j 

Belmont,  .\.     fine  Illus. 

74 

Beltrame.  Achillc    . 

326 

Bencsik,  Paul.     Three  Illus. 

4t 

Kendall.  Malxrl  K.     Two  Illus 

-71 

Benois,  Alexandre   . 

1  li 

Benson,  F.  W. 

cxivi 

Bcsnard  . 

cxxv 

Best.  Hans.     OmllluK. 

IS'J 

Bettinelli,  Mario 

32f> 

Bicknell.  K.  A. 

clxiii 

Bieber.K.     One  Ilhis. 

130 

BigKC.  Sir  I,.  A.  Selliy 

241 

Birch.  Lamoriia 

32} 

Birnliaum 

ccviii 

Birnhaum,  Martin 

ex 

Buhop.  H. 

142,  I4& 

Bilter.  K.      . 

clxxxvii 

Bladtlock.  K.  A. 

.  clxxix 

Illanche,  Jacnue*.     One  llln- 

146 

Blanche.  J.  1"..     One  Illus. 

QA.  oK 

BlasUrR-ld.  E.  II.      .      . 

clxxxvii 

I'AUIi 

Blum.  Jerome  cxii 

Blunt.  J.  S.  .      .  22s 

BoKuyevsky,  Konstanliii  no 

BoRcl.  Oscar       ...  7S 
Boil.  Charles.     One  Illus.                                127,  130 

Bolton.     One  Illus.  ccii 

Bombay  ccxiv 

Bone.  Muirhead  cxiiv 

lionnor.  J.  H.  and  N.     One  Ulus-  273 

Borch,  Ter.     One  Illus.      .      .  61 

Borblum,  S.  II.  cxlvi 

Boronda.  Lester  D.  clxxix 

Borsa.  Kmilio  326 

Boss,  Homer  ccii 

Both.  Jan  62 

Boucher  ...  clxLx 

Bracht,  Eugen    .  234 

Braniley.  F.  301 

BrandenburR.  Martin.     One  Illus.  320 
BraiiRwyii,  F.     Mural  Panel.     Ei^ht  Illus. 

175.  cxlviii 

BraURwyn.  F 7*<.  i.S9.  cxxix,  302,  305 

Braunfels                                            ....  clxxx 
Brekelenhaiii                                                             .62 

BreckcnrldRc.  H.  II.  330 

Brinle>'.  D.  P.    .      ,  cciii 
Brinton.  Christian 

Constantin  Meunier.     Fourteen  Illus.  cxlix 
Rochester  Mem.  Art  Gallery.     Three  Illus.     ccii 

Hriltan.  C.  E ccxi 

Hrochner,  Georg.     Second  Article.    Twelve 

Illus 126 

Brockhurst,  G.  L 331 

Brockhusen  .  310 

Bionise    .  ccvii 

Broscb.L.      B(.-p|)e  Ciardi.      Ten  Illus,  183 

Brown.  Arnesby -'.'2.  304 

Brown.  .\.  K..     .      .                    K         \  ^^^ 

Brown.  Mrs.  C.  H.                     /VJ  ^^'^ 

Brown,  Fred                                 '    _  301 

Brown.  G.  E.      .                              t        .  330 

Brown,  John  Lewis                        |  "i 

Brown.  Madox  .                        ^  57 

Brozzi,  Kcnato.     Four  Ulus.       1  ,     iO  237 

Bruges           .1        L/n  clxxx 

Brush.  DeForest                   .      ^  .    ^^  .  ccix 

Buckncr.  S.  O l^  1  -  .  ccxi 

Budd.  H.  A.       .      .                V      /     <— ^      I  303 

BurleiRh.  Mrs.  A.                       V    '    ^      (■  326 

Burne-Jones.  Sir  E.  57,  81 

Burns,  Delisle  222 

Burroughs  Fowler  2  2.> 

Bury.  Miss  G.  E.  3ii 

Butler.  E.  B.      .  cxi 

Biittner.  A.     One  Illus.  167 

Campron.  D.  V.     One  Illus.  i.i6.cxliv,  222.  241 

Cameron,  Miss  K.     Two  Ilhis.  .      .       89.98,151 
Canadian     Exhibition    American     Pictures. 

By  John  E.  Staley.     Three  Illus.     .  clxiii 

Carcano,  Filippo  324 

Carlson.  E.    .  clxii.  ccx 

Carmer.  Dorothy  cxlv 

Carr.  Norman  S.     One  Illus.  309 

Cassatt.  Mary.     One  Illus.  71 

Cassircr.  Paul     ...  310 

Calclipolc  22a 

Chabaniau    ,  3i''> 

Chandler,  G.  W.  cxii 

Chanler,  R.  W.  ccxii 

Cheyn.  Franz  i  27 

Chiang,  Chia-Pu.     (  hu-  Illus.  .*;-■.  S\ 

Chisholni,  D.  J 3.1 1 

Cho-densii Hi 

Chowne,  <fcrard  9K 

Ciarrti,  Beppe.      By  I,    Bros  h.  T-n  llluv          i«3 

Clapp,  W.  H.      .                         .  162 

Clarcnbarh.  Max  332 

Clark,  Jiimefl  .      .       301 

Clarke.  Dora  Brooke      One  IUuh  272 

Clauncn.  C^-orge  .'Ji.  301 

Cojitcs.  <'».     One  lllu'<.  1O3 

1  .^k.T.II    n  81 


Cohen,  L.  ilxii 
Cole.  A.  P.    .                                                              cxlv 
Coles.  W.  C.       .                                                  .228 
College  Art  Association.  Third  .\nnual  Meet- 
ing              cxxx. \v 

Conder 8t 

Connard.  Philip.      One  Illus.  07.  98.  222 

Conrad.  Gyula.     Three  Illus.  322 

Constable .         .  \ 

Cooper    ......  .vj 

Cooper.  Alexander.     Two  Illus.  12S 

Cooper.  C.  C cxlv,  clxii,  clxxxiv,  330 

Copley.  J.     One  Iltus 222 

Corinth,  I-ovis 234 

Corot.     By  .Mbert  Dubuis.'ijn.     Six  Illus.  200 

Corot.     One  Illus.  .  .  \xvil 

Correggio      ...  152 

Cosway.  Richard  clxxix 

Cote.  A.  Suzor  .  160 

Cottel.  Charles  32S 

Courbet  ...  ex.  cxxv 

Couse.  E.  J.   One  Illus.    clxii,  clxiv  clxxvi.       clxxxi 

Coventry.  Gertrude 151 

Coventry.  R.  M.  G 151 

Covey,  .Arthur  cxii 

Cowper.  Earl  306 

Cowper,  F.  Cadogan  Si 

Cox.  Halen  .  cxlv 

Cox,  Kenyon  clxxxvii 

Crane.  Walter  81 

Crawford.  H.  A.     One  Illus.  135 

(Tawhall.  J 151 

Cullen.  Maurice.     One  Illus.  .  lOu 

Cust,  Lionel .171 

Cuzner.  Bernard.     Two  Illus.  271,  272 

Dahlgrf.en.  C.  \V.       .      .      .  cxii 

Daingerficid,  Elliott  clxxvi 

Dante      ....  330 

David,  11.  F.  241 

Davidson,  W'ylie  268 

Davies.  Arthur  .  ccxii 

da  Vinci.  Leonardo  152 

Davis.  Leonard  M.  i  Ixxix 

Davis.  Warren  .      .  clxxxiv 

Davis.  William  Steeple.     Battle  of  Lake  Eric. 

One  Illus cxxx 

Dawson.  G.  W.  330 

Dawson.  Miss  M.  141 

Dawson.  N'elson.     One  Illus.  .81,  145 

Day.  Mabel  K.     One  Illus.  cxxii.  cxlv 

Dcarden,  II 241 

Dearth,  II.  V, ccxiv 

de  Boisguilbertt  Mme  la  Marquise  ccxiv 

Degas clxxviii 

De  Haven.  Frank .   clx.\ix 

DeKay,  Charles.     What  Tale  Does  ThisTap- 

estry  Tell.     One  Illus clix 

Delacroix  cxHv 

del  Bianco.  .\.  78 

dc  Koningh.  Pliilii>  f>2 

de  Morgan.  William  81 

dc'Nesti,  Adolfo.     One  Illus.  ex.  cxi 

Degas 71.  14'* 

Ueville.  Henry.     By  Mildred  Staplcy.     Four 

Illus clxv 

de  \all.  F.  II.     One  Illus.  ...     ccxiv 

Diaz ex 

Dixon.     Marion     II,     Kay     XieNen.     Nine 

Illus ll'> 

Dolnizhinsky,  Mstislav  112 

l)i>dd.  Francis    .  3"4 

Dixit*  Withers.  Mrs.  I   .  14.S 

Dohlmann,  Helen.     One  Plus.  73 

Domestic  .\rchil(vlure,  Recent  Designs  in. 

Six  Illus .^3 

Dougherty.  P.    ,      .  clxii,  clxxxiii,  i-cx 

Drawings.     By  G.  T.  Plowman.     Six  Illus.    cxxxiv 
Drcier,  Katherine  S.     Two  Illus.  cviv 

Drew.  Miss  Joan.     Two  Illus.  58 

Drlikol.     One  Illus.  I37 

Drury.  .Mfred  81,  241 

Drury.  A    1-:    K  305 


•    Index 


PAGE 

Dubiiisson,      Albert.     Reminiscences      of 

Corot.     Six  Illus -''19 

Dubuisson,  M.  A.    .      .  171 

Duff,  J.  K.  K 225 

Diihrkoop.  Rudolph  and  Minya.      Oiip  Iltus  132 

Du  Jardin     .      .  62 

Dulac,  Edmund  Si 

Dunikowski,  Prof.  J36 

Dupre      .      ,  ex 
Dilrer      ,      ,      .                                                  clxxviii 


Eadie,  Kate  M.     Five  Illus. 
East.  Sir  Alfred.     One  Illus.    . 
Ebert,  Charles.     Two  Illus.     , 
Echave.  Baltasar.     One  Illus. 
Eisho,  Makino.     One  Illus. 
Eitoku.  Kano     ... 
Elliot.  Mrs.  E.  S.  G.     . 
Emerson,  W.  C.       .      .      - 
Emmet.  Lydia  F.     One  lUus. 
Engel,  A.     One  Illus. 
Engel.  L.     One  Illus.    , 
Erbsloh   ... 

Este.  Miss  F 

Etchings  by  Louis  Orr.      Six  Illus.     . 
Etchings,  Six  Original.     By  Walter  Zeising 

Six  Illus.  . 
Eves.  R.  G. 
Ewbank  . 


267,  268,  269 

cxii.  222,  302 

ccxiii.  ccxi 

civ 

240 

S3 

330 

330 

Ixxxv 

39 

43 

319 

328 

20 


81 


Faithorne.  W.  cxii 

Falat.  Julian       .      .      -      .  236 

Fanner,  Miss  A.     One  Ilkis.  304 

Fary.  J.     Two  lUus.  40.  43 

Fearon,  Miss  H.       .  .        142 

Fechin ...  ex 

Fedden,  R.     One  Illus.  .  222.  225.  226 

Fehdmer.  Richard  .  159 

Ferrari .326 

Figgis.  Miss        ...  142 

Finberg,  A.  J 171 

Fine  Art  Society  Exhibition.  Two  Illus.  141,  146 
Fine  Arts  Palace  of  the  National  Exhibition 

at  Toronto.     Three  Illus clxiii 

Fine  Art  Society  Exhibition  .       309 

Fisher .Si 

Fisher.  Mark      .  2,(^2,  304 

Fisher.  S.  Melton  301 

Fitton,  Hedley clxx.  viii 

Flint.   W.    Russell,   A    Romanticist  Painter. 

Eleven  Illus,  ,  ,  .        253 

Flint,  W.  R.       .      ,  142 

Florence.  Sargant 304 

Flower    Painting.     By    T.    Martin    Wood. 

Ten  Illus.         ,       ,       ,  .  89 

Foottet    ...  .        225 

Forain        ...  .  cbLXviii 

Forbes,  Stanhope  .301 

Foster,  Ben ex 

Foster,  Edith  D.     \\'m.  A.  Robertson.      Two 

Illus xcv 

Fox-Pitt,  D.  D.        ,  225 

Fragonard.  Two  Illus.  .  cLxix.  ccxiii 

Frampton.  Sir  George  .  .81 

Franck.  Philipp 2^2 

French  Art  of  the  Eighteenth  Century.     By 

C.  Matlack  Price.     Four  Illus.  .      .  clxviii 

French.  D.  C cLxxviii.  clxxxvii 

Frieseke,  F,  C.  ,  clxii.  ccx 

Frost,  Miss 81 

Frost,  Miss  L.     One  Illus.  166 

FuUwood.  Henry  22~, 

Full  wood,  A.  H.  .222 

Gabian,  Miss  Ethel.     Two  Illus.  58,  60.  59 

Gabor,  N.     One  Illus.  34 

Gagen,  R.  F.  162 

Gaigher,  Dr.  H,  159 

Gainsborough  305 

Gallasz,  W.     One  Illus.  42 

Gallen.  Axel  .        i  ro 

Galli,  Guiseppe  326 
Garber,  Daniel  .                                               ,  clxii.  clxiv 


Garnsey.  E.        .      . 
Ciarrett.  Edmund 
Gaskin.  Mr.  and  Mrs. 
Gay,  Edwin 
Geibel.  Margcrete    . 

Genth.  L 

Gere.  C.  M.     Two  Illus.    . 

Gerhard,  Justizart  . 

Ghent  Exhibition.     Three  Illus. 

Gibson.  W.  A.     One  Illus. 

Gims:in  and  Heal 

Giroust.  R.     Two  Illus. 

Glackens,  W.  J. 

Gloag.  Miss  II. 

Gloag.  Miss  I.  L. 

Gogol       ... 

Gola.  Eniilio 

Goldwaite,  Miss  A. 

Golovine,  A.       .      . 

Gomansky.  Edmund.     One  lllii^ 

Goodman,  Gwelo     .... 

Gotch,  T.  C 

Goj-a,  Francisco  de.     Portrait  of  Jose 

Mora.     One  Illus 

Grabar,    Igor.     By    Vittorio    Pica. 

Illus 

Grabar,  Igor 

Graf.  Oscar.     One  Illus. 

Graham.  R.  A 

Graphic  Art  Exhibition.  Hamburg. 

Illus 

Gregory.  Miss  Jessie.     One  Illus. 
Griffenhagen.  Maurice 
Greppi.  Giovanni.     One  Illus. 
Grethe.  Carlos.     Death     . 
Greuze     ... 
Greve-Lindau     . 

Gruppe,  C.  P 

Guerin.  Jules.     One  Illus. 
Guillauniin    .,...- 
Guthrie.  James         ... 
Gutman.  Bernhard.     Five  Illus. 


PAGE 

cbcxxLx 
cxiv 

8r,  270 

.   clxxix 

-b 

clxii 

303,  304 

234 

78 

I. SI 

8i 

.  315.  316 

ccxii 

225 

142 

107 

326 

32S.  cxii 

108 

233 

146 

301 

clviii 


Perez 

Three 

107,  110 

114 

77.   78 

cxlv 

Three 

76.  rcii 

.      .  61 

150 

326 

78.  321 

.    clxxix 

76 

cxlv 

327.  330 

-  ■       71 
150.  302 

-  clxxix,  ccv 


H.ACKER.  A 

Hahlo.  A.  H 

Haider.  Karl.     Three  Illus. 

Haig.  Axel  H 

Halapy.  E.     One  Illus. 

Hall,  Oliver 

Hallowell,  George.     One  Illus. 
Halmi.  Arthur  L.     Four  Illus. 

Halpert,  S 

Hals 

Hals,  Frans 

Hambiichen,  Wilhelm.     One  Illus 
Hamilton.  James  Whitelaw.     By 
Walker.     Ten  Illus. 

Hanak     

Handle,  Jeweled  of  Key.     One  111 

Hankey.  Lee       .  . 

Harada.  see  Jiro 

Harper.  Miss 

Harris 

Harris.  Lauren 

Harris.  Robert 

Harrison 

Harrison,  Birge 

Hartley,  A.  . 

Hartrick,  A.  S.  . 

Harvey.  Eli.     Three  llhis. 

Haskell 

Hassall,  John.     Four  Illus. 

Hassam.  Childe 

Hasse.  Sella.     One  Illus.    . 
Hauschild.  Walter.     Three  Illus. 
Havemann.  Margerete 
Hawksworth 
Hawksworth.  W.  J.  M. 
Hawthorne,  Charles 
Hazlett,  D.  M.  .      . 

Heal 

Hechle.  Miss  H.  M. 
Heeramanek,  M. 


301 

ccx 

232.  317 

clxxviii 
39 

146 

cUxvi 

ccxii 

cxxiv 

305 

232 

A.  Stodart 

9 

236 

22S 

clxxix 

S4 

81 

ccii 

162 

162 

81 

ccviii 

.     225.  302 

146.  222.  227 

cvi 

.clxxviii 

306 

clxii,  clxxxiv.  ccx 

.      .      .  78,  76 

.      -      .  65 

76 

225 

225 

clxxxiv 

249 

,       .    Si 

331 

ccxiv 


PAGE 
32S 

241 

clxii 


Heil.  C.  E 

Hehnberger,  Adolf.     One  Illus 

Hendrie,  II.         . 

Henri.  R. 

Henry.  George    . 

Henry,  J.  L. 

Hewitt,  Graily  . 

Hewitt,  Hon.  Norah 

Hicks,  Lottie  B.     One  Illus. 

Hidenobu,  Kano 

Higgins,  E.   . 

Hildreth,  Susan 

HiUer       .      .      . 

Hirzel,  Hermaini 

Hoach,  Priter  de 

Hobbema 

Hoeber,  Arthur.     One  Illus.    . 

Hoernes,  Kasimir 

Hoetger,  Bernhard.     Three  IlUis. 

Hofer       .... 

Hoffmann,  Dr.  F.    , 

Hoffmann.  Ludwij:.     Two  Illus. 

Hogarth 

Holbein  . 

Holme,  C.  G.      . 

Holme,  Geoffrey 

Holmes.  C.  J. 

Holz,  Johann 

Homer,  Winslow 

Hongwanji,  Nishi  Chamber.     One  Illus. 

Hopwood.  H.  S 

Hornby.  Lester  G.     Pen  and  Ink  Sketches  of 
Equihen.     Eight  Illus.    ... 

Hornel,  E.  A.      . 

Horneman,  Christian 

Horter,  Earl       .      . 

Howarth,  A.  E.  ' 

Hoyer,  Cornelius 

Hubner.  H.  .      .      . 

Hudson.   Mary  W.     Art  Treasures  of   Mex- 
ico.    Five  Illus ciii 

Hughes.  C.  H.     One  Illus 271 

Hughes-Stanton 192.222.305 

Hunter.  George  Leland: 

.\  Woman  Painter  of  Great  Men.  Six  Illus.     cxcv 
.\chilles  Tapestries.     Three  Illus.  .      .      cxxxviii 

Hyde,  Frank.     Seven  Illus 285 

Hyde.  Helen.      Colour  Lure  of  Mexico.    Nine 

Illus 26 


302 

81 

228 

313 

83 

cxii 

ccii 

130 

319 

305 

...  62 

clxxxiv.  clxxxvi 

.      .      .  78 

234 

319 

ex 

152 

305 

152 

225 

145 

304 

159 

cxxix 


306 

45 
151 
130 
cxii 
Ixxviii 
130 
242 


Ide.A-L  Home  Exhibition 
Ikegami.  see  Shuho 
lilies.  Arthur 
Imre,  G.     Two  Illus. 
Inness,  George   . 


145 

239 

76 

.    42.43 

ixxix.  cLxxix 


International  Art  E.xhibition.  Munich.     Two 

Illus 23O 

International  Society  of  Sculpturs,  Painters 
and  Gravers.     Three  Illus 146 

Irving.  J.  R.  ^■'^i' 


Jacques.  Bertha 

Jaegers,  .Albert.     One  Illus. 

James.  Francis   .... 

James.  F.  E.     One  Illus.    .  91. 

Jamieson,  A 

jaser.  M.  M.  F.     One  Illus. 
Jefferys.  C.  W.     One  Illus. 

Jeffrey  &  Co 

jewellery.  Some  Examples  of  Modern 

lish.     Twenty-seven  Illus. 
Jiro.  Harada 
Johansen 
John, A. 
John.  A.  E.  . 
John,  Sir  W.  G. 
Johansen.  J.  C. 
Johnson,  Borough    . 
Jones.  A.  G.     Two  Illus. 
Jones,  F.  C.     One  Illus. 
Josef.  Franz 
Jonas.  Charles 


cxu 
cxliv  c.xlvi, 
.  .  228 
98.  302.304 

146 
129.  130 

1 00 
.       .  81 


Eng- 


205 
84 


304 

81 

clxi  i 

192 

^\l.2,V2 

clxxxvi 

ecvii 
317 


Index 


Jourdain.  Henri 
Jo>*ant.  Manzi 
Jucl.  Jens 

KArHOKi".  see  Vuscisii 
Kaincr,  LiidwiR 
ICaitier.  Richard 
Kalckreuth.  Count 
Kano.  see  Eitoku 
Kano.  set  Hidenobii 
Kano.  see  Koi 
Kano.  ste  Ryokci 
Kano.  ste  R>-otatsu 
Kano.  set  Tannyu 

ICaulbach  

Kayser-EichberR.  Carl.     Two  lllus. 

Keescy.  William 

Kelly.  G.  F. 

Kcmeny.  A.     One  IIIus. 

Kemeny.  E.     Two  IIIus. 

Kcndrick 

ICennineton.  Eric  II. 

Kennington.  K.  B. 

Kerr,  L.     One  IIIus. 

Kesniarky 

Khnoptf,  Femand   . 

Kimpo.  Mochizuka 

King.  Cecil   .  

King.  Jessie  M.     Seven  Happy  Days. 

teen  lllus 

Kirchmayer.   I.     Wood   CarvinRs.     By 

lian  I-eslie  Tower 

Kirkinan.  C.  M.     Two  lllii-i 

Klein.  Maud 

Klemm 

Klimc.  Gustav   .      .      ,      , 

KIine<  W.  F.     One  lllus. 

Klinger.  Max 

Knisfht.  Harold 

KiiiKit.  J.  B. 

Knights.  Mrs.  Laura  221 

Knowles.  Mrs.  E.  A. 

Knox.  Susan  R.     One  lllus. 

Koi.  Kano 

Kokei.  Yoshimura.     One  lllus.     . 

Kokei 

Kondo,  jrr  Suisen.     One  lUiis 
Konnick.  Salamon 
Konrad.  J.     Two  lllus. 
Korin.  Ogata 
Korovine,  Konslantin  - 
Kolera.  Prof.  Jan.     Two  lllus. 

KousnetsofT,  Paul 

Kriesch-Korosfui.  .\ladar.     One  lllus. 

Kroll 

Kroll,  Leon 

Kruse.  Katlie.     One  lllus. 

Kack.  Mrs.  M.  S.     One  HIu*;. 

KumaKai,  ^ee  \aohiko 

Kustodieff,  Buris 


PAce 

307 


fi3 


7*» 
S3 
8j 
83 
83 

83 
clxxix 

2yy.  234 

140 

40 

37.41 

171 

14^ 

301 

cxlvi 
ccvii 


Fif- 


Lil 


"03 


Ixxxix 

266.  267 

166 

ccvii 

236 

clxxxiii 

76 

ccv  iii 

302 

227.  ccvlii 

162 

ccx 

83 

83 

84 

240 

clxxix 

38 
83 


.•3^> 

luS 

74.  75 

clxxxiv 

ccxii 

1 58 

166 

230 


LARRot'ciie.  Pierre 

Lagrenee 

Lamb.  Fre*lerick 

l^mb.  Miss  II. 

Lambert,  (i.  W. 

Lamont.   Jewie.     Animal   S.ulptor.     Three 

lllus.    . 
l-anccray.  Eugene 
l^anghanimer.  Carl 
Laske.  Oncar 
Laake.  Otto 
Latenay.  Ciajiton  <le 
I^  Tourhe.  Gaaton.     One  llluo. 
l^tour.  Fantfn 
Lautrec,  ToulouHc  71 

I^urence,  Sir  Tltoma*.     One  IIIuk.  rlxxx 

Lavrr>*.  J-  150,303 

Lawson.  K.  rlxxxiii.  ccxil . 

I^wton,  J.  K.  lf^2 


317 
ccxi 
Ixxx.  cci 
241 
146 

cvi 

1 1  J 
234 

■  viii 

317 

\2^ 


Lay  Figure: 

thi  the  Moiiern  Photograplier  86 

On  Facing  Both  Ways  172 

On  Cottage  Architecture  250 

On  the  Pictorial  Motive  334 

Ledward.  C..  331 

Ix-hnbadi  clxxix 

Ia'Iuu'I.      Ten  lllus.  203 

Leigh,  W.  R.  clxxix 

Lcly.  Sir  Peter  3''5 

Lcmont.  Jessie.     Art  of  C.  S.  Pietro.     Eiyht 

lllus.  cxv 

Le  Nain ccxi 

I-essore.  F.     Two  lllus.  ii<^ 

I^essore.  Louise.  Two  lllus.  311.313 

Lever.  Ilayley  .  clxxxiv.  ccii 

Levetus.  A.  S.     Ro>'al  Hungarian  Arts  and 
Crafts    School.     Budapest.     Twenty-one 

nius 34 

Levitan.  Isaak 107 

Lie.  Jonas.     .\    Painter  of   Panama.     Four 

lllus.  cxcii 

Lie.  Jonas  clxxxiv.  cci 

LiclM;rniann.  Max  76 

Lindner.  Moffat  141.302 

Linton.  Sir  J.  D.  141 

Lischkc.  Emmy  150 

Little.  Leon 
Livens,  11.  ^L 
Llewellyn,  W. 
Lock.  Miss  H 
I>ogsdail.  W- 

lx)nias.  Mease 

I^ndon  County  Council  Central  School  of 

Arts  and  Crafts 
I-ongden.  A.  A. 
Liidecke.  August 
Lugovsky.  Tatiana 
Luigini 
Luks,  George 
Lund.  E.  F.  S.    . 
Lupton.  W.   Holland.     Skctchiim   Notes  in 

Tunis  and  Gabes.     Ten  lllus. 
Lwoff-Parlaghy.  Princess.     Six  lllus. 


One  IIIus 


R. 


P. 


M'Taciiart  W. 

McEvoy.  A. 

McGoun,  Miss  H.  C 

Mclntyre,  Raymond.     One  lllus. 

Macbeth.  Miss  .\nn 

Macdonald.  J.  E.  H.     .      . 

Machell.  W.  G.     One  lllus. 

Mackenzie,  J.  H.     One  lllus. 

Madeira,  Miss  Clara 

Maella.  Salhador  de.     One  lllus. 

Makino.  sff  Eisho.     One  lllus.     . 

Maliavine.  Philip.     By  \'ittorio  Pica. 

lllus.  .  .  . 
Maliavine.  Philip 
Mallows.  C.  E.    House  and  Garden  in 

Wales.     Seven  lllus. 
Manet.  Edouard 
Manley  .       . 

.Mansbeld,  I^uise  B. 
Manning.  Westley  ... 
.Manship.  Paul.     One  lllus. 
Maraini.  Antonio.     Two  lllus. 
Martani.  Poimik'o 
Marr.  Prof.  (  . 
Marsh.  F.  D.     One  Illu-*. 
Martin  Bros.       ... 
Martineau.  S.  Madeleine.     One  lllus. 
Maruyanni.  ,vrf  Okyo 
Masaji.  Sakurai 
Math  arini 
Madon.  Miss 

MatMunasa.  ire  Tenslio.     One  IIIus. 
May,  Florence.     One  lllus. 
May.  Mrs.  F.  L. 
May«>r.  Frr«l 
Mee*in.  Mil*!*  D. 
Meheul.  Mathurin 


Thr 


2>^^ 

08.  222 

302 

304 
301 
225 

163 
81 
ISP 

108 
317 

ccxii 

127 

cxcv 

151 

303 

ly 

222 
Xl 
J  62 
166 
151 
330 

cv 


M>7.  113 
1  Id.  1 16 


2IS 

.'.  clxxv 
ccxi 
cxlv 

225 

clxxxiv 

60 
326 

■  SQ 
cciv 

81 
271 

84 

240 

326 

ccii 
230 
ccix 
ccxiv 
2  25 
i6j 
316 


pa»;k 

Metil,  Hans 

.76.3W 

Melchers.  Gari 

234 

Melzer.  Moritz 

76,310 

Menard.  Emile  Rene.     One  lllus 

328 

Men-alf.  W.  I 

ccx 

Mel  de  Hies.  Henri 

cxlv 

Metsu.  Gabriel.     (»ne  lllus. 

0  I  ,  (>.l 

Meunier.  Consiantin.      Message  to  .\nieri 

a. 

By  Christian  Brinton.     Fourteen  lllus. 

cxiix 

Meunier.  Henri 

317 

Meyer.  H.     One  lllus. 

3l'> 

Meyer- Riefstahl.  M.  R. 

ccxiv 

Michaelis.  Max 

61 

Mielaiz 

clxxx 

Millais 

57 

Miller 

i36 

Miller.  Alec.     One  lllus. 

US 

Miller.  K.  II.      . 

CCX 

Miller.  R.  E. 

cxivi 

Millet       .      , 

ex 

Millet.  F.  D.     One  lllus. 

cxii 

Millet.  J.  F. 

cxlv 

Millioii.  Nikolai 

108 

Milue.  D.  B. 

3i» 

Mitchell.  Or.  S.  W. 

^-Ixxviii 

Mittell.  Miss.     One  lllus. 

t-lxxvi 

Mochlzuki.  .vi*  Kimpo 

230 

Mohrbutter 

2ii 

Moira.  Prof.  Crerald.     One  lllus               81 

,  222,  225 

Monet 

71 

Miiller,  Johannes.     One  IIIus. 

125.  I  JO 

Moore.  -Mbert 

302 

Moore.  A.  W. 

242 

Moore.  Bernard 

81 

Moore.  Cieorgc 

cxxvi 

Moorepark.  Carton.     One  IIIus.      clxxv. 

clxxx.  ccx 

Mora,  F.  Luis 

ccii 

Mora.  Jose  Perez.     Portrait  by  Francisco  de 

Goya.     One  lllus. 

civiii 

Morisol.  Berthe 

71.146 

Moro.  Antonio 

30s 

Morobashi.  see  Raisho 

239 

Morris     .... 

81 

Morris.  Miss  May 

81 

Morten,  Alexander 

ccxiv 

Moser,  Carl 

76 

Mosson    . 

112 

Motz.  Mrs.  R.  E. 

cxxii 

Munch.  Edward 

319 

Mundy.  Miss 

clxxvi 

Munnlngs.  S..  J. 

140 

Muntz.  I^iura.     One  lllus. 

160 

Murillo 

clxxix 

Mussatoff.  Viktor 

1 12 

Nanck.  Morton 

30Q 

Nanteuil.  Robert 

cxi 

Naohiko,  Kumagai 

230 

Nationa  Academy  of  Design.     By  W.  H.  de 

B.  Nelson.     Six  lllus clxxxiii 

National     Canadian     Exhibition.     Toronto. 

Three  lllus.     .       .  luo 

National  Gallery  of  British  Art  Exhibition, 

London 57 

National  Loan  Exhibition. Second.  "Woman 

and  Child  in  Art" 30S 

National  Society  of  Craftsmen.  Seventh  .An- 
nual Exhibition  clxxx 

Neatby.  W.  J.  309 

Nelson.  W.  H.  de  B.: 

Etchings,     Seven  lllus  Ixxxi 

X  Rebel  in  the  Architects*  Camp.     Seven 

IIIus. xcvil 

Rare  Stones.     Five  IIIus.     ....    clxxii 
National  Academy  of  Design.  Winter  Ex- 
hibition.    Six  lllus.  clxxxiii 
.\rtH  and  Crafts  Exhibition.  1013-     Seven 

llltiit.  cxci'' 

Newbcry.  F.  H 146.268 

Newlwlt.  Frank.     E.  M.  Synge.     Six  lllus.         98 

Newell.  Glenn  cxlv.  ccii 


Index 


PAGE 

Xew  Enj^Iish  Art  Club.  First  Exhibition.     Six 

IIlus ...  301 

Xew  Society  of  \\'ater-Colour  Painters   -  22^ 

New  York  Public  Library  Exhibitions    .  cxxix 
New  York  Society  of  Etchers.     First  Annual 

Exhibition.  1913  cv 

Nichols,  MissC.  M.  85 
Nicholson.     One  lUus.                                  oi.<j.s.  14O 

Nicholson,  W ,221 

Nicklass.  Lotte.     One  lUus.  "5  53 

Nielsen.  Clemens 150 

Nielsen.  Kay.     By  Marion  Hepworth  Dixon. 

Nine  Illiis 116 

Nihon  Bijutsu  Kyokai  Exhibition  2^^) 

Nihon  Gakai  Exhibition.  Tokyo.  Three  lUus.  230 

Nisbet.  R.  II.  ccii 

Noble.  Edwin 225 

Nordin.  Miss  Alice.     Two  IHus.  12 

Novak.  J,     One  lUus.  ,  39 

Nowack.  Hans  .  i5y 

O.A.KLEV.  Miss  \'.  2,2,0 

Oakley.  T 330 

Obregon.  Jose.     One  Illus.  civ 

Ocaranza.  Manuel.     One  Illus.  cv 

Ochtman.  Leonard  clxxix 

Ogura 84 

O'Hara.  Mrs.  D.  \V.     One  Illus.  ccii 

Okyo,  Maruyama    .  84 

Olffe.  Hans ?() 

Olinsky.  Ivan  G.     One  Illus.  cxlvi 

Oliver.  Isaac  128,305 

Oliver.  M.  C.  241 

OpiJenheinier,  Joseph  232 

Oppenheimer,  Max  76 

Oppler.  Ernst  76 

Orchardson.  C.  M.  Q.  141 

Orlik.  Emil.     One  Illus.  76.  234.  ccviii 

Orpen.     One  Illus.  221.223.302.304 

Orpen,  \V 146.  192 

Orr.  Louis.     Etchings.     Six  Illus.  .             .          20 

Ostade.     One  Illus f)2.  clxxix 

P.A,LMER.  H.  S 162 

Palmer.  Pauline.     Three  Illus.  cix.  cxi 

Parfitt.  T.  W.     One  Illus.  .167 

Parish,  Williamina.     Three  Illus.  clxxi 

Parsons.  A.   .  .       ,       ,  301 

Parsons.  Karl  S  r 

Paterson.  James  150 

Paulsen.  luRwer  lb 

Payne.  H.  A Si 

Pearson.  R.  M.     One  Illus.  clxxv 

Pease,  J.  A 241 

Pechstein.  Max 233. 3i0 

Pen  and  Ink  Sketches  of  Equihen.     By  Les- 
ter G.  Hornby.     Eight  Illus 45 

Pendleton.  H ccxii 

Pennell.  Joseph.     Two  Illus. 

142.  146.  330,  clxxx.  clxxviii 
Peppercorn,  A.  D.  146,  302 

Perkin.  Miss  D.        .       ,  241 

Permin.  Christian.     Three  Illus.  73 

Peterson.  Jane    .  ccii 

Petitot 128 

Petrie,  W.  M ,150 

Petterson,  Axel.     One  lUus.  .    71.  ~2 

Philadelphia    Exhibition    of   Water-Colours. 

Eleventh  Annual 326 

Phillips.    Duncan.     Revolutions  and    Reac- 
tions in  Painting.      Four  Illus.  cxxiii 

Phillips,  J.  Campbell clxxvi 

Philpot.  Glyn 146 

Photography.  Recent  Examples.  Eightlllus.        131 

Piatti,  Antonio 326 

Pica.    X'ittorio.      Konstantin    Somoff.     Igor 

Grabar  anfl  PhiUi)  Maliavine.     Nine  Illus.        107 
Picabia    ...  ,  ,  c.xxvii 

Piccirilli clxxxvii 

Pien  Ching-Chao.     Two  Illus.  .    82.  ^j,.  84 

Pierson cxii 

Pietro,    C.    S.     By    Jessie    Lemont.     Eight 

Illus cxv 


Pissarro 

71 

Pissarro.  L.     One  Illus. 

304 

Plowman,  G.  T.     Six  Illus. 

cxiiv.  cxxxiv 

Pocock.  Miss  I.     One  Illus. 

160 

Polak,  Richard.     One  Illus. 

1.33 

Ponieroy.  F.  W. 

241 

PonlinK.  II.  G.  .      . 

300 

Post  &  .Sons.  G.  W.       .      .      , 

clxx.xvii 

Potteo'.     William  A.  Robertson. 

By  Edith 

Dunham  Foster.     Two  Illns. 

xcv 

Powell.  A.  II.      .      .      . 

.Si 

Power.  H.  S.     One  Illus. 

163 

Preissler.  Jan 

...        236 

Prellwitz.  Henry 

clxii.  clxiv 

Prendergast.  Maurice 

ccxu 

Price.  C.   M.     Revival  of  Eighteenth  Cen- 

tury French  .Art.     Four  Illns. 

clxviii 

Price- Iving.  Mrs. 

320 

Price.  R.  C.     Three  Illus. 

207.  260 

Prideaux,  Miss  . 

.Si 

Priestman.  Bertram 

241 

Prieur.  Paul      Two  Ilhus. 

126.  12S 

Proctor.  A.  P. 

CXI 

Prusser.  H.  Kemp 

145 

Pryde.  James 

222 

Purdy.  J.  U. 

CXlI 

Pushkin 

107 

R.\EBL'RN 

150 

Raffaelli.  J.  F.    - 

317 

Ragusa 

clxxx 

Rainbird.  \'.  N. 

33  1 

Rainey.  Ada.  Mural  Decoration  in  the  State 
Capitol  of  Wisconsin.  Painted  by  Hugo 
Ballin.     Seven  Illus.  clxxxvii 

Raisho,  Moroboshi        ...  239 

Ramsay.  Frances.     One  Illus.  265 

Ramsay,  \'iolet.     Three  Illus.  265,  266 

Ranken,  W.  B.  E.     One  Illus.  -      .93.98.  142 

Ransford.  W.     One  Illus 138 

Rare  Stone.      By  W.  H.  de  B.  Nelson.     Five 

Illus.    .      .  clxxii 

Rathbone      ,      .  267.269 

Ranch,  Josef.     One  Illus.  15.^.  156 

Rauchinger,  Heinrich I59 

Redfield,  E.  W cxxiv 

Reed.  Earl  H.      Seven  Illus.    .       -     Ixxxi.  cxii.  cxliv 

Rehling-Qvistgaard 130 

Reibmayr,  Adolf.     One  Illus.  I59 

Reid,  G.  A 162 

Reid.  Mrs.  M.  H.  ,  .      .        162 

Rembrandt 62.  clxxix 

Renoir.     One  Illus.  7i.cxxviii 

Repine,  Ilya       ...  107 

Revick,  Nikolai 

Rey.  Guido.     One  Illus. 

Reynolds 

Rhein.  Fritz        ... 

Riabushkine,  .\lexei 

Rich,  A.  W. 

Riccardo 

Richter.  Claus    ,  . 

Richter.  Davis.     Two  Illus. 

Richter.  H.  D.    . 

Ricketts,  Charles 

Ridgway.  W.     One  Illus. 

Rippl-Ronai        .... 

Risque.  Caroline.      Three   Illu 

Ritschel.  W.  ccii,  ccix,  cbLxvi,  clxxxiii 

Riva,  Egidio 3^6 

Robertson.  W.  A.  By  Edith  Dunham 
Foster.     Two  Illus. 

Robinson.  Alexander 

Robinson.  Charles 

Robinson.  J.  Barrie.     Three  Illus. 
Robinson,  W.  S.       . 

Roche.  Alexander 

Rochester    Memorial    .\rt    Gallery.      By    C. 

Brinton.     Three  Illus.  ...       cciii 

Rosen,  C clxii.  cbcxxv 

Rodin.     One  Illus.  cxxviii.  cxxiv.  clxxviii 


1 10 

131 

305.  cxlv 

319 

1 10 

222.  304 

326 

.       .       .        319 

QO.  98.  222.  226 


164 

ccvii 
cl.\xi 


xcv 

3:^8 

Si 

41.  2A2 

clxii 
150 


PAGE 

Rosetsu   .      .  84 

Rosier.  W.  310 

Roslin  ccxi 

Ross.  R.  305 

Rossetti  57 

Rothenburg  clxxx 
Rothenstein                                                          clxxviii 

Rothenstein.  A.                                                   .  304 

Rowden.  W.  J. 242 

Royal  Glasgow  Institute  of  the  Fine  Arts. 
Fifty-second     Annual     Exhibition.     Two 

Illus 150 

Royal  Hungarian  Art  and  Crafts  School. 
Budapest.  By  A.  S.  Levetus.  Twenty- 
one  Illus 34 

Royal   Institute  of  Oil   Painters   Exhibition. 

1914 '41 

Royal   Society   of    British    Artists.    Autumn 

Exhibition 222 

Royal  Society  of  Painters  in  Water-Colours, 

Winter  Exhibition,  1913 222 

Rubens.    Tapestries.    Three  Illus.     cxxxviii.  clxxix 

Rue  de  la  \'ille  I'Eveque  Exhibition.  Paris.  69 

Rumpler.  Franz  236 

Runciman.  Walter  -^41 

Rupprecht,  Tini  159 

Russell.  John  160 

Russell.  W.  W.  303 

Ryder.  C.  T clxii 

Rydingsvard.  Karl  von.      Two  illus.  cci 

Ryokei.  Kano  83 

Ryotatsu.  Kano  83 

Saenred.\.'h  62 

Saigyo      ...  84 

Sakurai.  see  Masaji  240 

Sala,  Paolo.     Two  Illus.  324 

Salvadore.  Riccardo  326 

Sanderson,  Cobden  81 

Sargent.  J.  S. 

Scarpitta.  Cartaino.     One  Illus 
Scenery  Designs.      Leon  Bakst. 

C.  Siordet.      Eight  Illus 

Schachner.  Therese 

Schaper   , 

Schille,  Miss  Alice  . 

Schmidt.  A.  Seaton.     Frederick  J.  Waugh 

Si.\  Illus 

Schmutzer.     One  Illus. 

Schofield,  Elmer 

Scholtz.  R.  F.  K.     Two  Illus. 

Schonleber,  Gustav  ... 

School  of  Art.  Hull.     Three  Illus.       .      . 

School  of  Art.  London.     Ten  Illus.  84.  ^63 

Schoonover.  F.  E.     One  Illus. 

Schrag.  Julius 

Schumacher.  W.  E. 

Schwarz.  A.  T 33" 

Scott.     M.  H.  Baillie.     A  House  in  a  Wood. 


301,  cxxiv 

.  ccix.  ccxi 

By  Gerald 

.       .       .       .  3 

.       ,         159 

78 

.         328 

.       .         273 

ccviii 

clxxxiv.  ccii 

.       .    65,66 

234 

242 

41-  331 

clxii 

233 

ccxii 


Five  Illus. 
Scott.  W.       .      . 
Sears.  Taber 
Seckel.  Rudolf    . 
Senseney,  George 
Seroff.  Valentin 
Sesshu      .... 
Seven    Happy    Days.      By   Jessie    M.    King 

Fifteen  Illus. 
Sevrat      .      .      .      - 
Seyfiert.  Leopold  G. 
Sezanne,  Auguste 
Shannon.  Charles 
Shannon,  C.  H. 
Shannon.  J.  J.    . 
Shaw.  Byam.     One  Illus. 
Shen  Nan-P'in 
Sheringham 
Sheringham,  G.     One  Illus. 

Shinn 

Shinn,  Everitt.     Four  Illus. 

Shinnerer 

Short.  F. 


288 
302 
330 
ccix 
cxliv 
107 
84 


193 

cxxvi 

cxxii 

326 

cx,  clxxviii 

302 

241.  3'M 


81 

127.315 

clxxviii 

clxix 

76 

S^^2 


Index 


PACE 

Shubun    .      .  .84 

Shuho.  tkcicami  >3V 

SickCTt.  B.    .      .  J03 

Sicken.  \V.  .      .  y>* 

Sidancr.     One  IHus.  cxxvi 

Sigiiac      ....  cxxvi 

Siraraons.  Franklin.     Death  clxvii 

Simpson,  Palgravp  *i 

Sims.  Charles  JJJ 

Sinjcer.  John 330 

Siordet.    Orald    C.     Leon    BakM.      Eiithi 

lllus.  3 

Sislcy       .  .  71 

Sketching  N'otes  in  Tuni<  and  Gabe«.      By 

\V.  Holland  Lupton.     Ten  1 11 11s.  J03 

Slade.  C.  A.     Six  Illus.  cxxxi 

SlevoBl.  Max  Hi, 

Smiih.  B.  m 

Smith.SirC.il.  .'li.clxxx 

Smith.  D.  .\.     T«-o  Illus.  306 

Smith.  D.  M.  JJS 

Smith.  Miiis  J.  \V.  330 

Smith,  ICaines    .  .84 

Smith.  Murray  .      .  JJS 

Smith.  P.  J.     Two  Illu.<  3<>9. 3ii.3u 

Society  des  .\mis  de  N*euiil\'  Ivxhihition    .  71 

Stx-iety  of  .\ns  and  Crafts  Exhibition.  1913. 

By  \V.  H.  de  B.  N'eUon.     Seven  Illus.        ,     cxcix 
Solomon.  Solomon  J.     .  301 

Somfai.  S.     One  Illus 41 

Somoflf.     tConstantin.      By     \lttorio     Pica. 

Three  IUu».  .       io7 

SomofF,  IConstantin  112 

Sotatsu.  TaM-ara>'a  230 

Southall.  J.  E.      One  Illus.     .  30J.  304 

Spanish  Old  Masters  Exhibition  142 

Sparks.  A.  \V.     One  Illus.  cxxii.  cxlv 

Speed.  Harold    .      .  .241 

Spitxwes  J3J 

Spunie.  G.     One  Illus.  168 

Spurrier.  Steven  .141 

Stabler Si 

Stale)*,    J.    E.     .\merican    Pictures    at    the 

Canadian  Exhibition.     Three  Illus.  clxiii 

Stannard.  Lillian  ccxi 

Staple.  V iftj 

Siapley.     Mildreil.     Menr>'    Deville.     Four 

Illus.  ...      clxv 

Steer.  P.  \V,  .    333,301,302 

Steffeck.  Karl  233 

Sterer.  Karl  236 

Sterl.  Robert  .  234 

Sterner.  Albert.     One  Illus.  » •  iv 

Stevenson.  R.  M.    .      .      .  t5i 

Stewart.  Edith.     One  Illus.  273 

Stoke*,  .\drian  303 

Stoke*.  Mrs.  303 

Stott.  Edward  301 

Strans.  \V.  146 

Strange.  E.  F. 171 

Strange.  Mii«  M,    By  Helen  Wright.    Three 

Illus xciii 

Strathmann.  Karl,     thie  Illus  333 

Sireeton.  .\rthur  ...  146,333 

Strickland.  \V.  f. 171 

Studio  Talk      1  >"■•  I.Lii..lt.,l  :.n.l  ihirty-two 

Illus.  7.  1.10.  331.30s 

Sturaa,  Jan  336 

Sulsen.  Konilo,     ttnelllui.  J  I'l 


.SulUv.in.  E,  J «■ 

Summons,  II.  V.     One  Illus,  .  .      .        134 

S\-abinsky.  Max.  One  Illus.  .  .  236.  ccviii 
Symons.  Gardner.  One  Illus.  clxii.  clxiii,  chtiv,  ccii 
Sj-nge.    E.    M.     By    Frank    Newlvilt.     Six 

Illus.    .      .  y» 

TaiK,  .\.  \inifnt  ilxxx 

Tannyu,  Kano   .  **3 

Tanrei.  .\raki  J3'> 

Tapestries.      By  Rubens,     Three  Illus.         txxxviii 

Tar.  .\.     Three  Illus.    .      .  44 

Taschner.  Prof.  I.     One  Illus.  1.52 

Tawaraya.  stt  Sotatsu  -.i'J 

Taylor.  Miss  W,  A,  si 

Taylor,  \V,  11 »i 

Tcnsho.  .Matsunaga      on.llln-  .'.iu 

Thancue.  II.  II.  3Jl 

Thangue.  H,  Lii  3"i 

Thaulow.  Fritz  .  Ixxvi 

Tliiele,  Otto  1  .^'» 

Thoma,  Hans  -.i- 

Thomson,  Leslie  ,i"- 

Tiedjen.  Willy  .15*' 

Tintoretto     .      .  ...   cbcxix 

Titian          152.  30S.  cbtxviii 

Tower.  Lillian  Leslie.     Wood  car\'ing  of  1. 

Kirchmayer.     Nine  Illus Ixxxix 

Trauner.  Otto  !.=;<> 

Trinquesse  « »  xi 

Triibncr  .  -.13 

Trlibner.  Wllhelm  -.14 

Tuaillon.  Louis  -.14 

Tuaillon.  Prof.    .  .)i'» 

Tukc.  H.  S.  3"i 

Turcas.  J.  '-'''ii 

Turgenieff  i"7 

Turner  < « x 

Turner.  11.  M.   .  ilxii 

Tyr\vhitt,  Miss  C,  yS 

Unsworth,  Son  &  Triggs.  .\rchitects.      Six 

Illus .S3 

L'pjohn.  Miss.     Two  Illus. 

cxxiii.  ccxiv.  clxxvi.  clxxviii 

\'an  [>kk  Nkkr        ...  .62 

\"an  dc  Wide fu 

\'an  Doort.  Jacob.     One  Illus.  t  jt.  i  20 

Van  Gorp icxi 

\'an  Goyen   ....  .          oj 

van  Mandcm,  Karel  ijs 

\'enice  clxxx 

X'etter,  C.  i,s«> 

\'ickcrs,  A.    .  trx 

X'igcrs.  A,      .  Ni 

\'illepreux  itxiv 

Vollotton.  M.     One  Illus.  <j,s 

von  llofTman.  Ludwig  234 

von  Konig.  I-eo  234 

von  Marr.  Prof,  Karl  2ii 

Vonnoli,  R.  .  dxiv.  clxii 

von  Stuck.  Franz  i},7, 

von  Bartels,  Hans  2.(7 

\'onnol).  Bessie  Potter  >  Ixxviii 

\*onnoh.  Rolwrt  1  Ixxviii 

von  Pausinger.  Franz  l.i;o 

von  Riickieschell  78 

von  \'olkmann,  Hans  234 

VrulK-1,  Mikhail  loK 


PAGE 

Wagner.  F.       .     .  3-''* 

Walker.  A.  Stodarl,  James  Whitelau  Ham- 
ilton. Ten  Illus,  <J 
Walker,  Horatio  i'>'> 
Walter.  Christ  rxxii 
Ward.  CD...  142 
Warner.  E.  L.  One  Illus.  ilxxxiv 
Watrous  ccix 
Walleau  '^^Ixix 
Waugh.  L.  ^'i' 
Waugh.  F.  J.      By  \.  Seaton  Schmidt.     Six 

Illus 373 

Weber.  Sarah  S.  S.     One  Illus clxii 

Weinmann.  A.  .A clxxivii 

W'einzheimer.  Fr,  76 

Weir.  J.  A.    .  ex 

Weiss.  E.  R.  310 

Weiss,  Renzo  i2i^ 

Wells,  Archibald  24» 

West,  Walter,     One  Illus.  164 

Wetzel,  II,    .  icxiv 

Wliwler.  C.  W.  242 

Whistler  .102,  ccviii,  ccx.  clxxviii 

Whitini!.  V.  .  223 

Wllitleniore  cxlv 

Whyly.  .Miss  E.  J.      Two  lllii-  227 

Wiegand.  Gustavc  .      .  .   clxxix 

Wiggins.  G.  C.     One  Illus.  ixlvi,  cxiiii 

Williams,  Miss  .      .      .  33' 

Williams,  Terrick  22s 

Williams.  F.  B.     One  Illus,     .  clxii 

Willoughby.  \*era    ....  306 

Wilmington    Fine    .Arts    Exhibition,     igij. 

Three  Illus.  clxi 

Wilson.  Claggett  ccxii 

Wilson.  llenr>'.     One  Illus.  :S.  Si 

Wing.  -X,  F,  A,     One  Illus,  1<>S 

Winged  .Madonna  and  Child.     One  Illus.      Ixxxviii 
Withers.  .Mfred  .        14.^ 

Woltze.  Prof clxxix 

Woman  and  Child  in  Art.     Second  National 

Loan  Exhibition  ...        305 

Woo<lbury.  C.  II 328 

Wood  Carvings  of  I.  Kirchmaycr.     By  Lil- 
lian Leslie  Tower,     Nine  Illus,  .  btxxix 

Wood,  Derwent »i 

Wood,  T,    Martin.     Flower   Painting,     Ten 

Illus .  8g 

W<x>dall,  B,     One  Illus,  312 

Wrba,  Prof,  G,     One  Illus.  152. 1.SO 

Wright,  Miss  E 142 

Wrisht,  I'",  W,     One  llhis.  cxiiv.  cxivi 

Wright,     Helen.     .Miss    Milliccnt    Strange. 

Three  Illus xciii 

Wyck.  Jan .62 

Wyeth,  N.  C     One  Illus,  clxi.  clxii 

Wyllie,  W,  L,     .  302 

\'amaoka.  ite  Beika  2\^i 

N'ates.  Cullen  ivii 

Vales,  F,     One  Illus,  ...                               -'2S 

\'oshiinura,  v/"  Knkei.  One  Illus                             s.t 

\'oungman,  II.  242 

\"uon,  K,  Mo 

%'uselsu.  Kaihfiku  83 

Xkisin<-,  Walter.     Six  Illus.  270 

Zelezny.  Franz   .      ,  i.st^ 

Zetsche,  lylwani  .        1  su 

iiwiller.  A,     One  Illu-  Hi,  1.53 


Index 


'Vli 


COLOR    INSERTS 


PAGE 

liAKsr,  LiiUN.     "Fantaisie  sur  le  Costume  iModerne,  Dione."     "Le  Dieu 

Bleu,"     A  Coloured  Reproduction  of  Two  Designs  for  Scenery    .  7.  ii 

Bayes,  Jessie.    A  Coloured  Reproduction  of  the  "Decorated  Bedstead"        143 

Brangwyn,  Frank.  "  King  John  Signing  the  Great  Charter  at  Runny- 
mede."  A  Coloured  Reproduction  of  Two  Sketches  in  Chalks  and 
Oils  for  Mural  Panel  in  the  New  Court  House  at  Cleveland      .      .  iSr,  cxlviii 

Cameron,  Katharine.  "White  Roses."  A  Coloured  Reproduction  of 
the  Water-Colour  Painting yy 

Flint.  W.  Russell.  "The  Huntresses  and  the  Knight."  "Bathers  on 
a  Mediterranean  Beach."  "Marina  Grande.  Sorrento."  "Autumn's 
Fading  Glory."  A  Coloured  Reproduction  of  Four  Water-Colour 
Drawings 253.  2SS,  259.  263 

Hamilton.  J.  Whitelaw.  "Tlie  Meadow."  A  Coloured  Reproduc- 
tion of  the  Oil  Painting 13 

Hyde.  Helen.  "An  Interlude — The  Breadnian's  Du^ke^■."  "A  Mexi- 
can Coquette. "  "  Reflections."  A  Coloured  Reprorluction  of  Three 
Wood  Engravings 27.  31.  35 


PACiE 

James,  Francis  E.,  A.R.W.S.  "  Roses  and  Brocade."  A  Coloured  Re- 
production of  the  Oil  Painting        91 

Livens.  H.  M.     "Sweet  Peas  and  Roses."     A  Coloured  Reproduction 

of  the  Oil  Painting 95 

Nielsen.  Kav.  "I  Have  Had  Such  a  Terrible  Dream."  "Princess 
Minon-Minette  Rides  Out  in  the  World  to  Find  Prince  Souci."  A 
Coloured  Reproduction  of  the  Two  Drawings 117.121 

Nicholson.  William.  "The  Yellow  Orchid."  A  Coloured  Reproduc- 
tion of  the  Oil  Painting cxiv 

Robinson.  J.  B.  "Evening.  Prince's  Dock.  Hull."  A  Tinted  Repro- 
duction of  the  Wood  Engraving ,      .      .      .        243 

Scott,  M.  H.  Baillie.     A  Coloured  Reproduction  of  the  House  in  a 

Wood,  Entrance  Front  and  Living  Room 291 

Smith.  D.  A,     "A  Glimpse  of  the  Adriatic,  Lido,"  and  "Vue  de  Beg- 

Meil.  Finistere."     A  Coloured  Reproduction  of  Two  Oil  Sketches  307 

Triggs.    Unsworth.    Son,    Atchitects.      "Durford    Wood.    Petersfield 

Hants."     A  Coloured  Reproduction  of  the  Perspective  Design.  .         55 

Unsworth    &    Son.    Triggs.     "Durford    Wood,    Petersfield    Hants." 

A  Coloured  Reproduction  of  the  Perspective  Design.  ...  55 


BOOKS    REVIEWED 


AU-Wesljalt-n.     By  Engelbert  freiherr  von   Kerckerinck  zur   Borg  and 

Richard  Klapheck 

An  Artist  in  Italy.     By  Walter  Tyndale 

,-lj'/  and  Common  Sense.      By  Royal  Cortissoz 

Arthur  Rackhatn  Book  "/  Pictures 

Art  of  Silhouette.     By  Desmond  Coke 

Art  of  the  Wallace  Cvlleciion.     By  Henry  C.  Shelley 

Autumn  and  Winter.     By  W.  Beach  Thomas  and  A.  K.  Collet 

ChantiUy  in  History  and  Art.     Bj-  Louise  M,  Richter 

Children's  Blue  Bird.     By  Georgette  Leblanc 

Charles  Cotider.     By  Frank  Gibson 

Cubies.     Versed  by  Mary  Mills  Lyall  and  Pictured  by  Earl  Harvey  Lyall 
Die  Radierungen  und  Sleindrucke  von  Kiiihe  Kollwitz.     By  Johannes 

Sievers 

Dress  Design.     An  Account  of  Custume  for  Artists  and  Dressmakers. 

By  Talbot  Hughes 

Eleynents  de  Composition  Decorative.     Cent  themes  de  decoration  plane. 

By  Gaston  Quenioux 

Essefttials  of  Composition  as  Applied  to  Art.      By  John  V.  V'an  Pelt 

Fairy  Book.     By  Warwick  Goble 

Fatuous  Paintings  Selected  from  the  World's  Great  Galleries 

Fifty  Caricatures.     By  Max  Beerbohm 

Forty-three  Drawings.      By  Alastair 

French  Colour  Prints  of  the  Eighteenth  Century.     By  M.  C.  Salamau  246. 

Guillaume  Charlier.     By  Sander  Pierron 

Guslave  Courbcl 

Handbook  of  Modern  French  Sculpture.      By  D.  Cady  Eaton 
Hans  Holbein  the  Younger.      By  Arthur  B.  Chamberlain    . 

Happy  Prince  and  Other  Tales.      By  Oscar  Wilde 

Heraldry  for  Craftsmen  and  Designers.     By  W.  H.  St.  John  Hope,  Litt.D. 

History  of  Greek  Art.     By  F.  B.  Tarbell 

hi  Powder  and  Crinoline.     Illustrated  by  Kay  Nielsen 

Jackdaw  of  Rheims.     By  Thomas  Ingoldsby      ...  , 

Japanese  Colour-Prints  and  Their  Designers.      B>'  Frederick  \\'.  Gookin 

Leonardo  da  ]'inci.      By  Dr.  Jens  Thiis  .       . 


247 
i6q 

cxlii 
333 
247 
cxl 
247 
332 
171 
245 

cxlii 

i6q 
33i 


cxli 
171 
169 
246 
333 

clxxiv 
170 

clxxiv 


cxli 

331 

248 

84 

cxli 
247 
170 
cxl 

167 


Liltlf  Rhyme  Books.     By  H.  Willebeck  Le  Mair 

Little  Shavers.     By  J.  R.  Shaver 

Meaning  of  Art.     By  Paul  Gaultier  ,      . 

Message  of  Greek  Art.     By  H.  H.  Powers 

More  About  Collecting.     By  Sir  James  Yoxall 

Mother  Goose.     By  Arthur  Rackham 

My  Dog.     By  Maurice  Maeterlinck  . 

Near  East — Dalmatia,  Greece,  Constantinople.     By  Robert  Hicken 

Old  Curiosity  Shop.     Illustrated  by  Frank  Reynolds    . 

Paris  Nights  and  Other  Impressions  of  Places  and  People.      By  .Arnold 

Bennett.      Illustrations  by  E.  A.  Richards    . 
Pictorial  Life  of  Christ.     D.  Mastroianni 
Piedmont.     By  Estella  Canziani  and  Eleanour  Rohde 
Princess  Badoura.     A  Tale  from  the  Arabian  Nights,  retold  by  Laurence 

Housmann 

Provincial  Russia.     Painted   by  F.  de   Ilaenen.     Described   by   Hugh 

Stewart 

Quality  Street.     A  Comedy  in  Four  Acts.      By  J.  M.  Barrie 
Renaissance  and  Modern  Art.     By  W.  H.  Goodyear 
Rubaiyat  of  Omar  Khayyam.      By  Rene  Bull 
Rubaiyal  of  Omar  Khayyam.     Drawings   by  Edmund    vSuUi\aii 

Sea  Anthology.     By  Alfred  Rawlings 

Short  History  of  Art.     By  JuHa  B.  De  Forest 

Shown  to  the  Children.     By  Miss  G.  Wynne 

.Sketches  from  Nature.     By  John  MacWhirter 

A  Soldier's  Diary,  South  Africa.  1899-1901.     By  Murray  Cosby  Jackson 

.Song  of  Songs,  Which  is  Solomon's.      Illustrated  after  Drawings  by  W. 

Russell  Flint 

Stained  Glass  of  the  Middle  Ages  in  England  and  France 
Stitches  from  Eastern  Embroideries.     By  Louisa  F.  Pesel 

Subsoil.     By  Charles  Marriott 

Tale  of  Lohengrin.      By  T.  W.  Rolleston 

}'anity  Fair.      By  W.  M.  Thackeray 

Wind  in  the  Willows.      By  Kenneth  Graham 


PAGE 

248 

clxii 
168 
cxli 
333 

248 
171 
247 
170 

246 

cxlii 
24S 

248 

247 
24S 
cxli 
170 
332 
248 
clxxiv 
171 
169 
169 

170 

245 
3i2 

17a 

333 
170 
249 


'AX*-  I  ^ 


r 


•ly." 


4  pj 


•FANTAISIE     SUR     LE    COSTUME 
MODERNE,  DIONE.      by  L^ON  BAKST. 


INTERNATIONAL 
•  STUDIO 


VOL.  LI.       No.  201 


Copvrigbl,  t9i3,  bi>  John  Lane  Company 


NOVEMBER.  1913 


A 


FRONT-RANK  MAN  IN  AMERICAN 
ETCHING 
BY  W.  H.  DE  B.  NELSON 


Art  critics,  art  gossips,  reporters  et  hoc  genus 
omne  are  all  too  prone  nowadays  either  to  damn 
an  artist  with  faint  praise,  or  else  to  hoist  him 
to  the  topmost  pinnacle  of  greatness,  in  con- 
sequence of  which  we  find  on  all  sides  men  and 
women  painters,  sculptors,  etchers  or  what  not, 
described  as  having  climbed  the  ladder  of  success 
to  the  uppermost  rung,  where  in  many  cases  the 
ascent  has  barely  commenced.  In  spite  of  the 
danger  of  being  accused  of  too  great  partiality  for 
the  work  of  Earl  H.  Reed,  we  have  no  hesitancy 
in  assigning  to  him  today  the  highest  rank  among 
living  American  etchers,  to  perpetrate  a  very  mild 
jeu  de  mot,  Mr.  Reed  may  be  designated  the  Head 
of  the  Line.  Claiming  Geneva,  111.,  as  his  birth- 
place, he  became  in  due  time  a  student  of  the 
Art  Institute  in  Chicago,  and  later  on  took  up 
etching  as  a  pastime  and  relaxation,  but  the  hobby 
horse,  when  ridden  forcefully  is  apt  to  convey 
the  rider  into  the  domain  of  serious  endeavor; 
and  so  it  was  that  Mr.  Reed  found  himself  a  few 
years  since  devoting  himself  with  all  his  strength 
to  this  subtle  and  fascinating  art,  which  is  now 
his  life's  work. 

It  is  only  quite  recently  that  this  artist's  plates 
have  been  known  much  outside  of  Chicago,  but  last 
year  a  flattering  reception  was  accorded  his  work 
by  the  Paris  Salon,  all  his  plates  being  accepted. 
As  usual,  rather  more  was  accepted  than  was 
actually  hung,  but  that  four  plates  out  of  five 
were  on  view  is  a  most  flattering  comment  on  his 
art.  At  the  commencement  of  this  year  the  Asso- 
ciation of  American  Etchers  held  their  first  annual 
exhibition  in  the  galleries  of  the  Salmagundi  Club, 
New  York,  attracting  crowds  of  visitors.  Among 
the  exhibits  was  a  Reed  group  of  ten  plates,  which 
attracted  very  marked  attention,  four  of  which 
figured  in  the  Paris  Salon,  viz.,  Voices  of  the  Dunes, 


A  mong  the  Sandhills,  Marsh  Haystacks  and  Edge  of 
the  Forest. 

Of  late  years  there  has  been  a  plethora  of  etch- 
ings of  reportorial  value  only — plates  of  fine  tech- 
nique in  many  cases,  but  just  recounting  a  street, 
a  bridge,  a  marketplace,  Gothic  structures,  etc., 
so  that  printsellers  and  collectors  have  been  sorely 
tried  in  their  task  of  knowing  what  to  accept  and 
what  to  reject.  Such  motifs  have  never  appealed 
much  to  Mr.  Reed,  who  has  preferred,  like 
Homer's  hero,  to  be  a  cannibal  of  his  soul  by  the 
seashore — in  his  case  the  shores  of  Lake  Michigan. 
Here  he  has  been  able  to  commune  with  Nature 
at  first  hand;  here  he  has  wrested  secrets  from  her 
and  gone  to  her  very  soul.  Here  in  the  mysterious 
and  lonesome  dunes  he  has  discovered  himself  in 
that  picturesque  quality  which  he  so  deftly  trans- 


ih\  -^ 


Courtesy  of  the  Brown-Roherlson  Company 
OLD   APPLE   TREES  BY  EARL   H.    REED 

LXXXI 


Courtesy  of  the  Bramn-RoberUon  Company 


TWILIGHT  ON  THE  DUNES 
BV  EARL  II.  REED 


A  Front-Rank  Man  in  American  Etching 


fers  to  his  plates.  A  man  must  be  steeped  in 
imagination,  both  a  poet  and  a  dreamer  of  dreams, 
to  seek  themes  in  such  God-forsaken  tracts  as  to 
most  people  are  these  desolate,  wind-blown  tracts 
on  the  southern  shores  of  Lake  Michigan.  To 
Mr.  Reed,  far  from  being  God-forsaken,  these 
regions  are  full  of  poetry  and  mystery.  The  un- 
folding of  Nature's  drama  may  be  observed  amid 
the  whirl  and  swirl  of  the  shifting  sands  and  in 
the  approaching  storm;  a  haunting  melancholy 
and  a  spirit  of  desolation  hover  over  the  sparse 
vegetation  in  its  pitiful  struggle  for  life.  This  is 
the  region  that  attracts  Mr.  Reed,  even  to  the 
extent  of  casting  a  spell  upon  him,  and  in  the 
plenitude  of  years,  when  the  roll  of  fame  is 
unfolded,  we  shall  find  this  artist's  name  staked 
to  the  dunes — not  to  the  Field  Museum,  charming 
as  this  series  is,  nor  to  his  Chicago  River  products. 
These  shores  of  Lake  Michigan  have  not  only 
afforded  mysterious  peeps  at  Nature  calm  and 
Nature  ruffled,  but  have  given  this  poet-artist  a 
great  love  of  animal  life,  to  which  so  many  of  his 
plates  bear  tender  witness.     He  has  been  brought 


into  intimate  contact  with  wild-fowl,  butterflies, 
rabbits;  and  quite  recently  with  crows,  of  which 
we  reproduce  his  very  latest  plates.  They  show 
his  most  recent  work  at  Lakeside,  and  are  very 
subtle  and  distinctive  studies  of  bird  life.  The 
one  entitled  Neighborhood  Gossip  is  a  charming 
"sonnet  in  line."  The  mother  bird  inclines  for- 
ward from  her  nest,  and  is  divided  between  loyalty 
to  her  future  brood  and  love  of  gossip  in  her 
effort  to  overhear  the  chronique  scandaleuse  which 
is  being  exploited  by  three  eager  birds  on  the 
branch  below.  She  is  leaning  over  as  much  as  is 
compatible  with  a  strict  sense  of  duty  and  balance. 
The  poetry  of  sea,  of  trees,  the  shore,  a 
flight  of  birds,  an  oncoming  storm,  the  driven 
sand,  the  play  of  the  winds,  a  tangled  root,  the 
light  waning  through  the  trees  are  the  subjects 
which  arrest  his  attention.  One  of  his  most  popu- 
lar plates,  where  the  dark  masses  are  admirably 
presented  against  the  light  and  where  the  crisp 
line  makes  such  charming  play,  is  entitled  The 
Homing  Call — a  flock  of  ducks  is  speeding  over 
the  marshes,  while  a  heavy  storm  broods  in  the 


Courtesy  of  the  Brown-Robertson  Company 
THE   HOMING   CALL 


BY  EARL   H.    REED 
LXXXIII 


Courtesy  of  the  Brown- Robertson  Company 


NEK.IIHOKIIOOD  f;OSSIP 
BY  EAKI,  II.  KKKD 


A  Front-Rank  Man  in  American  Etching 


background.  Mr.  Reed's  talent  is  marked  by  a 
fine  poetic  feeling,  admirable  blending  of  real  and 
ideal,  and  a  delicacy  of  execution  which  never 
descends  to  e.xcess  of  detail.  He  knows  just  what 
to  do  and  he  does  it.  As  the  cordon  bleu  of  the 
kitchen  estimates  the  e.xact  pinch  of  seasoning  to 
bestow,  just  so  Mr.  Reed  seems  to  know  the  e.xact 
amount  of  lines  necessary  to  build  his  idea.  He  is 
a  past  master  of  the  mystery,  depth  and  brilliance 
of  the  etched  line. 

Mr.  Reed  admits  of  no  hard-and-fast  rules,  but 
is  unmethodical  in  his 
methods,  as  every  real  art- 
ist must  perforce  be.  He 
uses  pure  etching,  dry 
point  and  soft  ground,  as 
the  occasion  demands,  and 
he  is  his  own  printer.  An 
example  of  soft  ground 
etching  is  The  White  Dome, 
while  Edge  of  the  Forest  is 
a  perfect  example  of  pure 
etching. 

It  is  not  so  very  long 
ago  that  Diderot  applied 
the  term  gribouillages  to 
some  etchings  by  Rem- 
brandt, but  that  is  not  the 
spirit  of  today.  Splendid 
work  is  being  done  in 
America  and  elsewhere 
with  the  etching  needle, 
with  the  result  that  good 
plates  are  eagerly  sought. 
The  Chicago  Society  of 
Etchers  came  into  exist- 
ence in  igio  mainly  owing 
to  the  initiative  of  Earl  H. 
Reed,  who  until  this  year 
was  its  highly  appreciated 
president,  and  in  these  few 
years  has  included  among 
its  members  the  most  im- 
portant etchers  of  America. 
It  will  not  be  out  of  place 
to  quote  Mr.  Reed  on  etch- 
ing, for  he  can  write  as  well 
as  etch: — 

"The  increasing  popu- 
larity of  the  art  of  etching 
during  the  past  few  years 
has  been  based  upon  the 
general  advance  in  public 
taste,  which  has  led  to  a 


higher   appreciation   of   a   form   of   graphic   art 
which  is  interpretive  rather  than  realistic. 

"  The  mere  copying  of  nature  in  black  and  white 
can  safely  be  left  to  the  camera.  The  imaginative 
etcher  seeks  to  interpret  the  poetry  and  beauty 
which  he  can  feel  and  see,  with  the  fewest  possible 
number  of  lines.  His  message  must  be  concise, 
concentrated  and  suggestive  to  be  effective.  His 
story  must  be  told  in  beautiful  language.  The 
technique  must  be  distinctive  and  pleasing.  His 
work  must  have  that  intangible  and  indescribable 


^^'.^!^«K^y^tfih\.3>,i 


i^'U.i^^ili^^ 


/^ 


Courtesy  of  the  Brown-Robertson  Company 
THE  VOICES  OF   THE   DUNES 


BY  EARL   H.    REED 


'  the  Brown-RobtrlsoH  Company 


A  NORTH  WOODS  HKRMITAGE 
BY  EARL  II.  REKI) 


A  Front-Rank  Man  In  American  Etching 


Courtesy  uf  the  B) o:cn- Rober ! ^on  Cofupayiy 
THE   COURSE   OF   TRUE   LOVE 


BY   EARL   H.    REED 


quality  which  in  literature  and  art  we  call  style." 
Besides  attaining  to  expert  knowledge  of  every 
kind  of  instrument  ever  devised  for  the  gentle  art 
of  the  etcher,  and  of  endless  inks  and  papers,  the 
subject  of  this  sketch  has  acquired  widely  recog- 
nized proficiency  as  a  printer  of  plates.  As  is  well 
known,  successful  printing  has  always  been  the 
bane  and  bugbear  of  the  aspiring  etcher,  and  few 
men  have  bestowed  such  pains  in  experiment  and 
at  the  same  time  gotten  such  splendid  results.  A 
very  strong  personality,  excessive  modesty  and  a 
keen  sense  of  humor,  which  breaks  out  periodically 


in  the  press,  are  earmarks  by  which  we  recognize 
the  man  and  his  work.  Added  to  which  he  is  a 
fervent  sportsman  with  gun  and  rod  and  a  good 
raconteur. 

Visitors  to  the  Brown-Robertson  Galleries,  New 
York,  707  Fifth  Avenue,  will  be  able  this  month 
to  take  in  an  exhibition  of  this  artist's  work, 
when  they  will  be  able  to  see  a  fine  assortment 
of  plates  showing  piquancy  of  light  and  shade, 
felicity  of  subject  matter,  clarity  and  caressing 
contours,  brilliant  tonal  contrasts  synthetised 
with  unaffected  simplicity. 


The  Winged  Madonna  and  Child 


T 


HK    WINGED    MADONNA    AND 
CHILD 


A  WINGED  Madonna  is  certainly  a 
rarity  in  art.  if  not  unique.  Visitors  to 
European  galleries  may  search  in  vain  for  an 
example.  The  original  painting,  ib^'-j"  by  iJVi", 
in  the  possession  of  Professor  J.  L.  Deister,  is  on 
copjxT  and  in  first-class  preservation.  A  mural 
painting  of  the  same  subject  may  be  seen  in 
Cuerna\aca,  Mexico,  in  the  cathedral  founded  in 
1520  by  the  Franciscans.  In  Professor  Deister's 
painting  the  colors  are  very  rich  and  soft  and 
remarkably  well  blended,  while  a  fine  effect  is  ren- 
dered by  the  sunlight  glowing  in  the  background. 
The  small  figure  in  the  right-hand  corner  is  St. 
John,  pen  in  hand,  writing  his  visions  on  the  Isle 
of  Patmos,  his  identity  being  the  more  pronounced 
b>-  the  presence  of  an  eagle 
at  his  side.  The  theme  is 
clearly  from  the  .Apocalypse, 
Chapter  XII:  ''The  visions 
of  the  woman  clothed  with 
the  sun,  and  of  the  great 
dragon,  her  persecutor."  The 
presence  of  wings  is  ex- 
plained by  verse  14:  "And 
there  were  given  to  the  woman 
two  wings  of  a  great  eagle, 
that  she  might  fly  into  the 
desert  unto  her  place,  where 
she  is  nourished  for  a  time 
and  times,  and  half  a  time, 
from  the  face  of  the  serpent." 

The  Virgin  is  separately 
described  by  Verse  i : ''  .1  nd 
a  great  sign  appeared  in 
heaven:  a  woman,  clothed 
with  the  sun  and  Ike  moon 
under  her  feet,  and  on  her 
head  a  crown  of  twelve  stars." 
One  of  the  twelve  stars  is 
concealed  by  the  body  of 
the  infant  Savior,  or  is 
puqiosely  omitted  because 
Judas  turned  traitor. 

Verse  5  explains  the  in- 
fant: "And  she  brought  forth 
a  man  child,  who  was  to  rule 
all  nations  with  an  iron 
rod     .     .     ." 

Whether  the  painting  is  a 
Murillo  or  not  is  a  moot 
point.     The    head    is    cer- 

LXXXVIII 


tainly  Murillian,  the  draping  of  the  mantle  too, 
and  many  details  could  be  cited  which  appear  in 
the  known  [pictures  by  the  master.  If  not  painted 
by  him,  it  must  be  the  work  of  an  artist  who 
assimilated  very  thoroughly  the  master's  tech- 
nique and  mannerisms.  Look  at  God  the  Father 
abo\e  the  X'irgin,  which  may  be  seen  in  many 
Murillo  paintings;  also  notice  the  index  finger, 
this  spreading  of  the  fingers,  and  compare  with 
Murillos  at  the  Hermitage.  This  jjicture  was 
bought  in  Old  Mexico,  and  it  is  historical  that 
Murillo  painted  for  exportation  to  the  Sjianish 
colonies  of  America. 

This  illustration  and  description  are  interest- 
ing when  considered  along  with  the  article  in 
this  issue  of  the  International  Studio  entitled 
"  The  .\rt  Treasures  of  Mexico,"  by  Mary 
Worrail  Hudson,  on  page  ciii. 


\ 


/ly  foiirlrsv  of  rr„(.  J.  I. 


Till,    WIN.ICI)   MMHINNA    .\NI)   CHILD 


The  IVood  Carvings  of  I.  Kirchmayer 


DETAIL   OF    REREDOS   FOR   ST.    PAUL's  CATHEDRAL,    DETROIT,    MICHIGAN 


BY   I.   KIRCHMAYER 


T 


HE    WOOD   CARVINGS   OF   I. 
KIRCHMAYER 
BY  LILLIAN  LESLIE  TOWER 


I.  Kirchmayer  has  two  salient  quali- 
ties— he  has  the  force  and  naivete  of  the  old 
craftsman-sculptors  and  he  has  full  appreciation 
of  what  is  meant  by  the  words  "architectural 
sculpture."  He  goes  about  his  work  in  a  direct 
and  masterful  fashion.  He  very  rarely  makes 
models  or  drawings,  but  works  straight  at  the 
wood,  cutting  out  the  statues  from  the  solid  block 
and  developing  them  as  he  goes  along. 

As  an  architectural  sculptor  he  is  unique.     He 
never  tries  to  force  his  own  individuality  over 


that  of  the  architects  for  whom  he  is  working; 
and  he  never  tries  to  bring  his  work  into  undue 
prominence.  He  seems  to  be  best  satisfied  when 
his  sculpture  forms  an  integral  part  of  its  archi- 
tectural en\aronment.  Latterly  he  has  begun  to 
develope  what  he  calls  "American  Gothic  sculp- 
ture." He  tries  to  keep  the  old  Gothic  impulses, 
giving  a  vitality  and  modern  qua'.ity.  He  has 
succeeded  in  working  out  a  feeling  of  Gothic 
tracery  in  draperies  and  vestments,  and  the  effect 
is  striking  while  it  serves  to  pull  the  sculpture 
into  harmony  with  the  surrounding  architecture. 
All  his  figures  have  e.xtreme  individuality.  One 
observes  this  in  the  St.  Columba  with  the  Celtic 
Cross,  also  the  crowned  king  at  the  same  scale. 


1 


The  II  'ood  Cart'ings  of  I.  Kiyclnnayer 


MOTHERHOOD 


nv    I.    KIRCHMAYER 


another  example  is  that  of  the  three  figures  in 
one  photograph:  a  fragment  from  a  Bay  Ridge 
church.  All  his  figures  are  vital  to  the  last 
degree  and  might  he  li\-ing  persons,  though  all  of 
them  are  sufficiently  conventionalized  to  he  truly 
architectural. 

The  pulpit  for  Christ  Church,  New  Haven, 
shows  figures  in  the  round,  figures  in  high  relief, 
and  purely  decorative  carxing.  The  design  as  a 
whole  is  simple  and  scholarly  and  more  consistent 
with  the  fourteenth  century. 

The  detail  in  the  font  of  the  Rogers  Memorial 


Church,  Fairhaven,  is  an  exquisite  example  of 
modern  dual  methods  which  the  designer  and  the 
craftsman  can  accomplish.  His  design  for  the 
heautiful  door  in  hronze,  a  part  of  the  same 
church,  is  further  e\ndence  of  Mr.  Kirchmayer's 
remarkable  versatility.  Here,  as  in  other  in- 
stances, the  rare  beauty  of  his  work  lies  in  the 
fact  that  all  the  figures  are  essentially  architec- 
tural. 

The  design  for  the  allegorical  panels  in  St. 
Paul's  church,  Chicago,  is  a  mediarval  masterpiece 
showing  all  ages  and  times  worshiping  the 
Christ  regnant  on  the  cross. 

Many  consider  the  reredos,  St.  Paul's  Cathe- 
dral, Detroit,  one  of  Mr.  Kirchmayer's  most 
notable  efforts.  For  many  months  it  was  on 
exhibition  in  the  rotunda  of  the  Boston  Museum 
of  Fine  Arts,  attracting  \dsitors  from  all  over  the 
world. 

In  the  prie-dieu,  Church  of  the  Advent, 
Boston,  the  symbols  of  the  evangelists  on  the 


TllKlili    CAKVliU   IIOUKUS 


IIV    1.    KIRCHMAYER 


The  Wood  Carvings  of  I.  Kirchmayer 


edge  of  the  shelf  have  the  quality 
and  relief  of  mere  bits  of  decoration 
breaking  the  molding.  They  are, 
however,  intended  to  be  seen  close 
to,  by  one  who  will  take  a  minute 
interest  in  them.  Their  detail  is 
therefore  finely  cut  and  perfectly 
clear. 

In  the  mantel  sculpture  of  soldiers 
and  barbarians  from  one  of  the  man- 
telpieces at  West  Point,  one  is  able 
to  glimpse  the  quaint  and  the  whim- 
sical nature  of  the  artist.  The  work 
is  grotesque  yet  decorative.  One  is 
equally  conscious  of  the  directness 
and  the  naivete  of  the  Queen  of 
Sheba. 

I.  Kirchmayer's  handling  of  the 
carving  tools  is  marvelous  in  its 
dexterity,  its  swiftness  and  its  force. 
All  his  work  is  crisp  and  pliant  to  a 
degree  and  shows  up  well  even  at  a 
long  distance.  A  little  pair  of  bas- 
reliefs  in  classical  style  and  the  fig- 
ures labeled  Motherhood,  easily  reveal 
the  tenderness  of  his  touch  and  the 
comprehensiveness  of  his  genius.  He 
is  equally  careful  in  his  handling  of 
Grinling-Gibbons  foliage.  This  frieze, 
executed  for  a  house  in  Chicago,  es- 
pecially displays  the  individuality  of 
the  man  and  the  quality  of  the  artist. 

I.  Kirchmayer  is  a  man  of  enor- 
mous personality  and  vital  force. 
His  father  was  a  republican  revolu- 
tionist in  Germany.  He  himself  has 
the  loftiest  standards  of  professional 
ethics  and  general  principles  of  right 
and  wrong.  He  is  what  might  be 
called  "a  character,"  and  his  devo- 
tion to  those  who  sympathize  with 
him  and  see  what  he  is  trying  to  do 
is  quite  touching.  He  takes  a  great 
pride  in  everything  he  does  and  is 
devoid  of  the  slightest  element  of  commercialism. 
He  came   to   this  country  from  Oberammergau 


BRONZE   DOOR   OF    THE    ROGERS 
MEMORIAL   CHURCH,    FAIRHAVEN 


BY   I.    KIRCHMAYER 


in  Germany  over  thirty  years  ago.     The  Langs, 
kinsmen  of  the  wood-carver,  from  whom  came  the 


FROM   A   MANTELPIECE    AT   WEST    I'OIM 


UY   I.    KIRCHMAYER 
XCI 


ALLEGORICAL    PANliLS   IN    ST.    PAIL  s  CHI  KCH,   CHICAGO 


BV    I.    KIRCHMAVKK 


liLIAlL   Ul     i  KU./L    IN    M.    I'M  I     ■-    '  III   R(  II,    <  IIICAGO 


11 Y    I.    KIKi.  IIMAVI-.K 


Miss  Millicent  Strange  and  Her  JFork 


Jesus  of  the  Passion  Play  of  igoo  and  igio, 
are  potters  in  his  native  land.  It  was  in 
their  shop  that  he  first  practised  modeling 
in  clay.  While  a  very  young  man  he  won 
three  traveling  scholarships  in  the  schools 
of  design  of  Munich  and  Paris.  Subse- 
quently he  went  to  London,  thence  to  New 
York  and  Boston.  Here  he  found  oppor- 
tunities to  work  on  his  own  initiative  from 
his  own  designs,  and  also  to  work  from  the 
designs  of  foremost  architects. 

His  ideal  is  to  get  back  to  the  mediaeval 
way  of  doing  everything,  and  as  a  Catholic, 
he  works  with  all  the  old  Catholic  fervor  in 
e\'erything  he  does. 


M 


ISS    MD^LICENT    STRANGE 
AND  HER  WORK 
BY  HELEN  WRIGHT 


Some  one  has  said  that  "to 
know  one  craft  thoroughly,  one  must  know 
something  of  many  crafts."  This  might 
have  been  said  by  Miss  Millicent  Strange, 
a  modest  little  woman,  English  by  birth, 
American  by  adoption,  whose  rare  and  in- 


PILPIT   AT   CHRIST   CHURCH 
NEW   HAVEN,   CONNECTICUT 


BV   I.    KIRCHMAYER 


a:'?~'»!? 


YY\ 


CENTER   PART   OF   REREDOS   AT 
CHRIST   CHURCH,    PITTSBURG 


BY   I.   KIRCHMAYER 


teresting  work  is  certainly  accomplished 
through  knowledge  of  many  crafts. 

A  natural  craftsman,  Miss  Strange  be- 
longs, through  family  ties  as  well,  to  the 
art  world  that  is  doing  things  worth  while. 
Her  brother  is  Edward  Fairbrother  Strange, 
head  of  the  great  print  department  of  the 
Victoria  and  Albert  Museum  at  South 
Kensington. 

Her  education  began  in  the  South  Ken- 
sington Schools,  where  she  acquired  a  broad 
technique  in  several  mediums,  preparing  her 
for  any  choice  she  might  make  of  her  ultimate 
profession.  She  worked  for  a  while  with 
Frank  Brangwyn,  an  e.xperience  she  speaks 
of  with  enthusiasm,  and  also  in  the  studio 
with  Henry  Wilson,  who  ranks  high  among 
the  leaders  of  the  latter-day  renaissance  of 
the  decorative  arts  in  England. 

Feeling  that  the  opportunities  might  be 
greater  in  this  country,  that  she  would  find 
a  wider  field,  she  came  to  New  York,  where 
she  taught  for  a  while,  studying  at  the  same 
time  with  William  Chase.  Then  she  went 
to  Boston,  taking  up  for  the  first  time  pro- 
fessionally  the  making  of  jewelry,  though 
she  had  been  devoting  some  attention  to 
the  handicrafts  while  in  New  York. 


Miss  Millicent  Stnriige  and  Hey  Work 


It  would  seem  as  if  the  limits  imjuised  bv  the 
materials  might  hamper  the  worker  in  jewelry, 
but  all  the  greater  imagination  is  necessary  and 
greater  delicacy  of  touch  is  required. 

The  demand  for  this  more  artistic  quality  of 
jewelry  is  increasing,  since  craftsmen's  clubs  and 
schools  are  educating  the  people  to  its  superiority 
and  beauty.  Formerly  it  was  considered  desir- 
able that  the  mounting  of  stones  should  be  quite 
invisible,  now  the  gold  and  silver  work  has  become 
important  and  the  goldsmith's  art  is  taking  the 
honorable  place  it  once  held. 


CLOISONxt   ENAilEL   IN    GREEN 

Miss  Strange's  skill  was  soon  recognized  in 
Boston,  and  her  charming  pendants,  combs,  pins 
and  rings  were  eagerly  sought  by  those  who  under- 
stood the  difference  between  the  fine  hand-made 
work  and  the  common,  or  machine-made  variety. 

She  is  a  member  of  the  New  York  National 
Society  of  Craftsmen,  the  Boston  and  Detroit 
Societies  of  Arts  and  Crafts,  where  she  has  exhib- 
ited, as  well  as  at  the  Chicago  Art  Institute,  the 
Philadelphia  Arts  and  Crafts  Guild  and  in  Balti- 
more, where  in  April  was  held  one  of  the  largest 
exhibitions  of  craftsmen's  work  ever  held  in  this 
country.  Only  the  work  of  artists  invited  to  con- 
tribute was  exhibited,  which  resulted  in  the  best 
collection  by  the  best  artists. 

Miss  Strange's  work  was  immediately  recog- 
nized as  being  distinctive  and  beautiful.    One 

xciv 


particularly  exquisite  pendant  she  showed  was  in 
gold,  heart-shaped,  made  in  cloisonne  enamel. 
The  design  was  of  puqjle  grapes  and  green  leaves, 
against  a  background  of  pale  blue,  the  whole  set 
in  a  border  of  leaves  done  in  pliquc-a-jour,  the 


IVY   LE.WES   WITH    SILVER    AND   .\METHVSTS 

transparent  enamel.  Abo\'e  the  grapes  was  set 
a  large  moonstone,  while  moonstones  depended 
from  the  bottom,  like  drops  of  dew. 

Of  the  various  methods  of  enameling,  cloisonne, 
Limoges,  Champleve,  pliquc-a-jour,  etc.,  Miss 
Strange  is  equally  familiar,  but  she  prefers  the 
cloisonne   and   plique-a-jour.     Cloisonne   is    the 


GOLD  AND  MOONSTONES 


oldest  method  of  enameling  and  is  seen  in  many- 
examples  of  early  Celtic  and  Byzantine  work.  It 
was  also  used  in  medieval  times.  rii(iue-a-jour  is 
the  most  diilicult  and  is  used  for  the  lighter,  more 


William  A.  Robertson,  Master  Potter 


delicate  pieces.  It  requires  patience  and  skill,  an 
"enthusiastic  patience."  A  dragon-fly's  wing  or 
a  tiny  flower  scarcely  loses  any  of  its  grace,  trans- 
lated into  this  material. 

The  modern  jewelry  worker  uses  stones  that  are 
valuable  for  their  color  and  decorative  quality. 
Miss  Strange  likes  best  the  moonstone  and  sap- 
phire; the  former  is  particularly  effective,  as  it 
takes  or  reflects  the  colors  in  the  enamels.  Cabo- 
chon  stones  combine  better  with  enamel  than  the 
faceted  stones. 

The  large  heart-shaped  pendant  illustrated 
is  in  the  most  delicious  sea-foam  shade  of  green 
enamel,  with  design  of  apple-blossoms  and  border 
of  leaves.     Opals  and  chrysoprases  are  the  stones. 

Miss  Strange  shows  great  refinement  of  taste 
and  variety  of  design.  In  her  studio,  which  is 
now  in  Washington,  she  seems  to  wave  the  queer 
little  tools  like  magic  wands  above  a  table  covered 
with  pretty  colored  glass,  gold,  silver  and  shining 
stones,  and  behold  there  is  fashioned  the  daintiest, 
loveliest  things  to  tempt  the  feminine  heart. 


w 


ILLIAM  A.  ROBERTSON,  MAS- 
TER POTTER 
BY  EDITH  DUNHAM  FOSTER 


Five  generations  of  Robertsons 
have  made  things  of  clay  with  their  hands.  Today, 
in  his  pottery  in  Dedham,  Massachusetts,  William 
A.  Robertson,  the  last  potter  of  his  line,  watches 
the  clay  as  it  is  thrown  onto  the  wheel,  and  travels 
from  the  kiln  to  the  decorator,  to  the  bath  of  glaze 
and  back  to  the  kUn,  until  it  takes  a  form  that  is 
one  of  the  distinct  contributions  of  America  to 
the  art  of  all  time.  But  it  is  at  a  fearful  price, 
paid  by  five  generations,  that  a  Robertson  has 
learned  his  supreme  mastery  of  the  craft. 

Over  a  century  ago,  on  the  rugged  hills  of  Scot- 


land, James  Robertson  fashioned  clay  into  jugs 
and  pots.  His  son  Hugh  made  jugs  and  pots  of 
clay.  Another  James  was  born  and  a  second 
Hugh,  and  they,  too,  fashioned  clay.  One  by  one 
they  longed  for  wider  fields,  and  came  to  America. 
Together  the  Robertsons  opened  the  Chelsea  Pot- 
tery, near  Boston.  Hugh  and  the  rest  were  fast 
held  by  the  love  of  the  beautiful  in  form  and 
color,  and  of  the  common,  red,  porous  clay,  which 
others  thought  valueless  except  for  bricks,  they 
began  to  model  perfect  forms  after  the  Greek 
vase.  But  machinery  came,  and  made  a  vase  of 
similar  form  at  a  quarter  the  price.  So  back  to  the 
jugs  and  pots  for  daily  bread  went  the  beauty- 
loving  Robertsons.  Financial  discouragement 
was  not  sufficient  to  keep  them  from  the  deco- 
rative branch  of  the  potter's  trade,  and,  in  the 
years  which  followed,  they  reproduced  beau- 
tiful forms  and  pure  designs.  It  was  a  weary 
task,  however,  for  they  worked  unceasingly  but 
unavailingly  to  reproduce  the  wonders  of  the 
ancient  pottery  of  the  Orient.  Then  there  came 
a  vase  from  the  kiln  with  a  tiny,  glowing  spot 
of  pure  ruby  red — the  dragon's  blood. 

Years  went  by;  one  by  one  the  Robertsons 
dropped  off,  either  dead  or  in  commercial  branches 
of  the  manufacture  of  pottery.  Still  Hugh  plod- 
ded on,  with  only  his  young  son,  William,  for  a 
helper,  and  the  vision  of  the  one  ruby  red  spot  for 
inspiration.  Money  they  had  none;  makeshifts 
they  made  do  the  work  of  modern  appliances. 
Today  may  still  be  seen  at  the  Dedham  works  the 
crude  grinding  wheel,  mounted  upon  the  stand  of 
an  old  sewing  machine,  that  was  for  years  the 
chief  machinery.  One  dollar  each  Saturday  night 
was  all  the  lad  William  could  have.  The  boy 
became  restless.  Hugh,  the  father,  though  still 
absorbed  in  his  quest,  realized  that  the  lad  was 
entitled    to    answer    the    youthful    demand    for 


Courtesy  of  A.  C.  SauTiders,  Photographer,  Wakefield,  Massachusetts 

THE   NEWEST   SHAPES 


If'ii/iiDii  A .  Robertson,  Master  Potter 


change  and  adventure.  So  the  son  sought  the 
free  and  open  life  of  the  West. 

The  father  still  plodded  at  the  factory — always 
with  the  vision  of  the  one  clear  spot  of  dragon's 
blood,  and  the  certainty  that  one  day  he  would 
reproduce  the  lost  art  of  the  Ming  i)ottery  of 
ancient  China.  Jugs  and  pots  he  made  only  to 
furnish  the  necessaries  of  life.  The  time  and 
thought  and  heart  of  the  jwlter  were  de\oted  to 
study  and  continuous  experiment.  The  history  of 
Palissy,  or  the  romance  of  "The  Middleman"  tell 
no  stronger  tale  of  privation  and  self-sacrilicc. 

The  lad,  now  grown  to  manhood  on  the  wide 
plains  of  freedom  in  the  W'est — what  of  him? 
How  did  the  call  come  to  him  to  return  to  the 
drudgery  of  the  factory?  As  he  lay  upon  his  back 
at  the  end  of  a  long  day  in  the  saddle,  he  rested 


Two  perfect  vases,  however,  are  on  exh-bition  at 
the  Boston  Museum  of  Fine  Arts. 

The  making  of  crac'jule  ware  had  also  l)een  an 
ambition  scarcely  less  burning  than  the  re-creation 
of  dragon's  blood.  So  they  worked  and  struggled 
until  one  day  an  exjilosion  shook  the  pottery  at 
Dedham  from  basement  to  roof.  Between  the 
door  of  the  small  experiment  kiln  and  the  tank  of 
explosives  had  stood  William,  the  man  who  had 
returned  to  give  his  life  for  his  art.  When  rescued 
both  hands  and  arms  were  terribly  burned.  As 
yet,  surgeons  have  done  little  for  him;  working 
almost  continually,  they  have  restored  to  power 
but  one  tendon,  one  muscle,  occasionally  one 
finger,  at  a  time,  but  so  far  have  not  given  him 
the  power  to  shape  the  simplest  form  upon  his 
wheel.     But    still    the    Robertsons   worked,    un- 


Courtesyoj  A.  C.  Saunders.  Photographer.  Wakefield.  Massachusetts 

THE  DEVELOPME.NT  OF  THE  CRACKLE 


AND  DRAGON  S  BLOOD 


his  eyes  upon  the  sunset,  and  thought  of  his  self- 
forgetful  father.  The  glory  of  the  setting  sun, 
with  its  red  of  the  dragon's  blood,  so  soon  to  fade 
into  the  gray  night,  called  to  his  beauty-loving 
soul  for  the  immortality  of  the  potter's  vase. 
Back  into  the  struggle,  willingly,  came  this 
William — a  man — to  serve  his  part  in  perfecting 
the  art  of  the  Robertsons. 

The  dragon's  blood  developed  slowly.  More 
and  more  often  would  a  vase  come  from  the  kiln 
a  perfect  piece.     At  last  the  secret  was  theirs. 

In  four  years  they  gave  to  the  world,  in  all, 
three  hundred  pieces  of  exquisite  dragon's  blood 
pottery.  The  color  is  deep  and  pure  and  liquid, 
Ijeyond  the  fmest  ])ieces  of  the  old  Ming  product. 
Time  will  give  them  the  only  thing  they  now  lack 
— age.  The  majority  cf  these  pieces  are  still  in 
the  possession  of  Mr.  Robertson,  because  they 
seem  to  him  too  much  a  part  of  himself  to  be  sold. 


daunted,  in  the  shadow  of  the  blackened  rafters — 
and  America  has  not  only  dragon's  blood,  but  true 
cracf|ule  ware,  known  as  Detiham.  This  ware, 
again,  has  never  been  equaled,  except  in  a  few 
ancient  Korean  vases.  The  American  cracqule  is 
in  no  way  an  imitation  nor  a  rei)roduction.  The 
cracqule  of  the  Orient  was  never  used  for  table 
ware,  always  for  decorative  upstanding  vases,  and 
was  only  a  crazed  enamel  ujion  a  soft  body. 

The  output  of  the  lottery  is  small.  The  orders 
exceed  the  su]>ply.  Hugh  has  been  dead  four 
years.  Alone,  William  Robertson  works  and  jilans, 
and  the  secrets  of  all  these  processes  are  his  alone. 
This  man  who, like  hisfather,careslittle  formoney, 
not  at  all  for  fame,  gives  himself  and  his  time  to 
hisart—anart  which  has  bridged  half  a  millennium 
of  years,  and  gives  to  .America  a  distinctive  pot- 
tery excelling  the  product  of  the  Orient's  golden 
age  of  keramics. 


xrvi 


A  Rebel  in  the  Architects    Camp 


i  A 


Patented  May.  1013 
All  rights  reserved  by  Alexander  A .  Canlin 


COLUMN-ARCHITRAVE  DESIGNS 


REBEL    IN   THE    ARCHI- 
TECTS' CAMP 
BY  W.  H.  DE  B.  NELSON 


American  architecture  may 
be  likened  to  an  infant  suffering  from 
mal-nutrition,  but  ready  and  eager  to 
respond  to  a  change  of  diet.  A  feeding- 
bottle  well  lined  with  suitable  ingredi- 
ents is  now  offered  by  an  architect 
of  Seattle,  Washington,  labeled  "New 
Style."  Mr.  A.  A.  Cantin  has  long 
been  dissatisfied  with  present  condi- 
tions and  has  been  quietly  thinking  out 
a  remedy.  When  the  inspiration  came 
he  displayed  no  undue  haste  in  proclaim- 
ing his  discoveries,  but  departed  quietly 
to  Europe,  and  for  four  years,  in  Rome 
and  elsewhere,  applied  himself  diligently 
to  the  task  of  putting  his  ideas  into 
the  crucible  of  practical  experience. 
Having  ascertained  beyond  the  shadow 
of  a  doubt  that  these  ideas  were  feasible 
in  every  detail,  Mr.  Cantin  returned 
to  America  and  patented  these  designs, 
which  are  here  set  forth  and  briefly 
discussed  in  the  hope  that  the  accom- 
panying illustrations  will  supply  to  the 
imaginative  reader  more  than  the  text 
will  attempt  to  explain. 

At  first  it  may  seem  strange  that  an 
architect's  ideas  should  be  subjected  to 
patent,  but  this  new-style  architecture 
possesses  unprecedented  features,  and 
the  inventor  or  discoverer  conceives 
himself  justified  in  preserving  to  himself 
the  right  to  supervise  any  development 
that  may  ensue.  It  may  be  added  that 
the  license  fee  covering  the  privilege  of 
using  this  style  will  be  merely  nominal, 
Mr.  Cantin  in  no  way  seeking  a  mon- 
opoly. 

This  new-style  architecture  is  based 
upon  a  fundamental  Order  of  architec- 
ture, with  the  addition  of  a  new  arch 
and  column  combination.  It  results 
from  an  effort  to  fathom  the  reason  for 
the  discarding  by  the  ancient  Greeks  of 
the  combination  of  the  arch  and  column 
from  their  beautiful  structures ;  although 
they  were  fully  aware  of  the  use  of  the 
arch,  yet  history  does  not  record  any 
single  building  of  importance  where 
such  a  combination  occurred,  which  un- 


j/u«L;ALii>kAUimng7»niratjooiac^ 


Patented  April-May,  ic^ij 
All  rights  reserved  by  Alexander  A.  Cantin 


COLUMN-ARCHITRAVE   AND 
PERFORATED  CORNICE   DESIGNS 


A  Rebel  in  the  Architects    Camp 


Palenled  A  fril-May.  igij.    All  righls  resererd  by  Alexander  A .  Canlin 
COLUMN-ARCHITRAVE   AND   PERFORATED  CORNICE   DESIGNS 


deniable  fact  invites  reflection.  It  seems  a  safe 
h>'pothesis,  therefore,  that  they  deemed  such  a 
combination  as  unfinished  and,  consequently,  in- 
artistic in  design.  Of  course  it  is  to  Italy  that 
we  must  turn  to  judge  the  merits  and  demerits  of 
past  and  present  style.  Past-style  arcades  betray 
unfinished  structure,  lacking  in  cohesion  between 
column  and  archivoll;  the  ob.server  feels  a  sense 
of  unrest  in  facing  the  arch  moldings  dead  ending 
upon  the  top  of  the  abacus.  The  addition  of 
bolsters  and  entablatures  between  the  toj)  of  the 
column  and  the  archivoll  lends  no  beauty  to  the 
combination  nor  truth  to  the  construction. 

A  most  ])r()minenl  defect  in  the  old  arcade  is  the 
overhanging  of  the  angles  of  the  archivolt  over 


the  peri[)hery  of  the  col- 
umn, by  which  a  clumsy 
appearance  is  obtained, 
and  a  fear  that  the  arch 
may  crush  the  abacus. 

It  would  be  impossible 
in  this  short  article  to  go 
any  length  in  pointing  out 
technical  relinements  in- 
\olved;  suffice  it  to  say 
that  in  the  new-style  arch 
and  column  the  above- 
mentioned  defects  are  eli- 
minated and  the  beauty 
and  finish  of  the  capital 
enhanced  by  the  proper 
termination  of  the  archi- 
volt moldings  upon  the 
column  shaft.  This  new- 
style  architecture  should 
particularly  commend  it- 
self to  architects  and  sculp- 
tors alike,  as  it  offers  such 
splendid  opportunities  of 
design  and  permits  them 
to  impress  their  personal- 
ity upon  a  structure,  mak- 
ing it  more  symbolic  of  its 
purpose  and  more  impres- 
sively beautiful  than  is 
possible  with  any  other 
style.  Then,  again,  it 
would  gi\e  immense  scope 
in  grou])  designing  of  col- 
umns; magnilicent  effects 
could  be  assured  by  differ- 
ent colored  marbles  being 
used  for  capital  and  shaft. 
Such  a  colored  comijination 
is  of  immense  importance  and  quite  out  of  the 
(juestion  in  old-style  architecture. 

The  most  notable  feature  is  the  placing  of 
statues  upon  consoles  in  the  panels  of  the  capitals, 
by  which  means  both  interiors  and  exteriors  of 
structure  can  be  enriched.  Here  again  architect 
and  sculjitor  can  cooju'rate,  as  in  theatre  foyers 
and  lobbies;  public  halls  and  vestibules,  too,  lend 
themselves  to  the  most  varied  treatment,  and  may 
thus  win  fresh  interest  in  the  eyes  of  the  visitor. 
.\l  |)resent,  outdoor  statues  are  too  high  to  be 
admired  properly,  and  are  soon  disfigured  by 
exposure,  but  if  placed  about  the  column  ca[)ital  in 
the  new  style  these  object  ions  would  automatically 
vanish.     Take,  for  instance,  amodern  ball  room, 


^A^ADAkMJMJ, 


'  "inrT!  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  H  rt  H  HftH  H  H  H  H  H  H  H  H  H  H  Hprrmn 


rlH  HH 


7T5t>?t^:'kpk; 


'*^-^Ts^7vTv'/V]\; 


Patented  May,  1913.      All  rights  reserved  by  Alexander  A.  Cantin 

COLUMN-ARCHITRAVE  DESIGNS 


A  Rebel  in  the  Architects    Camp 


and  very  little  imagination  must 
show  the  immense  possibilities  of 
Mr.  Cantin's  design,  which  lends  it- 
self e(]ually  to  Spartan  sim])!icity  or 
lavish  elaboration.  Transijlant  your- 
self for  a  moment  to  the  new  post- 
office  in  New  York  City,  oijjiositc 
the  PennsyKania  Railroad  Station. 
What  a  splendid  field  presents  itself 
here  for  architect  and  sculptor  to 
unite  in  placing  upon  the  column 
capital  allegorical  figures  in  keeping 
with  the  historical  legend  carved  in 
the  frieze! 

The  human  figure  is  the  most  a]i- 
propriate  decoration  for  capitals  anti 
must  surely  supersede  the  present 
designs,  with  their  monotonous  cast- 
iron  appearance.  In  caj)itals  where 
the  figure  or  bust  is  used  in  a  leaf- 
work  design,  a  jumbled  effect  is  pro- 
duced and  the  main  motif  is  lost.  \ 
glance  at  the  old-style  capitals  in 
elevated  positions  shows  "spotti- 
ness" and  fails  to  give  a  clean-cut 
appearance  when  observed  from  the 
ground. 

To  create  a  new  architecture  it  is  a 
sine  qua  non  to  ])ossess  a  fundamen- 
tal basis.  This  might  ordinarily 
sound  like  a  platitude,  but  the  many 
efforts  to  butt  against  tradition  and 
evolve  a  new  style  in  this  country 
have  failed  utterly,  for  the  very  sim- 
ple reason  that  the  modes  employed 
have  lacked  this  essential  tjuality. 
In  Mr.  Cantin's  design,  the  column 
architrave,  with  frieze  and  perforated 
cornice,  form  a  new  Order  of  archi- 
tecture to  add  to  the  Doric,  Ionic, 
Corinthian,  Composite  and  Tuscan 
Orders.  A  new  factor  is  introduced 
in  architectural  standards  by  the  col- 
umn and  arch  combinations.  It  has 
been  the  custom  to  place  a  column  of 
any  Order  under  an  entablature  or 
arch,  without  any  change  in  the  for- 
mation of  the  capital.  As  an  arch  is 
an  entirelv  difTerent  structure  from 


i 


Patrntfd  May,  loijt 
All  rights  rrsfrved  by 
Alexander  A.  Canttn 


lOLl'MN-ARCH    DESIGNS 


an  entablature,  why  should  not  the  con- 
nection differ?  The  new  style  adds  to 
the  design  of  a  building,  creates  new 
motifs,  is  more  flexible,  makes  a  finished 
connection  to  the  column,  and  with  well- 
designed  sculpture  decoration  fills  all  re- 
quirements for  beauty,  utility  and  sta- 
bility. 

What  use  are  heavy,  overhanging  cor- 
nices? On  the  other  hand,  beautiful 
shadow-play  may  be  expected  from  these 
perforated  cornices  in  the  new  style,  be- 
cause they  arc  perforated  in  the  farthest 
overhanging  ]mrt;  open-work  portions 
may  be  filled  with  tracery  or  with  colored 
glass,  the  sunlight  projecting  the  colors 
among  the  shadows  upon  the  frieze.  This 
is  a  point  of  considerable  importance  if 
we  are  to  construct  with  an  eye  to  fine 
effects. 

In  old-style  architraves  the  height  is 
too  shallow  to  carry  ])roportionately  the 
sujierimposed  load,  while  in  new-style  this 
dilliculty  is  obviated  by  extending  the 
ca])ital  right  up  to  the  underside  of  the 
frieze,  which  member  must  be  planned 
in  proper  relation  to  the  load  it  carries. 
The  scul])ture  work  on  the  panels  of  the 
capital  has  a  low  relief  at  the  base  and 
center  of  the  panel,  heavier  at  the  top, 
so  as  to  cast  proper  shadows  at  the 
abacus  line.  In  illustration  of  this  pre- 
cept, the  reader's  attention  is  called  to 
Cioujon's  figures  in  the  Fouiilain  of  the 
Iiinocvnls.  in  Paris.  To  revert  for  a  mo- 
nuiit  to  the  Renaissance  period,  it  is 
interesting  to  reflect  what  use  architects 
and  sculptors  would  have  made  of  this 
new-style  architecture  in  their  column 
cajiitals  and  perforated  cornices.  .-Xs  the 
column  capital  bears  the  shape  of  a  Latin 
cross,  it  is  safe  to  say  that  all  their  ecclesi- 
astical architecture  would  have  been  car- 
ried out  in  this  style  and  enriched  with 
madonnas,  Christ  on  the  Cross,  saints 
and  angels,  etc. 

Men  like  Michelangelo,  Donatello, 
Goujon  and  Thornwaldsen  would  have 
left  us  a  rich  heritage  of  beautiful  motifs 


UM     \^.     m     m     \m     }^\     'm' 


1^    T^ 


U^WA.^iU^Uti.XWvl^j1U1U^U^L^^U^U^UOlU^LjA.il^Ji^.ilUiU^iJJlU^ 


Patented  May,  jgij.    All  rights  reserved  by  Alexander  A.  Cantin 

COLUMN-ARCHITRAVE  DESIGNS 


A  Rebel  in  the  Architects   Camp 


in  stone  and  marble,  but  the  classical  style  col- 
umns did  not  appeal  to  them  as  worthy  material 
for  their  art. 

In  the  old-style  architecture  the  abacus  is  so 
thin  as  to  appear  brittle;  "ears"  of  foliage  at  the 
angles  give  no  solidity  to  it,  and  a  bunch  of  leaves 
at  the  to|i  of  a  column  carrying  untold  tons  of 
masonry  seems  almost  childish  in  conception. 

The  voice  is  Jacob's  voice  hiU  the  hands  arc  the 
hands  of  Esau.  These  notes  are  the  Interna- 
tional Studio's  notes  but  the  ideas  are  the  ideas 
of  Mr.  Cantin.  We  accept  no  responsibility  and 
are  in  no  wise  acting  as  the  champions  of  new- 
style  architecture.  We  realize  that  Mr.  Cantin 
has  developed  new  features  which  we  are  pleased 
to  present  to  our  readers.  It  is  very  questionable 
whether  it  be  possible  to  discover  a  new  Order  at 
.  any  time,  and  still  more  so  in  the  present  com- 


Patented  May,  iQtj,     AU  rights  rrsrrved  by  Alexander  j 
COLLMN-AKCH    PESICNS 


mercial  age.  Also  we  believe  that  we  can  detect 
certain  flaws  and  discrepancies  in  these  designs, 
which  subsequent  criticism  and  debate  will  doubt- 
less lay  bare.  Meanwhile,  any  one  seeking  intelli- 
gently to  improve  present  conditions  of  architec- 
ture in  .\merica  is  rendering  yeoman  service,  and 
all  who  disagree  with  his  problems  will  at 
least  commend  Mr.  Cantin  for  his  bold  attempt 
to  prescribe  a  new  diet  for  that  suffering  infant, 
American  architecture. 

In  conclusion  we  would  quote  from  Frank  E. 
Wallis,  who,  in  an  excellent  chapter  on  "The 
Architect  and  the  Future,"  writes  as  follows: 

"The  big,  dominating  force  in  .'\merica  today 
is  its  industrial  feudalism,  and  its  restraining 
force  is  the  ideal  of  the  individual.  This  is  de- 
veloped to  a  point  unknown  in  the  previous  his- 
tory of  architecture.  The  opportunities  given 
the  average  American  to  e.xpress  himself  in  do- 
mestic architecture  are 
unique.  The  condition  is 
undoubtedly  an  outcome  of 
the  interesting  partnership 
between  the  industrial  over- 
lord and  his  retainers.  The 
overlord  requires  libraries, 
institutions  of  learning, 
banks  and  palaces,  and  we 
have  them.  On  the  other 
hand,  we  have  today  a  do- 
mestic architecture  of  the 
highest  degree  of  excellence, 
a  new  expression  which  is 
not  only  comfortal)lc  and  tit , 
liut  beautiful  and  supremely 
convenient. 

"  Science  will  continue  to 
build  more  and  more  amaz- 
ing tem]iles  for  the  over- 
lord as  long  as  the  indus- 
trial ideal  retains  its  power. 
And  when  the  time  comes 
for  the  third  great  revolu- 
tion, or  evolution,  and  that 
ideal  is  destroyed  or  modi- 
fied, out  of  the  conflict, 
IXiSJ  tenl  saved  by  the  ideal  of  the 

:5fy^  F—  indixidual  unit,  will  arise  a 

I  V^y  new  and  vital  power,  per- 

^— -^  hajis  approaching  the  Ideal 

socialism  of  the  thirteenth 
century  without  the  attend- 
ing horrors,  perhaps  a  world 
citi/.cnship,  and  science  will 
build  temples  to  the  new 
ideal,  and  a  new  style  will 
be  born." 


The  Art  Treasures  of  Mexico 


T 


HE  ART  TREASURES  OF  MEXICO 
BY  MARY  WORRALL  HUDSON 


Many  of  the  churches  of  Mexico 
contain  priceless  old  paintings,  but  it  is  impossible 
for  art  lovers  in  the  United  States,  if  they  have 
never  visited  Mexico,  to  believe  that  this  is  a 
treasure-house  of  pictures.  The  existence  of 
"Old  Masters"  in  Mexico  has  been  more  fabled 
than  real  in  our  minds,  and  many  have  smiled  at 
the  credulity  of  the  unlearned  masses  of  this  em- 
bryonic republic.  It  is 
true  that  the  unques- 
tioning majority  know 
nothing  and  think 
nothing  of  a  picture 
except  what  the  padre 
tells  them,  but  it  must 
be  remembered  that 
the  men  who  rule  the 
destinies  of  Mexico  are 
educated,  traveled, 
cultured  in  the  schools 
and  universities  of  the 
old  world,  and  emi- 
nently capable  of  ap- 
preciating the  fine  arts. 
Furthermore,  they  are 
all  Catholics,  and 
hence  are  imbued  with 
the  traditional  rever- 
ence for  religious  art 
that  we  cannot  wholly 
comprehend.  It  might 
be  said  that  this  very 
reverence  would  in- 
capacitate them  as 
impartial  critics  of  this 
art,  but,  be  this  as  it 
may,  it  has  served  a 
purpose  invaluable  to 

the  student  of  today.  Their  love,  in  many  in- 
stances their  worship,  of  these  old  masterpieces, 
has  caused  the  careful  preservation  not  alone  of 
the  picture  but  often  of  the  records  of  its  presen- 
tation by  some  royal  and  devout  donor  to  a 
church  in  New  Spain. 

Instead  of  an  unreasonable  and  preposterous 
claim,  it  is  the  most  reasonable  of  conclusions 
that  many,  very  many,  valuable  works  of  art 
were  sent  to  Mexico  as  religious  offerings  in  the 
days  of  the  conquerors  and  the  successive  and 
rival  reigns  of  the  viceroys. 

The  conquest  of  Mexico  was  the  overwhelm- 


TRAVESURAS   DEL    AMOR 


ingly  important  event  of  the  century,  and  dreams 
of  avarice  beyond  all  former  imaginings  filled  the 
minds  of  a  mighty  host.  From  the  great 
unknown  Western  world  was  to  come  the  wealth 
that  would  make  every  ambitious  man  a  king. 
First  of  all,  these  wild,  untutored  people  must  be 
converted  to  Christianity.  Every  stone  that  has 
been  laid  in  Mexico  since  Cortez  set  foot  upon  the 
shores  of  the  Gulf,  tells  the  story  of  the  CathoHc 
and  the  Moor.  The  architecture  that  the  Moor 
planted  in  Spain  has  followed  the  Spaniard  into 

every  colony  that  he 
has  founded,  but  it  is 
all  crowned  with  the 
cross. 

Thechurch  was  very 
rich  in  the  seventeenth 
century,  and  amply 
able  to  send  works  of 
art  of  great  value  to 
Mexico  and  other  col- 
onies. It  was  also  the 
period  when  art  flour- 
ished most  in  Spain, 
when  Murillo  lived 
and  Sjeville  was  a  great 
art  center. 

The  missionary 
priests  in  Mexico  soon 
discovered  that  the  In- 
dians were  unable  to 
comprehend  the  spirit 
of  the  Christian  relig- 
ion, and  that  they 
must  substitute  pic- 
tures and  images  of 
the  Christ  for  the 
heathen  gods  and  idols 
they  were  trying  to 
supplant.  Churches, 
convents  and  chapels 
were  multiplied  rapidly  after  the  Conquest,  and 
it  became  a  pious  duty,  often  emphasized  by  an 
order  of  Cortez,  to  bring  paintings  and  statues 
of  saints  to  the  New  World. 

Many  of  the  great  pictures  that  were  at  that 
time  favorites  in  Spain,  Italy  and  the  Nether- 
lands, were  copied  and  the  copies  brought  over 
by  monks  and  missionary  priests,  and  many 
originals  by  the  master  painters  of  the  time  were 
sent  as  offerings  by  members  of  the  royal  house 
of  the  mother  country.  The  difficulty  of  locating 
all  these  originals  is,  of  course,  great,  for  the 
reason  that  many  of  them  are  hung  on  the  high 


BY  MANUEL   OCARANZA 


The  Art  Treasures  of  Mexico 


LA    REINA   ZOCHITAL 


dark  walls  of  old 
churches  that  are 
inaccessible  to  the 
student  or  the  mere 
sightseer. 

From  about  the 
year  1600  there 
lived  in  Mexico  for 
forty  }•  e  a  r  s ,  two 
artists  who  were 
skilled  copyists  and 
imitators.  These 
were  Baltasar 
Echave  and  his 
wife,  known  as  La 
Sumaya.  They 
painted  in  both  the 
Italian  and  Dutch 
styles,  and  Echave 
often  imitated  Ti- 
tian fairly  well. 
Other  Spanish  art- 
ists who  immigrat- 
ed to  this  country 
and  lived  and  paint- 
ed here  through- 
out the  seventeenth  century,  established  what  is 
now  known  as  the  Old  Mexican  School,  and  left 
many  good  works.  Many  so  good  that  it  is  not 
easy  to  establish  their  identity  and  distinguish 
them  from  the  old  world  work. 

Echave,  the  elder,  painted  La  Visitacioii,  re- 
produced here  from  a  ])h()tograph  taken  from  the 
original  in  the  National  Museum  in  the  capital 
of  Mexico.  He  came  from  Zumaya  in  the  S])anish 
province  of  Guipuzcoa  and  lived  and  jtainted  in 

Mexico  from 
1600  to  1640. 
His  style 
\aricd  from 
the  Dutch  to 
the  Italian, 
but  his  work 
showed  the 
influence  of 
Titian  more 
than  of  any 
other  master. 
Of  the  many 
])aintings  he 
is  known  to 
liavemadefor 

POR1KAIT  (IK   AKLIIUIKK  MAXIMILIAN  ^  .     '^^ 

IN  THE  NATIONAL  MLSlifM,  MliXlCO  of    MexlcO, 


BY   JOSE   OBREUON 

several  have  been  preserved.  La  Visitacion  is 
painted  on  cedar,  as  are  many  of  the  old  pictures 
in  Mexico,  the  artists  believing  that  wood  could 
better  withstand  the  humid  climate  than  canvas. 
This  picture  was  brought  from  the  altar  of  the 
church  in  Tlaltelolco  in  1609.  Titles  of  some  of 
the  other  jjaintings  by  Echave,  the  elder,  now  in 
the  National  Museum,  are  Martyrdom  of  St. 
Ponciano,  Adoration  of  the  Magi,  St.  Cecely, 
Christ  on  Ihr  Mount  of  Olives,  Holy  Family,  etc. 
The  majority  oi  ail  of  Echave's  pictures  show 
vigor  and  grace,  and  are  rich  in  color. 

One  of  the  notable  paintings  in  the  .\cademy  is 
the  Discovery  of  Pidque,  the  national  drink  of 
Mexico,  made  of  the  juice  of  the  maguey.  The 
com])lete  title  of  the  picture  is,  Zochital  and  Ilcr 
Father  Papantzin  Presciitiiiji  the  Toltec  Prince 
Tecpaucaltzin  with  a  Xni'  Drink.  The  author  of 
this  picture,  Jose  Obregon,  is  a  modern  Mexican 
artist  who  paints  Mexico  con  amore,  but  who  has 
also  chosen  a  nimiber  of  other  subjects:  Columbus 
as  a  Youth,  II agar  and  Ishmael  and  The  Giotto,  etc. 

In  the  Presentation  of  the  New  Drink,  the  throne 
room  and  the  throne  on  which  the  Prince  is  seated 
show  the  Toltec  architecture  and  decoration. 
Just  where  the  Toltecs  acquired  the  principles  of 
lintel  construction,  with  the  inclined  jambs,  is  a 
question  that  involves  the  unsettled  origin  of  the 


The  Art  Treasures  of  Mexico 


A 


CONTRETEMPS 


PORTRAIT   OF   CARLOS   III 
OF    SPAIN 


BY    SALBADOR 
DE   MAELLA 


race.  The  earthen  bowl  and  pitcher  borne  by 
Zochital  and  her  attendant  and  the  large  ollas  on 
the  floor  in  front  of  the  kneeling  servant,  are  like 
those  made  by  the  Mexican  Indians  today  as 
well  as  like  the  Toltec  and  Aztec  pottery  preserved 
in  the  museums.  The  servant  at  the  extreme 
left  bears  in  her  arms  a  maguey  plant,  showing 
the  origin  of  the  newly  discovered  drink  to  the 
Prince.  The  Prince  is  attired  as  if  he  were  ex- 
pecting a  deputation  of  importance,  with  crown 
on  head,  scepter  in  hand,  a  magnificent  blanket 
about  his  shoulders,  and  his  sandaled  feet  resting 
on  a  bear  skin.  About  him  are  grouped  his 
attendants,  musicians,  scribes,  wives  and  slaves. 

The  Travesuras  del  Amor,  by  Manuel  Ocaranza, 
is  a  spirited  and  beautiful  bit  of  work.  The  eyes 
of  the  little  god  fairly  sparkle  as  he  jealously 
watches  the  drops  of  his  love  philter. 

The  portrait  of  Carlos  III.  of  Spain  is  by 
Salbador  de  Maella.  The  face  of  this  picturesque 
pretender  to  the  crown  is  sinister  and  haunting, 
as  any  face  that  has  the  "Mona  Lisa  mouth," 
with  its  upturned  corners,  is  apt  to  be.  The 
picture  is  rich  in  detail,  of  fine  textures,  glittering 
jewels  and  precious  metals,  and  the  duller  gleam 
of  marble  pillars  and  polished  rosewood. 


The  October  number  of  The  Interna- 
tional Studio  suffered  an  unusual  experience 
inasmuch  as  it  was  held  up  by  the  New  York  Post 
Office,  who  considered  the  illustrations  to  an  arti- 
cle upon  the  work  of  Lillian  Genth  as  sufficiently 
indelicate  to  warrant  their  seeking  instructions 
from  Washington.  Needless  to  say.  Government 
at  once  telegraphed  permission  for  the  issue  to  be 
mailed,  and  we  should  not  mention  this  trifling 
occurrence  only  that  it  so  aptly  illustrates  the 
continual  struggle  between  orthodoxy  and  hetero- 
doxy in  matters  of  art.  Every  one  acquainted 
with  Lillian  Genth's  paintings  and  with  the  trend 
of  The  International  Studio,  will  share  our  sur- 
prise that  September  Morn  should  have  been 
extended  into  October  and  probably  beyond. 


T 


HE  NEW  YORK  SOCIETY  OF  ETCH- 
ERS 


The  first  annual  exhibition  will  be  held  at  the 
galleries  of  the  Berlin  Photographic  Company,  305 
Madison  Avenue,  from  January  5  to  31  inclusive. 

All  prints  for  exhibition  must  be  sent  unframed 
by  December  i,  1913,  to  New  York  Society  of 
Etchers,  2104  Flatiron  Building. 


LA  VISITACION    (ON    WOOD) 


BY   BALTASAR   ECHAVE 
CV 


fmpycssious  in  the  Studio  of  an  Animal  Sculptor 


GREYHOUND   RECUMBENT 


I 


MPRESSIONS  IN  THE  STUDIO  OF  AN 
ANIMAL  SCULPTOR 
BY  JESSIE  LAMONT 


The  first  door  to  the  right,  ground  floor, 
of  the  Benedick  Building,  Washington  Square, 
New  York  City,  opens  on  the  studio  of  Eli 
Harvey— a  long  room  lighted  by  a  great  case- 
ment that  frames  the  green  sward  and  the  budding 
trees  of  the  square  beyond;  this  window  lends,  as 
it  were,  an  open-air  background  to  the  sculptured 
figures  of  forest  folk  that  are  grouped  within. 

Sketches  and  drawings  cover  the  walls  of  the 
studio;  clay  models,  casts  and  finished  bronzes  are 
crowded  on  all  sides.  There  are  single  figures  and 
groups  of  majestic,  shy,  fierce,  frolicsome  crea- 
tures that  seem  to  embody  the  forces  and  the 
moods  of  primal  nature;  an  atmosphere  of  desert 
places  seems  to  glow  about  them;  primeval  forests 
seem  to  stretch  out  behind  them. 

A  jaguar  creeps  along  on  the  high  shelf  that  runs 
across  half  the  wall.  The  creature  seems  to  move 
stealthily  under  the  ceiling's  shadows.  Another 
and  larger  replica  of  this  beast,  on  a  pedestal, 
seems  about  to  spring.  The  high  lights  that  shine 
on  the  polished  muscles  give  a  peculiar  (|ualily  of 
life  and  vibrancy.  The  creature  has  feline  grace, 
ferocity  and  jiower  in  its  every  contour;  it  breathes 
from  every  line  and  curve  the  spell  of  the  jungles, 
the  treachery  and  mystery  of  dense  thickets  under 

cvi 


BY    ELI    HARVEY 

tropical  skies.  One  almost  hears  the  soft  i>ad  of 
its  feet  and  the  rustle  of  branches  that  it  brushes 
past. 

A  lion  rests  on  its  haunches,  a  noble  and  splen- 
did monarch,  somewhat  after  the  tN-pe  of  the  four 
great  beasts  that  flank  the  monument  in  Trafalgar 
Square,  London,  the  work  of  Landseer.  But  this 
forest  king  is  more  contemijlative,  with  head  less 
raised.  It  is  a  figure  of  haughty  might,  with  eyes 
that  have  the  far  gaze  that  reaches  over  desert 
wastes,  that  contemplates  in  the  answering  gaze 
of  the  Sphinx,  changelessness,  infinity.  .Another 
lion  stands  at  bay;  its  great,  fleshy  jaw  hangs 
open,  its  nostrils  seem  vibrant  with  the  emission 
of  its  roar;  the  muscles  of  the  flank  dilate;  the  tail 
is  stifi',  erect;  its  hind  legs  stretch  out  ten.se  and 
slanting;  its  body  braces  itself  to  the  passionate 
I>rotest  of  its  mighty  voice.  When  this  lion  was 
exhibited  in  France,  the  sculjilor  Fremiet  spoke  of 
the  wonderful  "quality  "  of  the  work,  of  the  quiver 
of  its  high  lights,  the  palpitant  nostrils. 

A  little  brown  bear  dances  and  balances  on  a 
ball,  its  round,  fat  body  ludicrously  drawn  up  in 
the  elTorl  of  its  trick.  It  is  a  canny,  funny  thing, 
making  much  effort  not  to  fail  in  its  feat.  Another 
mother  bear  rolls  on  her  back;  her  two  young  cubs 
nestle  comfortably  in  the  thick  curling  hair  and 
feed  from  her  breasts. 

A  Polar  bear  stretches  out  with  flat,  widespread 
haunches.     It  has  a  "coldness"  of  contour,  the 


Impressions  in  the  Studio  of  an  Animal  Sculptor 


lines  of  its  drawing  are  almost  those  of  an  iceberg. 
The  atmosphere  that  this  creature  creates  is  mar- 
velously  perfect.  It  contrasts  strangely  with  the 
warmth  of  the  little  brown  dancing  bear.  It  is  a 
thing  of  the  North,  of  ice  fioes  and  polar  wilds. 

A  great  elk  raises  its  head,  erect,  tense,  hstening; 
its  ears  are  pointed,  intensely  alert,  its  feet  touch 
the  earth  as  if  scarce  pressing  it,  in  readiness  for 
flight.  The  sculptor  calls  this  animal  America  s 
Aristocrat. 

One  interesting  small  bit  of  modeling  is  a  figure 
on  a  paperknife,  a 
leopard  coiled, "  cou- 
chant,"  head  on 
paws,  tail  curled  and 
languid.  This  crea- 
ture is  called  The 
Silent  Partner,  and 
recalls  in  a  way  Bal- 
zac's story,  "A  Pas- 
sion in  the  Desert." 

The  most  recent 
sculpture  is  a  grey- 
hound that  lies  with 
outstretched  paws  on 
a  low  base.  The  long 
curved  line  that 
sweeps  from  fore- 
shoulder  over  the 
breast  and  across 
the  flank  is  sharply 
chiseled — the  ears 
lie  flat,  the  whole 
head  is  expressive  of 
sensitiveness  and 
delicacy — the  body 
rests  with  the  light 
grace  that  is  charac- 
teristic of  this  species 
of  hound.  The  beau- 
tiful  animal  from 

which  this  study  was  modeled  is  the  pet  and 
familiar  of  Mr.  Harvey's  studio. 

Through  the  phases  of  Mr.  Harvey's  work  there 
is  the  development  of  a  psychology  that  is  both 
subtle  and  impressive.  It  is  work  that  suggests 
the  effect  of  expanding  imagination  and  growth  of 
soul;  it  represents  tireless  energy  of  labor,  knowl- 
edge of  anatomy  to  the  minutest  detail,  a  per- 
fected technique,  acquired  through  countless 
sketches  of  each  separate  part  of  the  figure,  in  rest 
and  in  movement,  added  to  the  trained,  acute  and 
psychic  observation  or  perception  that  reveals  to 
the  artist  the  individuality,  the  temperament  of 


YOUNG   GREYHOUND 


each  model.  Mr.  Harvey's  art  grew  through 
painting  nature's  moods  to  capturing  in  the  clay 
her  untamable  children. 

The  animals  of  the  feline  group  first  seized  the 
imagination  of  this  artist  because  of  their  sinuous 
grace,  their  undulating  suppleness  of  movement. 
The  artist's  final  adoption  of  sculpture  as  his 
medium  of  expression  came,  as  all  inspirational 
accomplishment  does,  quite  by  chance. 

The  summer  of  i8g8  found  Mr.  Harvey  in  the 
forest  of    Fontainebleau,  in  a  certain  wild  spot 

that  at  close  of  day 
commands  a  wide 
sweep  over  purpling 
hills  and  a  view  of  a 
stretch  of  country 
that  seems  to  extend 
vastly  under  the 
deepening  shadows. 
This  spot  is  reach- 
ed by  an  ascent 
through  the  pine 
trees,  and  during 
the  twilight  hours 
was  sought  by  the 
artist  and  his  com- 
rade,  the  little 
woman  who  has  been 
both  inspiration  and 
helpmate  through 
many  years. 

These  two  and  a 
young  ItaUan,  who 
posed  as  model, 
wended  their  way 
through  the  silent 
woods  at  sunset  each 
evening.  A  canvas 
was  setup;  the  model 
reclined  on  the  hilly 
slope;  several  lion 
skins  were  spread  to  give  the  tawny  note  to  the 
picture,  and  thus  was  conceived  and  executed  the 
painting  of  Orpheus  Charming  the  Animals.  This 
picture,  with  its  purple  twilight  tones,  the  gold- 
haired  young  demi-god  with  his  lyre  stretched  on  the 
rocky  bank,  and  the  lions  and  tigers  grouped  about 
in  charmed  attention,  was  hung  on  the  line  in  the 
Paris  Salon  of  1899,  and  the  following  year  was 
again  exhibited  and  won  the  gold  medal  at  the 
Paris-Provence  Exhibition. 

The  animals  in  this  picture  absorbed  the  inter- 
est of  the  painter  to  an  extent  that  caused  him  to 
take  up  animal  study  thereafter  and  devote  him- 


BY    ELI   HARVEY 


Impressions  iu  the  Studio  of  an  Animal  Sculptor 


self  exclusively  to  this  phase  of  art  in  its  sculp- 
tural form. 

Mr.  Harvey's  studies  of  animals  were  made  in 
Paris  at  the  private  menageries  of  the  Fetes 
Foreign  at  Neuilly  and  Asnieres,  and  the  Jardin 
des  Plantes,  and  later  in  the  New  York  Zoological 
Gardens  and  in  Central  Park. 

Those  animals  which  are  remo\-ed  from  one  cage 
to  another,  as  is  done  in  some  of  the  gardens  in 
Paris,  are  more  alive  and  vital  as  models,  for  even 
this  slight  change  breaks  into  the  dullness  that 
results  from  close  confinement.  The  animals  seem 
to  become  familiar  with  the  sculptor's  presence 
and  gaze  at  him  curiously  as  he  pursues  his  work. 

The  sculptor's  completed  work  in  clay  is  not  the 
perfected  work  of  art,  as  is  the  painter's  canvas 
when  his  brush  work  is  finished;  other  hands  repro- 
duce the  clay  model  in  marble  or  bronze.  The 
marble  cutting  is  done  by  the  artist's  assistant,  by 
measurements  taken  from  a  cast  of  the  clay  model. 
Any  change  or  emphasis  of  line  is  indicated  by  the 
sculptor  by  marking  with  a  pencil  on  the  marble, 
and  the  assistant  or  marble-cutter  completes  the 
work. 

The  casting  into  bronze  is  done  by  two  methods: 
The  sand  casting,  which  is  the  more  mechanical 
process,  is  better  adapted  to  large  pieces  of  work. 
The  result  of  this  method  depends  upon  the 
fidelity  of  the  casting;  retouching  is  difficult,  for 
the  artist  cannot  readily  work  on  the  metal,  as  the 
material  is  hard  and  does  not  yield  to  plastic 
handling,  although  a  "chasing,"  or  finish,  is  some- 


times given,  to  bring  out  greater  sharpness  of  line 
The  effect  of  this  finish  is,  however,  mechanical 
and  undesirable,  and  the  chisel  should  rarely  be 
used,  e.vcepting  to  erase  lines  or  scams  caused  by 
removing  the  molds  from  the  bronze. 

In  the  wax  or  "cire  perdue"  casting,  the  sculp- 
tor can  work  with  a  heated  tool  in  a  sympathetic 
way  in  the  wax,  and  thus  bring  out  a  distinctness 
of  cutting,  a  clearer  outline.  This  form  of  casting 
is  one  of  the  oldest  known  methods  and  is  much 
favored  by  the  Italians.  It  is  most  valuable  for 
small  pieces  of  work,  as  it  gives  greater  delicacy  of 
finish. 

The  bronzes  that  have  come  from  the  casting 
may  be  colored  b\'  two  processes.  The  lacquer  of 
the  French  bronze  is  colored  by  resorting  to  a  pig- 
ment of  powder.  This  lacquer  is  applied  as  a 
coating,  which  obliterates  to  some  extent  the 
delicacj'  of  line,  the  finer  tracery  of  the  modeling. 
It  is  much  used  in  the  cheaper  and  more  commer- 
cial bronzes. 

Mr.  Harvey  tones  his  own  bronzes  entirely  by 
the  application  of  an  acid  patina,  which,  by  sub- 
jection to  more  or  less  heat,  produces  brown, 
green  or  reddish  shades.  The  process  preserves 
the  utmost  fineness  of  modeling. 

The  color  produced  by  the  application  of  acids 
is  a  natural  chemical  process,  forced  by  heat  and 
gives  light  and  shade,  life  and  movement,  to  the 
figures,  while  the  lines  and  contours  of  each  of 
these  animals  reveals  its  native  clement,  even  the 
geography  of  its  environment. 


RECLMBF-NT   LIONl. 
CVIII 


UY    liLI    HAKVEY 


///  the  Galleries 


\i\    kATHERINE   S.    DREIER 


IN  THE  GALLERIES 
It  cannot  be  said  of  New  York  as  once 
Salvator  Rosa  querulously  sang: 
"Of  the  rich,  noble,  vulgar  herd 
Few  estimate  and  few  require 
The  painter's  zeal      ..." 

New  Yorkers  have  ceased  to  be  a  "  vulgar  herd ' ' 
in  the  sense  of  being  blindly  and  blandly  indiffer- 
ent where  art  is  concerned,  and  each  revolving 
season  produces  more  enthusiasm  in  art  circles. 
Homebound  liners  are  still  returning  us  art  dealers 
and  collectors  from  their  forays  abroad  and  at  this 
time  of  writing  it  can  hardly  be  affirmed  that  the 
art  season  has  really  commenced.  A  few  exhibi- 
tions are  on,  it  is  true,  but  in  most  cases  well- 
known  galleries  have  merely  hung  up  old  friends 
with  a  scattering  of  new  canvases,  more  to  conceal 
bare  walls  than  with  the  idea  of  exhibiting. 

The  first  exhibition  of  paintings  was  held  at  the 
Macbeth  Galleries,  with  a  one-man  show,  in  this 
case  a  lady.  From  the  14th  October  to  the  27th 
were  seen  the  paintings  of  Katharine  S.  Dreier,  of 
whose  work  we  show  two  reproductions.  Al- 
though this  artist  has  held  many  successful  exhi- 
bitions, notably  at  the  Salon  des  Beaux  Arts, 
Paris,  and  in  London  and  Germany,  this  is  the 
first  time  that  she  has  appeared  in  a  New  York 


gallery.  Miss  Dreier,  a  native  of  Brooklyn,  has 
only  been  a  few  years  at  the  easel.  She  was  three 
years  under  Walter  Shirlaw,  after  which  she  stud- 
ied in  Paris  and  London.  Good  color  schemes, 
great  grasp  of  atmosphere,  with  bold  rendition, 


THE   WINTER   GIRL 


BY   PAULINE   P.^LMER 
CIX 


///  the  Galleries 


\ 


mark  her  work,  which  decidedly  inclines  to  the 
decorative.  Her  ijcst  jMctures  arc  the  Thames 
views,  especially  her  London  in  February  and 
Moonlight.  The  large  decorative  subject,  The 
Sea,  attracted  considerable  attentii)n  and  favor- 
able comment. 

Mr.  Martin  Birnbaum,  of  the  Berlin  Photo- 
graphic Company,  promises  truly  interesting  art 
exhibitions  in  the  coming  season.  .\rt  lovers  will 
have  the  opportunity  of  seeing  the  work  of  Leon 
Bakst,  including  the  latest  "Orientale"  for  Mile. 
Pavlowa.  With  the  co-operation  of  Dr.  Ferencz 
Hoffmann,  of  the  Academy  at  Keszthely,  Hun- 
gary, he  also  gathered  a  choice  collection  of  etch- 
ings, lithographs,  woodcuts  and  drawings  from 
Austria,  Hungary  and  Bohemia.  Furthermore, 
the  New  York  Society  of 
American  Etchers,  newly 
formed,  will  hold  their  first 
exhibition  in  January. 

Other  highly  important 
events  will  be  an  exhibi- 
tion of  Mohammedan  art, 
and  a  joint  display  of  the 
paintings,  lithographs, 
sculptures,  ceramics,  etc., 
of  Charles  Shannon  and 
Charles  Ricketts,  the  cele- 
brated Englishmen  whose 
work  will  appear  for  the 
first  time  side  by  side  in 
any  exhibition. 

The  Bakst  exhibition,  to 
be  opened  by  Mile.  Pav- 
lowa, begins  this  month  at 
the  Berlin  Photographic 
Company's  galleries.  In 
December  it  will  be  seen 
at  Newark,  N.  J.,  January 
at  the  Albright  Museum, 
February  at  the  St.  Louis 
Museum,  March  at  the 
Chicago  Art  Institute, 
April  at  the  Cincinnati 
Museum  and  in  May  at 
the  Detroit  Museum.  The 
Aust  ro  -  H  u  ngarian-Bohe- 
mian  exhii)ition  will  open 
at  the  Berlin  Photograjjliic 
Company's  galleries  in  De- 
cember, and  during  Janu- 
ary, February,  March  and 
May  respectively  of  next 
year,  will  be  on  view  at  the 


.■Mbright  Museum,  St.  Louis  Museum,  Chicago .\rt 
Institute  and  the  Carnegie  Institute,  Pittsburgh. 

One  of  our  illustrations  shows  a  wine  tankard  to 
be  reproduced  in  silver,  40  inches  high,  a  re])lica 
in  bronze  of  the  surmounting  group,  entitled 
Bacchante  atid  Faun,  was  accepted  by  the  Na- 
tional Sculpture  Society  for  the  traveling  exhibi- 
tion of  small  bronzes,  and  was  purchased  by  Mr. 
John  H.  Grundlach,  of  St.  Louis.  The  sculptor  is 
Adolfo  de'  Nesti,  of  Philadelphia. 

Two  of  our  illustrations  represent  pictures  ex- 
hibited at  the  Carnegie  Institute  during  the  past 
summer.  Director  Beattie  organized  a  loan  exhi- 
bition of  forty-nine  paintings  before  leaving  for 
Europe.  Excellent  examples  of  Constable, 
Fechin,  Diaz,  Corot,  Courbet,  Ben  Foster,  Dupre, 


li{l-;    AVICM  K,    NOKDWIJK-UINNIi.N 


nv  kathi;rink  s.  dhkikr 


/;/  the  Galleries 


BACCHANTE  AND  FAUN 


BY  ADOLFO  DE  NESTI 


Millet,  etc.,  drew  appreciative  crowds,  thus  prov- 
ing that  the  hot  weather  does  not  militate  against 
museum  visiting. 

During  the  greater  part  of  October  the  Gorham 
Company  held  an  excellent  display  of  the  work  of 
the  well-known  animal  sculptor,  A.  Phimister 
Proctor.  Under  the  auspices  of  Mr.  Purdy,  who 
is  a  real  connoisseur  of  art,  this  company  intends 
holding  several  important  exhibitions  during  the 
season. 


We  are  showing  in  small  cuts  some  work 
by  the  successful  Chicago  artist,  Pauline 
Palmer,  who  recently  exhibited  sixty-eight 
pictures  at  the  Art  Institute,  including  por- 
traits, iigure  subjects  and  Italian  scenes. 
The  Winter  Girl  made  a  great  hit  and  was 
secured  for  his  collection  by  Edward  B. 
Butler.  Luminosity  and  color  are  the  dis- 
tinctive charm  of  her  travel  notes,  and  her 
technical  skill  on  the  best  hues  of  impres- 


V 


UNDER   THE   ARCHES    IN 
SUNNY   ITALY 


BY    PAULINE 
PALMER 


LATE   AFTERNOON    IX    CIVERNEY,    FRANCE 


BY   PALTLINE 


sionism  make  her  picturesciue  corners  of  Europe 

very  enjoyable. 

Print  lo\-ers  have  been  enjoying  an  exhibition 

at  the  Frederick  Keppel  Galleries  of  the  work 
of  Cadwallader  Washburn,  dry  points 
of  Mexico  and  New  Jersey.  These 
new  series  wiU  add  fresh  luster  to  this 
already  interesting  painter-etcher. 
Seven  new  plates  add  to  the  interest 
of  a  Zorn  exhibition,  which  will  be  on 
view  till  the  15  th  at  the  galleries  of 
Messrs.  Arthur  H.  Hahlo  &  Co. 

Mr.  Ederheimer,  with  increased 
space  at  his  old  quarters  in  366  Fifth 
.\venue,  is  gi\'ing  an  opening  exhibi- 
tion of  the  work  of  that  great  peintre- 
graveiir,  Robert  Nanteuil,  who  flour- 
ished during  the  reign  of  Louis  XIV. 
.,  Seventy  excellent  impressions  are  on 

PALMER       view,  comprising  among  other  rarities 

CXI 


///  the  Galleries 


A   WOODED   COMMON   OF   THE   COTSWOLDS 


the  portrait  of  Antoine  Ariiauld,  a  crayon  draw- 
ing in  black  and  red,  which  Mr.  Ederheimer 
has  used  as  a  frontispiece  to  a  most  attractive 
catalogue,  containing  a  thoughtful  essay  on  the 
Master  by  Louis  R.  Metcalfe,  whom  Mr.  Eder- 
heimer describes  in  his  preface  as  Nanteuil's 
prophet  in  this  country. 

October    15    Mr.    Robertson,    of   the    Brown- 
Robertson    Company,    commenced    his   opening 
exhibition  of  etchings  at  his  galleries  707  Fifth 
Avenue,  with  an  even  hundred  plates  most  typical 
and  representative  of  the  best  American  etching 
of  today.     To  mention  a  few  e.xhibitors:  Charles 
W.  Dahlgrecn,  George  Aid, 
Jerome  Blum,.\rthurCovey, 
Earl  H.  Reed.  Earl  Horter, 
George  \V.    Chandler,    Eu- 
gene  Higgins    and    liertha 
Jacques.    Mr.  Pierson,  who 
has  some  very  striking  new 
plates,  operated  a  ])rinting 
press  in   the  center  of  the 
gallery,    thus    interesting 
many  visitors  in    the  pro- 
cesses at  work   in   turning 
out  a  proof.     .\  notable  fea- 
ture of  the  exhibition  was  a 
display  of  plates  by  .Anne 
Goldthwaite,  whose  dancers 
aroused    keen    interest    by 
their  originality    and    feel-       how  the  gossip  grew 


ing:  Birch  Trees  by  Dahl- 
green  and  Horler's  exquisite 
plate  of  Madi.son  Square. 

Mr.  J.  Harsen  Purdy  has 
presented  to  the  New  York 
Public  Library  his  splendid 
collection  of  engravings  by 
William  Failhorne,  which 
has  been  on  exhibition  at 
the  Library  during  the  sum- 
mer and  is  still  on  \iew. 
The  exhibition  has  been 
visited  by  large  numbers  of 
])eople  and  has  created  a 
great  deal  of  interest.  It  is 
a  matter  for  congratulation 
that  after  the  exhibition  is 
over  the  collection  will  re- 
main permanently  availal)le, 
in  the  Library's  division  of 
prints,  for  students  of  the 
graphic  arts. 

Collections  of  Faithorne's 
work  are  not  common,  and  the  present  one,  re- 
markable in  its  extent  as  well  as  in  rich  quality  of 
impressions,  wou'd  be — to  speak  conservatively — 
most  unusual  even  in  England.  Faithorne  is  an 
important  figure  in  the  annals  of  line  engraving  on 
copper  in  Great  Britain.  Influenced  by  the  ex- 
ample of  the  French  cngra\crs,  Mellan  and  Nan- 
teuil,  he  yet  found  a  force  of  expression  that  was 
both  individual  and  national.  This  last  quality 
is  naturally  accentuated  in  that  portion  of  his 
work  which  was  his  best  and  most  important — 
the  portraits.  His  activity  extended  from  the 
reign  of  Charles  I  through  the  Commonwealth. 


BY    SIR    ALFRED   EAST 


HV    K.    D.    MIl.LKT 


CXIl 


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INTERNATIONAL 
STUDIO 


VOL.  LI.        No.  202 


Copyright.  1913,  bv  John  Lane  Company 


DECEMBER.  1913 


T 


HE  ART  OF  C.  S.  PIETRO 
BY  JESSIE  LEMONT 


Some  twenty  years  ago  a  young 
Italian  boy  accompanied  by  a  gentle 
and  pious  mother,  made  almost  daily  visits  to  the 
great  cathedral  in  Rome.  The  vast  interior,  with 
its  long,  dim  aisles,  the  high-arched  vaultings,  the 
many  twinkling  candle  lights,  the  incense,  the 
music,  the  glow  of  the  paintings,  the  serenity  of 
the  sculptures  filled  the  soul  of  the  youth  with  a 
desire  to  create  something  beautiful,  noble, 
e.xalted. 

This  early  influence,  perhaps,  gave  to  the  work 
of  C.  S.  Pietro  the  spiritual  quality  that  renders  it 
significant  and  distinctive.  From  molding  tiny 
images  in  clay  in  early  childliood,  as  the  years 
passed  the  young  sculptor  advanced  in  creative 
work,  and  after  having  achieved  success  in  his 
home  city,  he  moved  in  1909  to  New  York. 

It  is  unusual  to  find  the  work  of  a  sculptor 
through  its  entire  scope  possessive  of  qualities  of 
warmth  and  life;  it  is  still  rarer  to  find  the  whole 
range  of  figure  work  of  an  artist  e.xpressive  of  the 
subtle  essence  called  personality.  Character  is 
traced  by  lines;  the  shape  of  a  hand  is  indicative 
of  individuality;  the  contours  of  the  face  reveal 
temperament;  the  abundance  and  texture  of  the 
hair  suggests  sensuousness  or  spirituality.  Ob- 
serve the  subtle  revelation  of  the  hair  in  the  trip- 
tych of  Watts  entitled  And  She  Shall  Be  Called 
Woman,  Eve  Templed  and  Eve  Repentant.  In  the 
Creation  of  Woman  the  gold  of  the  woman's  hair 
glows  about  her  head  like  a  halo  or  like  the  shim- 
mer of  the  sun.  Eve  Templed  has  hair  that  is 
electric;  it  seems  to  crackle.  The  hair  of  Eve 
Repentant  flows  over  her  fair  body  in  soft  waves 
like  the  quiet  rippling  of  waters. 

The  comprehension  of  te.xture  and  movement  is 
more  difficult  of  exposition  for  the  sculptor  than 
for  the  painter.  It  must  be  suggested  entirely  by 
line  and  through  the  medium  of  hard  substance. 


Signor  Pietro  has  the  intuitive  percejition  of  these 
values  and  has  conveyed  them  both  subtly  and 
strikingly.  The  portraits  and  imaginative  con- 
ceptions of  this  artist  express  mobility,  change; 
delicate  shades  of  expression  play  over  faces; 
brows  contract  in  fleeting  lines  of  pain;  shadows 
lie  in  the  hollow  of  the  throat;  smiles  steal  over  the 
curves  of  the  mouth.  These  marbles  are  not  rigid 
forms  of  cold,  unchanging  beauty;  they  radiate 
from  their  soft  contours  a  pulsating  vitality. 

The  studios  at  402  Fifth  Avenue  present  an 
arresting  variety  and  individuality  of  production. 
The  entrance  haU  is  a  large,  bare  room,  empty  save 
for  several  heroic  busts  placed  on  pedestals  far 
apart  so  that  each  seems  to  be  isolated  and  with- 
drawn to  itself. 

There  is  a  head  of  Mozart  with  high,  intellectual 
brow,  large,  dreamy  eyes,  sensitive  nose  and  deli- 
cate yet  full  lips — distinctively  the  poet,  the 
musician,  the  composer  of  those  staccato  harmon- 
ies so  in  keeping  with  the  knee  breeches,  silken 
waistcoats,  lace  ruffles  and  periwigs  of  the  arti- 
ficial time  that  produced  them.  This  youth  might 
have  trod  a  measure  with  the  ladies  of  Watteau; 
might  have  moved  among  that  picturesque  and 
daintv  throng  with  the  radiant  mien  and  rapt  face 
of  one  who  hears  and  follows  the  music  of  The 
Magic  Flute.  The  shoulders  are  erect,  the  head 
thrown  a  trifle  back,  the  eyes  raised  and  wide  with 
their  vision. 

The  lines  of  the  head  of  Verdi  are  bolder,  more 
flowing,  the  features  are  more  massive;  the  head 
bends  downward,  the  eyes  are  less  open,  the  gaze 
more  inward,  more  introspective.  Here  is  the 
composer  of  the  bigger  harmonies;  the  listener  to 
sounds  that  swell  and  grow  in  power  and  rise  in  a 
mighty,  cumulative  gathering  of  volume.  This 
listening  head  hears  the  melodies  of  Aida,  the  roll 
of  La  Forza  del  Destino,  the  beat  of  iht  Requiem  and 
the  soaring  notes  of  the  Inflammatus.  This  fine 
head  was  cast  in  bronze  for  Mr.  Maxwell,  of  the 
Ricordi  house. 


The  Art  of  C.  S.  Pictro 


Photcgfaph  by  Jeanne  liertriin'l 

MISSES   UOROTHV   AND   HELEN   GOULD 

Another  bust,  that  of  Victor  Maurel,  is  different 
in  conception.  It  has  dramatic  fire  and  vividness; 
the  head  is  less  large,  more  round,  the  face  square, 
the  nose  blunt  and  strong,  the  mustachios  curl 
upward;  the  whole  erect  poise  has  the  assurance 
of  the  trained  actor  and  singer.  The  throat  is 
large  and  full  and  adds  to  the  effect  of  strength 
and  vitality. 

The  splendid  head  of  Rubenstein  is  massive, 
almost  leonine;  the  waving  hair  is  thick  and  ruf- 
fled; the  features  are  strong,  the  brow  heavy,  but 


BY  C.   S.   PIETRO 

the  fine  veins  about  the  nose  and  the  full,  mobile 
mouth  give  an  expression  of  impulsiveness,  pas- 
sion, pride  and  sensitiveness.  Here  is  a  person- 
ality of  marked  magnetism,  as  well  as  the  artist 
and  musician. 

These  sculptures  have  a  ruggedness,  a  breadth 
and  largeness  of  line  that  creates  in  the  room  an 
atmosphere  of  lofty  distinction  and  dignity  and 
somewhat  an  impression  of  antiquity  and  remote- 
ness. This  hall  seems  shut  out  from  noise  and 
hurry;  quietuile  dwells  here  and  an  aloofness  that 


The  Art  of  C.  S.  -Pietro 


induces  a  mood  for  closer  contemplation  of  Signor 
Pietro's  work,  the  work  that  is  within  a  smaller 
and  more  secluded  studio  which  one  enters  from 
this  larger  salle. 

The  inner  room  offers  a  more  intimate  view  of 
this  sculptor's  art.  Attention  is  at  first  arrested 
by  a  portrait  group  of  two  young  girls.  Misses 
Helen  and  Dorothy  Gould.  It  is  interesting  to 
look  first  at  this  marble  from  the  back.  The  hair 
of  both  young  maids  floats  free  and  ripples  over 
the  shoulders;  the  front  locks  are  caught  together 
high  on  the  crowns  of  the  heads  with  wide  ribbon 
bows.  One  of  the  girls,  a  trifle  larger  than  the 
other,  leans  forward  and  seems  to  somewhat 
enfold  the  smaller  within  the  curve  of  shoulder 
and  right  arm.  Viewed  from  the  front,  the  im- 
pression of  this  group  changes  entirely.  The  ex- 
pression of  the  smaller  but  older  girl  is  one  of  poise 


Photograph  by  Jeanne  Berlrand 
NYDIA 


and  confidence;  the  hair  is  brushed  straightly 
back  from  the  brow  in  a  high  roll;  the  mouth  is 
soft  but  firm ;  the  firmly  chiseled  features  breathe 
an  independence  that  gives  the  young  face  a  cer- 
tain maturity.     The  larger  but  younger  girl  leans 
behind  her  sister  with  shy  eagerness;  her  face  is 
less  regular  in  feature;  the  curves  are  softer;  a 
light  fringe  of  hair  shades  the  forehead  and  is 
blown   about   the   temples;   eyes  are  wide   and 
dreamy.     There  is  a  touch  of  poetry  in  this  young 
face,  which  is  modeled  with  tenderness,  as  though 
the  sculptor  had  lingered  lovingly  over  his  work. 
The  same  character  study  is  shown  in  the  statu- 
ette group  of  these  young  girls  with  their  aunt, 
Mrs.    Finlay  J.   Shepard   (formerly   Miss  Helen 
Miller    Gould).     Mrs.    Shepard   reading   to   her 
nieces  forms  a  fine  center;  her  younger  niece  nes- 
tles close  by  her  side;  the  older  sits  more  indepen- 
dently apart.     The  small 
group  presents  a  study  of 
charming  grace  and  finish. 
A  life-sized  head  of  Mrs. 
Shepard   portrays   in   the 
gentle  brow  and  dawning 
smile  about  the  corners  of 
the  mouth   the    fine   and 
sympathetic    nature   that 
has     made     this    woman 
known  and  loved  for  her 
understanding  help  among 
the  people. 

A  statuette  of  John  Bur- 
roughs represents  the  aged 
poet  and  naturalist  seated 
upon  a  rock.  The  poise  is 
light,  almost  faun-like;  the 
bearded  face  is  bent  for- 
ward; the  figure  has  an 
alertness  that  seems  to 
ally  it  with  the  creatures 
of  the  woods  that  he  loves. 
An  atmosphere  of  the  for- 
est pervades  this  work. 

A  sweet-faced  lady  lean- 
ing on  a  garden  gate  is  a 
portrait  bust  of  the  artist's 
mother.  The  straight,  soft 
hair  is  parted  in  the  center 
and  gathered  in  a  low  coil; 
the  face  is  expressive  of  the 
tenderpatienceof  alife  ab- 
sorbed and  spent  in  the 
service  of  love.  This  gentle 
figure  guards  the  garden  of 
cxvii 


BY   C.   S.   PIETRO 


I 


Pbotonrtiph  by  Jean  lirrlrawi 


(iOD  IN  THE  HKAKT 
BY  C.  S.  [METRO 


The  Art  of  C.  S.  -Pietro 


Photograph  by  Jeanne  Bertrand 
THE   VETERAN 


BY  C.   S.    PIETRO 


luT  home.  There  is  a  quaint  charm  in  this  Portrait 
of  My  Mother  that  recalls  the  Whistler  portrait  in 
the  Luxembourg. 

The  bust  of  the  late  J.  Pierpont  Morgan  stands 
out  in  fine  foil  to  these  figures.  Here  the  chisel 
has  cut  deep  with  strong,  bold  strokes;  the  rugged 
features  are  stamped  with  force,  intellect,  will. 
Here  is  one  of  the  biggest  figures,  the  most  vital 
forces  of  our  age.  The  concentrated  power  of 
these  irregular  features  distinguishes  this  head 
from  the  other  works  in  the  studio.  The  bust  is 
to  be  placed  in  the  Municipal  Building  in  the 
Italian  town  of  Ascoli  Piceno,  a  gift  of  the  Chev- 


alier Mazzoni,  sindaco  or  mayor  of  the  village;  it  is 
to  commemorate  the  restoration  of  a  stolen  cope 
of  great  antiquity  and  value.  This  cope  had  been 
sold  to  Mr.  Morgan  as  a  collector  after  it  had 
passed  through  various  hands,  and  was  returned 
by  him  to  the  Church.  A  replica  of  the  bust  is  to 
be  placed  in  Mr.  Morgan's  office  and  another  in 
the  Morgan  Library. 

The  head  of  General  Booth  again  presents  con- 
trast. The  large,  benign  contours,  the  long  hair 
and  patriarchal  beard,  the  lean  face  with  its  deep- 
set  eyes  and  high  Hebraic  nose  signify  the  prophet. 
The  head  is  biblical;  it  resembles  the   head  of 


The  Art  of  C.  S.  Pietro 


From  a   photograph  by  Folk 
GENERAL    BOOTH 

Michelangelo's  Moses.  This  likeness  is  also  felt 
in  the  large  monument  to  General  Booth,  the  most 
imposing  work  in  the  studio.  The  full-length, 
heroic-sized  figure  of  the  General  stands  on  a  high 
platform  or  pulpit;  beside  him  kneel  two  figures,  a 
man  and  a  woman  in  supplication;  the  design  on 
the  base  of  the  altar  represents  llamc.  To  the  left 
a  long  line  of  figures  twelve  feet  in  height  in  high 
relief,  a  procession  of  the  suffering  and  the  needy, 
approaches  the  central  group;  the  low  wall  along 
which  these  figures  pass  ends  abruptly  on  the  right 
and  is  sharply  counterbalanced  l)y  a  beautiful 
group  of  a  woman  with  two  children  on  her  knees, 
symbolic  of  Charity,  jjlaced  far  out  on  the  right 
foreground  on  a  low,  broad  platform  raised  some 
feet  above  the  earth  level.  In  the  background, 
behind  this  group,  is  a  fountain,  and  diagonally 
opposite  another  fountain  plajs  in  the  extreme 


left  foreground.  Thearchi- 
tectural  design  and  the 
grouping  of  this  comjiosi- 
tion  is  magnificently  bal- 
anced and  impressive. 

Three  pieces  of  imagina- 
ti\e  work  of  this  sculptor 
emphasize  his  breadth  of 
conception.  The  head  of 
a  young  girl  with  flowing 
hair  and  a  face  of  exquisite, 
purity  leans  forward  with 
closed  yet  seeking  eyes. 
This  bust  for  some  time 
after  its  completion  had 
no  title.  One  day  a  visi- 
tor, on  seeing  it,  exclaimed : 
"ThatisNydia;  just  so  did 
she  find  her  way  through 
Pompeii."  Thus  was  the 
bust  named. 

God  in  the  Heart  is  ex- 
pressed in  the  bent  head  of 
a  young  girl  whose  hands 
are  clasped  in  an  attitude 
of  prayer.  The  faint  lines 
of  renunciation  on  the 
beautiful  brow,  the  long- 
ing, the  pain  and  the  sweet- 
ness of  the  lovely  face  sug- 
gest the  struggle  of  the 
finite  with  the  infinite. 
This  memory-haunted 
maiden's  face  might  be  a 
dilTerenl  and  eciually  per- 
fect version  of  the  "  Blessed 
Damozel " — a  sculptor's  vision  of  the  soul  that  is 
given  to  God  and  yet  drawn  earthward. 

A  full-length  life-sized  group  of  two  figures,  a 
man  and  a  woman,  poor,  barefoot,  standing  on  a 
rocky  hilltop,  is  called  Inspiration.  The  man, 
bent  and  weary,  has  placed  his  arm  for  support 
and  also  in  protection  about  the  woman's  shoulder; 
his  head  is  bowed  ujion  her  neck.  The  woman's 
face  and  figure  are  aged  and  thin;  her  flat  hair  is 
parted  and  drawn  down  behind  her  ears  in  a  scant 
knot ;  her  hands  are  roughened  from  hard  toil,  but 
the  worn  old  face  is  uplifted  and  illumined  with  a 
radiance  that  transfigures  it  to  beauty.  The  face 
of  Uastien  Lepage's  Joan  oj  Arc  is  transcendent 
with  a  splendid  vision,  but  this  old  woman  who, 
through  toil  and  poverty  and  long  years,  has 
walked  with  courage  beside  the  aged  and  weary 
man,  with  this  insjjired  light  upon  her  face,  has  a 


BY  C.    S.    PIETRO 


Photograph  by  Jeanne  Bertrand 


DREAM 

BY  C.  S.  PIETRO 


The  Art  of  C.  S.  Pic  fro 


-Sr^' 


>.  '^^ 


riioUj^rti^ih  by  Jeanne  Beriititi<i 

A   DETAIL   OF   THE   GENERAL    BOOTH    MOM  MENT 


BV   C.    S.    PIE!  KG 


sublimity    that   is   unequalcd    in    sculjilure   and 
unsuqjassed  in  art. 

The  range  and  contrast  of  subjects,  the  brown, 
pliant,  shapeless  forms  of  cla\ — things  of  earth 
that  seem  pregnant,  big,  unwieldy  w-ith  concep- 


I'hoti'uritl'h  l'\    Jfiinnr   Itrrlrand 
I'ROLETARIAN 


BV  C.    S.    (METRO 


tion;  the  rich,  coppery  color  of  the  bron/.e  that 
has  a  gleam  and  a  glint  as  from  an  inner  lire;  the 
cool  marbles  that  from  the  sculptor's  hands  have 
accjuired  warmth  and  life,  the  lights  and  shadows 
that  play  over  these  white  figures,  leave  an 
impression  that  lingers  in  the  memory  both  as  an 
inspiration  and  a  revelation. 

ASSOCIATED     .\RTISTS     OF    I'lTTS- 
^  BURGH 

Thk  Fourth  .Annual  E.xhibition  of  liu-  .\sso- 
ciated  Artists  of  Pittsburgh  opened  its  doors  to 
the  |>ublic  October  25,  and  continued  until  No- 
vember 2,v  The  high  standard  adopled  l)y  the 
jury  resulted  in  an  unusually  line  displa\-  and 
places  it  among  the  leading  e.xhibilions  of  the 
Middle  West  and,  with  the  exception  of  Xew 
York,  the  best  local  show  in  the  country. 

Altogether  i.^_^  pictures  were  hung,  representing 
fift\-fi\e  artists.  The  first  honor  was  awarded 
Mabel  K.illam  Day,  a  student  of  Robert  Henri, 
for  Winter,  a  snow  scene,  a  deliberate  and  direct 
execution  of  good  f)uality.  The  second  honor 
went  to  .Arthur  W.  Sparks,  head  of  the  art  depart- 
ment of  the  Carnegie  Institute  of  Technology,  for 
his  Cora  and  Chmeitcf.  showing  two  figures  in  the 
sunlit  foreground  in  a  glade  of  trees.  Christ 
Walter's  Evening,  in  tin-  Cotskills  received  third 
place,  and  deals  with  the  majesty  and  serenity  of 
mountain  landscape.  The  water-color  honor  went 
to  Mrs.  Ray  K.  Motz. 

The  one  man's  show  was  a  group  of  twenty-h\e 
paintings  by  Leoiiold  G.  SeyfTert,  of  Philadelphia, 
who  received  honorable  mention  at  the  recent 
International  Exhibition  at  the  Carnegie  Institute. 


Revolutions  and  Reactiotts  in  Painting 


R 


EVOLUTIONS     AND     REACTIONS 
IN  PAINTING 
BY  DUNCAN  PHILLIPS 


Attempting  to  define  what  painting 
ought  to  be,  that  profound  critic,  Thomas  Coler- 
idge, arrived  at  the  true  meaning  of  impressionism 
in  the  pictorial  arts.  "Painting,"  he  said,  "is  the 
middle  quality  between  a  thought  and  a  thing, 
the  union  of  that  which  is  nature  with  that  which 
is  e.xclusively  human."  Now  among  the  great 
impressionists  this  middle  quality  has  been  estab- 
lished and  maintained.  In  the  best  pictures  by 
Velasquez  the  balance  was  absolutely  perfect.  If 
today  he  is  considered  the  greatest  painter  of  all 
times,  it  is  because,  in  making  us  see  the  truth  of 
just  what  he  saw,  he  also  made  us  feel  the  beauty 
of  just  what  he  felt.  Thus  we  learned  from  him 
both  the  beauty  of  truth  that  is  so  variously 
appealing  to  us  all  and  the  truth  of  beauty  as 
revealed  to  his  individual  consciousness.  The 
great  landscape  painters  were  equally  true  to  this 
esthetic  impressionism.  It  was  Constable  who 
first  applied  to  the  study  of  earth  and  sky  the 
great  principle  Velasquez  had  formulated,  namely, 
the  difference  between  fact  and  appearance,  be- 
tween actuality  and  the  truth  of  visual  sensation. 
Yet  although  this  great  pathfinder  was  the  first 
to  do  justice  to  the  good,  familiar  world  out-of- 
doors,  the  first  to  discard  the  drop-curtain  that 
had  so  long  passed  for  landscape,  yet  his  daring 
brush  did  not,  in  its  pride,  obtrude  its  new  devices. 
The  balance  was  maintained.  Once  again,  with 
Corot  it  was  the  soul  of  the  poet  combined  with 
the  enlightened  skill  of  the  observant  naturalist 
that  cast  both  the  illusion  of  reality  and  the  spell 
of  fairyland  over  the  commonplace  suburbs  of 
Paris.  It  seems,  then,  that  Coleridge  was  abso- 
lutely right  when  he  said,  "Painting  is  the  middle 
quality  between  a  thought  and  a  thing." 

In  approaching  the  exhibitions  of  these  latter 
days  we  discover  at  once  how  technique  has  come 
to  vaunt  itself,  to  overwhelm  both  subject  and 
sentiment.  The  means  of  expression  are  of  more 
concern  than  the  thing  to  be  expressed,  and  all  too 
often,  in  spite  of  many  pretensions  to  the  con- 
trary, painters  express  nothing  but  the  newness  of 
their  paint  or  the  newness  of  their  particular  cult. 
As  I  write,  the  air  of  studios  in  New  York  is 
charged  with  much  talk  about  painting,  talk  that 
is  full  of  fanaticism  and  mystification  and  real 
concern  for  the  future  of  art,  all  agitated  by  a 
recent  exposure  of  crass  sensationalism  in  pictures 
— an    International    Exhibition   of   Modern    Art 


quite  stupefying  in  its  vulgarity.  With  this  ex- 
perience fresh  in  memory,  the  first  thought  that 
occurs  to  me  about  contemporary  painting  is  that 
it  is  lawless,  the  second,  following  fast  upon  the 
first,  is  that  its  lawlessness  has  in  many  cases  made 
the  painter  a  slave  to  his  own  mad  whims  and  bad 
habits.  Instead  of  trying  to  become  like  the  Old 
Masters,  he  tries  to  be  what  nobody  ever  wanted 
to  be  before  him.  Superficially,  such  a  philosophy 
has  a  gallant  air.  Gauguin's  much-quoted  classi- 
fication of  painters  as  either  plagiarists  or  revolu- 
tionists was  like  a  call  to  battle.  The  motley 
hoard  of  studio-adventurers  heard  the  call.  Today 
they  are  riotously  proclaiming  that  everything 
shall  be  upside  down,  that  in  the  new  art  no 
woman  need  have  a  mouth.  Instead  she  may 
have  four  eyes,  all  on  the  same  side  of  her  face.  It 
is  not  true.  But  who  shall  say  what  is  truth?  A 
woman  with  no  mouth  and  four  eyes  will  give  a 
man  a  new  and  strange  emotion.  That  emotion 
is  art.  Scratches  of  pale  pink  and  blobs  of  blood- 
red  may  not  suit  an  anemic  taste,  but  can  we  be 
sure  that  it  is  not  a  very  exquisite  color  scheme  for 
interior  decoration.  Who  shall  say  what  is 
beauty?  Pale  pink  and  blood  red  will  give  a  man 
a  new  and  strange  emotion.  That  emotion  is  art. 
So  runs  the  philosophy  of  Matisse  and  his  fol- 
lowers. 

But  of  course  such  extremists  are  anarchists, 
not  artists.  They  no  more  deserve  consideration 
as  technicians  (in  this  I  agree  with  Kenyon  Cox) 
than  the  bad  boys  whose  nasty  smudges  in  colored 
chalks  they  unconsciously  imitate.  When  I  say 
that  in  these  latter  days  technique  has  come  to 
vaunt  itself,  to  overwhelm  subject  and  sentiment, 
I  do  not  refer  to  the  Futurists  and  Cubists  nor  any 
other  representatives  of  degeneracy  in  painting.  I 
am  thinking,  rather,  of  the  most  brilliant  artists 
of  our  period — men  who  are  making  the  most 
vivid  history  of  our  own  time.  Some  of  them  are 
Romanticists,  others  Realists,  but  an  influence 
common  to  both  their  camps  keeps  their  advance 
in  a  similar  direction.  This  influence  is  the  scien- 
tific spirit  of  the  age.  Nature  is  now  reverenced, 
not  so  much  for  its  spiritual  appeal  nor  as  a  won- 
drous background  for  the  human  drama  but  for 
its  evanescent  effects,  its  fascinating  problems. 
The  essential  characteristic  of  the  prevailing  im- 
pressionism is  the  delight  in  the  display  of  skill. 
Of  course  there  are  less  adventurous  spirits  con- 
tent to  tell  tales  to  the  sentimental  public  in  much 
the  old  Victorian  fashion  or  to  follow  the  Barbizon 
tradition  in  landscape  with  unassuming  reverence. 
But  the  bigger  men  have  been  ever  abreast  of  the 


Revolutions  and  Reactions  in  fainting 


limes,  striving  to  render  sensation,  eager  to  shock 
the  eye  into  recognition  of  an  unsuspected  beauty, 
to  hold  the  mind  with  a  thrill  of  new  interest  or  to 
lead  it  down  a  moonlit  lane  of  fanciful  suggestion. 
\\'hen  from  the  proper  perspecti\e  the  annals  of 
the  period  arc  written,  the  names  of  an  amazing 
host  of  talented  painters  will  have  to  be  reckoned 
with.  There  have  been  romancers  and  symbol- 
ists, decorators  of  surfaces  great  and  small,  clever 
and  concise  analysts  of  outdoor  and  indoor  light, 
of  men  and  women  of  all  classes  and  types,  of 
woods  and  fields  in  every  season,  of  city  streets 
and  rock-bound 
coasts.  Art  has 
been  indepen- 
dent and  irre- 
pressible. Paint- 
ers have  worked 
side  by  side  along 
widely  divergent 
lines,  and  each 
man  true  to  his 
own  philosophy. 
In  this  way  our 
children's  chil- 
dren shall  know 
us,  the  many- 
sidedness  of  our 
lives,  the  com- 
plex diversities  ^^^ 
of  our  interests        ^^^  '^iHl^ 

as  perhaps  no 
other  age  has 
ever  been  known 
before.  Yet 
through  all  this  '  ^ 

varied  achieve- 
ment a  single 
spirit    has  been 

all  pervasive,  a  spirit  of  joy  in  painting  for  paint- 
ing's sake,  in  the  successful  performance  of  tricks, 
in  the  overcoming  of  self-imposed  difficulties,  in 
the  production  of  subtle  and  novel  effects,  in  all 
the  excitements  of  virtuosity.  Painters  arc  in 
danger  nowadays  of  forgetting  that  the  best  art  is 
"the  middle  quality  between  a  thought  and  a 
thing."  Such  mystical  dreamers  as  Matthew 
Maris  have  left  us  nothing  but  the  thought,  all 
too  subtly  suggested  for  the  sake  of  a  special 
sort  of  beauty.  Such  unemotional  observers  as 
Claude  Monet  have  left  us  nothing  but  the  thing, 
all  too  plainly  presented  for  the  sake  of  a  special 
sort  of  truth.  Hut  the  union — the  union  of  that 
which  is  nature  with   that  which  is  exclusiveU- 


Muste  du  Luxembourg 
L\   PENSfeE 


human,  this  essential  eomproniise,  modern  art 
seems  for  the  most  part  too  self-conscious,  too 
self-sulTicient,  to  ever  C|uitc  attain. 

Objectivity  is  the  main  characteristic  of  the 
contemporary  naturalists,  and  this  is  true  of  the 
portrait  painters,  the  painters  of  genre  and  of 
landscajie.  John  S.  Sargent  is  certainly  one  of 
the  great  artists  of  all  time.  He  has  been  likened 
to  \'elasquez  and  the  influence  of  that  master  is 
indeed  apparent.  There  is,  however,  in  Sargent, 
as  in  so  many  of  his  contemporaries,  the  display  of 
"bravura"  in  sheer  pride  of  performance  that  one 

never  notices  in 
the  more  serious 
art  of  the  great 
Spaniard.  There 
is  more  real  affin- 
ity to  Hals, 
whose  impulsive 
modeling  by  the 
brush  is  at  once 
remembered, 
also  that  swift 
unhesitating 
cajiture  of  the 
first  tlash  of  im- 
pression. Sar- 
gent, it  is  true, 
blurts  out  his 
likes  and  dis- 
likes, showing, 
for  example,  the 
dismal  pride 
that  clings  to 
the  fag  ends  of 
ancient  families 
or    ushering    in 

BY    RODIN  ^^.j^^    ^^,^^    jj^_ 

nity  the  aristo- 
cracy of  sudden  wealth.  When  his  subjects  in- 
terest him,  as  did  Coventry  Patmore  and  dear 
little  Beatrice  Goelet,  he  makes  them  deeply 
a])])ealing.  When,  however,  they  bore  or  irritate 
him,  he  attends  to  it  that  all  who  see  his  pic- 
tures shall  share  his  uncomplimentary  impres- 
.sions.  \\l  he  never  paints  what  he  does  not 
actually  see.  If  there  is  a  mask  of  false  jiretences 
between  him  and  his  sitter  he  will  not  attempt  to 
penetrate  it,  choosing,  rather,  to  paint  it  in  with 
particular  care.  This  objecli\it\-  of  \ision  is  even 
more  a  characteristic  of  our  .American  landscape 
painters,  many  of  whom  delight  in  the  depiction 
of  the  most  uninteresting  scenery.  E.  W.  Red- 
lield  paints  little  else  than  the  slushy  roads,  the 


Revohttions  and  Reactions  in  Painting 


flat  and  barren  fields,  the  squat,  crude  houses, 
within  a  short  distance  of  the  Delaware  River. 
Yet  his  wintry  weather  is  so  marvelously  true  that 
we  seem  to  breathe  frosty,  tingling  air,  and  hear 
the  crunch  of  crusted  snow  under  our  boots.  In 
the  Metropolitan  Museum  there  is  an  import- 
ant example  of  the  work  of  George  Bellows, 
a  young  man  of  great  talent  all  too  often  mis- 
applied. The  picture  is  called  Up  the  Hudson, 
but  a  better  title  would  have  been  March  Winds. 
The  air  seems  vibrant  with  a  passionate  gust,  the 
kind  that  stings  and  roars  in  passing.  Yet  there 
is  no  over-accentuation,  no  bending  tree-tops,  no 
blown  skirts.  From  behind  a  cloud  the  sun  has 
reappeared,  although  part  of  the  river  and  the 
farther  shore  are  still  in  shadow.  The  foreground 
stands  out  almost  depressingly  clear  in  the  thin  air 
and  hard,  cold  light.  A  sleek  black  locomotive 
has  just  burst  into  sight  from  around  a  curve,  and 
steaming  briskly  in  the  opposite  direction  a  merry 
little  tug  works  its  willing  way  up  stream,  while 
the  whitecaps  sparkle  and  the  wind  roars.  At 
just  such  a  place,  in  just  such  weather,  we  have 
experienced  just  such  an  emotion.  Or  is  it  only  a 
sensation?  There  is  a  wholly  unexpected  beauty 
in  such  plain  speaking.     The  illusion  stares  us 


rudely  in  the  face  until  it  becomes  almost  dis- 
quieting, yet  the  very  candor  of  the  language  is  in 
its  favor.  We  end  by  approving  of  it  for  its 
"confounded  cleverness." 

This  wholesome  objectivity — derived  from 
Courbet — has  been  subjected  to  innumerable  ex- 
periments and  adventures.  Manet  was  among  the 
first  in  this  field.  From  portraiture  of  a  distin- 
guished quality  reminiscent  of  Hals  and  Goya,  he 
turned  in  later  years  to  the  study  of  light  and  the 
new,  high-keyed  palette,  and  soon  became  ab- 
sorbed in  such  problems  as  sunlight  filtered 
through  foliage  upon  white  dresses  and  black  hats, 
or  the  artificial  illumination  of  ballrooms  and 
theatres.  To  him  and  to  Degas,  who  with  classic 
grace,  Japanese  waywardness  and  Gallic  irony, 
celebrated  the  ballet  girl,  we  are  indebted  for  more 
than  the  mere  outward  semblance  of  Paris,  rather 
the  spectacle  of  modern  life  as  seen  through  the 
modern  temperament.  Besnard  has  kept  bright 
the  traditions  of  Manet  and  Degas.  He  will  paint 
you  the  darkness  of  an  amphitheatre  contrasted 
with  the  glare  on  the  stage.  Then,  again,  he  will 
display  the  curious  effect  of  morning  sunlight  from 
an  unseen  window  reflected  on  one  side  of  a 
woman's  body,  while  the  other  side  catches  the 


M'l'  ' ! usetim  of  Art 

UP    HiL    IILLISON 


BY   GEORGE   BELLOWS 
CXXV 


Revolutions  and  Reactions  in  Painting 


flickering;  gleam  of  firelight  from  an  unseen  hearth. 
Such  trick  pictures  have  a  certain  fascination.  Of 
that  there  can  be  no  doubt.  One  man  I  know 
posts  himself  on  the  top  of  a  very  tall  building 
which  stands  on  the  top  of  a  very  tall  hill.  From 
this  eminence  he  dares  to  paint  the  snow-covered 
roofs  of  houses — a  hundred  feet  below.  Not  satis- 
fied with  the  difficulties  of  the  point  of  view,  he 
selects  that  baffling  half  hour,  just  before  a  winter 
night  sets  in.  when  the  feeble,  blinking  yellow 
lights  over  a  city  seem  to  flicker  and  fade  in  the 
gray  and  stifling  gloom.  This  is  objectivity 
becoming  un- 
wholesome; 
since  no  beauty 
can  come  of  it 
unless  we  con- 
cede beauty  to 
all  things  skil- 
fully handled. 
When  art  is 
made  into  a  sci- 
ence it  loses  its 
own  identity.  As 
that  thorough 
modernist, 
George  Moore, 
acknowledged, 
"great  art  sees, 
dreams,  e.xpress- 
es  but  reasons 
never,  nexer cal- 
culates." Cal- 
culation, he  de- 
clared, was  a 
sure  sign  of  de- 
cadence in  pic- 
torial creation. 
Now    Claude 

Monet  was  himself  a  great  master,  whose  enthusi- 
asm for  the  truth  of  aerial  vibration  w'as  almost 
lyrical,  almost  sun  worsHlp.  Vet  the  important 
system  he  discovered  actuated  such  e.xlremists  as 
Sevrat  and  Signac  to  multi-colored  stitches,  guar- 
anteed to  make  the  air  vibrate  with  accuracy.  I 
really  believe  that  it  was  a  reaction  from  this 
exces-sive  objectivity  that  induced  such  unbal- 
anced fanatics  as  Cc/.anne  and  Van  Gogh  to 
imagine  that  they  saw  nature  subjectively  in  cubes 
and  ovals,  and  the  half-savage  Gauguin  to  return 
altogether  to  savagery  in  order  to  free  his  ego 
from  the  complications  and  calculations  of  science. 
The  mad-house  designs  of  the  Cubists  and  the 
Futurists  followed  these  men  in  logical  succession. 


\lus<(  de  Luxembourg 
LA   TABLE 


The  creative  mind  is  apt  to  be  always  in  a  fer- 
ment of  revolt  against  whatever  mental  fashion  or 
convention  happens  to  be  prevailing.  Revolu- 
tions in  the  style  of  painting  are  the  natural  conse- 
quence of  the  perfectly  normal  desire  of  painters 
to  attract  attention  to  their  hitherto  neglected 
talents.  When  a  painter  realizes  that  he  cannot 
hope  to  compete  with  the  past,  he  falls  back  ujion 
the  consoling  thought  that  at  least  he  may  antici- 
pate the  future.  There  have  always  been  futur- 
ists because  there  have  always  been  failures;  also, 
let  me  hasten  to  add,  because  change  is  necessary 

to  life — art  stag- 
nating when  in- 
vention stands 
still.  \'etchange 
does  not  neces- 
sarily mean  pro- 
gress, and  the 
art  of  the  future 
is  not  necessarily 
an  ad\'ance  upon 
the  art  of  the 
past.  The  his- 
tory of  art  is  a 
history  of  reac- 
tions. .\  reac- 
tion from  either 
genuinely  primi- 
ti\-e  or  pseudo- 
primitixe  crud- 
ity will  tend  to 
bring  us  back  to 
culture,  its  com- 
plexities and  re- 
t"i  n  c  m  e  n  t  s .  .\ 
Renaissance  is 
apt  to  degener- 
ate i  n  t  o  a  n 
eclectic  period  impotent  to  in\enl  on  its  own 
account.  Consequently  new  initiative  is  needed 
and  the  Futurists  promptly  appear.  But  with 
each  revolt  against  outworn  convention  a  new 
convention  is  sure  to  be  established — and  so 
school  succeeds  school  anil  the  cycles  of  reac- 
tion go  round.  Time  winnows  the  wheat  from 
the  chaff,  for  individuals  are  greater  than  schools 
and  their  systems  and  revolutions.  Time  saves 
for  us  the  Gothic  craftsmen  who  like  children 
emerged  so  long  ago  from  their  cloistered  re- 
treats into  a  new  and  busy  world;  in  whose  pic- 
tures naturally  subject  was  supreme.  Time  saves 
for  us  the  great  men  of  the  great  epochs  that  came 
after,  when  once  ajijireciation  had  grown  out  of 


HY    SIDANKR 


CXXVI 


Revohitions  ami  Reactions  in  Painting 


perception;  men  who,  with  leisure, 
learned  how  to  select  beauty  and  to 
dream  dreams  and  to  evoke  romance, 
and  who  painted  for  the  glory  of  God 
and  the  joy  of  life  and  even  for  the 
joy  of  the  painting.  But  Time  re- 
lentlessly discards  the  men  of  the 
decadence  of  stagnation  who  obey 
laws  without  thinking  and  imitate 
what  has  gone  before — -weak  from 
overmuch  knowledge  and  humility — 
and  it  rejects  with  scorn  the  claims 
to  consideration  of  those  charlatans 
who  imitate  not  the  best  but  the 
■worst  forms  and  colors  that  the  hand 
of  man  can  devise. 

But  let  us  return  to  our  story  of 
revolutions  and  reactions. 

Italy  was  the  fashion  until  Watteau  adapted  the 
Italian  idyll  to  French  taste  and  his  own  intimate 
emotion.  When  the  French  Revolution  swept 
aside  the  prettiness  that  had  degenerated  into  a 
convention  with  Watteau's  imitators,  the  Consul- 
ate and  the  Empire  set  up  instead,  for  the  guid- 
ance of  artists,  the  sterner  forms  of  Roman  and 
Greek  statues;  a  formidable  revival  of  classic  out- 
lines and  imposing  subjects  from  history  that  left 
no  room  for  the  personal  impression.  It  was  a 
fierce  revolt  against  this  depressing  scholasticism 
that  Delacroix  defied  the  rule  of  Ingres  and 
asserted  the  need  of  freedom  for  the  imagination. 
But  his  paintings  were  in  their  turn  discovered  to 
be  too  literary;  still  too  dependent  upon  subject 
for  inspiration,  like  the  novels  of  Scott  and  the 
poems  of  Byron.  It  was  Constable  who  rediscov- 
ered the  romance  of  reality  which  Vermeer  had 
known,  and  Constable  it  was  who  fathered  the 
great  Barbizon  masters  of  France.  Then  came  a 
blunt,  coarse  peasant  named  Courbet,  who  said 
in  effect:  "The  romance  of  reality  be  hanged! 
Get  down  to  facts.''  Thus  he  ushered  in  the 
uncompromising  Naturalists  and  their  descend- 
ants, the  Optical  Illusionists.  As  I  have  already 
observed,  Monet  was  a  great  master,  but  light 
was  his  obsession,  and  when  once  his  theory  of 
sunspots  had  been  exaggerated  by  extremists,  his 
fine,  strong  art  degenerated  into  a  mean  little 
science.  From  this  orgy  of  objectivity  reaction 
set  in  and  we  beheld  an  orgy  of  the  subjective  in 
New  York  at  the  International  Exhibition.  Be- 
tween the  stitches  of  Signac  and  cubes  of  Picabia 
there  may  seem  to  be  a  superficial  resemblance, 
but  there  is  really  a  world  of  diflference.  When 
Signac  paints  the  Bay  of  Naples  the  stitches 


Metropolitan  Museum  of  Art 
VILLE    D'.WRAY,    NE.\R    P.\RIS 


BY   COROT 


describe  the  rotary  motion  of  the  air  as  sensed  by 
the  optic  nerve.  When  Picabia  treats  the  same 
subject  his  cubes  do  not  refer  to  the  atmosphere 
in  relation  to  any  nerve.  They  express  the  state 
of  mind  into  which  he  is  plunged  upon  observing 
the  Bay  of  Naples  under  the  stress  of  heaven  only 
knows  what  hideous  circumstance. 

That  the  Cubists  are  doing  something  new  can- 
not be  denied,  although  just  what  it  is  that  thev 
are  doing  no  one  has  yet  perceived.  Seen  with 
sufficient  sympathy  might  not  these  visions  sym- 
bolize the  chaos  before  creation  or  the  crash  at 
the  end  of  everything?  One  picture  looked  to  me 
like  the  wreck  of  an  aeroplane,  another  something 
like  a  landslide,  a  third  very  like  a  bad  dream,  per- 
haps a  carpenter's  nightmare  of  ten  thousand 
splintered  shingles.  But  no,  the  first  was  entitled 
Portrait  of  a  Man,  the  second  Religious  Procession 
in  Seville,  the  third  A  Nude  Descending  a  Staircase. 
In  the  newspaper  the  other  day  I  read  Mr. 
Picabia's  explanation  of  these  mysteries.  "The 
objectivity,"  he  says,  "of  the  subjectivity  is  in 
every  case  superinduced  by  the  original  sensa- 
tion." At  the  exhibition  it  was  interesting  to 
look  at  the  people.  Occasionally  I  detected  a  sly 
smile  or  a  suppressed  giggle,  but  for  the  most  part 
a  pitiful  struggle  was  going  on  to  find  sense  in  the 
nonsense,  to  discover  the  connection  between  the 
titles  in  the  catalogue  and  the  frenzied  cubes  and 
colors  on  the  walls.  One  such  picture  would  have 
relegated  its  creator  to  a  very  private  sanatorium. 
But  a  hundred  and  more!  Evidently  an  import- 
ant movement!  Evidently  to  be  taken  in  all 
seriousness!  And  so  they  stood  about  agonizing 
themselves  into  the  frame  of  mind  which  in  the 
end  made  everything  quite  clear  to  them,  and  the 


Revolutions  ami  Reactions  in  Painting 


\iusft  d::   L -  ^ 

LE    MOLLIS    DE   LA    GALETTE 


complicated  emotions  of 
the  Cubists  their  emotions, 
no  less.  May  the  Lord 
temper  to  them  their  afflic- 
tion! And  all  the  while  I 
could  well  imagine  the  per- 
petrators of  the  little  joke 
watching  the  result  of  their 
labors  with  satisfaction — 
winking  the  other  eye, 
quite  weak  from  excessive 
laughter.  But  to  the  pub- 
lic the  philosophy  of  cubes 
is  made  to  seem  e\er  so 
serious.  We  are  told  that 
in  order  to  express  our 
modern  consciousness  we 
must  rid  ourselves  of  every 
impression,  have  done  with 
every  memory  of  nature 
and  other  pictures,  and 
simply  confess  frankly  and 

without  bashfulness  what  it  is  we  jcel  when  we 
neither  see  nor  think  of  anything  in  particular. 
What  we  feel  may  be  chaos.  So  much  the  better. 
It  is  the  awful  chaos  before  the  creation  of  "  the 
art  of  the  future." 

The  movement  is  not  new.  It  is  in  its  last 
decrepitude.  It  is  not  a  beginning.  It  is  the  end 
of  a  reaction  against  impersonal  truth  telling  in 
pictures  that  reached  its  limit  (for  the  present)  in 
Courbet,  Manet  and  Monet,  and  against  subjec- 
tive estheticism  in  pictures  that  could  go  no 
farther  (for  the  present)  than  the  Japanesque 
"arrangements"  of  Whistler  and  the  stained-glass 
beatitudes  of  the  pre-Raphaelites.  After  these 
men  decadence  set  in.  Then  it  was  that  Paul 
Cezanne  decided  that  painters  were  becoming  too 
unemotional  and  scientific  in  their  conce|)tion  of 
truth,  and  too  effeminate  or  too  literary  in  their 
conception  of  beauty.  He  and  Van  Gogh  deter- 
mined to  lay  the  foundations  for  the  "art  of  the 
future,"  which  was  to  be  an  art  of  personal  expres- 
sion— beginning,  as  in  childhood,  with  the  most 
naive  exclamations  of  surprise  upon  beholding  the 
most  homely  and  familiar  objects.  To  this  infan- 
tile point  of  view — free  from  all  prejudice  and 
pre-conception — they  trained  their  vision,  and  the 
deliberate  crudities  they  created  had  so  unmis- 
takable a  quality  of  elemental  frankness  that 
young  revolutionists  dreamed  of  returning  through 
this  art  to  the  secret  of  Giotto's  simplicity,  where- 
from  to  begin  all  over  again.  There  were  artists 
much  bigger  than  these  fanatics,  who  all  uncon- 


BY    RENOIR 


sciously  abetted  the  Futurist  affectations  and 
exaggerations.  I  have  in  mind  Rodin's  return  to 
Gothic  directness  of  emotion,  Monticelli's  return 
to  unrepresentative  ornament,  Puvis  de  Cha- 
vanne's  return  to  Greek  rhythm  and  primitive 
innocence,  as  seen  through  yearning  modern  eyes; 
finally  Renoir,  who  though  associated  with  the 
luminarists,  was  far  from  being  an  impersonal 
observer,  but  one  who  saw  the  Parisian  world, 
"haute  monde"  and  "demi-monde,'"  in  a  shimmer 
of  vivid  colors  symbolical  of  his  gaily  emotional 
temperament.  All  these  men  were  great  in  their 
own  work,  but  injurious  to  little  men  inclined  to 
be  lawless  and  desirous  of  notoriety.  The  present 
decadence  then  set  in  with  Cezanne  and  \'an  Gogh 
and  Gauguin  with  Moreau  and  Conder  and 
Bear<lsle\'.  Drawing  was  to  be  as  free  as  the 
thought  that  guides  it,  and  emotion  free  from  all 
restraint  of  knowledge.  The  fallacy  of  such  ex- 
pression was  obvious.  This  was  no  return  to 
nature.  Instead  of  devotion  to  the  great  masters 
of  the  past,  to  the  Greek  standard  of  form,  the 
Venetian  standard  of  color,  the  X'elasquez  stand- 
ard of  values,  the  Dutch  standard  of  surface 
quality,  these  men  harked  back  instead  to  primi- 
tive models,  to  Gothic  gargoyles  and  monastic 
missals,  to  Egyptian  carvings  and  Indian  carpets, 
to  Persian  miniatures  antl  Chinese  embroideries, 
even  to  Polynesian  textiles.  Finally  with  Matisse 
the  degeneration  of  this  so-called  "expressionism  " 
reached  its  bottom.  Certainly  this  ]HTSon  creates 
patterns  unworthy  of  the  mere  ignorance  of  little 


C.  Arnold  Slade 


A 


X    EXHIBITION    OF    PAINTINGS 
C.  ARNOLD  SLADE 


BY 


From  the  lOth   to   the   .^oth   of   October,  the 
paintings    of    Mr.     C.    Arnold    Slade    made    a 


DETAIL   OF   THE    ADl  LTKESS 
BEFORE   CHRIST 


BY   C.    ARNOLD 
SLADE 


handsome  showing  on  the  walls  of  the  Art  Club, 
Philadelphia.  Mr.  Slade  is  a  young  American 
painter  of  promise  and  performance,  and  one  of 
the  very  few  specializing  in  Biblical  subjects. 
His  great  picture,  great  in  size  and  conception, 
here  reproduced,  which  has  since  found  a  pur- 
chaser, is  entitled  Christ  on  Ihe  Mmintain,  and  is  a 
sincere  and  dignified  masterpiece;  the  command- 
ing figure  might  have  received  more  prominence 
and  the  disciples  are  here  and  there,  possibly,  a 
little  unnatural  in  pose,  but  on  the  whole  it  is  a 
remarkable  canvas,  full  of  the  spell  of  the  East 
and  the  solemnity  of  the  occasion. 

Another  large  canvas  from  the  East  is  his 
Adidtrcss  Before  Christ,  lo  by  12  feet,  of  which  we 
reproduce  a  detail.  A  charming  twilight,  the 
Shepherd,  shows  great  temperamental  ability,  and 
is  one  of  his  finest  Oriental  studies.  Such  men  as 
C.  Arnold  Slade  and  H.  O.  Tanner  are  demonstrat- 
ing to  the  world  how  successful  American  art  is 
today  in  the  most  difficult  field,  namely,  Biblica 
painting. 

Visitors  were  astounded  at  the  prolific  zeal  of 
this  prodigy,  who,  despite  the  fact  that  he  exhib- 
ited here  a  full  room  of  paintings  less  than  two 
years  ago,  had  returned  with  seventy  canvases 
and  no  repeats. 

A  symbolical  work.  Knowledge  is  Power,  which 
we  reproduce  on  page  cx.xxiii,  teems  with  rich 
imagination  intelligently  applied,  and  its  lesson  is 
apparent.  Finely  drawn  and  in  harmonious 
color,  this  picture,  if  not  already  disposed  of, 
should  find  an  honorable  resting  place  in  some 
important  library.  Mr.  Slade  shows  his  art  train- 
ing under  Laurens,  whose  academic  touch  has 
inspired  the  pupil  without  robbing  him  of  his 
marked  individuality. 

Yet  another  large  canvas,  full  of  movement  and 
atmosphere,  is  entitled  Return  of  the  Shrimpers, 
and  is  redolent  of  Brittany.  The  artist  has  given 
a  first-class  rendering  of  a  healthy  fisher  girl  step- 
ping out  well  from  her  hips,  but,  unfortunately, 
this  happy  pose  has  been  repeated  in  the  other 
figures,  somewhat  disturbing  the  ensemble;  none 
the  less,  it  is  a  remarkable  canvas,  and  seems  to 
shower  one  with  sea  spray. 

Mr.  Slade  seems  to  have  planted  his  easel  on 
many  sites.  Besides  Jerusalem  he  has  sketched  in 
Tangier,  Paris,  Constantinople,  Normandy  and 
Brittany,  Venice,  Egypt  and  Rome.  His  paint- 
ing of  Village  of  Etaples  has  passed  to  Mrs.  John 
L.  Gardner,  while  the  D.  P.  Kimball  collection  is 
the  richer  for  a  canvas  entitled  Market — Tangier. 

After  a  very  successful  sojourn  in  Philadelphia, 


C.  Arnold  Slade 


CHRIST   OS    THE   MOl  STAIN 

the  Slade  Exhibition  moved  to  Copley  Hall,  where 
the  same  success  was  met  with.  Besides  apprecia- 
tion of  the  visiting  public,  some  ten  paintings  were 
secured  for  different  collections.  To  quote  Mr. 
William  R.  Lester: 

'"They  have  the  distinctive  note  of  the  modern 
French  school — \'ibrant,  clear,  luminous  and 
imaginative.     The   subjects   have   become   well- 


BV    C.    .ARNOLD   SL.ADE 

nigh  stereotx-ped  in  this  branch  of  artistic  jiroduc- 
tion,  but  the  Slade  viewpoints  are  none  the  less 
original  and  pictorially  interesting.  There  are 
few  painters  of  this  school  who  could  render  so 
well  at  once  the  cool  greens  and  dull  grays  of  a 
Normandy  farm  and  the  burning  sunlight  that 
blazes  in  the  streets  of  Slade's  Tangier*  pic- 
tures.'" 


CAMELS   AND   DRIVER 
C.XXXII 


BY   C.    ARNOLD   SLADE        WATER-CARRIER,    TANGIER 


BY   C.    ARNOLD   SLADE 


A   DECOKATIVE    I'ANFX,    '  K\(J\\LLDGE   IS   POWER 


BY   C.   ARNOLD   SLADE 


^ 


SEA    WAIFS 


BY   C.    ARNOLD    SLADE 


George  T.  Ploiimian 


-^Nkr 


A  '  !JL:311t 


STATUE   OK   LIHEKTY 


A    I'KNI  M.    IIXAWING    HV    uKOIU.K    1.    IM.nWMAN 


D 


R  A  WINGS. 
ETCHINGS. 
ETC..  B  \' 
GEORGE  T. 
TLOWMAN 


Cnurltsy  of  Iht  HrriiH  J'holoiraphii  CuM/>ii"> 
A    BIT  OF   OLD    PARIS 

cxjcxrv 


A    LITHOGRAPH    IIY   <  KORtiK   T.    PLOWMAN 


A  GRADUATE  of  the  Lni- 

vcristy  of  Minnesota. 
George  T.  Plowman  stud- 
ied architecture  abroad  in 
Paris  and  elsewhere. 

Through  articles  and 
illustrations  in  The  Inter- 
national Sti'dio,  of  which 
he  possesses  a  complete  set . 
he  became  interested  in 
etching,  and  studied  in  the 
dilTerent    i)rint    rooms    of 
America  before  going 
abroad,     .\fter  further 
study  in  Continental  print 
rooms,  Mr.  Plowman    en- 
tered the  Royal  College  of 
Engraving  at  South  Ken- 
sington. London. and  thus 
came  under  the  tutelage  of 
Sir  Frank  Short.     For  the 
last    two   winters    he    has 
studied  at  the  school,  etch- 
ing in  England  and  on  tin- 
Continent  during  the  sum- 
mer months.    These  have 
l)een  two  busy  years,  for 
they   have  yielded   about 
forty   plates,   besides    nu- 


L'uurhsY  <     II      I     I       1  I    I   i,     pi       Lumfaii', 


HOTEL  DE  SENS,  PARIS 

ETCHING  BY  GEORGE  T.  PLOWMAN 


George   T.  Phionan 


I 


nV)  )^   \-.v 


THE    FENWAY     R05T0\ 


■  V  .  .'f    '■-  ^      '■■  -  - 


PENCIL    DRAWING    BY    t;EORGE   T.    PLOWMAV 


merous  lilhofrraphs  and  drawings.  Although  only, 
comparatively  speaking,  a  beginner,  this  artist  is 
represented  already  in  many  permanent  collec- 
tions, both  in  America  and  abroad:  Royal  Col- 
lege and  Crystal  Palace,  London;  Art  Museum, 
Boston;  Public  Library,  New  York;  Congressional 
Library,  Washington,  etc.  X'isitors  to  the  Brown- 
Robertson  Co.,  707  Fifth  Avenue,  were  able  to 
see  a  roomful  of  his  plates,  along  with  the  exhi 
bition  of  the  etchings  of  Earl  H.  Reed,  of  Chicago, 
whose  work  was  discussed  in  the  No\ember  num- 
ber of  this  magazine. 

Mr.  Plowman  is  spending  a  few  weeks  in  New- 
York,  and  has,  like  Pennell,  Deville  and  a  few 


others,  fallen  a  victim  to  its  pictorial  charms  to 
such  an  extent  that  he  is  executing  a  series  of 
drawings,  one  of  which  heads  the  article  and 
speaks  for  itself.  In  time  New  Yorkers  will  recog- 
nize the  fact  that  they  are  the  privileged  residents 
of  a  very  beautiful  citv. 


T 


HE  COLLEGE  ART  ASSOCL\TION 


UAI./.AC°»   HOUSE,    PARIS 


The  third  annual  meeting  of  this  Associa- 
tion under  the  presidency  of  Prof.  Holmes  Smith, 
of  Washington  University,  St.  Louis,  Mo.,  will  be 
held  in  the  Harper  Memorial  Library,  University 
of  Chicago,  Chicago,  III.,  qn  the  2glh  and  ,^oth  of 
December,  This  organiza- 
tion of  college  art  teachers, 
now  in  its  third  year,  repre- 
sents through  its  memijer- 
ship  over  fifty  of  the  leading 
colleges  and  universities  of 
the  United  States.  Thepur- 
l)ose  of  the  organization  is 
to  promote  and  standardize 
etlicient  instruction  in  the 
fine  arts  in  the  .Xmerican  in- 
stitutions of  higher  educa- 
tion. At  the  meeting  to  be 
held  in  Chicago  several  lead- 
ers of  esthetical  study  will 
present  addresses  on  special 
topics  in  art  education.  One 
feature  of  the  program  that 
is  of  primary  importance  to 
the  organization  will  be  dis- 
cussions of  reports  on 
courses  of  study. 


ETCHING    BY   GEORGE    T.    PLOWMAN 


Courtesy  of  Ihe   I'ni'un   [•ii..!.:^idpini    Cijrnpaily 


RUE  DE  PRETRES,  PARIS 
ETCHING  BY  GEORGE  T.  PLOWMAN 


Ac/ii//cs   Tapestries  Designed  by  Rubens 


A 


CHILLES  TAPESTRIES  DESIGNED 
HV  RUBENS 


The  inventory  of  the  property  of  the 
painter  Rubens,  made  at  his  death  in 
1640,  listed  ten  small  oil-painted  panels  of  wood, 
picturing  the  story  of  Achilles.  But  as  the  invent- 
ory of  his  father-in-law.  Daniel  Fourment,  who 
died  three  years  later,  listed  only  eight,  and  as  the 
two  sets  of  engravings  made  from  the  panels — by 
Franfois  Ertringer,  Antwerp,  167Q,  and  by 
Bernard  Baron,  London,  1724 — included  only 
eight,  it  has  been  supposed  that  possibly  the  ten 
of  the  Rubens  inventory  was  an  error.  It  re- 
mained for  Dr.  Wilhelm  R.  Valentiner,  Curator  of 
Decorative  .\rts  of  the  New  York  Metropolitan 
Museum,  to  prove  that  there  must  have  been  at 
least  nine,  by  discovering  last  year  in  a  New  York 
shop  the  two  tapestries  illustrated  herewith,  and 
now  lent  to  the  Boston  Museum  of  Fine  Arts 
by  Mr.  George  R.  White.  While  one  of  these 
tapestries.  The  Auger  of  Achilles  against  Agamem- 
non, reproduces  one  of  the  well-known  eight  de- 
signs, the  other  is  different  from  any  of  them,  and, 
as  is  shown  by  the  Latin 
inscription  in  the  cartouche 
at  the  top,  Achilles  puer  a 
maire  addiicitur  ad  oracii- 
Ittm,  pictures  a  scene  in- 
troductory to  the  series. 
The  Child  Achilles  Brought 
by  his  Mother  to  the  Oracle. 
On  the  right  the  boy 
Achilles,  entirely  nude,  is 
ushered  into  the  fane  by 
his  mother,  Thetis,  who 
in  her  right  hand  bears  a 
richly  chased  cup  to  add  to 
the  offerings  already  de- 
posited before  the  altar. 
The  laurel-crowned  and 
richly-robed  priest  receives 
her  graciouslv.  Two  aco- 
lytes bear  flaming  lamps 
with  elaborately  orna- 
mented standards.  The 
caryatides  on  each  side 
are  Minerva  and  Hercules, 
the  Goddess  of  War  and 
the  God  of  Strength,  to 
whom  Achilles  was  conse- 
crated. The  style  of  both 
panel  and  border  is  emi- 
nently Rubenesque — deep 


shadows  and  bold  reliefs,  with  Baroque  architec- 
ture. The  tapestry  is  signed  in  the  bottom  sel- 
vedge with  the  Brussels  mark  (a  shield  between 
two  B's)  and  with  the  initials  (G.  V.  I).  S.)  of 
G.  Van  Der  Strecken.  Mr.  White's  other  .\chillcs 
tapestry.  The  .\nger  of  .Achilles  against  .Agamem- 
non, is  signed  (I.  V.  LEEFDAEL),  Ian  \'an  Leef- 
dael,  who  was  also  associated  with  G.  \'an  Der 
Strecken  in  weaving  at  least  one  other  well-known 
set  of  tapestries,  the  five  at  the  Metropolitan  Mu- 
seum picturing  the  story  of  .Antony  and  Cleopatra. 
The  subjects  of  Rubens'  nine  Achilles  designs, 
arranged  in  the  order  of  the  story,  are: 

1.  .Achilles  Brought  to  the  Oracle. 

2.  .Achilles  Dipped  in  the  Sty.v 

3.  Achilles  Educated  by  Cheiron. 

4.  .Achilles  Recognized   by    Ulysses   among   the 

Daughters  of  Lycomedes. 

5.  .Achilles'  Mother,  Thetis.  Procuring  .Inns  for 

him  from  Vulcan. 

6.  The  A  nger  of  Achilles  against  Agamemnon. 

7.  Brise'ls  Restored  to  Achilles. 

8.  The  Death  of  Hector. 

9.  The  Death  of  .Achilles. 


curi^r  K.   While  I"  Ihr  Mii^rum  of  h'inr  Arlf.  /t.il..ii 
THE    ANGER   OF    ACHILLES   AGAINST   A(iAMKMNON 


CXXXVII! 


s. 


■r 


H 


Book  Revie-ii's 


Loaned  by  Mr.  George  R. 


Of  these.  No.  i  surviv  es 
onl\'  in  the  first  of  Mr. 
White's  two  .\chilles  taj)- 
estries:  Xos.  2  to  q  in  both 
sets  of  engra\ings  men- 
tioned above;  Nos.  2,  ^,  5, 
b.  8.  0  in  the  original  small 
paintings  on  wood  owned 
by  Lord  Barrymore  and 
often  e.xhibited,  notably  at 
the  National  Loan  Exhi- 
bition held  in  the  Grafton 
Galleries, London,  1909-10: 
No.  t),  in  the  second  of  Mr. 
White's  two  .Achilles  tap- 
estries illustrated  on  the 
opposite  page:  Nos.  2  and 
3.  and  three  others,  in  the 
form  of  tapestries  in  the 
Brussels  Museum,  illus- 
trated here,  but  with  bord- 
ers that,  as  the  illustration 
shows,  are  different  and 
less  interesting. 

Several  of  the  designs 
also  survive  in  the  form  of 
copies  painted  by  pupils  of  Rubens.      G.  L.  H. 

BOOK  REVIEWS 
The  Art  of  the  W.allace  Collec- 
tion.    By  Henry  C.  Shelley.     (L.   C. 
Page  &  Co.,  Boston.)     $2. 00. 

The  very  mention  of  collection  or  museum  or 
gallery  produces  the  fear  of  "minutes,"  "direct- 
ors' meetings,"  lengthy  "catalogues,"  "building 
estimates"  and  such  like  uninteresting  topics,  but 
such  fear  is  quite  unwarranted  in  the  case  of  any 
volume  l)y  Mr.  Shelley,  who  knows  how  to  write 
very  entertainingly  of  art  collections,  without 
introducing  the  dull  end.  We  are  reassured  by 
the  opening  lines: 

"On  a  July  afternoon  of  the  year  1774  the  fash- 
ionables of  London  who  drove  along  Piccadilly  on 
their  way  to  an  airing  in  Hyde  Park,  saw  the  wit 
of  the  day,  George  Selwyn,  seated  upon  the  steps 
of  my  Lord  March's  house,  fondling  a  little  girl." 

Nothing  dull  about  that,  in  very  truth.  The 
romance  of  Mie  Mie  is  plea.santly  recounted,  and 
how  the  treasures  of  Hertford  House  fell  to  Lady 
Wallace  and  ultimately  to  the  British  nation.  In 
viewing  the  galleries  the  author  advises  the  visitor 
to  select  his  quarry  and  pursue  it.  .After  due  con- 
sideration of  the  various  pictures  with  a  running 


White  to  the  Sfuseum  of  Fine  Arts,  Boston 
ACHILLES    AT   THE    ORACLE 

commentary  of  criticism  and  anecdote,  Mr. 
Shelley  turns  to  other  furnishings  of  Hertford 
House  and  several  chapters  are  devoted  to  furni- 
ture, bronzes,  marbles,  porcelain,  illum.inations, 
miniatures,  arms  and  armor.  Good  illustrations 
and  a  good  index  complete  a  very  much-needed 
book,  for,  strange  to  say.  the  bibliography  on  the 
Wallace  collection  has  so  far  been  meagre,  in  spite 
of  the  fact  that  for  thirteen  years  this  marvellous 
assortment  of  artistic  treasures  has  been  made 
over  to  the  public  view. 

Japanese  Coloi  r-Prints  and  Their  Design- 
ers. By  P'rederick  William  Gookin.  (The 
Japan  Society,  New  York.)  Sic. 00. 
The  Japan  Society  has  spared  no  expense  in 
publishing  an  edition  de  luxe  of  one  thousand 
copies,  consisting  of  a  lecture  delivered  before  the 
Society  some  two  years  ago  by  Mr.  Gookin,  to- 
gether with  a  catalogue  of  Japanese  color  jirints 
i-xhibiled  the  same  year  at  the  Fifth  .Avenue 
Building.  The  volume  is  sumptuously  treated  in 
type,  paper  and  general  get-up.  while  there  are 
twenty-four  full-page  |)rints  in  color,  representing 
the  choicest  exhibits  of  the  Ukiyoe  School,  which 
crystalized  in  the  person  of  Moronobu  and  became 
decrepit  toward  the  middle  of  the  nineteenth  cen- 
tury.    Such  names  as  Hokusai  and  Hiroshige  have 


I 


Book  Reviews 


reached  world-wide  fame  and  good  impressions  by 
them  are  masterpieces  of  rare  distinction.  Among 
many  beautiful  reproductions,  none  can  exceed  in 
interest  Pines  at  Hamamatsit,  by  Hiroshige,  prov- 
ing him  to  have  been  a  consummate  master  of 
landscape  art. 

Renaissance   and  Modern  Art.     By  William 
H.   Goodyear,  M.A.     (The  Macmillan   Com- 
pany, New  York.)     50  cents. 
The  reprint,  by  the  Macmillan  Company  of 
"Renaissance  and  Modern  Art,"  by  William  H. 
Goodyear,  Curator  of  Fine  Arts  in  the  Museum  of 
Brooklyn   Institute,   again   brings   to   mind   the 
excellence  of  this  volume  for  those  who  desire  to 
acquire  a  working  knowledge  of  the  general  cul- 
tural tendencies  of  modern  times,  which  finds  its 
beginnings  in  the  Italian  Renaissance  at  the  dawn 
of  the  fifteenth  century. 

Mr.  Goodyear  traces  with  scholarly  mastery  the 
rise  of  modern  art  and  social  life  in  Italy  of  that 
day  and  follows  its  influences  throughout  the 
northern  countries  of  Europe,  spreading  to 
America  of  our  own  generation  and  the  painters 
of  today,  ending  with  Winslow  Homer,  F.  V. 
Du  Mond  and  Edwin  Blashfield. 

The  authority  of  the  author  is  happily  unques- 
tioned, and  the  tracing  of  the  dual  tendencies  of 
art  and  political  life  of  modern  Europe  is  agree- 
ably enlightening,  as  well  as  interesting. 

The  present  volume  follows  the  "Roman  and 
Medieval  Art"  by  the  same  author,  which  first 
appeared  as  a  text-book  in  the  Chautauqua  Read- 
ing Course,  ample  proof  of  the  popularity  and 
usefulness  of  the  manual.  The  volume  is  excel- 
lently and  profusely  illustrated. 

The  Essentials  of  Composition  as  Applied  to 
Art.  By  John  V.  Van  Pelt.  (The  Macmillan 
Co.)     $1.75. 

This  is  an  amplified  edition  of  the  author's 
"Discussion  of  Composition,"  originally  a  course 
of  lectures  delivered  at  Cornell  University,  and 
has  been  to  a  great  extent  re-written  in  the  twelve 
years  between  the  two  works.  Composition 
applies  to  all  arts,  but  it  is  to  the  art  of  architec- 
ture that  this  volume  is  especially  directed,  and 
the  past  decade  having  developed  new  methods  of 
building  and  new  vogues,  it  has  been  considerably 
added  to  and  improved  upon.  Unusual  problems 
have  been  treated,  such  as,  for  instance,  amphi- 
theatres and  lecture  halls,  riding  schools,  etc. 
The  important  question  of  acoustics  has  come 
under  consideration  in  the  case  of  the  former. 


The  book  is  full  of  information  to  architect  or 
layman. 

A  History  of  Greek  Art.    By  F.  B.  Tarbell. 

(The  Macmillan  Co.)     50  cents. 

The  Macmillan  Standard  Library  has  attracted 
another  recruit  in  the  shape  of  a  compact  little 
re-issue  of  Greek  art,  with  a  chapter  on  Egyptian 
and  Mesopotamian  Art,  by  Professor  Tarbell,  of 
Chicago  University.  Pre-historic  art,  architec- 
ture and  painting  receive  a  chapter  apiece,  while 
the  bulk  of  the  300-page  manual  is  devoted  to 
sculpture. 

The  booklet  is  profusely  illustrated  and  has  an 
incomplete  index. 

The  Message  of  Greek  Art.     By  H.  H.  Powers. 

(The  Macmillan  Co.)     $2.00. 

The  author  points  out  carefully  that  his  book 
makes  no  pretense  of  being  a  history.  Recent 
discoveries  are  so  inaccessible  that  no  one  who  has 
had  access  to  these  recovered  civilizations  need 
apologize  for  passing  on  some  of  the  joy  and 
inspiration  he  may  have  felt.  In  discussing  Greek 
art  emphasis  is  on  the  adjective  rather  than  on  the 
noun,  the  subject  being  ever  associated  with  a 
background  of  Greek  civilization  and  history. 
The  author's  attitude  in  presenting  this  work  is 
best  explained  in  his  own  words:  "Through  tlie 
aid  of  Greek  art  once  more  to  worship  Athena  in 
her  temple,  to  rejoice  with  the  bridegroom  at  the 
bride  imbued  with  charm  by  Aphrodite,  to  join  in 
the  sad  farewell  at  the  departure  to  the  undiscov- 
ered country,  and  with  Orpheus  resign  Eurvdice 
to  the  Lord  of  Shades,  and  in  turn,  to  feel  our 
heart  leap  within  us  as  Helios  bursts  from  the 
waves  and  his  chariot  gleams  from  the  sky,  this  is 
to  know  Greek  art.''  Consequently,  the  reader  can 
familiarize  himself  with  such  themes  as  Art  and 
the  Tyrants;  Art  and  Democracy;  Art  and  Em- 
pire; Art  and  the  Scientist;" Art  and  the  Philoso- 
phers; The  Diffusion  of  Art,  etc.  Surely  a  wel- 
come repast.  A  tasteful  binding  added  to  137 
illustrations,  mostly  full-page  cuts,  make  the  book 
a  suitable  Christmas  gift  to  people  who  do  not 
startle  one  by  asking  "What  are  pericles?" 

A  Handbook  of  Modern  French  Sculpture. 

By  D.   Cady  Eaton.     (Dodd,   Mead  &  Co.) 

S2.00. 

This  compact  little  handbook  is  an  excellent 
fellow  to  the  author's  "Modern  French  Painting," 
and  quite  eclipses  all  guide  books  in  the  valuable 
bibliographies  it  contains  of  all  sculptors  of  note, 

CSLI 


Book  Reviews 


living  or  dead.  One  hundred  and  eighty-nine 
very  clear  full-page  cuts,  along  with  illuminating 
criticisms  of  masterpieces,  make  this  work  indis- 
pensable to  gallery  lovers  and  art  students.  An 
interesting  introduction  quotes  Hegel,  \'oituron 
and  Levegne  upon  esthetics,  after  which  the 
growth  of  sculpture  in  France  is  historically  fol- 
lowed from  medieval  and  Renaissance  times,  on 
through  the  reign  of  Henri  \\  (when  sculpture  as 
understood  today  may  be  said  to  have  com- 
menced) to  Louis  XIV  and  continued  to  modern 
times,  artists  of  the  late  nineteenth  and  twentieth 
centuries  being  separately  grouped,  which  is  a 
verv  convenient  arrangement.  Interesting  items 
follow,  such  as  Cluny,  Bonnat's  contribution  to 
Barye's  Centenary,  Carpeau.x's  La  Daiisc  being  a 
translation  from  Le  Xouvel  Opera,  by  Charles 
Gamier,  until  an  alphabetical  list  of  sculptors 
spells  Finis  to  a  capital  piece  of  w^ork. 


models  by  the  Tissot  of  sculpture,  as  Mastroianni 
has  been  so  aptly  described,  tells  the  old,  old 
drama  in  the  most  graphic  and  stirring  manner,  by 
the  pen  of  Ira  Seymour  Dodd.  From  Bethlehem 
to  Golgotha  each  scene  and  incident  has  been 
staged  in  Nazareth  and  Jerusalem,  and  the  figures 
stand  out  in  true  sculpturesque  vigor,  background 
and  accessories  being  admirably  true  in  character. 
The  artist's  maqucttcs,  or  models  in  miniature, 
have  brought  him  well-merited  fame. 

The  illustrations  are  fine  beyond  all  criticism. 
Turn,  for  instance,  to  the  picture  of  Christ  as  he 
utters  the  memorable  words,  "Make  not  my 
Father's  house  a  house  of  merchandise,"  or  the 
picture  of  Lazarus.  Nothing  could  be  more 
pathetically  expressive  than  the  Prodigal's  return; 
paternal  love  has  never  been  better  portrayed  by 
brush  or  chisel.  Well  typed,  on  good  paper,  this 
work  is  a  handsome  gift  for  old  or  young  peojilc. 


.\rt  and  Common-Sense.     By  Royal  Cortissoz. 

(Scribner's.)     Price,  Si. 75. 

There  is  no  art  critic  in  America  today  that 
writes  better  than  Cortissoz.  He  has  always  some- 
thing to  say  and  has  a  very  incisive  way  of  saying 
it;  moreover,  he  possesses,  what  so  very  few  of 
them  can  lay  claim  to,  the  saving  grace  of  humor. 
A  mere  mention  of  some  of  his  fourteen  chapter 
headings  will  show  what  interesting  matter  he 
has  selected  to  discuss:  Ingres^a  Pilgrimage  to 
Montauban;  The  Post-Impressionist  Illusion; 
Whistler;  Sargent;  Spanish  Art;  Four  Leaders  in 
American  Architecture,  etc. 

His  essay  on  the  Armory  Exhibition  is  a  scath- 
ing attack  on  "whirling  dervishes,"  as  he  styles 
many  of  the  independents  and  post-impressionist 
hierophants.  Talking  of  the  Cubists,  he  employs 
a  Spanish  proverb  which  asserts  that  it  is  waste  of 
lather  to  shave  an  ass;  une  bucolique,  by  M.  de 
Segonzac,  should  be  without  the  "bu,"  and  so 
forth.  His  criticism  of  Rodin  is  robust  and  fear- 
less; he  treads  firmly  where  angels  hesitate  to 
enter.  Mr.  Cortissoz  is  never  dull.  His  visit  to 
poor  Vierge  is  charmingly  related,  and  his  final 
chapter  is  very  apropos  in  which  he  treats  of  the 
late  J.  P.  Morgan  as  a  collector.  We  know  of  no 
art  book  of  recent  times  that  makes  better  or  more 
instructive  reading. 

Thk    Pictorial    Life    of    Christ.     Illustrated 
from  scenes  modeled  in  wax  by  D.  Mastroianni. 
(Dodd,  Mead  &  Co.)     $2.00. 
A  beautiful  book  is  here  offered,  which  besides 

containing  80  full-page  reproductions  from  plastic 


The  Cubies.  Versed  by  Mary  Mills  Lyall  and 
pictured  by  Earl  Harvey  Lyall.  (E.  P.  Put- 
nam's Sons.)     Si.oo. 

This  little  book  is  an  alphabet  heaping  every 
sort  of  satirical  abuse  upon  the  Cubists,  who  owed 
their  incubation  to  the  .\ssociation  of  .American 
Painters  and  Sculptors.  It  is  a  delightfully  tunny 
.\  B  C,  and  will  cause  plenty  of  amusement  at 
Christmas,  with  such  merry  versesas  the  following: 

N's  for  the  Nudes  thai  the  Cubies  portray. — 
We  willingly  vouch  for  their  perfect  propriety. 
Kvcn  while  some  we  regard  with  dismay — 
For  instance,  the  lady  as  long  as  Broadway, 
With  all  due  respect,  we  don't  crave  her  society! 
— N's  for  the  Nudes  that  the  Cubies  portray. 

Little  Shavers.     By  J.  R.  Shaver.     (Century 

Co.)     Si.oo. 

An  American  Phil  May  is  very  apparent  in 
J.  R.  Shaver,  who  has  studied  New  York's  East 
Side  to  splendid  advantage  in  a  i-;o-page  <|uarto, 
which  is  sure  to  be  an  attracti\e  gift  book  for  the 
Christmas  season.  Mr.  Shaver  has  a  keen  sense 
of  humor  and  the  children  he  portrays  can  be  seen 
all  about  the  city  and  parks  any  day  of  the  week. 
In  one  picture  a  young  ragamuffin  at  an  open 
window,  his  face  becomingly  enveloped  in  a  scarf, 
harangues  his  comrades  on  the  sidewalk  on  their 
way  to  school:  "I  ain't  goin'  to  school,  fellers.  I 
got  to  go  to  the  dentist."  To  which  they  rejjly  in 
chorus:  "Gecl  You're  lucky."  Grandmama  care- 
fully examining  a  little  shaver  who  has  been 
"stung  by  a  hen"  is  delicious,  and  so  ati  injinilum. 


CXLIl 


/;/  the  Galleries 


Owned  by  Ifie  HackUy  Gallery,  Mitskeson,  itichigan 
THE    PRINCE 


BY    MARIUS   A.   J.    BAUER 


IX  THE  GALLERIES 
Whether  it  be  rumors  of 
war  or  whatever  other  cause, 
certain  it  is  that  New  York's 
art  season  this  year  is  making  a 
very  late  start.  However,  there 
has  been  quite  a  lot  to  see  during 
the  past  month  and  promise  of  still 
better  things  later  on.  One  of  the 
most  prominent  and  successful  e.x- 
hibitions  was  the  one-man  show 
at  the  Berlin  Photographic  Com- 
pany's galleries  on  Madison  Av- 
enue. Mr.  Martin  Birnbaum  col- 
lected a  large  amount  of  material 
on  Leon  Bakst,  and  added  to  his 
catalogue  a  capital  essay  upon  the 
life  work  of  this  eminent  artist,  who 
after  capturing  the  esteem  of  Paris 


t 


fs^^uB 


Courtesy  of  the  Macbeth  Galleries 
GLOUCESTER 


BY   GUY   C.    WIGGINS 
CXLIII 


///  flic  Galleries 


PORTRAIT   BIST  OF  BY   ALBERT 

EX-SPEAKER  JOSEPH    M.  CANNON       JAEGERS 

and  London,  is  now  making  his  bow  to 
the  American  public. 

Etchings  are  maintaining  their  great 
popularity,  and  there  have  been  several 
exhibitions.  During  the  first  half  of  No- 
vember color  etchings  by  George  Sen- 
seney  were  much  admired  at  the  print 
gallery  of  Brown-Robertson  Company, 
707  Fifth  Avenue,  followed  by  one-man 
shows  of  Earl  H.  Reed,  of  Chicago,  and 
George  T.  Plowman,  of  Berkeley,  Cal. 
Each  of  these  artists  has  had  his  work 
commented  upon  in  the  November  and 
present  issue  of  The  Lntkknationai. 
Studio. 

Some  one  remarked  that  he  consid- 
ered the  growing  taste  for  etchings  was 
"a  sort  of  unconscious  jirotcst  on  the 
part  of  intelligent  peojjle  against  the  com- 
plexity and  luxury  of  modern  life."  Kep- 
pel  &  Co.  are  supjiorting  this  protest  by 
an  admirable  (lisi)la\-  of  Rembrandt  etch- 
ings, which  will  be  on  view  until  the  6th 
in.stant.  Eighty  superb  imj^rcssions,  many 
of  them  only  states,  showing  the  delicacy 
and  force  which  make  him  the  "last 
word"  in  his  art.  About  the  same  num- 
ber of  plates  by  D.  Y.  Cameron,  both 


etchings  and  dry  points,  may  be  seen  at  the  galleries  of 
Kennedy  &  Co.,  while  C.W.  Kraushaar  has  been  exhibit- 
ing rare  plates  by  Muirhcad  Bone  and  I).  V.  Cameron,  at 
260  Fifth  .■\ venue. 

The  Cottier  Company  is  another  firm  that  has  moved 
uptown,  and  they  arc  doing  business  at  71S  Fifth  .\\enue. 
Their  galleries  are  small,  but  very  suitable  for  showing 
masterpieces,  of  which  they  have  a  great  number:  The 
Entry  into  Constantinople  by  the  Crusaders,  by  Delacroix; 
a  superb  Troyon  jiainted  in  iSjq;  a  large  canvas  by  J.  F. 


MRS.   JOHN   B.    VKAI.ER 

or    WILKES  BAKRE,    PENNSYLVANIA 


BY    F.    W.      WRIGHT 


In  the  Galleries 


Awarded  Second  Honor  at  Pittsburgh 
CORA   AND  CLEMENCE 


Millet,  representing  the  ancient  myth  of  (Edipus 
being  taken  from  the  tree  wrapped  in  a  sheepskin; 
a  portrait  of  a  former  governor  of  Madras,  Sir 
George  Ashby,  by  Reynolds,  etc. 

The  Ehrich  Brothers  are  just  getting  comfortable 
in  their  new  quarters  uptown  at  707  Fifth  Avenue, 
and  have  commenced  their  season  by  exhibiting 
selected  Old  Masters.  The  rnost  interesting  ex- 
hibit, perhaps,  is  a  wonderful  triptych  by  Henri 
Met  de  Bias,  representing  the  Nativ- 
ity, Adoration  of  the  Magi  and  The 
Flight  into  Egypt. 

Mr.  Fischer  has  lately  returned 
from  Europe  with  many  good  things 
which  are  being  carefully  held  back 
until  the  season  is  more  advanced. 
As  he  rightly  remarks:  "Why  use  all 
your  powder  at  once?  "  His  gallery, 
notwithstanding,  is  full  of  beautiful 
seventeenth-century  Dutch  masters, 
which  form  a  beautiful  background 
to  a  cassone  and  box  in  perfect  con- 
dition, which  he  has  not  kept  back. 
Said  treasure  is  in  wonderful  preser- 
vationand  with  itsbaroque  ornaments 
at  the  angles  is  a  feast  of  pleasure. 

The  New  York  Water  Color  Club 
have  concluded  their  twenty-fourth 
annual  exhibition  at  the  American 


Fine  Arts  Building,  and  may 
be  congratulated  on  having 
shown  good  discretion  in 
what  they  accepted.  Among 
over  300  exhibits,  where  so 
much  is  above  mediocrity, 
we  can  only  notice  \ery  few. 
Wet  Evening,  Columbus  Cir- 
cle, by  C.  P.  Gruppe,  is  a 
clever  drawing;  Reil  Berries, 
by  Dorothy  Carmer,  is  a 
beautiful  still-life,  the  ber- 
ries showing  very  agreeably 
against  a  blue  vase;  Ed- 
mund Garrett  made  good 
showing  in  his  Bermuda 
study  entitled  Winter  Sun- 
shine; Glenn  Newell  exhib- 
ited a  picture  called  October, 
with  a  cleverly  drawn  cow; 
Whittemore  had  some  capi- 
tal studies  made  in  Stock- 
holm; Alph^us  P.  Cole 
showed  a  mother  and  child 
cleverly  executed  in  mellow 
yellow-brown  tints — the  light  on  the  mother's 
hand,  reflected  through  the  fingers  from  the  candle 
she  holds  as  she  stoops  over  her  babe,  reveals  great 
skill;  On  the  Pergola,  by  Robert  A.  Graham,  and 
Helen  Cox's  In  the  Nursery,  are  fine  child  studies. 
Colin  C.  Cooper  exhibited  The  White  House;  here 
his  dot-and-dash  manner  is  very  effective.  Louise 
B.  Mansfield  had  two  excellent  figure  pictures, 
called  The  Novel  and  The  Letter.     We  were  pleased 


BY   ARTHCR   W.    SPARKS 


lu'urded  Fir^ 

Honor  at  Vtttiburi^k 

WINTER 

BY   MABEL   KILLAM   DAY 
CXLV 

///  the  Galleries 


OIR   SAVIOl  R 

to  notice  that  the  ultra-modern  extremists,  such 
as  are  called  by  Mr.  Cortissoz  the  wild  dervishes 
of  art,  were  only  given  very  scant  wall  space. 

Friends  and  admirers  of  the  late  .Addison  T. 
.Millar  will  be  ^rlad  to  know  that  his  friend,  the 
well-known  sculptor,  Mr.  Solon  H.  Borglum,  is 
arranging  to  give  an  exhibition  of  this  gifted 
artist's  work,  and  it  is  safe  to  predict  a  very  in- 
teresting exhibition,  which  it  is  to  be  hoped  will 
soon  take  place.  This  artist's  recent  work  is  so 
much  in  advance  of  his  earlier  efforts  that  it  will 
come  as  a  great  suq)rise. 

The  exhibition  at  the  Montross  Gallery  is  of 
unique  interest.  Such  a  collection  of  early  Chi- 
nese art  as  Mr.  \.  W.  Bahr  has  gotten  together  is 
not  to  be  seen  elsewhere.  Besides  some  twent\- 
wonderful  paintings  there  is  a  .^5-foot  hand  scroll, 
depicting  city  life,  with  thousands  of  tiny  figures, 
all  diflcrently  engaged.  One  would  expect  the 
actions  to  be  repeated,  but  on  studying  the  scroll 
we  observe  individuals  and  groups  are  all  different 
in  appearance  and  doings.    Highly  interesting  is  a 

CXI. VI 


statue  of  Kwanyin,  the 
goddess  of  mercy,  that  has 
been  dug  up  in  fine  condi- 
tion, the  coloring  of  the 
stone  being  quite  fresh.  It 
dates  back  to  the  Wei  dy- 
nasty, about  220-260  .\.D. 
The  (licture  of  Christ 
painted  by  an  English  art- 
ist, L.  Kerr,  is  likely  to 
come  on  tour  to  .\merica. 
It  has  caused  deep  interest 
wherever  shown,  for  the  re- 
ligious conception  in  the  ex- 
pression, and  the  gloom  and 
grayness  of  Gethsemane. 

Thirty  paintings  by 
thirty  artists  at  the  Mac- 
beth Galleries  gave  ex- 
cellent results.  Gifford 
Beal,  Frank  W.  Benson. 
Ivan  G.  Oiinsky  and  Rich- 
ard E.  Miller  were  well 
represented.  A  place  d' 
liouiieur  was  occupied  by 
Guy  C.  Wiggins"  Rorlirslci . 
full  of  good  color  and 
atmospheric  effect. 

.Among    the    younger 

painters  of  talent   in   the 

class   of   portraiture,  Mr. 

F.  W.  Wright  stands  high. 

His  picture  of  Mrs.  Yeager  which  we  repnxluce 

here  has  brought  him  well  deserved  laurels. 

Another  reproduction  is  the  portrait  bust  of 
ex-speaker  Joe  Cannon  by  the  eminent  sculptor 
.\lbert  Jaegers,  of  Xew  York.  The  rugged  fea- 
tures and  keen  expression  have  l)een  well  por- 
t  raved. 


BY   L.    KERR 


ItV    l\  A\    G.    ni.INSKV 


1 


INTERNATIONAL 
•  STUDIO 


VOL.  LI.        No.  203 


Copxjrigbt,  1914,  by  John  Lane  Company 


JANUARY.  1914 


c 


OXSTANTIN    MEUNIER'S     MES- 
SAGE TO  AMERICA 
BY  CHRISTIAN  BRINTON 

In  the  sweat  of  thy  face  shall  thou  eat  bread. 


It  is  the  consensus  of  discriminating  opinion 
that  the  honours  of  contemporary  sculpture  are 
divided  between  Auguste  Rodin  and  Constantin 
Meunier.  In  the  realm  of  passionate  physical 
and  psychic  unrest  Rodin  reigns  supreme.  In  his 
chosen  province  of  labour  and  his  interpretation  of 
the  noble  dignity  of  toil,  Meunier  stands  unrivalled. 
While  we  have  for  a  generation  been  familiar  with 
the  art  of  Rodin,  the  work  of  Meunier  has 
remained  virtually  unknown.  His  simple,  heroic 
life  story  had  in  a  measure  preceded  him,  yet  it 
was  not  until  the  present  season  that  the  American 
public  found  itself  face  to  face  with  the  resolute 
and  rugged  production  of  the  great  Belgian. 
Although  there  had  been  certain  sporadic  attempts 
to  bring  this  work  to  these  shores,  nothing  specific 
was  accomplished  until  the  inspirational  and  ener- 
getic Miss  Sage,  of  the  Albright  Gallery,  Buffalo, 
took  the  matter  in  hand.     A  flying  visit  to  the 


Brussels  studio  of  the  departed  sculptor,  where 
everything  remains  just  as  it  was  during  his  life- 
time, proved  sufficient  to  convince  her  that  his 
art  could  not  fail  to  enlist  our  responsive  sym- 
pathies, and  arrangements  were  forthwith  con- 
cluded for  the  current  exhibition.  Its  reception 
in  Butifalo,  and  at  the  Carnegie  Institute,  Pitts- 
burgh, has  been  most  significant,  and  there  is 
every  indication  that  it  may  be  continued  in  kind 
when,  within  a  few  brief  weeks,  the  display  opens 
at  the  new  Avery  Library,  Columbia  University. 
There  are  two  cardinal  reasons  why  the  work  of 
Constantin  Meunier  should  possess  an  uncom- 
monly potent  attraction  for  our  public,  both  gen- 
eral and  critical,  and  these  reasons  lie  deep  at  the 
very  roots  of  the  national  consciousness.  If  there 
is  anything  the  American  prides  himself  upon  it  is 
his  primacy  in  the  field  of  latter-day  industrial 
production,  and  the  art  of  Meunier  is,  before  all 
else,  the  epic  of  modern  industrialism.  The  age  of 
stone  was  succeeded  by  the  age  of  bronze,  and  the 
age  of  bronze  in  turn  gave  way  to  the  age  of  steel. 
It  was  in  factory  and  forge,  in  plate  mill  and 
before  blast  furnace,  in  coalpit  and  quarry,  that 
Meunier  found  his  types,  and  courageously  cast 


THE   MINE,    TRIPTYCH 


BY  CONSTANTIN   MEUNIER 
CXLIX 


Consfantin  Meuniers  Message  to  America 


FIREDAMP 


BY  COSSTASTIN  MEUNIER 


MINER    WITH    I'K  K  IIV   COXSTANTIN    MELSIER 


tlu-ni  into  the  mould  of  enduring  plastic  strength 
and  symmetry.  The  apostle  of  work  in  its  every 
form  and  phase,  he  |>referred  man  when  he  ap- 
peared as  an  integral  part  of  that  vast  fabric  of 
effort,  mortal  and  mechanical,  which  enmeshes  so 
much  of  his  time  and  energy.  He  conceived  his 
labourer  and  artisan  as  component  elements  of 
organiiied  endeavour.  He  gave  them  an  applica- 
tion not  alone  esthetic  but  social,  and  herein  lies 
the  second  reason  why  the  work  of  the  earncst- 
souled  Belgian  should  arouse  our  spontaneous 
admiration. 

The  number  of  those  who  would  divorce  art 
from  life  is  happily  decreasing  year  by  year.  We 
fortunately  live  in  an  epoch  when  the  doors  of  the 
temple  of  beauty  have  been  flung  wide  open,  so 
tliat  all  may  enter.  .Vrt  is  no  longer  the  exclusive 
projKTty  of  the  pious,  the  plutocratic,  or  the  aristo- 
cratic, but  the  heritage  as  well  of  the  poor  and  the 
humble.  It  was  but  yesterday  that  Millet's 
homely  rustics  from  the  fresh-tilled  fields  of 
Fontainebleau  made  their  entrance  into  gallery 


CL 


■^ 

^^t^^^ 

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ft:- 

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•^  -^i 

^Er^^^ 

^mtw^F 

f 

J"^^ 
^^"1 

1  \^/            Wi^mt^^^ 

^^■^jJ^^^^^^^m 

S^^^BB.^ 

*-■' 

^^     ■    ^*^\-..     .:    ^ 

MINER  (LE  GRAND  MINEUR) 
BY  CONSTANTIN  MEUNIER 


Cousiantiii  Mcuiiicr's  Message  to  America 


THE   DOCKHAND 


BY   CONSTANTIN    MEINIKR 


and  museum;  it  is  to-day  that  the  valiant  puddlers 
and  foundrymen  of  Meunier  claim  a  similar  privi- 
lege. The  picture  with  a  purpose  here  gives  place 
to  an  art  at  once  more  robust  and  more  restrained, 
to  a  plastic  power  and  verity  that  hark  back  to 
the  age  of  Attic  supremacy.  And,  like  the  art  of 
the  Greeks,  this  work  is  soundly  objective  in 
aspect  and  appeal.  It  is  based  upon  accurate, 
concrete  observation,  and  fearlessly  typilies  those 
social  forces  and  ideals  of  which  it  is  but  the  visible 
expression. 

Vou  thus  doubtless  possess  a  reasonably  clear 
conception  as  to  the  aim  and  scope  of  Constantin 
Mcunier's  contribution  to  contemporary  art.  It 
ofTers,  first  and  last,  a  faithful  picture  of  industrial 
conditions  as  they  obtain  in  the  Belgium  of  to-day. 
No  concessions  whatever  have  been  made  to  popu- 
lar prejudice  regarding  the  function  of  sculjiture. 
This  work  while  inherently  beautiful,  is  disdainful 
of  conventional  charm  or  strict  academic  pro- 


priety. And  yet  beneath  its  sturdy  exterior  lurks 
a  profound  and  exalted  humanity  of  feeling.  It 
was  impossible,  in  depicting  these  manful  victims 
of  economic  pressure  and  distress,  utterly  to  with- 
hold one's  natural  sympathy,  and  it  is  this  quality 
that  lends  the  art  of  Meunier  its  two-fold  signifi- 
cance. Vou  cannot  regard  it  as  a  mere  isolated 
manifestation.  You  must  consider  it  as  the 
achievement  of  one  who  reacted  strongly,  and 
almost  unconsciously,  to  certain  specific  surround- 
ings and  influences.  The  message  of  this  art  by 
no  means  lies  wholly  upon  the  surface.  It  must 
be  sought  as  well  in  the  career  of  the  modest, 
courageous  creator  of  these  same  eloquent  bits  of 
bronze  and  plaster. 

Constantin  Meunier  was  born  at  Etterbeek,  a 
suburb  of  Brussels,  April  12,  183 1,  and  died  at 
Ixelles,  Brussels,  April  4,  1905.  His  early  life, 
which  was  passed  amid  scenes  of  want  and  priva- 
tion, was  further  clouded  by  continual  ill-health. 
Encouraged  by  his  elder  brother,  Jean-Baptiste, 
he  howe\-er  managed  to  prepare  himself  for  the 
Brussels  .\cademy,  where,  as  well  as  in  the  atelier 
of  Fraikin,  he  devoted  some  three  years  to  the 
study  of  sculpture.  Yet  the  plastic  arts,  as  then 
practised  in  the  Belgian  capital,  did  not  greatly 
appeal  to  him,  and  so,  influenced  by  his  friend, 
De  Groux,  he  shortly  renounced  clay  for  crayon 
and  oils.  During  close  upon  thirty  j-ears  Meunier 
remained  faithful  to  painting,  it  not  being  until  he 
had  turned  the  half  century  that  he  determined  to 
resume  sculpture  in  order  more  convincingly  to 
render  the  particular  character  and  conformation 
of  the  workman. 

It  is  unnecessary  here  to  recount  in  detail  that 


ULST   OF    ri  DULER 


BY   CONSTANTIN    MEl  NIER 


CLII 


THE  HAMMERMAN 
BY  CONSTAXTIN  MEUNIER 


Constautin  Mcuniers  Message  to  America 


long  struggle  for  self-expression,  that  heart-break- 
ing fight  against  poverty  and  obscurity,  and  that 
final  grand  though  troubled  triumph,  which  are 
the  milestones  marking  the  artistic  progress  of 
Constantin  Meunier.  He  laboured  now  in  Brus- 
sels, now  at  Louvain,  and  again  back  in  Brussels, 
with  a  singleness  of  aim  and  an  ardent  fortitude 
of  spirit  that  suggest  the  patient  craftsmen  of 
medieval  times.  At 
first  distributed 
over  a  wide  area, 
his  sympathetic  ob- 
servation gradually 
became  concentrat- 
ed, so  that  it  might 
the  better  epitom- 
ize certain  signifi- 
cant phases  of  that 
great  industrial  bat- 
tle which  is  waged 
with  such  intensity 
in  the  Belgian  Black 
Country.  The  lean, 
unsuccessful  de- 
cades which  had 
been  devoted  to 
painting  in  due 
course  served  their 
purpose.  Ever  y 
canvas,  every 
sketch,  in  fact, 
whether  depicting 
stalwart  dockhand, 
happy  harvester, 
brick  maker,  or 
those  sombre  toil- 
ers underground  or 
inside  factory  or 
foundry  wall,  ulti- 
mately found  its 
appointed  place  in 
that  noble  indus- 
trial pageant  which 
became  his  life  task. 

Without  himself  realizing  it,  he  had  all  the  while 
been  hiying  the  foundations  of  that  Monument  to 
Labour  which  remains  the  logical  consummation 
of  his  career. 

Whether  in  the  spacious  studio  of  the  rue  de 
I'Abbaye,  Brussels,  or  the  dim,  sepulchral  struc- 
ture which  served  a  similar  purpose  during  his 
sojourn  at  Louvain,  Constantin  Meunier  worked 
uninterruptedly  from  eight  in  the  morning  until 
live  in  the  afternoon.     When  engaged  upon  some 


THE   FOlNDRVM.\N 


special  problem  it  was,  however,  his  habit  first  to 
spend  weeks  studying  actual  conditions  in  the 
various  characteristic  foci  of  this  throbbing  com- 
munity. He  visited  in  this  way  now  the  glass- 
makers  of  Val  Saint-Lambert,  now  the  puddlers 
and  foundrymen  of  Seraing,  now  the  dusky  deni- 
zens of  mine  and  coalpit  in  the  Borinage.  He 
would  pause  at  e\entide  to  make  rapid  sketches 

before  some  hiunble 
workman's  shack, 
or  coron,  or  would 
pass  the  night 
watching  beside  the 
sodden  and  shat- 
tered human  debris 
of  one  of  those  ap- 
palling and  all-too- 
frequent  catastro- 
phes which  bring 
distress  and  desola- 
tion to  the  district. 
There  was  no  phase 
of  industrial  activ- 
ity with  which  he 
did  not  evince  first- 
hand  familiarity. 
He  was  in  every 
sense  of  the  word 
master  of  his  ma- 
terial. 

Once  back  in  the 
studio,  it  did  not 
take  Constantin 
Meunier  long  to 
give  his  obser\-a- 
tions  specific  shajie 
and  semblance. 
Under  his  rapid, 
nervous  t  o  u  c  h  e  s 
grew  quickly  to  life 
these  virile  figures, 
these  modern  Al- 
lantes  for  whom  no 
task  is  too  difficult, 
no  burden  too  heavy.  In  the  grey  or  softly 
tinteil  light  of  the  great  room  in  which  he 
wrought,  he  moreover  beheld  them  not  in  their 
trivial  and  accidental,  but  in  their  eternal  aspect. 
Through  the  power  of  rigorous  simplification  he 
was  enabled  to  endow  his  creations  with  that 
cjuality  of  synthesis  which  alone  makes  for  endur 
ing  art.  From  that  which  was  particular  he 
detached  the  general;  in  the  individual  he  dis- 
cerned the  type.     Vou  need  no  comment  in  order 


HV   CONSTAXIIN    MF.IXIER 


Constantin  Meitniers  Message  to  America 


RETURN   OF   THE   MINERS 


BY   CONSTANTIN  MEUMER 


to  comprehend  these  sturdy,  heroic  figures.  They 
at  once  proclaim  themselves  as  true  representa- 
tives of  their  class  and  kind. 

It  is  to  the  lasting  credit  of  Constantin  Meunier 
that  he  cared  so  little  for  popular  acclaim  or 
material  remuneration.  His  was  a  modest,  home- 
loving  nature,  and  recognition  came  to  him  quite 
unawares.  When,  shortly  following  the  death  of 
his  two  sons,  some  one  remarked  that  he  had 
finally  won  for  himself  a  distinguished  place  in  the 
world  of  art,  he  exclaimed  with  touching  depreca- 
tion, "Ah,  yes.  Fame  has  come,  but  my  boys  are 
gone! "  Although  it  was  not  until  the  very  end  of 
his  career  that  his  financial  position  was  in  any 
degree  secure,  he  never  made  the  remotest  of 
esthetic  concessions.  On  a  certain  occasion,  when 
he  was  sadly  in  need  of  funds,  the  proprietor  of  a 
prominent  bronze  casting  firm  offered  a  substan- 
tial royalty  on  sales  should  he  permit  reproduc- 
tions of  his  work  to  be  made.  Yet  so  jealous  was 
he  of  the  artistic  cjuality  of  each  and  every  piece 
that,  though  in  sore  straits,  he  refused.  "I  shall 
not  starve,"  he  added  quite  simply,  "for  I  still 
have  my  professorship  at  the  Louvain  Academy, 
and  that  will  always  assure  me  of  a  little  some- 
thing." 

Such  was  Constantin  Meunier,  and  such  is  the 
nature  of  the  work  he  left  behind,  a  representative 


collection  of  which  is  about  to  be  seen  in  our 
midst.  You  cannot  fail  to  note  in  it  that  unity  of 
purpose  and  that  deeply  fraternal  feeling  for 
mortal  suffering  and  fortitude  which  are  its  domi- 
nant characteristics.  It  would  be  difficult  to 
mention  an  artist  whose  achievement  holds  for 
America  a  more  inspiring  and  salutary  message. 
A  \oung  nation,  not  over-sure  of  its  attitude 
toward  matters  of  taste,  we  are  somewhat  given 
to  affecting  the  super-refined  and  effete.  In  our 
haste  to  acquire  a  reputation  for  exclusive  con- 
noisseurship  we  not  infrequently  accept  the 
ephemeral,  or  that  which  has  been  solidified  by- 
convention,  rather  than  the  courageously  radical, 
and  for  such  tendencies  the  rugged,  forthright 
production  of  Meunier  offers  a  wholesome  anti- 
dote. What  is  true  of  the  public  is  to  a  certain 
degree  true  of  our  artists  as  well.  They  care,  as  a 
rule,  more  for  the  manner  in  which  a  thing  is  said 
than  for  the  thing  itself,  and  here  again  the  reso- 
lute integrity  of  Meunier's  contribution  will  be 
found  to  contain  the  elements  of  fruitful  contrast. 
These  considerations  are,  however,  collateral 
rather  than  fundamental,  the  real  crax  of  the  mat- 
ter being  that  here  is  an  artist  who  has  looked  at 
life  frankly  and  fearlessly,  who  has  devoted  a  long, 
arduous  existence  to  a  single  phase  of  contempo- 
rary activity  and  made  of  it  something  that  takes 


Constantin  Meunieys  Message  to  America 


TDK    i'oRT 


BY  CONSTANTIN    MEUNIER 


nV   CONSTANTIN   MELMER 


CLVI 


Constantiii  Meuniers  Message  to  America 


its  place  beside 
the  sublime  her- 
itage of  the  ages. 
The  art  of  Con- 
stantinMeunier, 
it  cannot  be  too 
often  repeated, 
is  the  logical  con- 
tinuation of  the 
best  Classic  and 
Christian  tradi- 
tions. It  is  both 
Greek  and 
Gothic,  and  to 
this  imperish- 
able legacy  have 
been  added  the 
dynamic  inten- 
sity of  effort  and 
the  deep  hu- 
manitarianism 
of  modern  days. 

These  labourers  are  but  the  sober  sons  of  the  ath-      place 
lete  and  the  wrestler  of  Attic  sculpture.     Their      of  in 


V 


THE    MINE 


Plif/; 


MINER    CROUlHINC 


BY   CONSTANTIN   MEUXIER 


HV    CONST.\NTIN    MEUNIF.R 

is  at  the  forge  and  in  the  foundry,  instead 
the  stadium.  Their  masters  are  Cockerill, 
Krupp,  and  Carnegie.  They  have  been 
moulded  out  of  the  sinister  and  inspiring 
actualities  of  everyday  e.xistence.  It  was 
Meunier's  invariable  practice  to  go  direct 
to  the  fountain-head  of  nature  herself. 
"Assuredly,''  he  once  remarked  with  hi^ 
customary  profundity  of  conviction, 
"nature  is  the  source  and  basis  of  all 
artistic  creation,  yet  it  is  necessary  to 
add  to  her  a  certain  grandeur  of  line, 
a  significance  that  goes  beyond  mere 
material  reality." 

It  is  within  the  province — though  not. 
perhaps,  within  the  power — of  any  of  us 
to  achieve  results  similar  to  the  hard- 
won  triumph  of  Constantin  Meunier. 
There  is  no  country  that  offers  greater 
opportunity  for  sound,  vigorous  expres- 
sion. We  have  every  conceivable  choice 
of  climate  and  scenery,  and  a  singularly 
diverse  and  varied  population.  We  can 
show  industrial  communities  that  rival 
those  of  Belgium  or  Germany,  and  we 
should  in  due  course  evolve  a  characteris- 
tically national  esthetic  utterance.  Mean- 
while, let  us  not  fail  to  honour  one  whose 
work  chants  a  valiant  hymn  to  labour, 
one  who  found  his  subjects  among  the 
serfs  of  civilization  and  raised  them  to 
the  pinnacle  of  art. 


rtrmaneiit  OMeclinn,  lliull 


PORTRAIT  OF  JOSE  PERKZ  MORA 
BV  FRANCISCO  OK  C.OYA 


IVJiat  Tale  does  this  Tapestry  Tell? 


W 


HAT    TALE    DOES    THIS 
TAPESTRY  TELL? 
BY  CHARLES.de  KAY 


Along  with  changes  in  our 
domestic  architecture  which  tend  toward  buildings 
of  stone  or  concrete,  buildings  that  offer  large 
wall  spaces  in  halls,  corridors  and  music  rooms, 
goes  a  return  of  favour  to  tapestries.  Tapestries 
have  once  more  a  function.  It  is  not  enough  that 
the  owner  of  a  fine  web  studies  each  apartment  for 
a  wall  from  which  to  suspend  his  favourite  piece. 
When  he  builds  he  asks  that  provision  be  made  for 
his  textile  treasure,  so  that  he  may  see  it  in  a  good 
light.  If  the  wall  is  of  the  right  size  and  there  be 
light  enough,  all  is  well. 

To  enjoy  old  tapestries  fully  one  has  to  remem- 
ber the  social  conditions  of  the  Middle  Ages,  when 
they  reached  their  highest  levels;  not  merely  the 
big  rooms  with  wall  spaces  more  or  less  rudely 
finished,  before  which  these  great  products  of  the 
loom  were  suspended  in  order  to  cut  off  some  of 
the  chilliness  and  damp  of  a  wretchedly  warmed 
interior — not  merely  the  physical  effects  of  the 
hangings;  one  must  recall  the  mental  attitude  of 
the  people  for  whom  they  were  made.  These 
people  were  for  the  most  part  descendants,  or 
believed  themselves  the  descendants,  of  a  caste  of 
conquerors.  Toward  the  lower  classes  they  felt 
very  much  as  the  Spanish  and  Portuguese  Creoles 
of  Mexico  and  South  America  of  our  epoch  feel 
toward  peons  and  other  Indian  folk.  We  get  a 
strong  whiff  of  this  intolerance  in  the  "Lay  of  the 
Little  Bird,"  an  old  French  poem  based  on  a 
theme  which  has  been  traced  to  Palestine  and  to 
India.  The  story  is  that  of  a  man  who  catches  a 
bird  in  his  fowling-net,  but  before  he  can  kill  it, 
the  bird  entreats  him  to  be  spared  and  promises  if 
he  is  set  free  to  give  him  three  rules  for  conduct 
which  will  make  him  great.  The  garden  in  which 
the  fable  is  placed  is  a  wonderful  spot  that  be- 
longed formerly  to  nobles  but  has  fallen  into  the 
hands  of  a  rustic,  stingy  and  violent,  who,  while 
listening  to  the  magical  song  of  the  bird,  imagines 
that  the  fountain  where  it  holds  forth  is  sur- 
rounded by  noble  dames  and  cavaliers,  his  own 
admirers  and  friends.  The  poet  knew  well  how 
to  appeal  to  his  auditors  when  describing  the  greed 
of  the  rich  rustic,  his  silly  dreams  and  the  clever 
way  the  bird  took  to  escape  and  then  to  convict 
the  nouveaii  riche  of  failing  to  profit  by  the  rules 
of  conduct  just  a  moment  before  prescribed. 

Les  feuilles  cheirent  dou  pint 

Li  vergiers  Jailli  et  sccha 


El  la  fontainc  restancha; 

Li  vilaius  pcrdit  son  deduit. 

Or,  sachcnt  bien  totes  et  tiiit 

Li  proverbes  dit  en  apert: 

Cil  qui  tot  convoite  tot  pert. 
"The  leaves  fell  from  the  trees — the  meadows 
failed  and  dried  up — and  the  fountain  went  dry^ 
the  villain  lost  his  property — Well,  let  all  and 
some  understand — the  proverb  says  clearly — he 
who  grasps  all  loses  all." 

A  tapestry  wrought  about  .4.D.  1500  in  Brus- 
sels, which  is  figured  here,  brings  one  back  to  this 
frame  of  mind.  It  is  such  a  scene  as  the  Bird  of 
Magic  conjured  up  in  the  soul  of  the  poor  Rich 
Rustic  as  he  stood  by  the  fountain  and  listened 
to  the  Lai  de  VOiselet.  It  is  the  stately  garden 
party  of  the  royal  Court,  perhaps  an  interlude, 
with  music  and  strolling  in  the  park  during  the 
course  of  a  banquet.  In  the  palace  the  tables  are 
being  cleared,  peradventure,  and  being  reset  with 
fruit  and  wines,  and  presently  all  of  the  groups 
here  depicted,  the  crowned  king  at  their  head,  will 
step  rhythmically  back  again  and  settle  down  for 
dessert.  We  see  the  king  leaning  against  a  column 
of  a  kiosk  in  the  upper  right-hand  corner.  In  the 
left  upper  corner  is  a  group  of  ladies  and  gentle- 
men, singing.  The  centre  has  a  curious  late- 
Gothic  fountain  house,  behind  which  are  musi- 
cians. In  front  of  the  fountain  are  the  two  figures 
which  contain  the  key  to  the  play — for  a  glance  is 
enough  to  show  that  we  have  here  an  "illustra- 
tion" in  tapestry,  a  crisis  in  a  tale  of  love  well 
known.     What  is  this  tale? 

Observe  that  the  graceful  lady  in  front  of  the 
fountain  is  passing  her  fingers  under  the  jet,  and  is 
attended  by  a  page  who  carries  ewer  and  napkin, 
a  suggestion  of  the  Middle-Age  banquet  as  it  was 
arranged  after  the  Crusades  on  Oriental  lines. 
Opposite  her  and  bowing  low  is  a  youthful,  vigor- 
ous man,  who  seems  to  have  hastened  forward  to 
the  fountain  as  if  he  asked  the  courtesy  from  her 
of  a  similar  ablution.  It  is  the  lover  seizing  a 
pretext  to  approach  his  love.  There  are  twenty- 
nine  figures  in  this  piece  of  tapestry,  or,  at  any 
rate,  twenty-nine  faces,  yet  among  them  all  there 
is  only  one  that  seems  to  regard  the  actions  of  the 
two  central  figures  intently.  Their  actions,  there- 
fore, may  be  supposed  of  no  particular  importance 
as  such,  but  merely  natural  in  the  conditions. 
Most  important,  however,  is  the  exception.  The 
king,  up  there  in  the  belvedere,  with  his  right  arm 
encircling  one  of  the  columns  that  support  the 
roof,  bends  upon  these  two  a  look  full  of  suspicion 
and  melancholy.     He  alone  betrays  a  passion — 


< 


Z 


y. 


Wilmington  Fine  Arts  Exhibition 


for  the  two  before  the  fountain  are  merely  acting  a 
conventional  part,  and  all  the  others  are  steeped 
in  the  expressionless  gentility  of  courtiers.  That 
this  is  purposely  done  by  the  artist  who  composed 
the  cartoon  for  this  tapestry  does  not  admit  of 
doubt.  There  stand  the  two  lovers,  wrapped  in 
the  intensity  of  their  dream,  yet  carrying  them- 
selves with  the  utmost  propriety  in  the  thick  of 
the  retinue  of  the  prince;  but  Fate,  in  the  person 
of  the  king,  looks  down  on  them,  and  in  his  low- 
ering, baiHed  gaze  we  foresee  the  coming  peril. 

There  are  many  stories  of  the  Middle  Ages 
which  tit  this  composition;  to  decide  which,  it  is 
best  at  first  to  choose  the  oldest  and  most  widely 
spread.  There  are  no  inwoven  names  to  guide 
us,  so  that  we  may  fairly  suppose  the  artist  could 
not  have  guessed  that  a  time  might  come  when 
the  story  of  King  Arthur,  Guinevere  and  Launce- 
lot  would  be  no  longer  recognized.  And  yet  he 
might  ha\'e  thought  to  himself:  There  are  also 
King  Mark,  Tristan  and  Yseult — will  anybody 
ask  which  of  these  two  love  tales  do  I  mean? 

Many  tapestries  are  mere  patterns  of  green  forest 
trees  and  flowery  meads.  In  this 
case  we  have,  indeed,  an  extraordi- 
nary wealth  of  human  figures  dis- 
tributed with  the  science  of  a  master- 
artist  into  groups  which  slowly  de- 
tach themselves.  Without  regard 
to  what  these  figures  mean,  they 
are  decorative  in  themselves.  More 
than  that — whatever  may  have 
been  the  colour-scheme  of  this  tap- 
estry when  first  woven,  it  is  now 
beautiful  in  its  yellow,  red  and  dark 
portions,  as  few  of  the  old  pieces 
which  have  survived.  Singular  in 
it,  also,  is  the  ease  and  even  the 
elegance  of  many  of  the  figures. 
But  what  is  most  unusual  of  all  is 
the  presence  in  a  tapestry  of  this 
period  of  something  in  a  face  that 
expresses  a  passion,  and  expresses 
it  with  a  moderation  and  reserve 
that  one  scarcely  looks  for  in  paint- 
ing itself.  The  scene  breathes  the 
solemn  pomp,  the  naif  caste  feel- 
ing, the  ideals  of  deportment  and 
conduct  which  existed  in  Europe 
during  the  thirteenth  and  four- 
teenth centuries  among  the  ruling 
classes,  ideals  up  to  which  they 
lived  with  more  or  less  fidelity, 
ideals  which  the  poets  of  the  age 


succeeded  so  well  in  weaving  into  their  lays  that 
the  afterworld  has  dubbed  it  the  Age  of  Chivalry, 
glad  to  forget  the  seamy  underside  of  the  tapestry. 


w 


ILMINGTON  FINE  ARTS  EX- 
HIBITION 


A  SALUT.\R\'  instance  of  esthetic 
decentralization  is  offered  by  the 
Wilmington  Society  of  the  Fine  Arts,  under  whose 
auspices  has  just  been  held  the  second  annual  ex- 
hibition by  pupils  of  the  late  Howard  Pyle.  It 
is  the  fashion  for  those  who  reside  in  the  larger 
eastern  cities,  such  as  New  York,  Philadelphia, 
and  Boston,  to  presume  that  little  of  consequence 
takes  place  outside  their  own  particular  civic  peri- 
phery. This  really  provincial  self-complacency 
now  and  then,  however,  receives  a  shock,  and  the 
Wilmington  exhibition  affords  a  case  in  point. 

Around  the  sturdy  personality  and  under  the 
sage  and  stimulating  guidance  of  Mr.  Pyle,  there 
gathered  during  the  last  few  years  of  his  lifetime 
a  group  of  young  men  who  to-day  produce  about 


piYsl  Prize  for  Illustration  at  the  \V1lmi71glon  Society  of  the  Fine  Arts,  IQ13 
THE   INVADERS  BY   N.   C.    WYETH 

CLXI 


Jnimington  Fine  Arts  Exhibition 


fifty  per  cent  of  the  best  contemporary 
American  illustration.  It  is  they  who 
constitute  the  nucleus  of  artistic  interest 
in  Wilmington,  and  it  is  from  their  current 
work  that  is  drawn  the  material  for  these 
annual  exhibitions.  Their  production  is 
frankly  personal  and  vital.  The  fact  that 
it  is  designed  to  meet  certain  obvious  re- 
quirements is  distinctly  in  its  favour,  for 
it  is  precisely  this  note  of  actuality  which 
American  painting,  taken  in  its  entirety, 
manifestly  lacks. 

W'e  are,  as  a  nation,  indifferent  theor- 
ists ;  we  are  singularly  wanting  in  the 
power  of  detachment.  Gi\e  us  a  defi- 
nite problem  to  solve,  a  specific  task  to 
accomplish,  and  a  creditable  result  will 
shortlj-  be  forthcoming.  This,  it  seems, 
is  one  of  the  chief  reasons  why  illustra- 
tion with  us  is  relatively  superior  to  paint- 
ing, the  demands  of  which  are  often  pureh' 
subjecti\e. 

You  have  only  to  glance  at  the  contri- 
bution of  such  men  as  N.  C.  Wycth  and 
Frank  E.  Schoonover — to  mention  merely 
the  prize  winners  of  this  season's  exhi- 
bition— in  order  to  realize  what  the  spirit 
of    American    illustration,    proper!}-   di- 


Firsl  Prize  for  Best  FiiinUiig  al  the  Wilmington  Society  of  the  Fine  Arts,  tglj 
THE    SPELL   OF   THE   YUKON  BY   FRANK   E.    SCHOONOVER 


rected,  is  capable  of  accomjilishing.  It  is  to  be  ho])ed  that 
these  displays  may  continue  to  preserve  their  refreshingly 
local  and  special  character. 

Those  of  us  who  are  surfeited  with  the  customary  vast, 
uncon\incing  agglomerations  of  canvases,  should  not  fail 
to  recognize  the  wholesome  self-reliance  and  sound  achieve- 
ment of  little  Wilmington. 


WitmlHtlon  S, 


COVER 
DESIGN 


nv    SARAH    S.    STM.WELL 
WEIIER 


Till-;  death  of  Mr.  George  .■\.  I  Kara,  following 
closely  upon  that  of  Mr.  Benjamin  .Mtman,  has 
removed  from  our  midst  another  art  collector  and 
benefactor  of  the  rarest  distinction.  His  magnificent 
contributions  to  the  Metiopolitan  Museum  of  Art  in 
this  city  will  be  a  lasting  memorial  to  his  great  gen- 
erosity and  to  his  line  discrimination  in  different 
fields  of  art. 


American  Pictures  at  tJie  Canadian  Exhibition 


THE    RENDEZVOUS 


BY   F.    B.    WILLIAMS 


4    M 

A 


MERICAN    PICTURES    AT    THE 
CANADIAN  EXHIBITION 
BY  JOHN  EDGCUMBE  STALEY 


The  annual  display  of  paintings  in 
the  Fine  Arts  Palace  of  the  National  Exhibition  at 
Toronto  always  includes  a  number  of  canvases 
representative  of  what  is  being  done  in  the  States. 
This  year  the  following  twenty-three  artists  con- 
tributed twenty-eight  compositions:  G.  Bellows, 
F.  A.  Bicknell,  E.  Carlsen,  L.  Cohen,  C.  C. 
Cooper,  E.  J.  Couse,  P.  Dougherty,  F.  Frieseke, 
D.  Garber,  L.  Genth,  Childe  Hassam,  R.  Henri, 
J.  R.  Irving,  J.  C.  Johansen,  H.  Prellwitz,  W.  S. 
Robinson,  C.  Rosen,  C.  F.  Ryder,  G.  Symons, 
J.  Turcas,  H.  M.  Turner,  R.  Vonnoh,  and  F.  B. 
Williams. 

By  the  last-named  painter.  The  Rendezvous  was 
undoubtedly  the  most  interesting  picture  in  the 
United  States  section.  It  is  a  composition  of  five 
principal  figures — all  women,  in  gorgeous  des- 
hahille,  such  as  Rubens  loved  to  paint.  The  back- 
ground shows  a  picnic  in  the  wood;  this,  with  the 
feathery  foliage  and  vagliezza,  is  very  much  after 
the  manner  of  the  fetes  galants  of  Watteau. 
The  abandon  and  the  carnations  are  reminiscent 
of  the  work  of  Titian.  Had  the  name  on  the 
frame  been  any  one  of  these  Great  Masters  few 


would  have  doubted  the  ascription.  This  is  great 
praise,  but  it  is  justified  by  the  proof  that  modern 
American  painters  can  paint  lovely  pictures  with- 
out affectation,  fad  and  cant.  Mr.  Williams  has 
given  us  a  rich  colour  scheme,  beautiful  poses  and 
delicious  atmospheric  effects. 

Perhaps  next  in  point  of  excellence  to  F.  B. 
Williams's  canvas  was  Gardner  Symons's  The 
Breaking  of  the  River  Ice.  This  is  a  simple  nature 
study,  but  it  exhibits  the  limit — cubistical,  if  you 
will — ^beyond  which  no  serious  painter  will  dare 
to  go.  The  subject  lends  itself  to  segmentary 
treatment,  for  the  icy  hillsides  are  the  complement 
of  the  frozen  river's  broken  blocks.  The  illumina- 
tion is  brilliantly  cold  and  well  managed;  strong 
reds  and  purples  and  umbers  are  expressive  of  the 
barren  season.  This  is  a  classical  composition, 
even  if  a  little  hard. 

Miss  Lillian  Genth  sent  a  very  delicate  sym- 
phony in  tinted  sunbeams  and  sheeny  silk- 
brocade.  Summer  Afternoon  is  certainly  a  very 
feeble  title  for  this  delightful  canvas.  A  Summer 
Reverie  would  express  the  purpose  better.  The 
girl  has  been  reading  in  the  balcony,  but  she  has 
closed  her  book  and  has  risen  to  go  to  her  room, 
when  her  attention  is  arrested  by  some  flowers  in 
a  crystal  bowl.  She  places  her  hand  upon  the 
rim,  and  her  mind  has  gone  back  to  a  memorable 

CLXIII 


American  Pictures  at  the  Canadian  Exhibition 


THE    l.Kl  AKlNi.    OF    THE    RIVER    ICE 


BY   GARDNER    SYMOXS 


episode.  Such  flowers  perhaps  he  gave  her,  but 
she  refused  him  and  now  she  repents^is  this  the 
story?  The  work  is  as  light  and  graceful  as  pos- 
sible: there  is  no  attempt  to  distract  the  beholder. 

Other  notable  compositions  in  the  United  States 
section  of  the  Exhibition  are  Colin  C.  Cooper's 
Bowling  Green,  Sew  York,  showing  what  may 
be  done  on  canvas  with  portentous  skyscrap- 
ers. The  world  of  art  has  never  seen  such 
objects  before,  and  it  is  too  soon  to  gauge 
their  value  in  painting  the  story  of  city  life. 
To  picture  them  in  all  their  flaunting  bigness 
could  present  no  charm,  but  perhaps  a  little 
city  rime  may  wreathe  mystery  about  them. 
Anyway,  Bowling  Green,  .\rd'  York,  is  some- 
thing of  a  lour  dc  force. 

A  greater  contrast  to  Mr.  Cooper's  work 
could  not  be  conceived  than  E.  J.  Couse's 
Prayer  to  the  Water  God.  Perhaps  the  Indian 
and  his  pool  were  original  owners  of  the  New 
York  Bowling  Green  1  This  is  a  clever  piece 
of  work;  the  detachment  of  it  is  expressive, 
the  man's  entire  absorption  is  from  the  Spirit 
of  God — it  is  well  carried  out  and  painted. 
There  is  nothing  meretricious  here,  just  un- 
aflected  simplicit\ — ^so  very  much  to  be  de- 
sired in  all  character  studies. 

Daniel  Garber  is  a  rising  landscape  painter. 
His  art  is  Tuscan  in  inspiration,  but  he  con- 
trives to  impart  local  character  and  colour. 
May  Day  is  part  of  a  panorama,  for  the  stream 
runs  ever.  It  is  a  decorative  panel,  in  tender 
tones  of  green  and  blue;  the  atmosphere  is 


hazy  and  adolescent.  The  canvas  is 
one  of  many  painted  sonnets  in  the 
lyrical  poetry  of  the  painter's  art. 

Henry  Prellwilz's  Figure  with  a 
Shell  is  attractive,  not  so  much  in 
treatment  as  in  imagination.  Such 
subjects  Botticelli  and  many  of  the 
ancients  loved  to  paint.  Their  work 
had  the  charm  of  mystery;  Mr.  Prell- 
witz  is  too  realistic,  but  there  are  the 
makings  of  a  beautiful  picture  in  his 
work,  with  the  sea  more  limpid  and 
Venus  and  her  shell  more  in  accord 
with  the  naivete  of  the  situation. 

.1  Fantasy  (Portrait)  by  Robert  J. 
\'onnoh  sets  one  wondering  whether 
he  has  caught  a  little  of  Hogarth, 
Romney  or  Lawrence — or  all  three. 
The  animation  of  his  Portrait  is  of  the 
former,  the  piquancy  is  of  the  second, 
and  the  distinction  is  that  of  the  last 
of  these  painters. 

The  painters  of  the  United  Slates  have  attained 
a  point  of  excellence  in  technique  and  characteriza- 
tion which  places  them  quite  on  a  level  with  the 
men  of  the  Old  World. 


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I'KAN  IK     111    IMI-    Hl\  IK    (.111) 


HY    E.    J.   COISE 


CLXIV 


Neio   York  as  Seen  by  Hciiry  Devil/e 


I  N 


EW  YORK  AS   SEEN   BY  HENRY 
DEVILLE 
BY  MILDRED  STAPLEY 


American  artists  are  constantly  de- 
picting Paris  street  scenes,  but  a  French  artist 
doing  the  same  for  our  American  metropoHs  is 
unique.  To  any  picture-loving  foreigner  the 
first  view  of  its  towering  mass  as  he  comes  up 
the  bay  is  so  startling  that  he  cannot  fail  to 
apprehend  its  qualities,  but  not  many  realize 
that  its  details  are  also  beautiful.  Mr.  Henry 
Deville,  who  etched  the  accompanying  New- 
York  scenes,  is  one  whom  the  far-off  view 
only  piqued  to  further  investigation.  He  started 
to  study  our  tall  buildings  from  every  corner  that 


I 


METROPOLITAN  TOWER  FROM  NEWTOWN  CREEK        ETCHING  BY  HENRY  DEVILLE 


gives  a  glimpse  of  them,  until  now,  after  etching 
them  for  some  four  years,  he  is  more  enthusiastic 
than  ever  and  declares  his  subject  to  be  inexhausti- 
ble. The  entire  lower  city,  as  it  composes  from 
the  bay  or  from  either  river  or  separate  tall  build- 
ings as  central  notes;  bridges  delicate  and  lacy; 
shipping  backed  up  by  cliff-like  architecture; 
crowds  of  brokers  in  front  of  the  Stock  Exchange 
— all  these  suggest  more  pictures  than  a  lifetime 
would  suffice  to  execute.  And  so  Mr.  Deville 
remains  in  New  York,  giving  us  not  the  hurried 
impressions  of  a  transient  (though  these,  as  in  the 
case  of  i\Ir.  Joseph  Pennell,  are  often  brilliant 
enough)  but  the  well-studied  results  of  being  him- 
self a  very  part  of  our  crowded  metropolitan  life, 
and  of  knowing  our  every  aspect  far  more  famil- 
iarly than  many  a  native- 
-    r        born  knows  it. 

It  is  amazing  that  such  a 
thrilling  subject  as  New  York 
City  should  prompt  so  few 
.\merican  artists,  especially 
etchers.  It  is  now  several 
\-ears  since  Mr.  Pennell  pro- 
claimed it  "A  composition  in 
colour  and  form  finer  than  any- 
thing  Claude  ever  knew  or 
Turner  ever  imagined,  and  all 
new  and  all  untouched,  all  to 
be  done."  Yet  no  Meryon 
has  risen  in  our  midst  to  re- 
cord in  etchings  the  New  York 
of  the  early  twentieth  century 
as  he  recorded  the  Paris  of  the 
middle  nineteenth — always 
excepting  Mr.  Pennell's  own 
splendid  plates.  But  his  stay 
in  New  York  was  brief.  Mr. 
Mielatz,  another  etcher  of 
fine  artistic  quality,  concerns 
himself  mostly  with  whatever 
Colonial  bits  are  still  left  in 
our  rapidly  modernizing  city. 
Mr.  Harry  Winslow  gave  us 
a  few  excellent  pictures  of 
New  York,  and  then  went 
abroad  to  five.  Mr.  Herman 
Webster  also  prefers  living 
abroad,  and  during  his  one 
short  visit  here  etched  a  single 
plate,  Cord  audi  Street.  But 
Mr.  Deville  lives  here;  daily 
he  visits  the  canons  of  lower 
Manhattan;  skyscrapers  fas- 


Neii.'   York  as  Sccu  bx  Henry  Dcvillc 


*-*» 


cinate  him,  and  as  a  practising  architect  who  has 
had  a  hand  in  designing  several  well-known  ex- 
amples, he  interprets  them  with  peculiar  intelli- 
gence and  fidelity.  To  the  fine  artistic  sense  of 
the  etcher  is  added  a  thor- 
ough understanding  of,  and 
admiration  for,  that  steel  con- 
struction which  it  has  so  long 
been  the  habit  of  artists  to 
denounce  as  hideously  ugly 
or.  at  least,  unpicturesque. 
Steel,  in  fact,  and  often  naked 
steel,  gets  into  most  of  his])ic- 
tures — the  steel  bridge  high 
across  the  otherwise  foreign- 
looking  Cliff  Street  to  connect 
two  buildings  (as,  it  is  pre- 
dicted, all  our  tall  structures 
will  some  day  be  connected), 
steel  cranes,  steel  cables,  steel 

workers,   elevated    railroads, 

are  all  instilled  with  poetr>- 

and  picturesquencss  under 

the  touch  of  a  man  intensely 

sympathetic  with  them. 

The CliJ  Street  Arch  is  pro- 
nounced by  connoisseurs  to  be 

a  little  masterpiece.  Most  un- 
pretentious in  subject,  it  is  a 

very  knowing  piece  of  biting 

and  printing;  from   the  rich 

black  under  the  arch  to  the 

delicate  gray   of    the  cast 

shadow  (jn  the  distant  build- 
ings, the  beautiful  gradation 

is  rendered  all  in  line  without 

any  recourse  to  "painting" 

the  plate  (not  wi|)ing  the  ink 

from    certain    parts    before 

printing).     Besides  this 

straightforwardness    in    the 

printing  there  is  the  straight- 
forwardness of  seeing — a  re- 
spect for  actual  appearances, 

with  no  attempt  to  draw  into 

the   composition,    as    might 

easily  have  been  done  by  a 

slight  change  in  the  point  of 

view,  some  towering  i)uilding 

to  proclaim  the  scene  a  New 

York  one;  for  although  Mr. 

Dcville  loves  skyscrapers,  he 

also  rejoices  in  an  occasional 
uncharacteristic  bit  that  sets 


one  questioning  as  to  its  locality.  This  little 
curving  street  passing  under  one  of  the  Brooklyn 
Bridge  arches  might  almost  be  taken  for  one  of 
Meryon's  bits  of  old  Paris;  in  fact,  medievalism  is 


1 


•^ 


'?■" 


TOP   OF    THE    WlihT   STREET    HllLUINC 


ETCHING    BV    HENKV    PEVILLE 


CLXVI 


New   York  as  Seen  by  Henry  Devil le 


^  -X*.  ^^-■^ 


GAME  OF  MARBLES  ETCHING  BY  HENRY  UEYILLli 

the  almost  inevitable  result  of  putting  a  massive 
stone  arch  into  a  picture. 

Intensely  modern  is  the  use  of  the  familiar  "Old 
Dutch"  advertisement  in  the  Game  of  Marbles. 
With  all  the  true  assertiveness  of  an  "ad"  it 
becomes  the  high  light  of  the  print — a  charming 
little  bit  of  work  in  itself,  yet  taking  its  place  as  a 
mere  accessory  in  a  picture  of  the  lofty  masonry 
piers  and  steel  cables  of  Brooklyn  Bridge. 

Quite  dififerent  from  these  two  simple  plates  is 
the  crowded  composition  contrasting  the  delicate 
top  of  Mr.  Cass  Gilbert's  new  West  Street  Building, 
with  the  humble,  grimy,  gabled  and  dormered 
little  brick  dwellings  of  a  century  ago  that  still 
hold  their  own  on  Greenwich  Street.  This  pro.x- 
imity  of  new  and  old  is  so  rapidly  disappearing 
from  our  fast-changing  business  district  that  we 
should  feel  doubly  grateful  to  an  artist  who  appre- 
ciates the  beauty  of  it  and  the  interest  it  must 
have  for  coming  generations. 

The  Metropolitan  Tower  from  Newtown  Creek  is 
one  of  Mr.  Deville's  most  recent  plates,  and  pre- 
sents a  Y'ista  of  New  York  that  will  surprise  those 
not  o\-er-familiar  with  the  city  from  without.  A 
bridge  thrown  over  a  canal  serves  to  frame  in 
tug  boats,  a  tall-masted  schooner,  elevated  cranes. 


factory  chimneys  and,  far  beyond,  the  Metropoli- 
tan Tower  silhouetted  against  the  sky— a  sort  of 
Venice  in  an  atmosphere  of  work  and  incessant 
activity.  Values  here  seem  somewhat  forced,  par- 
ticularly in  the  mighty  abutment  at  the  left,  where 
the  stones  are  treated  boldly  but  quietly,  as  a 
"frame"  should  be  treated,  if  it  is  not  to  interfere 
with  the  picture  it  encloses.  Also  the  figures  of 
the  workmen  seem  small  in  scale  and  one  feels 
that  the  artist  has  sought  to  impart  a  ma.ximum 
of  effect  to  his  distance  by  ^'iolating  actual  pro- 
[iortions  in  his  foreground.  This  is  frequently 
practised  by  Piranesi  in  those  wonderful  etchings 
of  Rome  which  have  more  rugged  picturesqueness 
than  the  actual  Roman  ruins  themselves;  so  with 
Piranesi  for  his  sponsor,  Mr.  Deville  may  feel  sure 
of  his  ground. 

A  WELL-KNOWN  American  sculptor,  in  the  per- 
son of  Franklin  Simmons,  died  in  Rome  on 
December  8  at  the  age  of  seventy-four.  Mr. 
Simmons  was  born  in  Maine,  but  made  Rome  his 
home  since  1868.  A  number  of  public  monu- 
ments stand  to  his  credit,  including  the  Soldiers' 
Memorial  on  Lewiston  common.  Among  his  sit- 
ters were  Admirals  Farragut  and  Porter;  Generals 
Grant,   Meade,   Sheridan,   Sherman  and  others. 


CLIFF  STREET  ARCH        ETCHING  BY  HENRY  DEVILLE 


CLXVII 


A  Revival  of  Riglitccnth-Cctitury  French  Art 


PANEL   OVER    THE    KEYHOARn    IN    THE    I'lPE   ORGAN    IN    W.  M.  SALISBl  RVS    HOUSE 


BY    EVERITT    SHINX 


A 


REVIVAL  OF  EIGH- 
TEENTH-CENTURY 
FRENCH  ART 
B  Y  C.   MA  T  L  A  C  K 
PRICE 


It  seems  curious  thai  an  entire 
school  of  painting  should  vanish 
from  the  tield  of  art- -should  be- 
come utterly  a  thing  of  the  past, 
followed  by  no  clique  of  painters. 
Is  it  that  our  painters  or  our  public 
think  differently  than  did  the  paint- 
ers and  the  public  of  that  highly 
cultured,  urbane  and  brilliant  era 
known  as  the  eighteenth-century 
French  revival? 

That  the  public  as  a  whole  has 
suffered  a  change  of  ideals  rather 
than  the  painters  as  indi\iduals  is 
manifested  in  more  ways  than  one. 
Where  are  the  Solons,  the  wit-,  ihc 
general  brilhancy  that  characterized 
that  period?  Its  spirit  of  intense 
vitality  and  effervescent  frivolit>- 
is  of  the  ])ast.  There  was  no  talk 
then  of  "realism,"  "materialism," 
or  even  of  "impressionism"  in  art. 
Men  painted  as  they  lived,  in  a  per- 
petual kaleidoscope  of  hal  })nm\\H- 
and  jtlc  chanipHre,  brilliant,  gay, 
galant,  fantastic.  That  the  transi- 
ent and  exotic  spirit  of  the  time 


PANEL   IN    (.KEY,   10X7  IT.,  IN    THE    WARREN    M. 
SALIsni;RY    HOUSE    AT    PITTSEIELD,  M  ASSA(  HISETTS 


I)Y    EVER  I  IT 
SHINN 


ri.xviii 


A  Revival  of  EigJiteeiith-Centftry  French  Art 


directly  affected  art  is,  without  doubt,  one  of  the 
reasons  why  that  art  did  not  outlive  the  French 
Revolution.  Its  very  superficiality  forbade  its 
taking  a  place  as  a  movement  seriously  affecting 
the  de\-elopment  of  the  world's  art.  Brilliant  as 
a  display  of  fireworks,  delicate  as  an  orchid,  its 
life  was  as  short.  And  like  an  orchid  it  sprang 
from  a  morass  of  social  decadence  comparable 
only  to  that  from  which  rose  the  rare  flower  of 
the  great  Italian  Renaissance. 

But  for  all  that  the  period  was  one  of  degeneracy 
and  extravagance,  its  art  and  letters  possessed  a 
compelling  charm  and  grace  never  approached 
before  or  equalled  after;  there  was  a  pictur- 
esque gallantry  and  a  brave  romance  in  the  paint- 
ings— the  costume  of  the  day  seemed  intended  for 
nothing  but  a  continuous  fete,  and  the  spirit  of  the 
haute  monde  seemed  constantly  attuned  for  a 
revel.  The  characteristics  of  the  national  devel- 
opment of  art  and  letters  at  this  time  was  further 


^11 

It'. 

!     -^ 

*  I   ' 

1* 

'      [^ 

-J 

CORNER  OF  THE  BOUDOIR  OF  MRS.  EDWIN  S.  BOYER,  N.  Y.  CITY        BY  EVERITT  SHINN 


coloured  by  a  keen  re\-i\-al  of  interest  in  classic 
myths  and  legends.  Ladies  sat  for  graceful  por- 
traits in  roles  of  Diana  or  Venus.  Allegory  was 
at  its  height,  and  always  rendered  in  a  vein  which 
at  once  held  the  lofty  beauty  of  the  original  and 
the  ultra-sophistication  of  the  period. 

Fragonard,  Boucher,  Watteau  and  many  others 
will  always  call  to  memory  "ideal  landscapes," 
ornately  beautiful  gardens,  stately  terraces  and 
graceful  garden  temples.  And  living  amid  these 
the  gay  figures,  always  laughing  or  smiling— 
secret  amours,  romantic  trysts,  dashing  cavaliers 
and  ever  coquettish  maidens. 

Yet,  with  the  passing  of  the  period  there  passed, 
as  breath  upon  a  window  pane,  all  the  gallantry 
and  \'ivacity  of  that  school  of  painters.  No 
trace,  no  tangible  evidence  remained;  it  was  as 
though  the  curtain  had  been  rung  down  in  the 
midst  of  a  gay  and  happy  operetta. 

To-day,  in  France,  Gaston  La  Touche  has 
attempted  some  decorative 
panels  in  the  vein  of  Wat- 
teau;  Cheret,  the  great 
affichiste,  has  come  even 
nearer  to  the  spirit,  and  in 
England  Charles  Conder,  in 
certain  paintings  on  silk,  for 
fans,  echoed  the  joyous  friv- 
olity of  eighteenth-century 
French  painting. 

Of  all  painters  in  this 
country  Mr.  Everitt  Shinn 
stands  alone  as  one  who  has 
seemed  to  relive  in  his  mind 
the  spirit  of  Watteau  and  of 
Boucher — who  seems  able 
to  visualize  in  graphic  terms 
the  gardens,  the  fetes,  the 
animated  life  of  that  brief 
and  wholly  vanished  phase 
of  French  history. 

Mr.  Gallatin,  in  speaking 
of  certain  of  Mr.  Shinn's 
decorations,  says: "  We  have 
\-ery  charming  sou\'enirs  of 
the  joyous  days  when  Louis 
XVI  sat  upon  the  throne  of 
France.  Shinn  has  schooled 
himself  well  in  the  tradi- 
tions of  this  enchanted 
epoch,  when  it  would  seem 
as  if  taste  must  have  been 
a  matter  of  instinct;  he  has 
studied  intelligently  the  re- 


CLXIX 


A  Revival  of  Riglitccuth-Century  French  Art 


I'ANEL    IN    TMIC    niHDOlK    c  i|-    MKS.  KDWIN    S.  IKlM-K 


BY   EVERITT   SHINS 


fleclors  of  the  fri\olilics  of  the  age — VVatleau  and 
his  pupils,  Lancrct  and  Pater,  and  his  followers, 
Boucher  and  KraRonard." 

The  latest  and,  perhaps,  the  most  striking  suc- 
cess achieved  by  Mr.  Shinn  is  to  be  found  in  his 
series  of  panels,  executed  only  in  gray,  for  the 
great  hall  of  the  Salisliury  House,  near  Lenox,  of 


which  Messrs.  Walker  &  Gillette  are  the  archi- 
tects. Here  are  a  succession  of  vistas  through 
repeated  jiairs  of  garden  urns,  where,  in  a  fore- 
ground half  buried  in  a  lavish  profusion  of  flowers, 
sit  ideal  figures,  gay  and  laughing,  filled  with  a 
youthful  abandon  that  surely  echoes  the  "en- 
chanted epoch"'  of  their  birth. 


A  Sculptor  from  St:  Louis 


A 


SCULPTOR  FROM  ST.  LOUIS 
BY  WILLIAMINA  PARISH 


With  the  acceptance  into  the  191 2 
Salon  of  La  Petite  Nymphe  de  la  Riviere 
de  Xohain,  by  CaroUne  Everett  Risque,  the  pride 
of  St.  Louis  in  another  of  her  artists  has  been  jus- 
tified. The  Petite  Xymphe,  a  life-size  sculpt  of  an 
awkward  girl-child  holding  a  wriggling  fish,  at 
which  she  is  looking,  half-mischievous,  half-fascin- 
ated, is  a  fine  example  of  truth,  even  at  the  ex- 
pense of  grace  of  line.  The  sureness  of  the  hand 
and  brain  that  could  translate  thus  convincingly 
into  clay  the  bone  and  muscle  and  flesh  of  an  active 
child,  is  evidence  of  a  gift  for  the  plastic  that 
should  place  its  owner  on  a  high  plane  of  achiex'e- 
ment.  This  Petite  Xymphe  is  somewhat  of  a  de- 
parture from  the  earlier  style  of  this  artist,  which 
was  more  freely  imaginative.  Her  ceramics.  The 
Flame  (a  design  for  a  candlestick)  and  TIte  Frog 
Baby  (an  ash  receiver),  are  excellent  examples  of 
this  earlier  style,  wherein  the  imaginative  pre- 
dominates. The  elusive  charm  and  playfulness 
of  this  earlier  work  is  difficult  to  put  into  words, 
as,  for  instance.  The  Stork  Baby  (a  design  for  a 
pin-tray  in  pottery),  in  which  the  cuddly,  new- 
born babe  seems  uncertain  whether  to  cling  to  its 
stork-mother  or  to  heed  the  call  of  its  earth- 
mother;  and  in  The  Octopus  Girl  (a  design  for  an 
ink-well  in  porcelain),  where  a  half-grown  child 
sits,    fascinated   by   a   huge    octopus,   uncertain 


whether  to  advance 
and  make  friends  or 
to  retreat  in  terror. 

Other  manifesta- 
tions of  her  versatil- 
ity are  her  portrait 
sketches  of  children 
and  her  imaginative 
child  studies,  one  of 
which,  The  Xicest 
Book,  was  purchased 
for  the  Children's 
Room  of  the  new 
Public  Library. 

In  endeavouring  to 
analyze  just  what 
constitutes  the  gift 
of  this  young  sculp- 
tor, I  should  say  it 
was  a  fine  balance 
of  the  realistic  and 
the  poetic,  in  which 
the  realism  does  not 
descend  to  the  literal 
and  commonplace, 
and  the  poetic  does 
not  become  too  fan- 
tastic. In  addition, 
there  is  a  quaint, 
whimsical  sense  of 
humour  which  shows 


THE  FLAME — SKETCH  FOR  POTTERY  CANDLESTICK 


iiY  CAROLINE  E.  RISQUE 


Paris  Salou,  Ujis 

LA  PETITE  NYMPHE  DE 
LA  RIVIERE  DE  NOHAIN 
BY    CAROLINE   E.  RISQUE 


itself  even  in  the  animals 
which  nearly  always  ac- 
company her  children.  Her 
versatility  is  most  evident 
in  her  sympathy  with  all 
the  phases  of  humanity, 
from  childhood  to  old  age, 
and  includes  as  wide  a 
range  as  the  fairy-tale 
princess  and  the  Biblical 
prophet,  and  all  that  lies 
between.  It  has  been  said 
of  her  creations  that  they 
seem  to  be  asking  an  un- 
answerable question  or 
seeking  the  unattainable, 
and  it  is  this  quality  which 
perhaps  differentiates  her 


A  Designer  of  Stones  Rare  and  Simple 


THE  FROG  BABY — SKETCH  K<1R   A  I. OLD  I  ISIl   POOL 

gift  from  that  of  most  of  the  sculptors  of  the  cla>-. 
For  the  greater  part,  they  show  us  a  question  an- 
swered, a  goal  attained.  If  Caroline  Risque  will 
cling  to  and  dev'elop  her  peculiar  elusive  quality, 
her  place  in  the  held  of  sculpture  should  he  a 
unique  one. 

She  studied  under  George  Julian  Zolnay,  in  the 
St.  Louis  School  of  Fine  .\rts,  and  at  the  Academic 
Colarossi  in  Paris,  under  Paul  Bartlett.  She  is  a 
member  of  the  St.  Louis  .\rtists"  Guild,  the  Society 
of  Western  Artists,  and  after  an  exhibition  of 
some  of  her  smaller  pieces  at  the  exhibition  of  the 
New  York  Ceramic  Society,  given  at  the  National 
Arts  Club,  in  iQUi  she  was  invited  by  the  Society 
to  become  a  member. 


BY   CAROLINE  E.   RISQIE 


A 


DESIGNER  OF  STOKES  RARE  A.\D 
SIMPLE 
BY  \V.  H.  Di:  B.  NELSON 


Quite  recently  a  studio  exhibition 
took  place  in  which  the  jewelry  designs  of  Lilla 
Whitcomb  Davis  made  a  strong  appeal  to  the 
many  who  attended.  It  was  not  so  much  the 
rare  and  precious  stones  in  their  varied  settings 
that  occasioned  delight  as  the  quaint  and  unas- 
suming pebbles  of  the  seashore,  which  under  Miss 
Davis's  deft  treatment  have  asserted  their  claim 
to  be  considered  as  just  material  for  design.  From 
earliest  childhood  pebbles  and  flowers  have 
swaved  her  tastes  and  indicated  her  life's  task. 


I'nder  the  tutelage  of  Mr. 
Arthur  W.  Dow  at  the 
Pratt  Institute,  Brooklyn, 
followed  by  apijrenticeshij) 
to  an  .\ustrian  craftsman 
who  studied  twenty  years 
before  attem|)ting  to  work 
out  his  designs,  Missl)a\is 
learned  every  phase  of 
chasing  and  repousse. 

Though  the  Scandina- 
\ian  |)erio(l  and  the  South 
Kensington  Museum  col- 
lections have  been  an  in- 
sjjiration.her  true  bent  lies 
in  naturalistic  design,  help- 
ed by  her  strong  affection 
for  ])ebbles  and  flowers. 
K\ery  stone,  every  flower, 
every  client,  suggests  novel 
treatment,  novel  ideas.  .\ 
brown-eyed  girl  with 
bronze  hair  can  wear  to 
advantage  a  necklace  of  cornelian  set  in  copper; 
it  is  this  individuality  of  design  that  makes  her 
jewelry  so  attracti\-e.  Seaweed  and  shells,  peb- 
bles and  flowers — these  simple  products  of  nature 
are  utilized  by  Miss  Davis  to  the  fullest  extent. 
In  cut  No.  3,  an  engagement  ring,  the  opal  was 
set  in  gold,  the  design  was  seaweed,  which  came  up 
and  covered  the  matrix  of  the  stone,  letting  the 
fire  flash  out  through  the  gold.  No.  4  is  a  gold 
ring  with  a  design  of  ]iond  lily  lea\es  which  twine 
around  the  linger.  .\  tourmaline  is  set  in  the 
blossom.  No.  5  is  a  silver  ring  with  bayberry 
leaves  and  twigs  as  design,  holding  in  place  a 
cabochon  sajiphire  pendant.  No.  i  is  the  pome- 
granate design  in  silver,  and  is  set  with  two  large 
l>ieces  of  Swiss  lapis-lazuli, 
intensely  blue,  to  match 
the  eyes  of  the  girl  for 
whom  it  was  made.  Pen- 
dant No.  2  was  made  for  a 
golden-haired  lady:  it  is  in 
gold    and    the   leaxes    are  m 

southern  sniilax.  while  the 

brilliant  but  soft  green  peridots  which  hang  from 
it  appear  like  dro|)s  of  bright  sea  water. 

Though 
Miss  Davis 
isnoscorner 
of  precious 
stones,  it  is 
rather  the  iv  v 


A  Designer  of  Stones  Rare  and  Simple 


pebble  of  no  intrinsic  value  that  claims  her  atten-  conception.  In  the  case  of  such  a  personality 
tion  with  insistency,  until  its  pink  or  green  or  yel-  craftsmanship  merges  into  art.  even  though  it  be 
low  softness  becomes  incorporated  with  some  fresh      but  minor  art. 


CLXXIII 


Book  Reviews 


BdOK  REVIEWS 
French  Colour  Prints  of  the  Eigh- 
teenth Century.    With  an  Introduc- 
tory Essay  by    Malcolm    C.   Salaman. 
(J.  B.  Lippincott  Co.)     S12.00. 

This  book  is  a  delightful  visitor  to  our  reviewing 
table  this  month.  It  is  illustrated  with  fifty 
attractive  reproductions,  selected  from  the  many 
great  examples  of  the  period.  Through  these 
charming  pages  flit  the  butterflies  of  the  amourous 
and  vainglorious  court  of  Le  Grand  Monarque, 
and  we  see  in  retrospective  fancy  the  gilt  and  tin- 
sel, the  license  and  levity,  the  luxury  and  idleness 
of  the  years  when  ?>ance  was  pluming  her  feathers 
before  her  mirror  with  Vanity  Fair  for  her 
audience. 

Portraiture  was  naturally  the  most  remunera- 
tive occupation  of  the  artists  of  this  superficial  and 
pleasure-loving  epoch,  and  they  expressed  with 
much  beauty  and  charm  the  fantasies  and  vanities 
of  their  day.  The  butterflies  have  flown  and  the 
flowers  have  withered.  The  silks  and  satins  have 
faded,  but  we  can  still  hear  their  faint  rustle 
through  the  marble  halls,  as  we  turn  the  leaves  of 
this  record  of  folly  and  sunshine,  which  the  facile 
fingers  of  Debucourt,  Fragonard,  Janinet,  Le  Blon, 
Descourtes,  Lavreince  and  many  others  have 
made  it  possible  for  us  to  enjoy. 

There  is  a  great  deal  of  virile  and  effective  colour 
in  these  reproductions,  and  in  some  instances  they 
fall  slightly  short  of  some  desired  qualities.  The 
composition  and  design  in  them  have  been  most 
valuable  to  modern  students.  Some  oi  them,  of 
course,  look  stilted  and  metallic  to  those  who  live 
in  a  period  when  art  is  being  worshipped  from  a 
different  standpoint,  when  she  is  beginning  to  be 
loved  more  for  her  own  sake,  and  is  not  merely  a 
humble  menial  to  be  brought  before  milady  and 
received  with  condescension  or  scorn,  according  to 
the  degree  to  which  milady's  vanity  is  flattered  or 
neglected. 

The  book  is  valuable  as  an  art  contribution. 
It  makes  available  and  accessible  in  compact 
form  a  good  representation  of  the  work  of  the  best 
men  of  the  eighteenth  century  in  this  particular 
field,  and  is  well  worth  the  attention  of  the  stu- 
dent of  the  French  art  of  the  period. 


in  our  columns,  being  Manet  and  Puvis  de  Cha- 
vannes. 

.■\  biographical  and  critical  study  by  Leonce 
Benedite  along  with  notes  by  J.  Laran  and  Ph. 
Gaston-Dreyfus  and  48  plates  render  the  little 
work  extremely  attractive,  especially  when  we 
consider  the  immense  position  in  French  art  that 
this  peasant  of  Ornans  filled  until  ousted  by 
Manet.  What  Repin  has  been  in  Russia,  Courbet 
has  been  in  France. 

.\  Short  History  of  Art.  By  Julia  B.  De 
Forest.  Edited,  revised  and  largely  rewritten 
by  Charles  H.  Caffin.  With  289  illustrations. 
(New  York:  Dodd,  Mead  &  Co.)  S.^oo. 
There  is  no  doubt  that  this  book  was  useful  in  its 
day  and  that  some  usefulness  is  added  in  this 
revision.  But  whether  an  entirely  new  book 
would  not  have  been  better  is  another  question. 
The  best  part  of  Mr.  Caffin's  work  evidently  lies  in 
the  generalizations  in  which  certain  movements  of 
art  are  characterized,  in  which  one  gets  some 
insight  into  the  "objects  and  means  of  graphic 
art,"'  which  are  more  consistently  if  a  bit  heavily 
expounded  in  such  good  guides  as  the  recent  books 
of  Brandt  and  Waetzold.  Similarl\-,  the  more 
prominent  indi\-idual  artists  are  characterized 
with  happy  and  crisp  summariness.  But  others 
are  mentioned  in  the  briefest  of  unilluminat- 
ing  biographical  facts,  grouped  somewhat  per- 
functorily. 

It  is  fairly  apparent  that  where  the  editor  was 
interested  he  gives  no  cause  for  complaint.  The 
revision  has  left  various  matters  unrevised — for 
instance,  the  statement  about  Mantegna's  engrav- 
ings (p.  276),  the  want  of  clearness  concerning 
Blake  (pp.  477-8),  the  error  regarding  Michel- 
angelo's Penscroso  (p.  254)  and  so  on.  The 
printer's  devil  has  been  fairly  well  held  in  check  in 
proofreading. 

Strangely  enough,  most  errors  in  names  occur 
in  the  .\merican  section;  there  is  a  choice  and 
inexcusable  lot  of  such  on  page  651.  The  index, 
not  without  a  tinge  of  amateurishness,  shows  good 
intentions,  which  one  would  like  to  have  seen 
consistently  carried  out.  The  numerous  illus- 
trations, with  their  short  descriptive  notes,  arc 
useful. 


Gustave  Courhet.     (Philadelphia:  J.  B.  Lippin- 
cott Company.)     Si. 00. 

.\  monograph  on  Courbet  makes  the  third  num- 
ber of  the  French  Artists  of  Our  Day  series,  the 
preceding  ones,  which  have  been  reviewed  already 

CLXXIV 


So  MANY  books  have  been  placed  upon  the 
editor's  table  during  the  last  few  weeks  that  it 
has  been  im|>ossible  to  review  them  all  by  Christ- 
mas, but  those  not  yel  noticed  will  receive  atten- 
tion during  the  winter  season. 


///  tJie  Galleries 


Courtesy  of  the  B,u-,^ii-Ruit>lsoii  CoJnf'dny 
BLACK   HAWK   COUNTRY 


AN    ETCHING    BY    RALPH    M.    PEARSON 


IN  THE  GALLERIES 
The  month  of  December  has  kept  devo- 
tees of  art  busy  inspecting  numerous  exhibi- 
tions and  private  displays,  although  the  art 
season  proper  cannot  be  said  to  commence  before 
the  New  Year.  Among  the  events  of  real  import- 
ance must  be  chronicled  first  and  foremost  the 
de  Ridder  Exhibition  at  the  Kleinberger  Galleries, 
in  which  eighty-three  precious  canvases,  Dutch 
and  Flemish  seventeenth  century,  have  for  the  first 
time  become  accessible  to  the  public  gaze. 

A  good  curtain  raiser  of  social  and  artistic 
importance  has  been  the  Artur  Halmi  display  of 
fair  women  and  debutantes  at  Knoedler's  Galler- 
ies. This  exhibition  has  been  the  rendezvous  of 
everybody  who  is  anj-body.  This  well-known  por- 
traitist poses  his  sitters  with  harmony  and  distinc- 
tion and  they  sacrifice  none  of  their  beauty  at  his 
hands.  The  clou  of  the  collection  is  a  portrait  of 
the  artist's  daughter. 

The  Durand  Ruel  Galleries,  in  their  new  quar- 
ters at  12  East  57th  Street,  held  a  loan  exhibition 
of  the  work  of  Edouard  Manet,  including  Le 
Philosophe,  Lc  Fiimeur  and  En  Bateau. 

Mr.  Carton  Moorepark  has  just  painted  a  very 
satisfactory  portrait  of  Professor  Osborn,  presi- 
dent of  the  American  Museum  of  Natural  History. 


Of  great  interest  is  his  triptych  of  Mr.  and_Mrs- 
Daniel  E.  Moran  at  Mendham,  N.  J.,  which  we 
reproduce.  It  is  a  novel  and  interesting  way  of 
grouping    and    the    different    units  decoratively 


Courtesy  0/  the  Macdo'a 
FOXHOUND 


rhu,:,  liy  R.  Benz 
BY    SIBYLLA   MITTELL 


/;/  the  Galleries 


treated  blend  into  a  well-balanced  whole.  His 
colour  is  good. 

.\t  the  MacDowell  Club  the  work  of  Miss  Up- 
john made  excellent  showing.  .\  canvas  called 
Aflerglirw  represents  a  labourer  turning  homeward 
at  close  of  day,  preceded  by  his  little  daughter, 
who,  in  rustic  fashion,  sucks  her  finger  as  she  jilods 
along.  Drawing  and  colour  are  agreeably  strong. 
A  Fislicrgirl  is  another  good  example  of  her  work. 
Miss  Mittell  showed  several  animal  studies,  the 
best  being  a  Foxhound,  which  we  reproduce. 
The  wax  miniatures  of  Miss  Mundy  arecharniir.g. 
especially  children,  who  lend  themselves  best  to 
this  peculiar  treatment. 

Many  good  pictures  have  been  on  view  at  ll'.e 


MISS   DOROTHY   DUVEEX 


BV    Akll  K    L.    H  VLMl 


MKS.    THOMAS   L.  SHEVI.IN 

ri.x.xvi 


U\      \k  M   k    I  .   II  M.MI 


galleries  of  Moullon  &  Rickctts.  .\  river  scene  in 
warm  tints,  quite  unlike  his  usual  work,  by  Fritz 
Thaulow,  a  stately  Van  Loo  re])resenting  Prin- 
cess .Amelia  in  pink  satin,  ermine  cloak  and  crown, 
early  Kasmyths  and  others  of  the  Norwich  school. 

The  Ehrich  Galleries  for  once  transgressed  their 
policy  of  exhihiling  Old  Masters  and  displayed 
the  latest  work  of  J.  Campbell  Phillips  in  por- 
traiture, including  his  very  successful  painting 
of  our  late  Mayor. 

.\t  the  Macbeth  Cialleries  the  Society  of  .Men 
who  Paint  the  Far  West  held  their  second  exhibi- 
tion, and  it  was,  if  possible,  better  than  the  first. 
K.  Irving  Couse  surpassed  pre\i()us  elTorts  in 
The  Eagles;  William  Ritschel  showed  two  line 
canvases,  especially  the  Mystery  of  the  Xi^ht 
Cdlifoniia;  Elliott  DaingerfieldV  .SVi;  Son/;  is  full 
of  rich  colour  and  daintv  charm. 


MISS  EDITH  GOULD 
BY  ARTUR  L.  HALMI 


/;/  flic  Galleries 


A  really  delightful  exhibition  of  architectural 
etchings  on  view  at  the  Louis  Katz  Galleries  gives 
an  opportunity  to  compare  the  excellencies  of  the 
work  of  Hedley  Fitton,  Axel  H.  Haig,  Andrew 
Artlcck  and  Albany  Y..  Howarlh,  who  have  all 
been  honoured  in  London,  Stockholm  and  Paris. 
Men  of  the  North  are  all  these  etchers  and  some- 
thing of  the  sturdincss  and  decision  of  the  tarl\- 
adventures  are  shown  in  their  s]>lcndidly  etched 
plates.  The  work  of  these  four  artists  is  singu- 
larly harmonious,  not  only  in  tht'me  but  in  method 
of  treatment,  .\rchitectural  in  subject,  there  is 
much  of  poetry  and  real  feeling  in  the  manner  of 
presenting  these  glimpses  of  the  picturcsr]ue 
cathedrals,  castles  and  corners  of  the  old  world. 

The  Gallery  of  Messrs.  Gimpel  &  Wildenstein 
was  filled  during  December  with  choice  .\merican, 
French  and  English  drawings  owned  by  Mr.  .\.  P.. 
Gallatin.  The  object  was  to  Ijeiiefit  the  Junior 
League,  for  which  purpose  thousands  of  people 
willingly  paid  twenty-five  cents  entry.  Whistler, 
Shinn.  Haskell  and  Pennell  were  well  represented. 
Rolhenslein's  portrait  of  Mr.  Gallatin  is  a  capital 
bit  of  draughtsmanship.  Pen-and-inksbyForain. 
a  monotype  Degas  paysagv.  an  etching  by  Rodin,  a 
lithograjjh  by  Shannon  and  John  \V.  .Xlexaiukr's 
charcoal  sketch  of  Whistler  made  the  exhibition 
very  interesting;  simultaneously,  the  contem- 
porary graphic  art  of  Hungary,  Bohemia  and 
Austria  was  on  view  in  the  galleries  of  the  Berlin 
Photographic  Company,  following  Mr.  Birnbaum's 
successful  handling  of  the  Leon  Bakst  exhibition. 


MISS   .ANX    RAIXEV 


H\    .\KTl  k    L.    HM.Ml 


AFTERGLOW 


A  large  exhibition  of  a  hundred  numbers  has 
just  closed  at  the  Montross  Galleries,  where  visit- 
ors have  seen  excellent  sculpture  and  paintings  by 
Robert  and  Bessie  Potter  \'onnoh 
Small  sketches,  such  as  Mother  and 
Chilli.  The  Dame,  The  Searj,  An 
Ide.il.  The  Fan,  arc  charming. 
.Among  the  paintings  the  strong  ]>or- 
Iraits  of  Daniel  Chester  French  and 
Dr.  S.  WeirMitchell  werejiarticularly 
satisfactory. 

.\n  exhibition  of  real  significance 
I'.as  just  concluded  at  366  Fifth 
.\\enue,  where  Mr.  Richard  Kder- 
heimer  had  on  view  a  hundred  origi- 
nal drawings  by  Old  Masters. 
Sketches  often  reveal  the  master 
niiiri'  than  finished  ])iclures.  In 
tills  collection,  beautifully  cata- 
logued by  Mr.  Ederheimer,  were  seen 
splendid  examples  of  ihe  Primitives, 
German  and  Swiss  masters  of  the 
sixteenth  century,  including  Diirer 
and  Beham;  Italian  masters — several 
MiLo  i-pjOHN        Tilians  and  a  Crudfixion  by  Tintor- 


cuxxviii 


In  the  Galleries 


etto;  Rembrandt;  two  superb  heads  by  Salomon 
Konnick,  Dutch  and  Flemish  artists,  including  a 
female  head  by  Rubens;  also  Spanish,  English  and 
French  schools,  seventeenth  and  eighteenth  cen- 
tury. Very  interesting  was  a  drawing  signed  by 
Murillo,  and  Greuze's  design  for  his  Lefih  puni. 

At  the  Powell  Art  Gallery  was  held  the  sixth 
annual  exhibition  of  Thumb  Box  Sketches,  and  it 
put  all  preceding  shows  completely  in  the  shade. 
Hardly  an  artist  of  note  but  contributed,  and  to 
read  the  names  of  those  represented  seemed  like 
reciting  a  "Who's  Who  in  Art." 

At  the  Braus  Galleries,  717  Fifth  Avenue,  have 
been  on  view  interesting  canvases  by  Mr.  Lester 
D.  Boronda,  who  makes  his  first  bow  to  the  New- 
York  public.  This  young  Californian  artist 
should  have  a  future.  When  he  is  true  to  himself 
and  refrains  from  reflecting  certain  famous  paint- 
ers, his  w'ork  is  harmonious,  strong  and  very 
individual.  In  an  adjacent  gallen.-  were  hung  the 
entire  output  of  Mr.  Lee  Hankey,  an  etcher  who 
has  established  a  well-deserved  reputation. 

The  Hodgkins  Galleries  showed  some  twenty 
masterpieces  b}-  Richard  Cosway.  To  look  at 
these  delicate  drawings  and  at  the  Lawrences  at 
the  Scott  &  Fowles  Galleries  the  most  ardent 
admirer  of  to-day  is  fain  to  admit  that  these 
ancients  possessed  a  something  that  the  modern 
draughtsman  cannot  approach. 

The  Arlington  Galleries  have  arranged  to  show 


Ccjtrttsy  of  the  Ederheit':, 
A    VILLAGE   FESTIVAL 


BY   OSTADE 


C-:i(.'t-„_.  >J  the  Ilackley  Culler: 
A   JUNE   DAY   IN   SUFFOLK 


the  work  of  Mr.  Bernhard  Gutmann,  who  has 
many  interesting  canvases  from  Brittany,  along 
with  paintings  of  New  York  and  scenery  about 
Silvermine,  Norwalk,  Connecticut,  where  this 
artist  is  domiciled.  Mr.  Gutmann  paints  in  pure 
colour  and  with  intense  feeling  and  his  exhibition 
will  be  worth  while. 

An  all-American  exhibition  at  the  Snedecor 
Gallery  was  representati\-e  of  many  well-known 
American  painters.  The 
little  exhibition  showed 
some  choice  bits  of  colour, 
including  Tke  Pink  Cloud, 
by  William  R.  Leigh;  Gus- 
tave  Wiegand's  Tlie  Garden 
in  the  Woods  and  R.  A. 
Blacklock's  Sunset  Glen.  A 
Summer  Afternoon  byGeorge 
Inness  was,  of  course,  par- 
ticularly interesting.  Leon- 
ard Ochtman,  Edwin  Gay, 
Frank  De  Haven,  Leonard 
M.  Davis  were  well  repre- 
sented. 

There  was  an  interesting 
exhibition  at  the  Hotel  Astor 
of  the  water-colours  by  the 
late  Professor  Woltze,  of 
Weimar.  Together  with 
Lehnbach  and  Kaulbach, 
this  artist  headed  the  list 
of  men  prominent  in  mod- 
ern   pastel    painting.     His 


BY   J.  A.  ARXESBV    BROWN,  A.R.A. 


/;/  the  Galleries 


drawings  comprise  the  most  picturesque  por- 
tions of  Europe,  such  as  Venice,  Ragusa,  Bruges, 
Rothenburg.  Braunfels;  and  if  any  exception  could 
be  taken  to  his  skill  it  would  be  that  he  did  not 
practise  sufficiently  the  blessed  gift  of  elimination. 
Many  of  the  hundred  and  odd  drawings  displayed 
are  delightful  specimens  of  the  lighter  medium. 
Especially  [noteworthy 
are  his  Garda  Lake, 
Braunfels  and  Dalma- 
tian motifs. 

The  O'Brien  Art  Gal- 
leries showed  the  Pan- 
ama canvases  of  Alson 
Skinner  Clark,  who  has 
succeeded  in  giving 
forceful  representation 
of  the  epoch-making 
doings  around  Culebra 
and  has  enveloped  his 
pictures  with  good 
tropical  atmosphere. 

The  National  Society 
of  Craftsmen  held  their 
seventh  annual  exhibi- 
tion of  arts  and  crafts 
during  the  past  month 
at  the  National  .-Vrts 
Club,  and  ver\-  great 
praise  is  due  to  Mr. 
Frederick  Lamb  and  his 

associates,  who  converted  a  difficult  proposi- 
tion into  a  pronounced  success.  It  would  be 
impossible  with  a  few  lines  of  type  to  give  any 
notice  of  the  difTerent  features  of  the  exhibition. 
We  will  therefore  revert  to  it  in  our  next  number. 

Lithographs  and  etchings  of  Grecian  temples  by 
Joseph  Pennell  rewarded  December  visitors  to  the 
galleries  of  Frederick  Keppel  &  Co.  The  Greeks 
pro\-ed  themselves  great  artists  in  the  way  they 
composed  their  temples  in  attractive  sites,  and 


ColtrUsy  i"   i':r   (  "i.it 
MASTER  BLOXAM 


Joseph  Pennell  has  proved  himself  a  great  artist 
by  the  way  he  has  rendered  these  wonders  for 
future  generations  to  enjoy. 

A  young  .\merican  artist,  Mr.  \.  \incent  Tack, 
is  doing  some  \ery  extraordinary  work,  which  it  is 
hoju'd  will  be  shown  in  New  York  before  it  goes  to 
Paris.     To  describe  his  painting  would  rec|uire  a 
headlong  i)lunge  into  su- 
])erlatives:  sufficient  to 
say  that  his  latest  work 
will  cause  a  very  great 
sensation  whcre\-er  ex- 
hibited. 

The  original  .\meri- 
can  can  ne\er  die  as 
long  as  Mr.  E.  Irving 
Couse  lives.  There  has 
been  an  important  ex- 
hibition of  this  artist's 
work  at  the  Boston  Gal- 
leries of  Messrs.  R.  C. 
&  N.  M.  Vose. 

The  Fortress  of  Singu- 
lar .\rt  at  2pi  Fifth 
.\venue  is  still  victu- 
alled by  A.  Walkowitz, 
with  Hartley  to  succeed. 
Mr.  Stieglitzisas  strong 
as  ever  in  his  opinions 
upon  art  that  is  art,  and 
we  may  look  forward  to 
some  overpowering  proofs  of  ultra-modernism 
during  the  cold  months  to  come. 

The  Century  Club  has  just  concluded  an  inter- 
esting exhibition,  including  C.  Hopkinson  Smith's 
black-and-white  drawings  of  Dickens  land.  His 
London  Bridge  and  interiors  of  the  George  and 
Vulture  inns  are  particularly  happy  renderings. 
On  the  opposite  wall  were  Mielatz  etching>.  large 
and  small  plates  of  exceptional  interest.  His  St. 
Thomas's  is  a  piece  of  superb  draughlsnianshij). 


BY  SIR  THO.S.  LAWRT-NXE,  I'.R.A. 


MR.  AM)    MRS.  DANIEL   E.  MORAN    AND   FAMILY    AT    MENDHAM,  NEW  JERSEY 
CLXXX 


\i\    TARTON    MOOREPARK 


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INTERNATIONAL 
•  STUDIO 


VOL.  U.       No.  204 


Copiirigbi,  1914,  hu  John  Lane  Company 


FEBRUARY.  1914 


T 


HE  NATIONAL  ACADEMY  OF 
DESIGN:  WINTER  EXHIBITION 
BY  W.  H.  DE  B.  NELSON 


The  invariable  question  each  year 
is:  "  Well,  what  sort  of  a  show  is  it  this  time?  "  and 
the  answer  varies,  according  to  the  disposition  of 
the  person  questioned,  but  is  usually  lavish  praise 
or  deep  discontent.  On  the 
present  occasion  the  verdict 
would  appear  to  lie  between 
these  extreme  views,  and 
with  justice.  Of  the  pic- 
tures hung  it  cannot  be  said 
that  many  of  them  make  a 
very  strong  appeal,  either 
from  choice  of  subject  or 
mode  of  execution.  One  is 
reminded  of  an  enthusiast 
praising  a  large  canvas  for 
its  wonderful  cleverness  and 
draughtsmanship,  and  the 
remark  of  Whistler,  "Yes, 
but  why  do  it?"  The  con- 
ception must  be  big,  the 
imagination  awakened,  es- 
sentials and  construction 
well  considered  and  weighed 
before  a  picture  can  be 
classed  as  first-rate,  and 
only  few  canvases  answer 
to  these  conditions.  In  the 
case  of  the  Ritschel  picture, 
Rocks  and  Breakers,  Pacific 
Coast,  we  have  a  truly  great 
achievement,  and  none  of 
the  prize  awards  was  more 
worthily  bestowed.  The 
painting  is  full  of  strength 
and  the  shadows  are  excel- 
lent in  colour. 

There  is  no  field  of   art 


where  the  American  artist  is  so  thoroughly  com- 
petent as  marine  painting,  and  it  might  be  said 
with  justice  that  in  Paul  Dougherty  we  possess 
perhaps  the  best  sea  painter  of  any  country  to-day. 
Carlsen's  picture.  The  Sky  and  the  Ocean  is  lacking 
in  composition.  The  repeated  curve  might  have 
been  avoided;  the  colour  and  movement,  how- 
ever, are  splendidly  expressed.     Sargent's  Water- 


A  .  ,     ,     :.:t}ny  of  Design,  Winlir  lixhibitian,  IijlJ-lgl4 

THE   soul's    awakening 


BY    WILLIAM   FAIR   KLINE 
CLXXXIII 


//  "niter  Academy  Il.xliibition 


fall  is  proof,  if  proof  were  wanting,  that  ihc  sur- 
rounding i>iclures  arc  fully  uj)  to  the  mark,  for  it 
does  not  belittle  its  neighbours  in  the  slightest. 

Kroll's  Rivet  Industries  is  very  strong  and  good 
in  composition.  A  disturbing  note  is  that  the  first 
plane  rises.  Ernest  Lawson's  Hudson  River  is 
excellent,  if  somewhat  restless.  The  green  house 
is  a  sjilendid  note.  Elmer  Schoficld  showed  a 
wonderful  snow  subject  entitled  The  Hill  Country 
brilliantl\-  carried  out.  We  e.xpect  great  things 
from  Childe  Hassam  and  are  seldom  disappointed 
His  Diana's  Batit  is  delightful  in  composition;  the 
colours  s])arkle  like  jewels,  but  the  figure  is  badly 
drawn:  none  the  less,  this  canvas  has  a  charm 
which  few  others  in  the  exhibition  exert.  .\  ver\- 
notable  picture  is  Smcalon's  Quay.  SI.  Ives.  b\- 
Haylev  Lever,  who  has  secured  the  silver  medal 
at  the  .^rts  Club  with  a  similar  subject.  This 
artist  has  made  a  s])ecialty  of  harbour  scenes,  and 
has  an  international  rei)ulalion.  GitTord  Beals 
Hudson  River  Holiday  is  a  somewhat  bizarre  can- 
vas, with  the  values  forced  to  emphasize  the 
holiday  makers.  It  is  strongly  painted  and  in 
good  colour,  and  quite  one  of  the  best  pictures 
shown.     Johansen's  Woodland  Pool  is  a  master- 


National  Autitrmyui  Of  sign,  IVinfrr  lixhibilinii,  if/lj-loi-l 


Awarded  the  Heten  foster  liarnrtt  Vrtze 
CESTAfR    AND   DRVAD 

CLXXXIV 


IIY    PAl  I.    MANsnir 


Xattoiitii  AmJefny  of  Desiti't,  Whiter  Exhibition,  IQ13-Iitl4 
BROOKLYN    BRIDGE  BY   EVERETT  L.    WARNER 

piece  of  great  distinction.  The  two  nudes  are 
beautifully  modeled  and  the  colour  and  drawing 
leave  little  to  be  desired.  Warren  Davis  has  a 
small  canvas  entitled  Sea  Magie.  in  which  he 
reveals  his  wonderful  skill  in  painting  the  nude. 
If  we  mistake  not,  Warren  Davis  has  a  great 
future  before  him.  Arthur  Hoeber  is  represented 
with  a  line  landscape,  entitled  The  Meadow  Brook, 
in  which  he  has  mastered  an  excellent  colour 
scheme  in  a  well-planned  composition.  Such  pic- 
1  ures  have  enduring  qualities. 

Charles  Hawthorne's  The  Widow  is  strong  and 
beautiful  in  its  simplicity.  One  might  object  to 
the  mouth  if  the  eyes  did  not  dominate  the  can- 
vas; one  little  white  sjiol,  the  star,  is  just  in  the 
right  place.  Jonas  Lie's  The  Path  of  Gold  is 
strong  and  in  good  colour,  but  forced.  Colin 
Camjibell  Cooper's  Tlie  Avenue,  Xew  York,  though 
interesting  in  composition,  does  not  give  the  atmo- 


Winter  Academy  Exhibition 


National  Academy  of  De SI g}j.  Winter  Exhibition.  101^^-1014 
A   GOOD   LITTLE   GIRL 


BY   LYDIA   FIELD   EMMET 


sphere  of  New  York.  Charles  Rosen  has  a  pleas- 
ing snow  scene,  which  is  convincing  except  that 
the  snow  in  the  shadows  appears  too  transparent. 
The  Academy  as  it  stands  at  present  is  neither 
national  nor  metropolitan,  for  it  cannot  fulfil  its 
obligations  to  the  nation  nor  to  the  city  which  is 
bidding  fair  to  become  the  greatest  art  centre  in 


the  Universe.  London,  Paris  and  Berlin  succeed 
where  New  York  fails.  There  should  be  a  per- 
manent exhibition  and  ample  space  to  keep  up 
with  the  increasing  numbers  of  paintings  sub- 
mitted. To  hang  three  hundred  pictures  is  good 
enough  for  some  cities,  but  not  for  New  York.  A 
feeling  of  discontent  has  been  rife  for  years,  but  it 

CLXXXV 


//  'i}itcr  Academy  llxhibition 


National  Acadfmy  of  Design.  Wintrr  Exhibition,  1913-1914 
Awarded  the  Isidor  Medal 


THE   DIVAN 


BV    FRAN'CIS   C.    JONES 


has  culminated  in  words  only.  Now  it  is  differ- 
ent. Artists  thwarted  in  their  right  to  exhibit 
have  started  a  salon  de  iwii  pendiis,  as  a  stimulus 


to  immediate  action  being  taken. 
The  Academy  cannot  shelter  her 
brood,  and  the  necessity  arises 
stronger  than  ever  to  procure  some 
building  of  suitable  dimensions. 

What  should  prevent  the  Academy 
from  hiring  an  Armory  or  similar 
C|uarters  as  a  temporary  measure? 
If  held  on  business  lines  like  last 
year's  E.xhibition  of  Modern  Art 
it  would  undoubtedly  prove  an  at- 
traclixe  novelty,  draw  a  large  audi- 
ence and  be  most  instructive  to  the 
student  of  comparative  painting. 
With  the  co-operation  of  the  Press 
and  helped  on  by  a  practical  and 
exjierienced  committee  of  ways  and 
means,  such  an  enterprise,  announced 
beforehand  by  press  notices,  good 
posters  and  standing  advertisements, 
would  stir  the  public  interest  as  it 
has  never  been  stirred  before.  If 
art  is  to  be  popular  in  this  country,  why  not  re- 
sort to  popular  measures?  It  is  done  abroad 
with  great  advantage. 


THE    MEADOW   BROOK 


li  tnler  Exhibttion.  I vl 3-1914 


IIY    ARTHUR    HOIiUER 


CLXXXVI 


Mural  Decoration  in  the  State  Capitol  of  Wisconsin 


T 


HE  MURAL  DECORATION  IN  THE 
STATE   CAPITOL  OF  WISCONSIN 
PAINTED  BY  HUGO  BALLIN 
BY  ADA  RAINEY 


American  Art  for  Americans  is  becoming  more 
and  more  of  a  reality,  and  better  still,  it  is  be- 
coming more  recognized  as  an  important  element 
in  our  national  life.  We  are  increasingly  becom- 
ing aware  that  beauty  has  utility,  that  it  has  a 
tremendous  influence  upon  the  life  and  character 
of  the  body  politic.  And  so  more  frequently  are 
our  State  capitols  and  other  public  buildings  being 
decorated  in  a  manner  suited  to  the  new  spirit — 
America  e.xpressing  herself  in  her  own  way. 

Mural  painting  is  an  important  element  in  the 
art  life  of  a  community  and  we  have  heretofore 
been  sadly  lacking  in  its  expression.  It  is  only 
until  within  the  last  twenty-five  years  that  we 
have  had  architects.  Formerly  we  had  builders 
and  contractors  who  were  quite  oblivious  to  the 
fact  that  a  house  or  public  building  was  something 
else  than  a  pile  of  bricks  and  mortar.  It  is  only 
within  the  past  twenty-five  years  that  the  need 
for  architects  has  been  recognized.  And  most  of 
these  architects  have  quite  ignored  the  possibility 
of  mural  painting.  Now,  however,  the  architects 
are  beginning  to  plan  spaces  for  decoration  and 
are  realizing  what  an  important  factor  artistic 
decoration  is.  When  a  picture  is  painted  to 
occupy  a  particular  place,  it  has  a  certain  per- 
manency and  is  more  significant  artistically  than 
an  easel  painting,  for  when  art  becomes  portable 
it  loses  much.     The  greatest  works  of  the  Renais- 


sance when  painting  was  at  its  height,  were 
mural.  It  is  only  when  a  country  expresses  it- 
self in  mural  paintings  that  it  attains  to  true 
artistic  self-e.xpression.  Easel  pictures  always  are 
individual  and  particular,  because  portraits,  figure 
pieces  or  landscapes  small  enough  to  hang  in 
private  houses  can  never  be  so  truly  expressive  of 
the  life  of  the  nation  as  a  whole,  can  never  so 
appeal  to  large  numbers,  as  mural  paintings  in  a 
public  building  and  which  fully  express  the  life 
or  ideals  of  the  community  that  surges  round  it 
as  a  centre. 

So  it  is  with  joy  we  hail  the  growing  tendency 
in  America  to  give  more  importance  to  this  branch 
of  art,  for  it  is  a  sign  of  the  great  awakening  of  our 
people  to  artistic  life. 

The  decorations  of  the  Wisconsin  State  Capitol 
at  Madison,  have  recently  been  completed  and 
are  in  line  with  this  newly  awakened  interest. 
Several  important  mural  decorators  have  worked 
upon  the  building,  notably  Kenyon  Cox,  E.  H. 
Blashfield,  J.  W.  Alexander,  whose  paintings  are 
not  yet  in  place,  and  Hugo  Ballin.  The  latter 
decorated  entirely  the  Governor's  room. 

The  new  capitol  building  was  designed  by 
George  W.  Post  &  Sons  at  a  cost  of  six  million 
dollars.  It  is  in  the  form  of  a  Greek  Cross  with 
a  large  dome  at  the  intersection.  Daniel  C. 
French,  Karl  Bitter,  A.  A.  Weinman  and  Piccirilli 
have  each  executed  a  t\'mpanum  in  marble  for 
the  four  ends  of  the  building.  The  Governor's 
room  which  contains  Mr.  Ballin's  decorations, 
is  a  reproduction  in  form  of  the  great  Sala  del 
ConsigUo  in  the  Doges  Palace  in  Venice.     The 


LABOUR    AND   THE   SPIRITS   OF    RAIN    AND    SUNSHINE 


BY    HUGO   BALLIN 
CLXXXVII 


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MAJOK  UHlMl.liR  COM  l.l<klN(,  Willi   KKI)  HlKl) 
BV  HlflO  BALLIN 


Mural  Decoration  in  the  State  Capitol  of  IVisconsin 


paintings  cover  the  ceiling  and  walls  to  within 
four  feet  of  the  floor.  The  colour  scheme  of  the 
woodwork  was  designed  and  executed  by  Elmer 
Garnsey. 

These  decorations  by  Hugo  Ballin  are  indeed 
an  achievement  for  so  young  an  artist.  They 
show  an  intellectual  grasp  of  the  subjects  depicted 
and  a  freedom  of  expression  that  is  rare.  They  are 
typically  American  in  conception. 

The  whole  series  was  completed  within  a  re- 
markably short  time;  scarcely  more  than  a  year 
was  spent  upon  it.  The  paintings  illustrate,  in 
allegory  and  historic  incident,  the  story  of  the 
State  of  Wisconsin  and  are  particularly  successful 
from  several  points  of  view. 

First,  in  the  decorations  there  is  a  blending  of 
the  real  and  that  which  lies  beyond  the  real. 
Mr.  Ballin  happily  expresses  it  when  he  says  that 
"the  fact  or  the  real  is  what  we  see,  but  the 
man,  who,  having  a  better  viewpoint,  sees  the 
beauty  of  the  thing  and  paints  what  he  feels." 
So  we  have  the  blending  of  the  realistic,  neces- 
sary for  the  portrayal  of  the  historic  side  and  to 
please  the  commissioners  who  must  be  considered, 
with  the  allegory  where  the  artist  has  given  free 
rein  to  his  invention.  From  an  artistic  point  of 
view  the  allegorical  paintings  are  the  more  satis- 
factory, for  they  more  truly  express  the  creative 
ability  of  the  artist.  Nevertheless  the  historical 
paintings  are  most  interesting 
as  a  human  document.  The 
scenes  are  simply  treated,  free 
from  conventionality  or  display. 

There  is  a  keen  sense  of  beauty 
in  these  lovely  decorations  of  Mr. 
Ballin — beauty  of  design,  of 
colour,  and  in  handling  of  the 
pigments.  Indeed  the  sense  of 
beauty  is  one  of  Mr.  Ballin's 
most  distinguishing  characteris- 
tics, and  his  exquisite  colour  is 


as  remarkable  as  it  is  unusual.  The  true  colour- 
ist  is  born  and  not  made.  Colour  is  almost  en- 
tirely a  matter  of  feeling.  Training  can  add  much 
to  accentuate  or  develop  it,  but  the  sensitive 
feeling  for  colour  is  a  natural  endowment.  This 
Mr.  Ballin  possesses  and  this  is  perhaps  the  most 
striking  characteristic  in  these  mural  decorations. 
For  this  reason  reproductions  imperfectly  con\'ey 
the  impression  of  the  whole. 

The  designs  are  composed  with  simple  flowing 
lines  and  are  unencumbered  with  superfluous  de- 
tails, only  the  narrative  essentials  are  retained. 
Therefore  almost  entirely  are  the  designs  effective 
and  the  colours  largely  blues,  red  and  yellows  which 
are  skillfully  massed  for  contrast  or  harmony. 
This  treatment  has  made  for  success  of  the  whole 
composition,  which  is  highly  decorative  and  makes 
a  direct  appeal  to  the  imagination. 

The  decorations  were  painted  with  careful  con- 
sideration of  the  room  and  its  architectural  fea- 
tures. The  woodwork  in  dull  gold  and  brown  ac- 
centuates the  glow  of  colour  on  the  ceiling  and 
walls. 

For  months  previous  to  the  actual  painting  the 
artist  did  a  great  deal  of  research  work,  delving 
into  records  and  studying  the  details  of  old 
costumes  and  finding  out  everything  possible  in 
regard  to  the  characteristics  of  the  men  of  Wis- 
consin whose  portraits  he  has  painted.  The 
result  in  historic  accuracy  is 
excellent,  and  there  is  an  im- 
pression of  reahty  that  the 
scenes  depicted  actually  took 
place  in  the  early  life  of  Wis- 
consin. The  central  painting 
on  the  ceiling  is  in  the  form 
of  a  circle  and  is  nine  feet  in 
diameter.  It  is  the  focal  point 
of  the  room  and  represents 
Wisconsin  surrounded  by  four 
figures:  one,    a  woman  repre- 


PIONEERING 


BY    HUGO   BALLIN 
CLXXXIX 


Mural  Decoration  in  tJic  State  Capitol  of  Jf'iscoiisiii 


OLD    STATE   CAPITOL 


BY    HUGO    BALLIN 


STATIC   CAI'ITOL 


liV    m  l.O    DAI. LIN 


sentiriK  horticulture  and  apricullurc.  the  second  a 
man  in  the  foreground  typifying  the  mining  and 
forest  industries.  A  semi-nude  figure  is  commerce 
by  land.  Commerce  by  water  is  tyjiified  by  an 
aged  pro|)hel  with  sextant  and  trident.  Above 
the  central  figure  hangs  the  flag  which  falls  behind 
the  stone  seat.  The  child  holding  an  oak  branch 
represents  the  young  state. 
cxc 


Labour  niul  llic  Spirils  of  Rain  and  Sinishinc  is 
particularly  etTccti\e  in  com])osition  and  colour. 
Labour  is  sealed  on  a  low  mound  clad  in  brown 
and  red.  Her  attributes  are  the  shove!  and  a 
ladened  basket  of  ])lenty.  In  the  distance  can  be 
seen  a  factory.  Rant  in  blue-green  draperies,[and 
Sunshine  in  opalescent  hues  contrast  elTectively. 
In  the  Seeker  of  Knowledge  at  the  Shrine  of  AVis- 


Mural  Decoratioji  in  the  State  Capitol  of  JVisconsin 


dom  are  seen  two  figures,  Wisdotn,  seated  extends 
her  hand  to  a  young  girl  student,  typically  Ameri- 
can, dressed  in  her  graduation  robes,  who  is  pre- 
senting her  diploma.  The  University  building  is 
seen  in  the  distance. 

Among  the  six  allegorical  figures  on  the  ceiling 
are  Invention,  Charity,  Pioneering,  Justice,  the 
Arts  and  Religion,  all  noteworthy  for  simplicity 
of  line  and  for  colour.  Invention  and  Charity  are 
perhaps  the  most  effective  and  original;  Invention 
looks  above  attracted  by  an  aeroplane.  Back  of 
her  rises  the  smoke  of  two  factories  and  against 
the  light  cloud  towers  the  "wire 
less."  Near  the  figure  of  The 
Arts,  Mr.  Ballin  has  intro 
duced  the  model  of  Saint 
Gaudens'P«r//a«  as  a 
silent  tribute  to  the 
artist  who  first 
showed  his 
appreciation 
of  Mr.  Bal- 
lin's  early 
pain  tings. 

On  the  side 
walls  are 
scenes  from 
the  early  his- 
tory of  Wis- 
consin, so  pic- 
turesque with 
its  romantic 
adventures  of 
daring  and  achieve- 
ment. Perhaps  the 
most  interesting  scene  is 
that  showing  Red  Bird,  the 
famous  Indian  chief,  giving 
himself  up  to  Mayor  Whistler. 
Jean  Nicholet,  the  first  white 
man  to  reach  the  shore  of  Green 
Bay,  is  shown  as  he  appeared 
before  the  Indians,  clad  in  a  yellow  silk  Chinese 
robe  of  state  (for  in  going  westward  he  thought 
he  would  reach  China),  and  armed  with  pistols, 
frightened  them  with  the  "  white  man's  thunder," 
later  making  peace  with  the  Indians.  Two  panels 
representing  the  lakes  of  Mendota,  Lake  of  the 
Evening  and  Monona,  Lake  of  the  Morning  are 
particularly  effective  and  glow  with  opalescent 
colours. 

Most  of  Mr.  Ballin 's  previous  work  has  con- 
sisted of  easel  pictures  and  portraits,  in  both  of 
which  he  has  been  unusually  successful.     There 


WISCONSIN   AND   ATTRIBUTES 
BY   HUGO   BALLIN 


is  always  a  demand  for  his  work.  He  is  one  of 
the  most  individual  of  our  young  American  paint- 
ers and  can  not  be  tabulated,  for  he  belongs  to  no 
school  or  group  of  artists.  He  paints  with  few 
mannerisms,  employing  a  high  or  low  keyed  palette 
with  equal  facility. 

He  received  his  elementary  art  education  in 
New  York  at  the  Art  Students'  League  and  has 
remained  uninfluenced  by  Paris.  His  painting  is 
a  refutation  of  the  ^belief  that  all  good  things  in 
art  come  from  Paris.  He  ne\'ertheless  has  trav- 
elled abroad  for  three  years,  mostly  in  Italy,  part 
of  the  time  in  company  with  the 
late  Robert  Blum,  who  influ- 
enced his  work  more  than 
any  other  artist  or 
teacher.  They  are 
decidedly  akin  in 
artistic  percep- 
tion. The  feel- 
ing behind 
the  object  as 
it  appeals  to 
the  imagina- 
tion is  the 
chief  concern 
of  Mr.Ballm. 
And  if  paint- 
ing does  not 
concern  itself 
with  feeling, 
what  is  its 
use?  Slowly 
and  surely  a  new 
spirit  is  making  it- 
self felt  in  Art  as  in 
Music  and  the  Drama. 
We  have  had  a  surfeit  of  re- 
alistic painting  with  the  accent 
on  the  ugly  or  repulsive.  The 
new  point  of  view  is  becoming 
more  evident — it  is  the  seeking 
for  true  beauty.  The  artist  always  has  freedom 
of  choice,  he  can  always  "compose"  his  landscape 
or  figures,  which  does  not  mean  that  they  will  be 
false  or  unlifelike.  Everything  depends  on  the 
way  we  see,  whether  it  be  people  in  the  slums,  in 
the  crude,  harsh,  jarring  notes  of  futurists  or 
post -impressionist,  or  the  lovely  harmonious 
colours  and  flowing  lines  of  nature,  and  people 
depicted  by  the  eye  that  sees  kindly.  It  is  with 
the  "kindly  eye"  that  Mr.  Ballin  paints  and  the 
result  to  us  is  sheer  joy  and  delight  in  his  creations. 
And  his  native  countrv  has  not  been  unmindful 


A  Painter  of  Panaiua :  Jonas  Lie 


INITY    AFTER   THE   CIVIL    WAR    MAKINli    FEAeE 


BY    HIGO    BAI.LIN 


of  his  talents,  for  his  work  has  found  place  in 
public  galleries  and  private  collections,  more 
especially  in  the  East.  He  won  the  Shaw  prize 
in  iQoO,  given  for  the  best  painting  by  an  American 
artist  without  limitation  as  to  age  or  subject. 
The  Thomas  B.  Clark  prize  in  IQ07,  ofTered  on 
the  same  conditions  was  won  with  his  picture 
entitled  Mother  and  Child.  He  received  the 
Isadore  gold  medal  in  igo8  and  honours  from  the 
government  in  Buenos  .\yres  for  work  sent  to 
the  exhibition  there  in  iqii.  The  Hallgarten 
prize  in  1907  was  awarded  him  for  his  Three  Af!,es, 
and  three  medals  have  been  received  from  the 
Architectural  League  of  New  York  for  com- 
petitive designs. 

It  should  be  a  cause  for  great  encouragcnuMit 
to  us  as  a  nation  that  our  young  artists,  abs<iiutely 
.American  by  training  and  ideals,  are  i)r<)ving 
themselves  equal  to  the  demand  laid  upon  them 
to  produce  works  of  art  of  dignity  and  importance, 
truly  .American  and  representative  of  the  artistic 
im|)ulse  that  is  undoubtedly  stirring  at  the  heart 
of  the  Nation.  We  are  beginning  to  express  our- 
selves artisticallv. 


A 


PAINTER  OF 
JONAS  LIE 


PANAMA: 


When  Mr.  Jonas  Lie  returned  from 
Panama  with  his  Homeric  canvases, 
representing  the  mighty  achievement  of  .America's 
latest  waterwav.  it  might  indeed  be  accounted  to 
him  that  "He  went,  he  saw,  he  conquered."  No 
one  has  grapjiled  with  the  situation  in  the  heroic 
measure  that  Lie  has.  Prettyman  brought  lyrical 
souvenirs  of  good  pictorial  value,  but  nothing  l)ig, 
nothing  bloodstirring.  The  exhibition  at  Knoed- 
ier's  Galleries  has  filled  New  York  with  wonder- 
ment at  the  immense  task  that  Colonel  Goethals 
and  his  stall  had  to  cope  with.  Picture  after  pic- 
ture deals  with  the  gigantic  work  in  its  ditTerent 
as])ects  and  each  one  offers  such  variety  that  all 
itiea  of  monotony  is  banished.  The  great  scarlet 
gates  of  Miraflores  ajar,  giving  view  to  deep  jnirple 
structure  be_\ond  is  fine  be>ond  words,  broadly 
painted  with  decisive  brush  strokes  and  in  re- 
strained colour.  Realistic  such  work  must  be  in 
order  to  express  the  immense  forces  at  work,  but 
on  occasion  this  young  artist  reveals  his  spiritual 


A  Painter  of  Panama :  Jonas  Lie 


THE  HEAVENLY  HOST 


BY  JONAS  LIE 


CULEBRA  CUT 


BY  JONAS  LIE 


A  Painter  of  Panama:  Jonas  Lie 


nature  and  nowhere  more 
so  than  in  his  The  Heavenly 
Host,  which  is  his  happy 
title  for  one  of  the  finest 
paintini;>onview.  Against 
a  powerfully  painted  sky  of 
fleecy  cloud  the  great  iron 
buckets  dance  in  mid-air, 
with  nothing  visible  but 
their  cables.  None  but 
a  real  artist  could  have 
evoh'ed  such  a  \ision. 
Meunier  and  Dana  Marsh 
haxc  glorified  the  man 
rather  than  the  work,  or  at 
least  have  made  them  of 
equal  importance;  but  with 
Lie  the  workmen  are  too 
tiny  to  be  considered.  Lit- 
tle dots  and  splashes  suf- 
fice; it  is  the  work  only 
that  counts  and  the  sub- 
tropical setting  of  Panama. 
Mr.  Lie  served  his  ap- 
prenticeship, like  many 
other  artists,  beneath 
Brooklyn  Bridge  and  the 

city's  monster  buildings.  This  has  given  him  tht 
power  to  see  largely  and  simply  and  to  eliminate 
the  non-essentials.  The  very  simplicity  of  his 
treatment  gi\es  to  his  canvases  a  power  and  a 
charm  which  different  technique  could  not  impart. 


CRANES   AT   MIRAFLORES 


BY  JONAS  LIE 

Mr.  Lie  has  found  his  vocation  and  it  is  to  be 
hoped  that  the  Government  or  some  museum 
will  come  forward  and  secure  for  the  nation 
this  worthy  collection  which  can  never  be  dupli- 
cated.    W.  H.  X. 


GATES  AT   PEDRO   MIGUEL 


IIV   JONAS   LIE 


A   Woman  Painter  of  Great  Men 


THE   EMPEROR   OF 
GERMANY 


BY    PRINCESS 
LWOFF-PARLAGHY 


THE   CROWN    PRINCE    OF 
GERMANY 


BY    PRINCESS 
LWOFF-PARLAGHY 


A 


WOMAN    PAINTER    OF    GREAT 
MEN 
BY  GEORGE  LELAND  HUNTER 


Eminent  among  painters  of  portraits 
of  the  world's  great  men  is  the  Princess  Lwoff- 
Parlaghy,  Hungarian  by  birth,  cosmopolitan  by 
residence,  and  now  domiciled  in  New  York. 
Among  Americans  who  have  sat  to  her  are  Joseph 
H.  Choate,  Horace  Porter,  Whitelaw  Reid, 
Andrew  Carnegie,  Benjamin  F.  Tracy,  Chauncey 
Depew,  James  B.  Haggin,  Alton  B.  Parker,  Nikola 
Tesla,  Thomas  Edison,  Ogden  Mills,  Edwin  Mark- 
ham,  George  Dewey,  August  Belmont,  Myron  F. 
Herrick,  William  H.  Bliss,  Henry  Phipps.  Among 
Europeans  she  has  painted  are  the  German 
Emperor  (six  times),  the  German  Crown  Prince, 
Bismarck  (three  times),  the  King  of  Saxony,  the 
King  of  Wurtemburg,  the  King  of  Servia,  the 
Grand  Duke  of  Baden,  the  Prince  of  Monaco, 
Prince  Ernst  Ghika  of  Roumania,  Prince  Asghar 
Ali  of  Persia,  Count  von  Caprivi,  General  von 
Arnim,  Kuno  Fischer,  the  German  philosopher, 
Count  von  Taaffe  of  Austria,  Count  von  Schoen- 
born,  of  Austria,  German  Minister  of  Finance  von 
Miquel,  Count  Eulenburg,  Master  of  Ceremony 


and  Oberhofmarshal  to  the  Emperor  of  Germany; 
Count  Cassini,  of  Russia;  Archbishop  von  Sta- 
blewsky,  of  Poland;  the  Marchese  di  Blanchi,  of 
Italy;  the  Austrian  poet,  Bauernfeld;  the  German 
poet,  Ernst  von  Wildenbruch;  Baron  von  Stumni, 
the  poet  and  playwright;  Hermann  Sudermann; 
President  Koch,  of  the  Berlin  Reichsbank;  Presi- 
dent von  Hahn,  of  the  Vienna  Laenderbank; 
President  Loesner,  of  the  Hamburg-American 
Line. 

For  her  portraits  of  the  German  Kaiser,  the 
Princess  received  the  Great  Gold  State  Medal  of 
Germany,  and  was  appointed  a  member  of  the 
jury,  the  only  woman  ever  so  honoured.  For  her 
portrait  of  the  King  of  Wurtemburg  she  received 
the  Great  Gold  Medal  of  Art  and  Science.  Her 
portrait  of  General  Field-Marshal  Count  von 
Moltke  was  bought  by  the  German  Kaiser  for 
the  Great  General  Staff  in  Berlin,  and  a  second 
portrait  of  him  was  presented  by  the  Great  Gen- 
eral Staff  to  General  Field-Marshal  Count  von 
Waldersee.  For  her  portrait  of  the  Austro-Hun- 
garian  .\mbassador  at  Berlin,  His  Excellency  von 
Szoegyenyi-Marich,  she  was  made  an  officer  of 
the  French  Academy.  Among  museums  in  which 
hang  portraits  painted  by  her  are  those  of  Dres- 


A   iroiiiaii  Painter  of  Great  Men 


Al  Ul  ST    Ulil.MuM,    lisy. 


HV    I'lUNCliSS    I.WOI'F-l'AKI.AGHV 


den,  Leipzig,  Heidelberg,  Hanover,  Vienna,  Buda- 
pest, and  the  New  \'<)rk  Musium  nf  Xatural 
History. 

The  Princess  Lwoff-Parlaghy  not  only  paints 
portraits  of  men:  she  also  paints  portraits  like  a 
man.  I  mean  that  one  is  not  obliged  to  make 
concessions  to  her  because  she  is  a  woman.  In- 
deed, there  is  nothing  feminine  about  her  work. 
It  is,  first  of  all,  strong,  which  of  course  is 
a  very  desirable  characteristic  in  painting  strong 
men. 

Painting  portraits  has  always  seemed  to  me 
much  like  taming  wild  animals.  The  portraitist 
must  interest,  de\elo])  and,  for  ihe  time  l)eiiig, 
dominate  the  sitter,  in  order  to  gras])  what  is 
fundamental  in  him.  Only  by  ])utting  the  sub- 
ject through  his  paces  can  his  (jualities  of  mind 
and  soul  be  apprehended. 

This  the  Princess  does  to  perfection.  She  is 
accustomed  to  have  her  own  way,  and  also  accus- 
tomed to  have  it  with  the  consent  of  others.  She 
would  never  have  become  the  pupil — the  only  one 
— of  the  great  German  painter,  Lenbach,  if  she 

cxcvi 


had  not  possessed  the  power  of  im- 
posing her  will  upon  strong  men. 

She  was  only  a  young  girl  when 
she  arrived  in  Munich  from  Buda- 
pest, and  ]>resentcd  herself  at  Len- 
bach's  studio,  with  the  request  that 
he  take  her  as  pupil. 

He  was  kind  but  brusque,  and 
smiled  pityingly.  "What,  child! 
Vou  want  to  be  my  pupil?" 

"\'es,  master.  It  is  my  only 
dream.  Vou  are  for  me  the  great- 
est artist  in  the  world." 

"  Hut  don't  you  know  that  I  have 
never  had  any  pupils  and  that  I  do 
not  wish  any.  What  can  you  do  to 
justify  yourself  in  making  such  a 
request?" 

"Master,  try  me." 

"Very  well,"  he  said.  "Here  is 
a  portrait  1  have  just  finished. 
Copy  it  and  return  it  to  me  with 
the  copy." 

"I  copied  it,"  says  the  Princess, 
"with  enthusiasm.  I  applied  my- 
self to  the  most  exact  reproduction 
of  the  smallest  details.  When  I 
brought  it  to  Lenbach  with  the 
original  he  regarded  the  two  can- 
vases attentively." 

"  Which  is  your  copy  ?  "  he  asked. 
"This  one,  Herr  Lenbach,  of  course." 


V 


} '. 


BENJAMIN   I". 
TRACV,    KSQ. 


BY    I'RINCKSS 
LWOI-l'-PARLAGHY 


JAMES  B.  HAGGIN,  ESQ. 

BY  PRINCESS  LWOFF-PARLAGHV 


A   IVouian  Painter  of  Great  Men 


The  great  ]iainter  grunted  gruffly  and  was 
silent.  The  Princess  was  afraid;  she  thought  he 
was  offended. 

"You  did  that?"  went  on  Lenbach. 

"Yes,  Herr  Lenbach.     I  fiid  my  best." 

"A  child  like  you.  Well,  from  now  on  you  are 
my  pupil.  You  must  never  have  any  other  master 
but  me,  nor  I  any  other  pupil  but  you." 

"I  promise,"  said  the  Princess. 

Of  the  portraits  by  the  Princess  with  which  I  am 
personally  ac- 
quainted, those 
of  Joseph  H. 
Choate  and 
James  B.  Hag- 
gin  impress  me 
most.  The 
former  shows 
Mr.  Choate,  who 
was  one  of  the 
Museum  found- 
ers and  is  the 
only  one  of  them 
still  living,  seat- 
ed in  his  O-xford 
gown — the  gown 
that  he  wore 
when  he  received 
the  degree  of 
Doctor  of  Civil 
Law  from  0.\- 
ford  University 
in  iqo2,  during 
the  fourth  year 
of  his  ambassa- 
dorship to  the 
Court  of  St. 
James.  Notable 
is  the  success  of 
the  Princess  in 
expressing  not 
only  Mr. 
Choate's  won- 
derful smile,  but 

also  his  spirit  of  perpetual  youth.  Through  the 
dignity  of  years  and  great  achievement  the  boy 
still  twinkles. 

As  in  many  others  of  the  Princess's  portraits,  so 
in  that  of  Mr.  Haggin,  are  the  hands  strangely 
interpretative  of  character.  They  lead  the  atten- 
tion powerfully  to  a  face  that  has  lived  much. 
And  the  face  itself  is  an  unusual  study  in  likeness. 
It  is  vastly  more  the  man  than  the  man  is  himself. 

The  Princess  works  rapidly.     Sketches  like  that 


ANDREW   CARNEGIE 


of  Mr.  Tracy,  illustrated  on  another  page,  she 
completes  in  one  or  two  hours.  For  most  of  her 
paintings  four  or  fi\'e  sittings  suffice.  Seldom 
does  she  require  fourteen  sittings,  as  for  the 
Museum  portrait  of  Mr.  Choate.  Usually  she 
is  able  to  get  into  the  intimacy  of  the  subject 
quickly,  and  with  broad  strokes  to  make  strik- 
ing preliminar\-  sketches  that  foreshadow  the 
completed  work— like  the  sketches  of  Tesia 
and  Herrick  and  Edison. 

Of  the  Ameri- 
can portraits, 
those  of  Andrew 
Carnegie  and 
Edwin  Mark- 
ham  also  ap|ieal 
to  one  as  full  of 
sincerity  and  di- 
rectness. Even 
if  we  did  not 
know  the  men 
portrayed,  we 
should  feel  ac- 
quainted with 
them.  And  I  am 
sure  that  it  is 
the  fidelity  of 
her  portraiture 
that  has  won  for 
the  Princess  her 
European  repu- 
tation, and  the 
favour  of  those 
whom  she  has 
painted  in 
Europe,  chief 
among  them  the 
("lerman  Em- 
jxTor  and  his 
son,  the  Crown 
Prince. 

In  these  days 
when  so  many 
women  question 
the  greatness  of  any  man,  it  is  reassuring  to  find 
at  least  one  woman  who  not  only  admits  that 
many  men  arc  great,  but  with  passionate  enthusi- 
asm fastens  their  various  greatnesses  in  permanent 
form  for  future  ages  to  study  and  admire. 

A  Canard — The  stolen  Duchess  and  the  stolen 
G/ocoH</a  have  not  been  more  discussed  than  of  late 
the  little  hron/.e  by  Mile.  Poupelet,  but  all  this 
talk  about  the  duck  is  vain,  inasmuch  as  it  is  no 
duck  at  all,  but  a  drake. 


UV    I'KINCKSS   I.WOir-PARLAGHY 


I 


CXCVIII 


Arts  and  Crafts  Exhibition 


A    TWELFTH-CENTURY 
NORSE   DOORWAY 


RTS  AND  CRAFTS  EXHI- 
BITION, 1913 
BY  W.  H.  DE  B.  NELSON 


During  a  large  part  of 
December  the  exhibition  rooms  of  the 
National  Arts  Club  were  occupied  by 
the  Society  of  Arts  and  Crafts,  en- 
gaged in  holding  its  Seventh  Annual 
Exhibition.  In  looking  over  the  hetero- 
geneous wares  exposed  to  view,  it  was 
impossible  to  avoid  being  impressed  by 
a  very  striking  note  of  the  Society's 
enterprise,  namely,  the  fact  that  with 
one  or  two  negligible  exceptions,  every- 
thing was  modern.  On  former  occa- 
sions, in  order  to  ensure  a  fitting  dis- 
play, it  has  been  necessary  to  call  to 
aid  tapestries  of  Gobelin  or  Beauvais, 
Indian  carvings  or  some  other  trump 
card,  but  on  this  occasion  home-made 
products  prevailed,  thus  marking  an 
important  step  in  progress.  Much  to 
be  seen  was  amateurish,  but  that  is 
only  natural  when  we  recall  that  the 
movement  is  new  and  but  few  recruits 
are  drawn  from  the  professional  classes. 
Some  twenty  years  ago  there  were  six- 
teen societies  in  America  whereas  now 
they  number  more  than  a  hundred. 

The  main  object  of  the  Craft  move- 
ment is  not  to  market  their  designs  so 
much  as  to  promote  home  industry, 
to  give  additional  interest  to  life  by 
manufacturing  things  of  beauty  for 
the  home  which  machinery  cannot 
effect.  Ever  since  the  pre-Raphaelites 
pa\-ed  the  way,  aided  by  practical 
men  like  Morris,  Crane,  Day  and 
others,  Larl  nouveau  has  claimed  the 
attention  of  thousands  of  people,  and 


BY    KARL   V.    RYDINSVARD 

CXCIX 


AKl-    AMI    IKAl    I-    i- Mil],;  I  lliN     Al      IHI-     NAII.lNAl.     AKlb    CLl  11 


A    IKULssliAl    CHEST 


nV    KAKl.    \.    K\li|Nt,^\  AKD 


Arts  and  Crafts  Exjiibifion 


MISS   MASONS   WORK   A  I     Mil 


;l  b    AND    I   \<  \l  I  ^ 


XIIIIIM  ION 


made  it  possible  for  potters,  jewellers, 
wood  carvers,  bookbinders,  illuminists, 
metal  workers,  ceramic  workers  and 
others  to  conquer  new  worlds  of  de- 
sign. As  such  organizations  must  per- 
force commence  from  tiny  beginnings, 
fanned  into  life  by  private  enterprise 
of  a  handful  of  enthusiasts — men  and 
women  endowed  with  the  spirit  and 
energy  of  Mr.  Frederick  Lamb — so  it 
has  been  possible  to  aid  the  movement 
immensely  by  inaugurating  a  night 
school  for  instruction  in  arts  and 
crafts,  which  has  been  in  successful 
operation  since  the  Fall. 

We  are  no  longer  merely  an  agri- 
cultural community,  exchanging  raw 
products.  That  day  is  over.  The 
day  is  also  past  when  machinery  can 
supply  all  needs;  a  community  ruled 
by  machinery  must  inevitably  lack  in 
observation,  imagination  and  applica- 
tion, all  of  which  faculties  are  fostered 
by  the  Crafts  and  become  per  se  the 
mental  equipment  of  the  craftsman. 
Study  of  the  Crafts  promotes  self- 
e.xpression  and  makes  the  wife  the 
economic  partner  who  can  s}-mpathize 
with  the  husband  in  his  life's  work. 

To  return  from  generalities  to  the 


CERAMIC    DISPLAY   AT   THE   ARTS   AND   CRAFTS   EXHIBITION 


Arts  and  Crafts  Exhibition 


nI:D    by   DOROTHEA    WAKKl.N    ii  HARA 


exhibition  itself,  \tx\  noticeable  features  were  the 
splendid  designs  issuing  from  the  Herter  looms; 
the  distinct  advance  in  ceramics  obser\ed  in  Miss 
Mason's  exhibits  and,  more  particularly,  in  the 
designs  of  Mrs.  O'Hara,  whose  excellent  work  has 
been  called  attention  to  lately  in  The  Interxv 
TiONAL  Studio;  the  ecclesiastical  work  of  Mr. 
Harris,  and  the  wood  carvings  of  Karl  v.  Ry- 
dingsviird. 

On  the  first  page  of  this  article  we  have  repro- 
duced a  door  frame  in  twelfth-century  Norse 
by  Karl  v.  Rydingsvard,  who  made  a  special 
study  of  Norse  workmanship  in  Stockholm  and 
who  has  been  instrumental  in  introducing  it  largely 
into  New  York.  The  two  grotesque  figures  rep- 
resent an  e\il  spirit  of  the  woods,  known  as 
Xipoii,  whom  the  peasants  were  wont  to  appease 
by  food  offerings.  He  is  shown  in  benignant 
and  in  malignant  guise.  The  interlacing  serpent 
is  another  familiar  item  of  Norse 
decoration.  Other  illustrations  here 
shown  are  two  trousseau  chests,  one, 
Gothic,  by  the  master,  the  other, 
Norse,  by  a  pupil,  Mr.  Bolton,  who 
shows  jiromise  of  becoming  an  efficient 
craftsman.  Wood-carving  enters  into 
the  public  school  curriculum  in  many 
towns  and  flislricts;  it  is  becoming  of 
vital  interest  in  many  homes  and  has 
proved  of  great  ijencfit  in  mental  cases, 
where  a  congenial  occupation  is  sorely 
needed. 


N 


ATIONAL 
LERIES 


ARTS    CLUB    G.\L- 


The  Painter  Members  have  just 
concluded  their  usual  yearly  ex- 
hibition, and  they  may  be  congratulated 
upon  having  shown  a  very  creditable  array 
of  pictures,  plenty  of  them  in  point  of  merit 
being  little  below  the  medal  standard. 

First    medal    was    secured    by    William 
Ritschel,    fresh    from    his    victory    at    the 
Winter  Academ\'.     Second   medal  was    ob- 
tained by  Hayley  Lever,  with  an  excellent 
harbour   scene    hanging   over   the  fireplace, 
flanked  by  the  Colour  Harmony  by  F.  Luis 
Mora,  a  girl  bare  to  the  waist,  seated,  draw- 
ing and  composition  and  colour  all  excellent. 
One  of  the  best  pictures  shown  was  Tlic 
Emerald  Robe,  by  Robert  H.  Nisbet,  a  large 
landscape,  carefully  studied  and  painted  with 
joyous  freedom,  the  best  effort  we  have  yet 
seen  from  this  artist.     Glenn  Newell  showed 
a  fine  sheep  picture  with  convincing  colour  har- 
mony.    The  Round   Pool,  by  Jane   Peterson,   is 
strongly  rendered  in  a   high   key.     Gardner  Sy- 
mons    was    represented   by   a    Cornish    village, 
most  picturesquely  conceived.     D.  Putnam  Brin- 
ley  has  a  strong  picture  in  White  Iris,  but  not 
up  to  his  Emerald  Fool,  exhibited  last  year.     The 
same  must   be  said  of   Gifford   Beal's  Summer 
Woodlands,  which  falls  short  in  design  and  colour 
of  his  usual   work.     Elmer  Schofield  showed  a 
winter  scene,   with  strong  masses  of  light   and 
shade  and  executed  with  his  usual  dash  and  vigour. 
Homer   Boss  has  a  large  and  quaint   portrait, 
reminiscent    of    Matisse,    and    Susan    Hildreth 
showed  a  beautiful  little  water  colour,  represent- 
ing an  Italian  nun  holding  a  child  by  the  hand. 
Frederick  Waugh  showed  his  accustomed  skill  in 
his  excellent  Gulf  Stream,  and  Cullen  Yates  stood 
sponsor  for  a  picture  entitled  //;  the  VaJ ley,  which 
is  a  clever  rendering  of  a  most  difficult  subject. 


Z^. 


"^-^ 


A   TROUSSEAU   CHEST   DESIGNED    nV    MK.    BOLTON 


ecu 


The  Rochester  Memorial-  Art  Gallery 


THE    ROCHESTER    MEMORIAL    ART   GALLERY 


T 


HE  ROCHESTER  MEMORIAL  ART 
GALLERY 
BY  CHRISTIAN  BRINTON 


The  tendency  toward  esthetic  de- 
centralization so  frequently  noted  in  these  col- 
umns has  gained  further  impetus 
through  the  recent  opening  of  the 
Memorial  Art  Gallery  of  Rochester. 
There  are  at  present  some  eight}' 
institutions  in  the  United  States 
which  exhibit  collections  of  art,  the 
oldest  being  the  Pennsylvania  Acad- 
emy of  the  Fine  Arts  in  Philadel- 
phia, the  youngest,  the  Rochester 
Gallery.  Our  larger  cities  no  longer 
stand  alone  as  art  centres.  Interest 
has  spread  amazingly  during  the  past 
generation,  and  with  every  new  in- 
stitution is  created  a  fresh  focus  of 
activity.  Art  with  us  has  ceased  to 
be  a  mere  plaything  for  the  rich.  It 
has  become  a  deep-rooted  public 
necessity  and,  above  all,  it  is  taking 
its  rightful  place  as  an  educational 
factor  of  hitherto  undreamed  poten- 
tiality. 

There  is,  however,  no  little  danger 
that  these  museums  may  in  due 
course  prove,  as  the  older  ones  al-        a  decorative  painting 


ready  have,  mere  repositories  or  storage  vaults 
for  painting  and  sculpture.  Institutions  such 
as  the  Metropolitan  Museum  are  manifestly 
too  large  and  too  diverse  to  be  effective  in  their 
appeal.  They  become,  on  this  scale,  tests  of 
endurance  optical  and  physical,  instead  of  remain- 


BY  FRED    DANA   MARSH 


The  Rochester  Memorial  Art  Gallery 


ing  places  where  one  is  soothed  or  stimulated,  and 
this  is  the  reason  why  one  extends  spontaneous 
welcome  to  the  nailery  which  owes  its  existence 
to  the  generosity  of  Mrs.  James  S.  Watson.  The 
Rochester  Memorial  Gallery  possesses  two  specific 
claims  to  consideration,  one  being  on  account  of 
its  size,  the  other  owing  to  the  fact  that  it  is  gener- 
ically  allied  to  the  University,  and  forms  a  unit  in 
the  larger  scheme  of  local  academic  activity. 

Erected  from 
plans  by  Messrs. 
Foster  &  Gade, 
of  New  York,  the 
Memorial  Gal- 
lery may  fit- 
tingly be  called 
the  "Little 
Theatre"  of  art 
museums. 
Everything  is  on 
a  small  and  ex- 
clusive scale. 
The  actual  di- 
mensions of  the 
building  are 
modest  in  the 
extreme,  the 
wall-space  re- 
stricted, and  the 
general  effect  is 
calculated  to  in- 
spire rather  than 
confuse  or  fa- 
tigue. It  is  thus 
possible  to 
change  the  com- 
plexion of  the 
entire  interior 
with  each  suc- 
cessive exhi- 
bition, to  ofifer 
something  novel 
at  frequent  in- 
tervals, and  this 

the  acting  director,  Mr.  George  L.  Hcrdle,  is  gal- 
lantly endeavouring  to  do. 

The  Inaugural  Kxhibition  last  autumn  offered 
an  admirable  survey  of  contemporary  native 
production,  while  the  recent  joint  display  by 
Messrs.  Albert  Sterner  and  I-red  Dana  Marsh 
continues  this  same  discriminating  policy.  It 
would  indeed  be  diflicult  to  find  two  men  more 
diverse  or  more  characteristic  along  their  respec- 
tive lines  than  Mr.  Sterner  and  Mr.  Marsh,  the 


MRS.    AI.nERT   STERNER 


former  representing  in  its  acute  phases  that  rest- 
less, questing  eclecticism  so  typical  of  the  foreign- 
born  and  trained  artist,  the  latter  so  full  of  whole- 
some, forthright  Americanism. 

Every  galler\-  in  its  incipiency  looks  eagerly 
forward  to  the  formation  of  a  representative  per- 
manent collection,  and  it  is  to  be  assumed  that 
those  in  charge  will  avail  themselves  of  the  oppor- 
tunity to  select  from  the  best  current  material 

which  at  differ- 
ent periods  finds 
place  upon  the 
walls.  This  ver- 
itable bijou  of 
art  galleries  will, 
in  brief,  be 
watched  with 
interest  by  those 
to  whom  paint- 
ing and  sculp- 
ture in  America 
have  become 
something  more 
than  a  synonym 
of  financial  afflu- 
ence. In  Mrs. 
Watson  it  pos- 
sesses a  generous 
andsympathetic 
benefactress, 
while  in  Presi- 
dent Rhees,  of 
theUni\ersityof 
Rochester,  it 
boasts  a  co- 
worker who  feels 
that  art  isof\ital 
importance  to 
the  student  body 
o\er  whose  intel- 
lectual destinies 
he  presides. 
Such  support 
argues  well  for 
the  future  of  llie  Roc  hester  Memorial  .\rt  Gallery. 

In  thk  January  number  of  Thk  Intkrna- 
TION.AL  Studio  we  published  an  article  by  Mr. 
Charles  de  Kay,  entitled,  "What  Tale  Does  This 
Tapestry  Tell?"  in  which  he  ascribes  to  it  the 
.\rturian  legend  of  Launcelot  and  Guinevere. 
From  other  sources  we  hear  that  it  is  unquestion- 
ably the  old  Biblical  story  of  David  and  Bath- 
sheba.     Magna  rsl  Veritas  el  prarivlehil. 


HV    .M.RERT   STERNER 


cciv 


A  Painter  in  Pure  Colottr 


.*^5*»*'. 


AN   OLD    SHEPHERD 


BY    BERNHARD   GUTMANN 


A 


PAINTER  IN  PURE  COLOUR: 
BERNHARD  GUTMANN 


It  might  be  supposed  that  an  artist 
who  has  spent  many  valuable  years  in 
pursuing  commercial  art  would  be  from  habit 
incapacitated  from  painting  with  that  freedom 
and  spontaneity  w-hich  are  so  necessary  in  order 
to  produce  a  real  work  of  art.  Mr.  Bernhard 
Gutmann,  however,  has  shown  himself  unfettered 
by  the  past,  and  the  ready  acceptance  of  his  can- 
vases by  the  Annual  at  Philadelphia,  the  National 
Salon  and  the  Autumn  Salon  at  Paris,  gives 
evidence  of  the  fact.  He  is  thoroughly  modern  in 
as  far  as  his  work  is  unacademic,  but  there  is  noth- 
ing riotous  in  his  performance;  his  art  is  sane.  A 
pure  colour  palette  is  his  guiding  star,  and  ever\- 
picture  to  him  signifies  an  effort  to  solve  some  new 
problem.  Unlike  many  artists  we  could  name 
Mr.  Gutmann  is  not  content  to  repeat  himself  or 
to  work  along  lines  of  least  resistance.  If  tech- 
nique at  times  appears  neglected  or  brushwork 


apparently  careless,  a  reason  is  to  be  found;  some- 
thing more  important  has  been  dealt  with — it  may 
be  rhythm  in  line  or  in  colour,  possibly  both, 
intermingled  like  a  mosaic,  where  certain  notes  are 


THE  BLUE  MIST 


BY  BERNHARD  GUTMANN 


A  Painter  in  Pure  Colour 


OLD   LADY   AND 
CHILD 


BY   BERNHARD 
GUTMANN 


repeated  in  different  scales  and  jaxtaposed  with 
complemcntaries.  A  certain  symbolism  may  be 
detected,  he  it  in  the  line,  be  it  in  the  colour. 

This  indi\-iduality  may  be  observed  more  espe- 
cially in  Mr.  Gutmann's  Breton  subjects,  ^vhere 
blue  and  orange  hues  dominate:  blue  sky  and 
water  against  sunburnt  rocks,  expressed  in  orange 
and  reflected  upon  hands  and  faces  of  the  peas- 
ants. The  atmosi>here  of  New  York  and  of  Paris 
call  for  very  different  handling.  Similarly  Mr. 
Gutmann's  colour  schemes  are  totally  different 
when  painting  an  Italian  scene  or  a  Connecticut 
view  about  SiKcrmine,  Norwalk,  where  the  artist 
lives.  The  wonderful  atmosphere  and  variety 
of  scenery  in  this  district  have  attracted  a  num- 
ber of  artists,  many  of  whom  have  become 
residents. 

It  would  be  a  hard  matter  to  decide  where  this 
artist's /(»rfc  really  lies.  Figure  work,  landscapes, 
studies  in  the  nude, engross  him  equally;  he  can 
also  etch  and  sculpt,  when  occasion  demands,  with 
great  virtuosity. 


FIVE  GIRLS   BY  THE  SEA 
CCVI 


BY    BERNHARD   GUTMANN 


Foreign  GrapJiic  Art 


During  the  tirst  half  of 
March  there  will  be  a 
display  of  Mr.  Gutmann's 
more  recent  work  at  the 
Arlington  Galleries,  when 
he  will  most  assuredly 
prove  his  right  to  a  high 
place  among  young  Ameri- 
can painters  of  the  day. 
In  the  illustrations  selected 
one  is  entitled  Five  Girls 
by  the  Sea,  and  depicts 
them  lace-making  on  the 
edge  of  a  hill  overlooking 
the  ocean.  One  can  almost 
feel  the  hot  summer  breeze, 
while  the  attitudes  of  the 
restful  Breton  lasses  add 
to  the  sensation.  Re- 
strained colour  and  skilful 
handling  of  light,  com- 
bined with  excellent  com- 
position, mark  this  canvas 
out  as  typical  of  Mr.  Gut- 
mann's best  work.  The 
Old  Lady  and  the  Baby  are 
good  Breton  types,  broadly 
and  simply  treated,  the 
figure  arrangement  being 
happUy  conceived,  a  simple 
but  dignified  rendering  of 
everyday  life.     W.H.N. 


THE    SEWING   GIRL 


BY   BERNHARD  QUTMANN 


F"^  OREIGN  GRAPHIC  ART 
'  The  much-talked-of  Leon  Bakst  exhi- 
bition at  the  Berlin  Photographic  Com- 
pany's Gallery  made  way  in  December 
for  a  group  of  drawings,  etchings,  pastels  and 
lithographs  brought  over  by  Dr.  Ferenc  Hoffmann 
to  show  what  is  being  done  to-day  in  Austria 
Hungary  and  Bohemia. 

Mr.  Birnbaum's  vision  extends  into  far  larger 
spaces  than  any  three  galleries  could  repre- 
sent, and  the  display  rooms  at  his  disposal  are 
lamentably  small,  when  it  is  a  question  of  handling 
to  advantage  such  a  show  as  this.  Everything 
possible  was  done  to  arrange  the  material  in  such 
a  way  that  people  might  see  the  peculiarities  of 
these  different  units  of  Franz  Josef's  empire  and 
judge  each  on  its  own  merits.  The  idea,  however, 
was  better  than  the  execution,  and  the  demarca- 
tion lines  were  hard  to  determine.  What  one 
really  saw  was  an  enormous  mass  of  a  heterogene- 


ous nature,  and  it  would  be  absurd  to  maintain 
that  different  standards  were  discernible  in  the 
Czech,  as  opposed  to  the  Magyar,  or  in  them  as 
compared  with  the  studio  output  of  Vienna. 
They  all  seem  to  work  in  a  more  or  less  cosmopoli- 
tan spirit,  though  of  course  French,  German  or 
Japanese  influence  is  stamped  upon  many  of 
the  exhibits  which  might  well  on  that  account 
have  been  withheld  from  the  badl\'  overcrowded 
walls.  Ultramodernism  is  sporadic  rather  than 
epidemic.  Such  themes  as  Kesmarky's  Cruci- 
fixion, executed  according  to  cubistic  art,  are 
unsettling  to  one's  equanimity  and  are,  fortun- 
ately, rare.  One  turns  with  joy  to  the  many 
beautiful  representations  of  that  wonder-city, 
Prague,  which  can  never  be  over-painted  like  its 
sister  city  on  the  Adriatic.  Features  of  the  exhi- 
bition were  the  powerful  pen-drawings  and  litho- 
graphs by  Rippl-Ronai,  the  Klemm  cycle  of  en- 
gravings for  "Faust,"  the  Bromse  etchings,  the 
wonderful  Lady  oj  the  Camellias  in  large  and  small 


Foreign  Graphic  Art 


m^:^''^^ 


BY   SCHMITZER 


mezzotint  by  Max  Svabinsky,  and  the  etchings  by 
Oscar  Laske,  especially  his  quaint  design,  entitled 
Noah's  Ark. 

Mr.  Martin  Birnbaum  deserves  all  credit,  not 
only  for  his  enterprise,  but  also  for  his  excellent 
essays  written  as  forewords  in  the  catalogue. 


c 


.\RXEGIE  INSTITUTE,  PITTSBURGH 


The  Department  of  Fine  Arts  announces 
that  an  exhibition  of  paintings  by  .\lexander  and 
Birge  Harrison  will  be  shown  concurrently, 
through  February,  with  a  collection  of  pictures  by 
Laura  and  Harold  Knight. 

The  "twin"  Harrison  exhibition  has  already 
appeared  in  Buffalo,  Chicago,  St.  Louis,  Toledo 
and  Detroit.  But  the  Carnegie  Institute  is  the 
first  .\mcrican  gallery  to  offer  an  exhibition  of  the 
works  of  Mr.  and  Mrs.  Knight.  The  Knights  are 
English  artists,  members  of  the  Cornwall  colon\ . 
They  exhibit  at  the  Royal  .\cademy. 

The  Pittsburgh  Etching  Club  has  been  showing 
a  remarkable  exhibition  of  etchings  and  litho- 
graphs by  Whistler.  The  group  includes  many 
of  his  most  interesting  imi)ressions,  of  which  Bibi 
Viilfiitin,  Chelsea  Ra^s,  Rolherhile  and  Becquct  are 
perhaps  the  best  known. 


Courtay  uj  thr  Itrrtin   Vhotonraphii   Cnmt*any 

THK    LEAFLKSS   TKKli  UV    ORLIK 


In  the  Galleries 


MOON    MISTS 


BY    FLORENCE   MAY 


IN  THE  GALLERIES 
The  past  month  witnessed  the  Winter 
Academy  and  also  an  exhibition  of  the 
Unhungs,  which,  though  making  a  brave  dis- 
play in  the  Andersen  Building,  cast  no  special 
reflection  upon  the  senior  show,  beyond  empha- 
sizing the  necessity  of  more  hanging  space  in 
future;  which,  after  all,  was  the  crying  reason  for 
the  enterprise  (see  p.  14).  There  were  also  mem- 
orable Old  Master  shows  at  Duveen  Brothers, 
Fragonards  at  Gimpel  &  Wildenstein's,  Turners  at 
Knoedler's  Galleries. 

Some  choice  paintings  by  American  artists  have 
been  on  view  at  the  Union  League  Club,  the  most 
effective  being  a  moonlight  seascape  by  Ritschel; 
a  picture  entitled  The  Chatterers,  by  Watrous,  rep- 
resenting a  young  girl  exchanging  confidences  with 
a  raven;  a  beautiful  nude  by  De  Forest  Brush, 
Andromeda;  and,  last  but  not  least,  The  Meeting  oj 
the  Seas,  one  of  the  very  best  Carlsens  we  have  yet 
seen.  Two  opposing  waves  meet  with  magnifi- 
cent effect;  the  colour  scheme  is  subdued  and 
exceedingly  harmonious. 

Print  lovers  enjoyed  a  rare  exhibition  of  Rem- 
brandts  at  the  Gallery  of  Rudolf  Seckel,  valuable 


BRONZE    BUST   OF   SAMl'EL 
BUCKNER,  ESQ. 


BY   CARTAIXO 
SCARPIPTA 


///  the  Galleries 


MASTER  CEASAR  CONE    BY  SISAN  RICKER  KNOX 

etchings  in  different  states,  while  delicate  litho- 
graphs by  Whistler  have  been  on  view  at  the 
Keppel  Galleries.  Turner's /./fter  i"/;/- 
diorum  was  exhibited  at  the  Arthur  H. 
Hahlo  Galleries.    Out  of  a  hundred 


plates  planned  seventy-two  were  actually  executed, 
some  in  a  very  unfinished  state;  many  of  them 
were  mezzotinted,  as  well  as  etched  by  Turner 
himself. 

Visitors  to  the  Powell  Galleries  have  seen  the 
interesting  work  of  Carton  Moorepark,  who  for 
many  years  devoted  himself  to  animal  painting, 
and  achieved  great  distinction.  Besides  animals 
there  were  several  good  water-colours  of  Bermuda 
scenery  and  a  series  of  cave  pictures,  stalactites 
and  stalagmites  being  rendered  with  extraordinary 
dexterity.  Mr.  Moorepark  is  well  known  as  a 
portrait  painter. 

The  Macbeth  Galleries  have  been  showing  the 
recent  work  of  Emil  Carlsen,  Paul  Dougherty, 
Frederick  C.  Frieseke,  Childe  Hassam,  Willard  L. 
Metcalf,  Kenneth  H.  Miller  and  J.  Alden  Weir. 
Mr.  Dougherty's  work  is  a  surprise  indeed.  He 
has  returned  to  his  former  style,  which  he  has 
improved  upon  wonderfully;  his  colour  has  a 
strength  and  richness  of  unusual  quality. 

At  the  galleries  of  Moulton  &  Ricketts  there  has 
been  another  Alfred  Vickers  exhibition.  This 
eminent  artist  has  never  been  jiroperly  appre- 
ciated, though  many  of  his  paintings  compare 
favourably  with  Constable  or  any  of  the  Norwich 
school  at  their  best.  A  little  panel  entitled 
.1  Waysiilc  Hall  is  a  gem  worthy  of  a  place  of 
honour  in  any  collection. 

We  reproduce  a  painting  of  Master  Ceasar  Cone, 
of  Greenboro,  N.  C,  a  full  length,  by  that  well- 
known  painter  of  children,  Susan  Rickcr  Knox, 
who  is  exhibiting  at  Rochester  in  the  Gillis  Gal- 
leries.    This   artist's   work   was   the   subject   of 


^ 


r-- 


4 


NASI  Y,  I)A1X,11I1.K    or 
WALDORF   ASTOR,  M.P. 


IIY  Kl.INOR    M. 

hai:nari) 


SAM)   Dt'NES 


BY  CHARLES   EBERT 


In  the  Galleries 


special  mention  recently  in  this 
magazine. 

Among  our  cuts  are  landscapes 
by  Charles  Ebert,  who  is  just  con- 
cluding a  successful  exhibition  of  his 
work  at  the  New  York  School  of 
Applied  Design. 

At  the  Hodgkins  Galleries  eigh- 
teenth-century French  pictures  have 
been  on  view,  and  it  has  afforded 
opportunity  to  see  work  by  such 
men  as  Trinquesse,  Van  Gorp,  Ros- 
lin,  a  friend  of  Boucher,  Le  Nain  and 
Lagrenee.  Refinement,  harmonious 
colouring  and  poetic  thought  make 
their  subjects  very  desirable  for  dis- 
criminating collectors. 

At  the  Ackermann  Galleries  Old 
English  Gardens,  by  Lillian  Stan- 
nard,  and  Moors,  by  C.  E.  Brittan, 
water-colours,  gave  pleasure  to  those 
who  saw  them  by  their  dainty  colour 
and  good  atmospheric  feeling.  The 
Devonshire  moors  in  mist  or  sunshine 
were  beautifully  rendered. 

The  paintings  of  Jonas  Lie  formed 
a  curious  contrast  with  the  portraits 
of  Count  Chavannes  La  Palice,  in 
the  main  gallery  of  Knoedler's. 
Nothing  could  be  more  modern  and 


IIIL.    Al.l'.,,    IIKUL 


4 
4 

BY    (_HARLhb   liBl'.Kf 


MISS   MURRAY 


BY   ELINOR   M.    BARNARD 


vital  than  the  former's  work,  while  the  Count  in 
his  portraits  shows  a  lamentable  lack  of  progress. 
They  have  the  appearance  of  coloured  photo- 
graphs, not  of  works  of  art,  and  are  certainly 
not  typical  of  twentieth-century  advance  in  por- 
traiture. There  have  been  many  displays  of  por- 
trait painters  where  the  same  comment  would  fit. 

In  the  Ehrich  Galleries  there  have  been  on  view 
several  Turners,  Constables  and  Boningtons  from 
the  collection  of  Mr.  Joseph  Cahn,  giving  visitors 
a  good  opportunity  of  comparing  early  and  late 
examples,  especially  in  the  case  of  Constable.  In 
the  same  building,  in  the  galleries  of  the  Brown- 
Robertson  Company,  were  on  view  etchings  by 
Mr.  Manley,  dry  points  and  soft  ground  etchings, 
many  of  them  showing  bits  of  New  York  which 
have  undergone  sweeping  changes  since  these 
plates  were  executed. 

Our  illustration  of  Mr.  Samuel  O.  Buckner 
records  the  work  of  a  young  sculptor  who  is  forcing 
his  way  from  the  ruck  and  taking  his  place  among 
the  artists  who  count.  Mr.  Scarpitta  has  exe- 
cuted an  excellent  memorial  of  one  who  deserves 
well  of  all  interested  in  art  who,  three  years  ago, 


///  the  Galleries 


was  one  of  a  little  club  devoted  to  art  in  Mil- 
waukee and  to-day  i?  president  of  the  Milwau- 
kee Art  Society,  numljcrinf;  721  members  and 
Dwning  a  handsome  gallery.  Such  a  record  shoulii 
entitle  him  to  be  modelled  in  gold,  let  alone  in 
bronze  or  marble. 

The  Carroll  Galleries  at  q  East  44lh  Street  are 
showing  extensive  collections  of  the  drawings  and 
paintings  of  Arthur  Davies  and  the  screens  of 
Robert  W.  Chanler. 

Mr.  Davies'  paintings  are  symbolic,  decorative, 
splendidly  drawn  at  times;  at  others  he  rather  falls 
short  of  complete  expression.  What  he  has  to  say 
is  essentially  interesting,  his  use  of  the  human 
figure  recalls  the  freedom  in  expression  of  some  of 
the  early  Italians,  but  the  impression  conveyed  is 
vague  and  not  always  convincing. 

Mr.  Chanler's  screens,  especially  the  large  one 
])ainted  for  the  studio  of  Mrs.  Harry  Pavne 
Whitney,  is  effectively  decorative.  There  is  a 
strong  animal  feeling  in  the  jungle  figures  of  birds 
and  beasts  that  easily  fill  the  dozen  panels  of  the 
screen.  The  craftsmanship  is  of  the  finest  and 
merits  praise  apart  from  the  artistic  worth  of  the 
work. 

The  new  Daniel  Gallery,  2  West  47th  Street, 
opened  about  the  first  of  the  year  with  this  inter- 


esting platform:  "With  the  faith  that  the  ideals 
it  represents  will  find  a  wide  and  genuine  appre- 
ciation." 

It  is  dedicated  to  the  younger  painters  of  indi- 
\iduality  and  to  the  older  who  have  kept  alive  an 
ideal  through  many  years  of  work  and  endeavour. 
The  aim  of  this  gallery  is  "to  encourage  individu- 
ality and  ])roniote  general  appreciation  of  the  finer 
things  in  art;"  to  which  we  may  add  "amen,"  and 
"may  this  ideal  be  ke|)t  up."  Such  high  aim  will 
meet  with  hearty  ajiproxal  of  all  who  are  sincerely 
interested  in  "the  finer  things  in  art."  .\t  pres- 
ent, and  according  to  the  announced  exhibitions, 
until  the  middle  of  February,  the  younger  men, 
notablv  Samuel  Halpcrl,  William  E.  Schumacher 
and  Ernest  Lawson,  will  have  their  innings.  In 
the  first  exhibition  representative  works  by 
William  J.  Glackens,  Rockwell  Kent.  George 
Luks,  H.  Pendleton,  Maurice  Prendergast,  Leon 
KroU  and  Claggett  Wilson  weie  shown.  The  men 
are  mostly  neo-  or  ]K>st-impressionists,  among 
whom  Ernest  Lawson,  one-time  independent,  is 
yclept  academic  I  Rockwell  Kent  has  joined  the 
camp  of  the  insurgents,  and  is  represented  by  a 
female  figure  unsteadily  balanced  on  the  top  of  the 
world,  surrounded  by  her  young  flock,  decidedly 
lacking  in  previously  considered  necessary  ana- 


THE  FICHTINO  FIFTH 
CCXIl 


HY    WAI.1KR    ni-XK 


///  the  Galleries 


Courtesy  of  Messrs.  Gimpel  b'  WildeitsUin 
LEP    BAIGNENSES 


BY   FRAGONARD 


tomical  structure.  We  rather  miss  this  artist's 
former  stark  and  stalwart  rocks  and  his  broadly 
painted  marines,  which  were  so  promising  of  good 
things  to  come. 

It  is  a  bold  task  to  match  water  colour  with  oil 
in  portrait  painting.  Sitters  are  apt  to  think  that 
the  lighter  medium  is  less  valuable  and  less  endur- 
ing. Be  that  as  it  may,  Miss  Barnard,  after  a 
\-isit  to  New  York  last  year,  has  returned  to  open 
a  studio  here  and  has  already  secured  several 
sitters.  Good,  bold  water-colour  work  is  always 
appreciated  and  Elinor  M.  Barnard's  portraits  of 
the  Waldorf  Astor  children,  Spender  Clay,  Lord 
Ribblesdale  and  the  prime  minister  are  an  e.xcel- 
lent  introduction.  This  lady  studied  her  art 
chiefly  in  Paris,  Holland  and  Belgium.  We  repro- 
duce two  of  her  portraits  here. 

Other  illustrations  are  two  of  the  work  of 
Charles  Ebert,  who  has  recently  been  exhibiting, 
and  whose  skill  has  been  extolled  by  many  critics; 
a  picture  by  Miss  Upjohn,  who  was  one  of  the  best 
contributors  lately  at  the  Macdowell  Club;  The 


Courtesy  of  Messrs.  Cini[>el  u-"  Wiltleustein 
FAXFAN 


BY    FBACOXARD 

CCXIII 


///  the  Galleries 


Fighting  Fifth,  which  with  other  X'eteran  pictures 
by  M  r.  Beck  has  been  on  view  the  past  month  in 
Brooklyn,  N.  Y. 

Mrs.  Frances  Land  May  has  been  deserting  the 
pen  for  the  brush,  and  is  doing  some  very  vigorous 
work  as  the  Moon  Mists  reveals.  Considering 
that  she  is  a  novice,  it  is  surprising  what  power  and 
movement  she  instils  into  her  canvases,  and  it  is 
no  surprise  that  several  art  museums  have 
accepted  her  work.  With  maturer  knowledge  she 
may  go  far. 

Our  last  illustration  represents  recent  work  of 
Mr.  F.  Usher  de  VoU,  of  whom  we  shall  take 
special  notice  in  a  forthcoming  number. 

An  exhibition  of  miniatures  of  Persia,  India  and 
Turkey  will  open  on  the  7th  at  the  Galleries  of  the 
Berlin  Photographic  Company.  It  will  contain 
miniatures  from  the  famous  twelfth-century 
Manuscripts  of  the  "Treatise  on  Mechanical 
Appliances,"  of  the  thirteenth-century  Manu- 
script of  Dioscorides,  and  many  of  the  famous 
signed  Oriental  miniatures.  A  number  of  com- 
plete books  in  fine  bindings  will  also  be  shown. 
Of  the  250  odd  items  many  were  exhibited  in 
Munich  and  in  the  Musee  des  Arts  Decoratifs. 
Among  the  collections  drawn  upon  are  those  of 


MILKWEED 


BY    .\NNA   MILO   IPJOHN 


Hervey  Wetzel,  Esq.,  of  Boston;  Mme.  la  Mar- 
quise de  Boisguilbert,  Villepreu.x:  M.  Claude  .\net, 
Paris;  Alexander  Morten,  Esq.,  New  York;  M.  R. 
Meyer-Riefstahl,  Paris;  M.  Heeramanek,  Bom- 
bay, and  Henry  G.  Dearth,  Esq.,  New  York. 


FLOWER    BOOTHS   IN    FRONT  OF   ST.   SULPICE,    PARIS 
CCXIV 


HY    F.    CSHICR    DE    VOLL 


THE  STUDIO 


C 


EON     BAKST'S    DESIGNS    FOR 
SCENERY  AND  COSTUME. 


Lkon  Bakst,  about  whom  so  much  has 
been  talked  and  written  during  the  last  few  years  in 
connection  with  the  art  of  the  theatre,  was  born  in 
St.  Petersburg  in  the  year  1868.  Passing  through 
the  academic  course  of  art  training  in  that  city,  he 
went  to  Paris  to  study  in  1895,  and  on  his  return  to 
Russia  won  such  success  as  a  painter  of  portraits 
and  official  pictures  as  to  be  appointed  to  the 
position  of  painter  to  the  Imperial  family.  But 
a  realistic  subject-picture,  a  Fiefa,  in  which  the 
artist  presented  the  persons  of  our  Lord  and  His 
Mother  under  the  guise  of  peasants,  and  attempted 
to  depict  without  restraint  the  most  violent 
affections  of  grief  in  the  principal  figures,  was  found 
so  displeasing  to  the  committee  of  the  Academy  to 
which  it  was  submitted  for  exhibition  that,  though 
the  work  was  hung,  it  was  scored  from  corner  to 
corner   with    bands   of    white   chalk.     The    artist 


withdrew  the  picture :  and  the  insult,  combined 
with  the  representations  of  a  little  group  of  friends 
whose  belief  in  his  particular  genius  had  been 
aroused  by  the  success  of  a  number  of  experiments 
in  the  designing  of  decoration  and  stage  scenery 
and  costume,  decided  him  to  break  with  official 
patronage  and  to  follow  his  own  bent.  The 
secession  of  the  younger  school  of  Russian  dancing, 
personified  in  the  art  of  Nijinsky,  provided  him 
with  the  very  opportunity  he  was  seeking ;  he  left 
Russia,  staked  his  artistic  interests  on  the  new 
venture,  and  provided  the  ballets  with  a  series  of 
settings  and  costumes  that  have  inestimably  en- 
riched the  performances  of  the  Russian  dancers 
and  have  been  the  means  of  his  acquiring  a  great 
artistic  reputation  for  himself. 

Yet  I  am  not  at  all  sure  that  in  England,  at  any 
rate,  the  theatrical  work  of  Leon  Bakst  has  not  been 
treated  with  greater  solemnity  than  he  himself 
would  consider  appropriate.  The  Englishman  in 
art  has  been  always  rather  like  the  old  lady  and 


DESIGN    FOR    SCENERY,     "  DAl'HNIS    AND   CHLOE 

LI.  No.  201. — November  1913 


BY    LEON    BAKST 


Leon  B(i/cs/'s  Designs  for  Seenerv  and  Costume 


the  patent  medicine — "  My  dear,  it  must  be  good, 
the  advertisements  speak  so  well  of  it : " — and 
provided  that  the  critics  supply  him  with  a  few 
fwrtable  sentenfur  on  the  matter  in  hand  he 
has  been  content  to  like  things  not  so  much 
for  what  they  are  as  for  the  variety  of  terms  ia 
which  they  can  be  described.  In  the  case  of  work 
so  unavoidable  as  that  of  Bakst  it  is  the  critic's 
function  to  drape  the  obvious,  to  explain  away 
enjoyment  that  might  seem  too  indiscreet  or  too 
direct,  and  so  to  arrange  things  that  respectability 
may  safely  become  a  little  wild,  and  audacity 
remain  still  fairly  respectable. 

Hut  to  Bakst  liimself  his  work  presents  itself  in 
a  much  simpler  light.  Art,  as  he  .says,  is  a  play- 
thing, and  an  artist's  work  will  be  good  only  when 
it  has  been  great  fun  doing  it.     Here  is  the  real 


'KANTAISIE   M'R    I.K   CDSTUMK    MOIIKKSK,    ATAIANTK" 

ItV    l.ftON    BAKST 
( Hy  fieimissioii  of  raqiiin) 


a  o 


I 


1  IKKMON    (liArilMS    AND   CHI.OB)" 

IIV    l.feON    BAKST 


secret  of  his  appeal.  Grant  him  what- 
ever fine  and  far-fetched  qualities  you 
will — and  there  is  plenty  enough  to  his 
credit — these  designs  of  his  charm  be- 
cau.se,  behind  all  the  intervening  pro- 
ces.ses  of  knowledge  and  calculation, 
they  reveal  the  enjoyment  of  the  child, 
exultant  in  the  possession  of  paint-box 
and  brushes,  greatly  daring  to  draw 
monsters,  or  princesses,  or  cities  of  an 
enchanted  world. 

That  they  should  thus  keep  the  fresh- 
ness and  sparkle  of  spontaneity  is  the 
more  remarkable  when  one  considers  the 
amount  of  solid  learning  that  has  gone 
to  the  designing  of  such  a  series  of 
costumes  as  enrich  the  ballets  of 
Scheherazade,    I.e    Dieu    Bleu,    Helene 


i 


Leon  Bakst  's  Designs  for  Scenery  and  Cost  nine 


de  Sparte,  or  Signer  d'Annunzio's  mediKvalist 
experiments,  S.  Sebastian  and  Pisanelle.  Bakst  is 
a  real  student,  a  genuine  scholar  in  costume.  His 
designs  are  no  mere  archseological  resuscitations 
of  the  wardrobes  of  the  past ;  neither  are  they 
the  summary,  impressionistic  stock-in-trade  of  the 
quick-change  artist.  He  is,  indeed,  a  kind  of 
bright,  particular  chameleon.  He  will  settle  into 
the  strange,  distorted  glamour  of  the  East,  or  the 
simple  graces  of  archaic  Greece,  or  the  fierce,  gay 
medley  of  the  Middle  Ages,  and  presently  will 
bring  you  forth  not  dresses  merely  but  personages 
who  move  with  ease  and  certainty  each  in  his  own 
time,  and  yet  retain  the  stamp  of  their  creator. 

This  peculiar  receptivity  of  mind,  which  at  the 
same  time  recreates  and  rearranges,  is  of  all 
qualities  that  most  fitted  to  adapt  itself  to  the 
art  of  the  theatre,  in  which  scenery  and  costume  are 
most  telling  only  when  they  make  no  attempt  to 
conceal,  rather  welcome,  the  presence  of  conscious 
recognised  artifice — in  fact,  when  the  art  that 
makes  them  is  considered  as  itself  a  plaything.      It 


is  hardly  possible  to  find  a  single  design  by  Bakst 
which  is  not  from  this  point  of  view  "  amusing." 

Of  course  some  have  greater  value  than  others. 
The  last  exhibition  of  his  drawings  contained  a 
number  of  designs  which,  admirable  as  they  were 
as  working  indications  of  costume  and  colour, 
would  by  themselves  have  carried  little  proof  of 
the  exuberant  and  at  the  same  time  fastidious 
power  of  design  which,  among  other  qualities,  gives 
a  permanent  value  to  his  more  finished  drawings. 
One  critic  said  of  him,  apropos  of  his  drawings  for 
Scheherazade  and  Le  Dieu  Bleu,  that  he  had  "  re- 
discovered the  luscious  female  line  bequeathed  by 
the  early  Orientals."  I  am  not  sure  that  I  know 
what  he  meant :  historically  the  remark  seems  to 
mean  nothing ;  yet  it  is  very  true  that  Bakst  shows 
a  passionate  enthusiasm  for  the  flesh,  for  the  con. 
tours  of  form,  for  strange  poise  and  counterpoise  of 
limb,  for  furious,  abandoned  movement,  that  sets 
an  Eastern  stamp  upon  his  art,  and  reminds  us  that 
he  is  of  the  nation  that  long  ago  watched  King 
David  dance  before  the  Lord  "  with  all  his  might." 


PENXIL    DRAWING    FOR   SCENERY    OK    "  PISANELLE,      ACT   I 


BY  l£;on  bakst 

5 


Ldo)i  Bakst's  Designs  for  Scenery  ami  Cos  fume 


The  illustrations  to  this  article  demonstrate  the 
extraordinary  facility  with  which  Bakst  modifies 
treatment  and  design  in  accordance  with  the 
character  of  his  subject.  Look  at  the  pencil  drawing 
for  the  first  act  of  Pisanelle,  with  its  great  three- 
masted  ship,  its  bales  of  treasure  stowed  upon  the 
quay,  its  crowd  of  detail  in  such  little  compass,  the 
whole  compact  and  childlike  as  a  mediaeval  woodcut ; 
or  the  lovely,  subtly  simple  dress  of  Likenion  in 
Dajjhnis  and  Chloe  ;  or  the  truculent  swagger  of 
of  the  Pole  from  Boris  Godounow  ;  or  the  wasted 
fakir,  blue  and  yellow  draped,  part  of  the  very 
spirit  of  the  East.  Each  is  of  its  world,  and 
though  the  mind  may  turn  to  memories  of 
the  Morte  D' Arthur,  or  the  Greek  vase-painters, 
or  of  that  splendid  Bakstian  masterpiece  Sidonia 
the  Sorceress,  each  drawing  lives  by  something 
more  than  the  stimulus  of  past  art. 

It  is  perhaps  only  natural  that  so 
versatile  a  master  of  theatrical  design 
should  have  tried  his  hand  on 
modern  dres.s.  Yet  I  cannot  think 
that  he  has  achieved  a  real  success. 
However  much  we  may  lament  the 
fact,  we  live  in  a  democratic,  utili- 
tarian age.  Trousers  are  trousers, 
skirts  are  skirts  for  all  the  world.  It 
is  true  that  some  words  of  Chaucer's 
"  poor  parson  "  concerning  "  dis- 
ordinate  scantitee  of  clothinge  "  are 
not  altogether  inapjiliaible  even  to 
the  present  time  :  but  the  days  when 
men  and  women  made  themselves 
picturesquely  ridiculous  by  wearing 
almost  nothing,  or  trailing  the 
"sui)crfliiitee  of  their  gowns  in  the 
dong  and  in  the  niyre,"  merely  in 
order  to  furnish  an  advertisement  of 
their  social  status,  are  gone  to  return 
no  more.  There  are  no  more 
Sumptuary  Law.s,  and,  to  speak 
broadly,  the  dressmakers'  "matcher" 
may  come  out  to-morrow  in  just 
such  another  costume  for  shajH.-  and 
style  a.s  her  employer  has  been 
"creating"'  to-day  for  the  greatest 
lady  in  the  land. 

The  problem,  then,  for  the  original 
designer  is  hedged  about  with  limi- 
tations. He  can  do  no  more  than 
ring  the  changes  on  a  round  of  styles 
that  can  be  harmonised  with  the 
thing  we  rail  a  "  skirt,"  and  when 
he  attempts  to  take  a  flight  beyond 
6 


the  experiments  of  the  past  he  will  generally  land 
himself  in  an  impossible  situation.  The  most 
practical  of  Bakst's  designs  for  modem  costume 
are  merely  charming  adaptations  of  past  styles. 
The  lovely  drawing,  reproduced  in  colour  for  this 
article,  differs  but  little  in  idea  from  a  creation 
of  any  well-known  house,  save  for  the  arrange- 
ments of  lace  upon  the  arms— a  point  designed 
to  lend  originality  to  the  dress,  but  in  reality  the 
sole  feature  which  in  any  other  pose  but  that  of  the 
drawing  itself  would  be  impossible. 

Yet,  when  all  is  said,  it  would  be  unseemly  to 
carp  in  any  serious  spirit  at  the  experiments  of  an 
artist  to  whom  we  owe  so  much  pure  enjoyment, 
and  whose  genius  for  design  ranging  over  so  wide 
a  field  finds  almost  nothing  which  it  cannot  at  once 
assimilate  and  adorn  with  some  original  feature  of 
its  own  making.  Ger.\ld  C.  Siordet. 


I'N    rOLO.NAIS  (BORIS   COIlOlMiw) "' 


HV    l.ftON    BAKST 


2:  CO 

CO  ^ 

CO  < 

D  CQ 

I  _l 


o  ■• 

LL  D 


C3  3 

lU    Q 

Q 
111 

O  < 

O  OD 


lames  IVhitelaw  Hainiltoii,  A.R.S.A.,  R.S.W. 


THE    PAINTINGS    OF    JAMES 
WHITE  LAW    HAMILTON, 
A.R.S.A.,     R.S.W.       BY     A.     STO- 
DART  WALKER. 

When  the  Scottish  Modern  Arts  Association 
was  founded  in  1907  and  it  was  decided  to  include 
the  professional  element  on  the  Provisional  Com- 
mittee, the  representative  unanimously  chosen 
from  Glasgow  and  the  West  of  Scotland,  which 
still  asserts  its  independence  of  the  East,  was  Mr. 
Whitelaw  Hamilton.  This  was  a  tribute  not 
only  to  Mr.  Hamilton's  position  as  a  painter,  but 
also  to  the  honourable  and  distinguished  work  he 
had  undertaken  on  behalf  of  Scottish  art  on  the 
Continent,  and  more  particularly  in  Italy,  recog- 
nition of  the  latter  phase  of  his  energies  having 
been  paid  by  King  Emmanuel  in  the  bestowal  on 
Mr.  Hamilton  of  the  dignity  of  Cavaliere  of  the 
Order  of  the  Crown  of  Italy. 

Of  the  original  group  known  as  the  Glasgow 
School,  Mr.  \\'hitelaw  Hamilton  is  one  of  the  very 


few  who  now  reside  under  the  shadow  of  the  great 
commercial  centre.  His  friends  Guthrie,  Walton, 
Roche,  Paterson,  and  Corsar  Morton  reside  in 
Edinburgh,  Lavery  and  Henry  are  citizens  of 
London,  and  the  rest,  with  the  exception  of 
R.  Macaulay  Stevenson  and  David  Gauld,  are 
scattered  over  various  parts  of  the  kingdom.  Mr. 
Whitelaw  Hamilton  has  also  the  distinction  of 
being  one  of  the  very  few — perhaps  the  only  one 
— of  "  The  Glasgow  School "  to  be  born  in  the 
city  which  gave  the  name  to  the  "  brotherhood." 
But  most  of  his  days  have  been  spent  in  the  sea- 
side town  of  Helensburgh,  which,  owing  to  the 
growth  of  the  greater  centre,  has  become  almost  a 
suburb  of  Glasgow.  Here,  a  near  neighbour  of 
Sir  James  Guthrie,  he  works,  and  has  established 
a  reputation  not  only  as  a  painter  but  as  the  active 
spirit  amongst  a  remarkably  musical  people. 

Like  many  other  Scottish  painters,  Mr.  Hamilton 
was  first  engaged  in  business  before  he  took  up 
painting  as  a  profession.  During  his  business 
career,  however,  he  attended  classes  at  the  Glasgow 


' EYEMOUTH    BAY " 


BY  J.    WHITELAW    HAMILTON 

( [n  /he possession  oj  \V.  H.  Kaebiini,  Esq.,  J. P.,  HtUiisbiirgh) 


fnmc<:  U'hitclaw  I/aiiii/foii,  ./.A\S. .■:/.,  N.S.IV. 


School  of  Painting  and  fa-ijuently  joined  Guthrie, 
\\'alton  and  Crawhall  in  summer  sojourns  at 
Cockbumspath  in  Berwickshire.  His  progress  in 
the  arts  was  so  rajjid  and  so  encouraging  that  he 
abandoned  his  business  career,  and  for  several 
seasons  worked  in  the  ateliers  of  Paris,  more 
particularly  with  Dagnan-Bouveret  and  Ainie  Morot. 
Returning  to  Scotland  he  became  associated  with 
"  The  Glasgow  School,"  and  contributed  to  those 
remarkable  exhibitions  at  the  old  Grosvenor 
Gallery  which  were  to  bring  the  eclectics  of  the 
North  into  that  prominent  position  in  European 
art  which  they  have  not  ceased  to  occupy. 

Munich  followed  ths  Grosvenor  Gallery  in  hail- 
ing the  men  who  had  been  storming  the  academic 
citadels  of  Scottish  art.  In  fact,  it  may  be  said 
that  the  recognition  of  the  Continental  centres 
came  before  that  of  Edinburgh.  Then  followed 
Dresden  and  Berlin,  \'ienna  and  Budapest, 
Venice  and  St.  Petersburg,  Bruges  and  Brussels, 
to  all  of  which  Mr.  Hamilton  was  a  notable  con- 


tributor, with  the  result  that  his  chief  work  is 
much  better  known  on  the  Continent  than  it  is 
in  England,  or  even  in  Scotland.  At  the  Munich 
International  Exhibition  of  1897  he  was  awarded 
a  gold  medal  for  his  landscape  Evening.  In  1898 
the  Bavarian  Government  purchased  for  the  Royal 
Pinakothek  his  Summer  A'/.t^/i/,  supplementing  this 
by  a  second  purcha.se  for  the  same  collection.  At 
the  Venice  International  Art  Exhibition  of  1903 
one  of  Mr.  Hamilton's  oils  was  purchased  by 
Queen  Margharita.  The  painter  is  also  represented 
in  the  City  Art  Museum  of  St.  Ixiuis,  in  the 
Albright  Art  Gallery  at  BuflTalo,  the  Carnegie  Art 
Institute  at  Pittsburgh,  and  other  galleries.  Col- 
lections of  his  work  have  twice  been  shown  at  the 
Schuize  Galleries  in  Berlin,  while  many  of  his 
pictures  are  in  the  possession  of  well-known  col- 
lectors in  Munich,  Dresden,  Venice,  Rome,  and 
other  art  centres.  Two  years  ago  one  of  his  most 
important  oils,  A  Kirkaidbrii^ht  Landscape,  repro- 
duced in  this  magazine  at  the  time,  was  acquired 


"  St'MMKK 

10 


bV  J.    WIIITEI.AW    llAMH.TO.\ 


HILLSIDE   PASTURES."     BY 
J.  WHITELAW   HAMILTON 


James  iriufchn.'  Ilaniilton,  A.RS.A.,  R.S.IT. 


by  the  Scottish  Modern  Arts  Association,  and  is 
hung  in  the  galleries  in  I'rinces  Street,  Edinburgh. 
Recently  in  Glasgow  Mr.  Hamilton  gave  a  "one- 
man  "  show  which  demonstrated  the  versatility  of 
his  talent,  and  secured  not  only  a  suijces  d'estimc 
but  also  a  succis  populairc. 

Mr.  Whitelaw  Hamilton  was  elected  a  Member 
of  the  Royal  Scottish  Society  of  I'ainters  in  Water- 
Colour  in  1895,  and  an  Associate  of  the  Royal 
Scottish  Academy  in  191 1.  He  was  one  of  the 
original  members  of  the  International  Society  of 
Sculptors,  Painters  and  Gravers, and  is  a  correspond- 
ing member  of  the  "  Secession  "'  in  Munich. 

The  painter's  work  has  been  almost  entirely 
confined  to  landscapes.  He  has  used  both  oil  and 
water-colour  as  his  media,  and  it  is  difficult  to  say 
in  which  he  has  been  most  successful.  No  one 
could  mistake  Mr.  Hamilton's  work  for  anything 
but  Scottish.  It  is  even  more  typical  of  the  new 
expression  of  Scottish  landscape  painting  than 
that  of  the  man  who  influenced  him  most, 
Mr.  E.  A.  \\'alton.  In  more  ways  than  one  his 
works  seems  the  link  between  the  art  of  Milne 
1  )onald  and  Alexander  Eraser  and  the  later  expres- 


sion of  Scottish  landscape  as  found  in  Mr.  Roche 
and  Mr.  James  I'aterson.  We  have  the  "  .solidity" 
of  Eraser  along  with  the  subtle  impressionism  of 
U"aIton.  The  Erench  influences  are  not  wanting. 
Occasionally  we  are  reminded  of  a  Daubigny  or  a 
Harpignies,  a  Cazin  and  a  Troyon.  But  the 
resemblance  is  but  a  superficial  one,  and  no  one 
can  s;xy  of  Mr.  Hamilton,  whatever  his  limitations, 
that  he  is  a  mere  echo  of  other  painters. 

Like  all  his  confreres,  Mr.  Hamilton  has  been 
much  concerned  with  tone  and  plein-air,  more 
so  than  with  precise,  scientific  realism.  Added 
to  this  has  been  the  never-failing  search  for 
decorative  effect  and  that  element  of  romance  so 
characteristic  of  Scottish  landscape  painting. 
Lacking  somewhat  of  the  vigour  of  such  a  master 
as  Cecil  Lawson,  more  evident  than  the  searching 
studies  of  Mr.  \\'alton,  less  experimental  than  the 
daruig  essays  of  Mr.  James  Paterson  and  free 
from  the  ultra-reticent  dignity  that  gives  such  dis- 
tinction to  the  work  of  Mr.  I).  V.  Cameron,  Mr. 
Hamilton  can  nevertheless,  in  his  simple  tones,  his 
confident  statement  of  the  emotion  within  him  and 
the  scholarly  appreciation  of  the  necessities  and 


'  KIRKCllllBKIUil  I 

I  2 


( In  I  he  possciiion  of  Alc-xr.  A'eiii,  Esij. ,  Glasgmr) 


IIV  J.    WIIITKI.AW    HAMILTON 


(In  the  poxsession  of  the  Right  Hon. 

A-  Boner  Laiv,  M.P.J 


"THE    MEADOW."      from  the  oil  painting  by 
J.    WHITELAW    HAMILTON.    A.R.S.A.,    R.S.W. 


James  IVIiitelaw  Haniiltoii,  A.R.S.A.,  R.S.IV. 


limitations  of  his  colour  media,  lay  claim  to  a  dis- 
tinction that  cannot  be  denied  him.  His  decora- 
tive sense  is  powerful.  He  handles  large  masses 
of  foliage  and  rock  with  ease  and  a  sense  of  finality. 
Conscious  of  the  beauties  of  detail,  they  never 
obsess  his  vision,  they  never  detract  from  the 
force  and  grandeur  of  his  masses.  His  ideal  of 
essentials  is  miles  away  from  that  of  the  Post- 
Impressionists  and  others  of  their  kidney,  but  he 
eliminates  everything  that  is  uncalled  for  in  a 
decorative  impression.  In  such  a  painting  as  his 
Hillside  Pastures  we  see  all  Mr.  Hamilton's  ideals 
focused  in  an  impressive  landscape.  The  great 
masses  of  trees  buttressing  the  summer  upland,  the 
warm  sun  throwing  gleams  of  light  across  the 
speckled  turf,  the  drifting  clouds  carrying  the  eye 
onward  and  giving  the  imagination  all  that  it 
requires,  the  admirable  drawing,  the  quantities  so 
excellently  balanced,  the  sense  of  a  varying 
atmosphere — all  unite  to  ensure  an  almost  perfect 
ensemble.  In  the  Eyemouth  Bay  we  have  a 
different  note.     Here  we   see  more  of  the  "flat- 


ness "  of  the  purely  decorative  design.  We  have 
none  of  the  "  roundness  "  of  the  Hillside  Pastures. 
Here  everything  is  laid  down  as  in  a  wall  decora- 
tion, everything  well  spaced  but  more  determinable, 
calling  more  to  the  concrete  senses  of  drawing  and 
colour  and  less  to  the  imagination,  so  forcibly 
called  into  play  in  After  Sundou'n,  probably  the 
finest  of  Mr.  Hamilton's  recent  experiments  in  the 
approximation  of  great  masses  to  the  intimacies  of 
domestic  landscape,  and  reminding  us  of  the  work 
of  Mr.  C.  H.  Mackie.  These  three  landscapes 
are  "  evident  "  enough  ;  they  tell  their  own  "  story  " 
without  much  cataloguing.  In  such  canvases  as 
Moorland  and  The  Valley  nf  the  Dee  the  appeal  is 
more  searching.  There  are  no  dramatic  elements 
to  arouse  the  applause  of  those  who  love  the 
grandiose.  Here  we  find  a  sensitive  recognition 
of  the  subtle  beauties  of  landscape  on  the  flat,  as 
sensitive  as  anything  by  Mr.  James  Cadenhead  or 
Mr.  A.  K.  Brown.  Here  are  assembled  all  the 
ideals  he  has  brought  to  his  art  of  landscape 
painting,    revealing    the    artist   in   his    search   for 


'THE   WHITE   TOWER 


(In  Ihc  possession  of  Mrs.  .Murray  of  Cardross ) 


BY  J.    WUITELAW    HAMILTON 
15 


Jnnics  II  liifchnv  IIaiiiilfo)i, 


.l.R. 


S.,-/.,  A'.. v.// 


beauty  in  the  less  theatrical  phases  of  nature  ;  that 
fi>rm  of  vision  which  enables  the  painter  to  reveal 
the  beauty  at  his  feet  instead  of  finding  it  amongst 
the  hills  and  the  glory  beyond. 

Mr.  W'hitehiw  Hamilton  has  all  the  charm  of 
the  French  Romanticists,  coupled  with  the  glow 
of  his  native  colourists.  Like  many  of  his  con- 
freres, he  is  occasionally  almost  \\histieresque  in 
his  drawing,  more  particularly  in  some  of  his  very 
sensitive  water-colours,  as  in  Kirkcudbright.  Mr. 
Hamilton's  .strong  decorative  sense  is  never  allowed 
to  run  riot  at  the  expense  of  just  values  and  strict 
regard  for  form.  He  never  slurs  his  drawing  nor 
escapes  a  necessary  definity  by  the  trick  methods 
often  used  by  those  who  worship  at  the  decorative 
shrine.  His  artistry  is  never  affected,  nor  has  he 
turned  his  eclecticism  into  a  mere  convention. 
His  work  shows  a  genuine,  if  not  an  absorbing, 
love  of  nature.  His  eye  is  sensitive  to  a  degree  to 
beauty,  even  if  there  is  occasionally  a  lack  of  con- 
fidence in  expressing  the  emotion  on  the  spiritual 
plane  which  is  within  him.     His  fault,  if  an)-,  lies 


in  the  faithfulness  to  that  distretion  which  is  the  key- 
note of  his  character  and  which  fuids  its  apotheosis 
in  the  work  of  his  brilliant  friend,  the  President  of 
the  Royal  Scottish  Academy.  Mr.  Hamilton's 
landscapes  may  not  have  the  spontaneity  and  daring 
of  those  of  Mr.  Lavery,  but  they  have  more  of 
romance  and  sentiment.  He  has  little  of  the  swing 
and  fire  of  McTaggart,  or  the  surging  verve  of  the 
atmospheres  of  David  Cox  ;  yet  there  isanauihori- 
tativeness  which  occasionally  passes  even  these 
great  masters,  though  the  means  to  attain  the 
results  seem  more  evident. 

In  making  these  comparisons  we  are  thinking 
only  of  Mr.  Hamilton's  essays  in  landscape,  apart 
from  the  more  specialised  sea.scape  and  harbour 
studies.  In  these  latter  Mr.  Hamilton  has  few- 
rivals.  The  subtle  relations  between  sea  and  sail 
and  mast  and  cliff  and  cottage  are  painted  with  a 
deftness  and  sense  of  realism  which  only  a  long 
and  profound  study  could  have  accomplished, 
added  tt)  the  temi)eranient  of  a  man  of  a  romantic 
and  poetical  nature.     Of  his   sea  pieces,  perhaps 


*'ST.    Aim's    IIBAI>' 

i6 


BY  J.    WMITKI  AW    HAMILTON 


*■; 


( lu  the  possession  of  James 
Crai^^  Esq.,  Glasgow) 


'WINTER  AT   HELENSBURGH" 
BY  J.  WHITELAW   HAMILTON 


'1 


« 


AKTKR    SUNDOWN."      hV 
J.  WHITKLAW   HAMILTON 


f  /ft  the  toUffiion  of 
Ij>ni  Hitming) 


James  JJliitelaw  Hamilton,  A.R.S.A.,  R.S.IV. 


the  best  are  his  nocturnes,  such  as  the  Night  on 
the  Clyde  and  Night  at  the  Harbour.  The  former 
■of  these  has  aheady  been  reproduced  in  this 
magazine  (November  1901);  the  latter,  a  deHcate 
harmony  in  blue,  aroused  an  unusual'  enthusiasm 
amongst  connoisseurs  when  exhibited  at  the  Royal 
Scottish  Academy. 

To  those  who  only  look  for  pictures  that  "  shriek," 
as  a  good  many,  especially  amongst  our  modern 
critics,  do,  there  may  be  no  message  in  the  art  of 
Mr.  Whitelaw  Hamilton,  as  little  message,  indeed, 
as  in  the  refined  scholarly  art  of  men  like  Mr. 
D.  Y.  Cameron,  Mr.  Lawton  Wingate,  and  Mr. 
Cadenhead ;  but  to  those  whose  eyes  are  sensitive 
to  beauty,  who  have  the  insight  to  be  able  to  take 
Nature  as  an  intimate  friend,  and  who  rejoice  in 
free  design  and  dignified  expression,  Mr.  Hamilton 
must  certainly  appeal.  His  fine  sense  of  rhythm, 
his  note  of  joyousness,  his  splendid  colour  sense — 
the  great  legacy  of  Scottish  landscape  painting — will 


be  evident  to  all  those  who  have  the  eyes 'to  see 
and  the  knowledge  to  compare.  Too  diffident  and 
scholarly  to  be  a  pioneer  or  a  "spirit  of  revolt," 
yet  Mr.  Hamilton  is  not  merely  living  on  the 
legacy  of  the  past.  He  builds  for  himself  and 
advances  yearly  to  the  realisation  of  his  own  ideals 
— and,  although  his  name  may  not  be  familiar  in 
our  mouths  as  a  household  word,  yet  he  has  earned 
his  reward  in  the  appreciation  and  practical  recogni- 
tion of  many  who  judge  with  caution  and  buy  with 
temerity — ending  up  with  enthusiasm. 


Mis.s  H.  C.  Preston  McGoun,  who  died  at 
Edinburgh  on  August  20,  will  be  remembered  as 
a  gifted  and  sympathetic  portrayer  of  child-life  in 
the  water-colour  medium  and  also  as  the  author  of 
many  delightful  pencil  drawings  illustrating  Mr. 
William  Macgillivray's  "  Reminiscences  of  Rural  Life 
in  Scotland."  Miss  McGoun  was  a  member  of  the 
Royal  Scottish  Society  of  Painters  in  Water-colour. 


"departure  of  the  boats" 


(In  lite  tiossession  of  Profost  A'iiis/on's  Trustees,  Helenshitrgh) 


ItV  J.    WHITELAW    HAMIITON 


19 


ETCHINGS  BY  LOUIS  ORR 


(Mr.  Orr  is  a  young  .4iiien\aii  ifdur  tfliose  native  eily  is  Hartford,  Connctliiiit,  where  he  reieived 
his  first  training  as  an  artist  under  Mr.  II  'alter  Griffin  at  the  loral  .Art  .School.  In  i<^o6  he  migretled 
to  Paris  and  studied  for  a  year  in  the  atelier  of  Jean  Paul  /.aureus.  The  six  etehings  here  reprodueed 
are  the  copyright  of  Messrs.  I..  H.  /jferre  and  Son. ) 


f 


'FORT   ST.    ANimt — AVIGNON"' 
20 


HV    l-Ot'IS   ORR 


"  INTERIOR  OF  ST.  TROPHIME, 
ARLES."     BY   LOUIS  ORR 


WKSTMINSTKR   AHHllV  :   NOKIII 
TRANSKl'T."      HV   LOUIS  ORR 


I 


"TOUR  PHILIP   LE  BEL,  VILLENEUVE, 
AVIGNON."     BY  LOUIS  ORR 


SAINT  SltVKRlX,   PARIS 
BV   LOUIS  ORK 


c 

iz; 
o 

> 
< 

ti:  oi 
m  o 


J 


c/) 


The  Colon)'  Liirc  of  Mexico 


T 


HE     COLOUR     LURE     OF 
MEXICO.     BY   HELEN   HYDE. 


In  these  days  of  revolutions,  Mexico  may 
seem  sadly  deficient  in  lures  of  any  kind,  but  if 
ever  again  the  country  settles  so  that  there  is 
security  for  life  and  limb,  its  attractions  as  a  sketch- 
ing ground  cannot  be  over-estimated. 

"  \\'hy  go  to  over-painted  Holland  when  Mexico 
lies  a  virgin  field  at  your  very  door  ?  "  was  a  sentence 
that  sent  me  hitherward.  I  expected  to  find  it  a 
country  of  sharp  contrasts  and  sharper  edges,  like 
the  accepted  ideas  in  regard  to  Egypt,  Italy,  or  any 
other  sun-drenched  country.  Instead,  the  colour 
was  of  a  lovely  soft  quality  pervaded  by  a  gentle 
haze,  and  though  colourful,  wonderfully  colourful, 
it  was  a  colour  of  mellow  related  tones,  a  harmonious 
family  of  different  but  distinct  individualities. 

And  now,  if  I  try  to  give  in  a  short  space  some 
painter-sketch  of  that  country,  it  seems  to  me  an 
over-crowded  canvas  of  memory.  Young  women 
in  full  white  skirts,  black  rebosos  or  shawls,  swathed 
around  them,  pass  with  erect  carriage — jug  poised 
t)n  head — by  an  emerald-coloured  door.  Trailing 
vines  of  magenta  bougainvillea  fall  over  picturesque 
white  walls.  Rocky  streets  and  laden  donkeys. 
Bunches  of  these  fuzzy  burros  stopping  by  a  corner 


gay  with  flaunting  awnings  and  ornamented  door- 
ways, while  their  drivers  in  white,  loose  clothing, 
peaked  hats,  and  scarlet  scrapes  flung  over  shoulders, 
tug  at  the  sacks  or  load  which  may  have  slipped, 
whisking  the  sulky,  slow-moving  animals  around 
by  their  tails  in  a  most  laughable  manner.  Some- 
times the  procession  moves  up  a  village  street ;  the 
ground  beneath  and  the  side-walks  in  broken  tones 
of  grey  melt  in  with  the  grey  donkeys,  their  greyish- 
brown  loads,  and  the  browner  riders,  who  in  their 
white  clothes  harmonise  with  the  white  houses  they 
jiass :  all  freshened  by  the  delightful  green  of  the 
trees  which  shade  the  streets.  Or  there  may  come 
a  sudden  sweejiing  rain  in  a  dusky  avenue  of  great 
trees  ;  figures  muffled  in  serapes  hurry  along,  the 
huge  hats,  almost  umbrella-like,  held  against  the 
storm. 

Drive  out  of  the  city  a  little,  and  watch  the 
peaked-hatted  shepherds  driving  their  flocks  of 
sheep  up  a  dusty  road.  Pass  by  village  after  village 
of  whitewashed  houses — generally  a  soft  tone  of 
colour  is  mixed  in  with  the  white.  Little  benches 
are  outside  the  door,  which  is  always  pink,  green  or 
blue.  Big-leaved  green  vines  shadow  these  door- 
ways very  often,  or  if  not,  pots  of  flowering  plants 
give  the  gentle  relief  to  the  eye,  made  necessary  by 
the    harsher   lines   of    houses    and   rocky   roads. 


1 


"srNDAV    MORMNO.    SAN    ANOF.l.,    MEXICO 
26 


I  ROM    A   WOOD-TRINT    IN    COI.OIR    IIV    IIRI.KN    IIVDE 


m 


•■AN    INTERLUDE-THE   BREADMAN'S    DONKEY." 

FROM      A      WOOD      ENGRAVING       BY       HELEN       HYDE. 


The  Colony  Lure  of  Mexico 


Everywhere  there  is  movement,  movement  of  men 
and  of  women  and  of  variegated  little  brown 
tumbling  children  not  usually  overburdened  with 
clothes. 

Climb  any  of  the  hills  that  encircle  the  City  of 
Mexico,  and  the  pictures  are  too  many  for  the 
memory  to  hold.  But  one  impression  comes  so 
frequently  as  to  be  stamped 
indelibly  on  the  mind's 
tablets :  the  impression  of 
witchiness.  At  a  street 
corner,  perhaps  under  a  way- 
side shrine,  a  party  of  women, 
weary  and  travel-stained,  are 
resting  with  bundles.  It  is 
the  peaked  hats  associated 
in  our  childish  minds  with 
witchcraft  that  gives  a  curious 
fillip  to  the  mind,  a  weird 
coupling  of  religion  with 
sorcery.  Again,  up  on  these 
hills,  often  and  often,  one 
sees  silhouetted  against  the 
setting  sun  these  heavily 
laden  witches  toiling  over 
the  steep  places.  Great  bags 
are  on  their  shoulders,  men 
witches  as  well  as  women, 
therein  differing  from  our 
children's  books,  for  the 
real  witch  would  conjure 
some  one  else  into  carrying 
the  load. 

In  the  Plaza  of  the  cathe- 
dral of  Mexico  City — the 
scene  of  so  much  recent 
bloodshed — we  took  a  tram- 
car  that  carried  us  through  the 
midst  of  fascinating  city  life. 
Adorable  markets  with  the 
little  stalls  shaded  by  faded 
red  umbrellas,  and  surging 
around,  through,  and  about 
the  ever-shifting  kaleidoscope 
of  humanity ;  a  very  prismatic 
humanity  at  that,  with  much 

brown  skin,  red  and  yellow  dresses,  gay  beads  and 
dangling  earrings ;  queer  little  shop  doorways  with 
graceful  green  vines  growing  out  of  suspended  oyas:, 
in  every  block,  many  wide  archways  giving  fascinat- 
ing glimpses  into  pink,  blue,  and  ^e.t\\  patios  glow- 
ing with  flowering  shrubs  and  parti-coloured  babies. 
And  then  to  the  Viga  Canal,  down  which  to  the 
city  in  the  early  morning  comes  a  gay  procession 


banks. 


"GOING    TO     MARKET,    VIGA    CANAL, 

MEXICO."        FROM      A      WOOD-PRINT       IN 

COLOUR   BY   HELEN    HYDE 


of  flower,  fruit,  and  vegetable-laden  boats,  which 
supply  the  city  for  the  day.  On  a  misty  morning 
one  can  see  Corot  effects  in  the  soft  grey  light,  and 
picturesque  flat  boats  being  poled  along  by  white- 
clothed,  big-hatted  boatmen  between  the  two  rows 
of  tall,  thin,  French-looking  trees  that  line  the 
Between  these  tall  trees  move  more  of  the 
witchy^folk,'  heavy-laden,  or 
stepping  out  right  gladsomely 
along  the  path  that  follows 
the  canal.  And  by  moon- 
light, when  the  shadows 
darken  and  all  is  more  unreal 
than  before,  one  can  realise 
the  pictorial  charm  of  the 
Viga  Canal. 

It  is  not  so  easy  to  work 
in  Mexico  City  proper, 
though  the  material  is  not 
lacking,  so  we  moved  nine 
miles  farther  out  to  a  very 
old  town  called  San  Angel. 
On  the  way  is  another 
charming  old  place  called 
Coyoacan,  which  boasts  of  a 
beautiful  church,  on  whose 
roof,  or  in  its  various  in- 
teriors and  shrines,  in  its 
garden,  and  kitchen,  and 
school,  one  could  find 
material  for  many  a  picture. 
An  old-fashioned  stone 
bridge  crosses  a  stream  at 
Coyoacan,  where,  in  the 
shadow  of  grand  old  trees, 
the  women  wash  and  gossip, 
and  where  one  might  paint 
with  some  security.  Coyoa- 
can also  has  a  market.  The 
only  trouble  with  Mexican 
markets  is  that  they  are 
always  closely  surrounded 
by  pulque  shops,  which  are 
no  places  in  which  to  seek 
refuge  from  the  curious  on- 
lookers and  sketch. 
Our  destination,  San  Angel,  boasts  of  two  very 
delightful  places  of  abode.  We  chose  San  Angel 
Inn  for  the  beauty  of  the  old  house  itself,  and  for 
its  wide  verandas  facing  the  great  volcanic  peaks 
of  Popocatepetl  and  Ixtaccihuatl.  One  can  always 
find  gardens  galore,  and  patios  to  paint  in,  and  this 
one  at  San  Angel  Inn  was  a  delight.  Flowers  and 
vines  and  trees  there  were  in  profusion,  quaint  old 

29 


The  Colour  Lure  of  Mexico 


"OVER  Tilt  GARDEN  WALL 

FROM      A      WOOD-PRINT      IN 

COLOUR    BY    HELEN    HYDE 


women.  In  the  village  of  San  Angel  itself,  there  was  more 
than  one  could  do.  There,  too,  was  a  small  but  attractive 
market.  It  was  in  San  Angel  that  we  saw  so  often  the 
breadman's  donkey,  pausing  with  his  cowhide  panniers 
before  the  green  door  of  the  pulque  shop,  while  the  bread- 
man  himself  disported  therein.  Around  the  comer  from  the 
puLjue  shop,  cactus  vines  fell  jaggedly  over  a  rose-coloured 
wall  in  which  was  set  a  shell-shaped  fountain,  and  graceful 
Indians  in  flowered  gowns  that  match  so  well  their  houses 
filled  pottery  just  as  graceful  with  water.  These  fountain 
episodes  have  all  the  allurement  of  the  overture  of  the 
"Cavalleria  Rusticana." 

Romance  plays  such  a  part  in  the  life  of  Mexico.  Never 
in  any  country  have  I  seen  such  leisure  on  the  part  of  man 
for  the  gentle  art  of  wooing.  Picturesque  they  are  too, 
these  Mexican  lovers,  with  their  tight  silver-trimmed  trousers, 
the  great  rolling  hat  entrancing  with  its  embroideries  of  gold 


religious-looking  seats  of  the  most  delightful  colour, 
soft  creams  and  ochres,  pinks  and  reddy  purples. 
And  there  are  children  to  paint  if  you  have  the 
philosophy  to  accept  a  month-old  baby  substitute 
for  a  two-year-old  without  a  moment's  warning. 
Or  a  grandmother  may  come  to  take  the  place  of  a 
pretty  young  mother  because  the  younger  one, 
forsooth,  \vas  "busy  making  tortillas." 

If  you  have  patience,  and  a  sense  of  humour  and 
much  philosophy,  I  say  you  can  paint  in  Mexico. 
But  we  of  the  painter-craft  well  know  that  without 
any  of  tho.se  three  the  way  is  rough  for  a  painter  in 
any  part  of  the  world. 

Without  the  stone  walls  of  San  Angel  Inn  grew 

seas   of  periwinkle,    climbing    jiink    ro.ses    threw 

abroad  their  branches,  a  mise-en-sdne  made  to  order 

for  Madonnas,  groups  of  children,  girls  and  young 

30 


MEXICAN    REBECCA."      FROM    A   WOOD-PRINI 

IN    COLOUR    BY    HELEN    1IYI>E 


"A   MEXICAN   COQUETTE." 

WOOD     ENGRAVING      BY      HELEN 


FROM   A 

HYDE. 


The  Colour  Lure  of  Mexico 


silver,  and  varied^  hues,  on  mouse-grey,  white, 
black,  red,  grey,  blue  and  browns.  They  watch 
the  pretty  Senoritas  over  the  garden  walls,  or  "  play 
bear "  at  the  grilled  city-windows,  content  to  be 
unnoticed  for  many  a  long  day,  for  by  their  patience 
the  true  lovers  are  known. 

Around  the  Plaza,  trees  that  looked  as  if  their 
proper  place  should  be  in  ornamental  tubs  in 
aristocratic  doorways,  here  grew  stiffly  but  graciously 
on  the  edge  of  uneven  stone  pavements.  .Soft 
peachy-coloured  houses  were  behind  them  with 
their  quaint  barred  windows.  On  Sunday  mornings, 
processions  of  old-fashioned  figures,  voluminous 
and  rosily  bespotted  as  to  skirts,  snugly  wrapped  in 
rebosos,  carried  the  votive  candles  on  the  way  to 
mass.  And  the  candle-stalls  where  one  bought 
these  tapers  were  another  series  of  pictures.  Odd 
awnings  gay  with  gold,  and  silver,  and  colour  spots 
shaded  them,  and  the  saleswomen  or  little  girls  in 
charge,  were  nearly  always  the  kind  you  delighted 
to  see  and  wished  you  might  record  in  something 
more  tangible  than  memory. 

It  was  almost  impossible  to  travel  much  about 
the  country  when  I  was  there,  but  between  dis- 
turbances I  went  down  to  Oaxaca  in  the  southern 
part  of  Mexico,  because  there  the  consensus  of 
opinion  said  the  people  themselves  could  be  studied 
at  their  best,  although  the  city  itself  was  not  so 
beautiful,  and  it  was  difificult  to  live  comfortably  in 
the  hotels  there.  It  was  teeming  with  life  in- 
describably interesting. 
Mexican  "Flights  into 
Egypt"  passed  along  the 
streets  continuously — 
people  coming  in  from 
the  country  most  prob- 
ably ;  the  mother  and 
the  child  riding  the  donkey 
while  the  Mexican  Saint 
Joseph  trudged  alongside, 
muffled  in  serape  and 
topped  with  a  wide- 
brimmed,  steeple-crowned 
hat.  Heavy  teams  of 
black  and  white  oxen 
lumbered  along  the 
stony  streets,  pulling 
emigrant  topped  wagons, 
the  swaying  cover  of 
brown  rushes  or  matting 
in  woody  colouring,  and 
nothing  more  paintable 
could  be  desired  by  the 
animal  painter.  "a  com.mo.n  scold' 


The  churches,  some  of  them  gaudy,  some  of 
them  harmonious,  were  full  to  the  brim  with  sub- 
jects. All  the  pink  and  yellow  streets  of  Oaxaca 
were  corked  at  the  end  by  lovely  mountains  making 
different  colour-schemes  at  every  division  of  the 
day :  richly  blue  in  full  sunlight,  fading  into  more 
tender  tones  vrith  the  day's  declining.  Avenues 
and  roads  were  bordered  by  tall  cactus  fences, 
through  the  cracks  of  which  or  over  the  top  peeped 
the  curious  children  and  those  long  past  their  child- 
hood as  well. 

It  is  the  market  of  Oaxaca  that  is  its  most 
moving  attraction  from  a  painter's  standpoint,  for 
there  one  can  select  from  a  great  variety  of  subjects. 
But  it  took  all  our  courage  to  venture  in  on  sketch- 
ing bent.  It  is  an  enormous  place,  aisle  upon  aisle 
of  vegetables  of  glorious  colouring  with  fruit  and 
flowers.  There  were  women  cooking,  women 
quarrelling,  women  frantically  bargaining,  men  and 
children  doing  all  these  things  and  many  others. 
All  sorts  of  the  most  intimate  domestic  actions 
took  place  in  the  blue  misty  air,  caused  by  the  cook- 
ing of  the  ubiquitous  tortilla  in  little  charcoal  stoves. 
In  an  inner  court  was  the  basket,  straw  mat,  and 
pottery  department.  Pottery,  in  enormous  heaps 
of  luscious  colour,  rich  deep  green,  orangy-brown, 
lined  with  the  same  olive-green,  and  bowls  !  Oh, 
what  jolly  bowls  with  rims  and  splashes  of  rude 
colour,  but  what  colour !  These  pottery  heaps 
were  displayed  under  the  shade  of  luxuriant  trees, 


FROM    A   WOOD-I'RINT   IN    COLOUR   BY   HELEN    HYIJE 

33 


Royn/  Hidignnnii  Arts  ami  Cyafts  Scliooi  Budapest 


"THE    IN  WILLING    DANCERS."       FROM    A    WOOD-I'RINT    IN    COLOUR  BV  HELEN  HYL 


loving,     happy-go-lucky 

wights,  and  take  only  too 
much  interest  in  one's 
doings ;  still,  street  work 
can  be  done  for  all  its 
drawbacks. 

\\\\\\  the  exception  ot 
<  )axaca,  all  the  most  beau- 
tiful places  were  closed  to 
us  owing  to  the  activity  of 
the  rebels,  and  those  who 
know  told  me  I  had  seen 
nothing.  So  that  if  these 
mental  pictures  of  mine  be 
only  the  pickings,  the 
reader  can  imagine  the 
glories  to  be  seen  and  en- 
joyed when  the  whole 
country  is  once  more  ojien 
to  the  seeker  after  the 
picturesque. 


and  sometimes  under  funny  little  straw  canopies, 
or  a  four-part  umbrella  also  of  straw. 

I  tried  to  find  an  inconspicuous  spot,  but  it  was 
not  long  before  I  was  discovered,  and  the  horde 
gathered.  Thicker  and  thicker  they  came,  men, 
women,  and  children,  blocking  up  the  view.  I 
know  how  sugar-cane  sounds  in  every  degree  of 
crunchment,  how  it  feels  to  be  spattered  with  it 
from  head  to  foot,  to  have  it  piled  around  me  in 
little  stacks.  All  my  onlookers  indulged  in  the  noisy 
pastime  :  they  were  good-natured  though,  and  most 
friendly,  and  when  I  gave  my  hostess  of  the  pottery 
stall  a  propina — parting  gift — she  evidently  did  not 
expect  it  and  thought  I  meant  to  shake  hands. 

The  Mexican  people  seem  to  be  as  a  rule  art- 


T 


HI'.  ROYAL  HL'XGARIAX  ARTS 
AXD  CRAFTS  SCHOOL  I\ 
HUDAI'KST.    BY  A.  S.  LEVETUS. 


Thouc.h  the  Royal  Hungarian  Arts  and  Crafts 
School  was  founded  in  1880,  it  had  little  space 
to  develop  and  flourish,  as  owing  to  the  want  of  a 
suitable  building  the  number  of  students  was  neces- 
sarily very  limited;  but  when  in  1896  the  famous 
Iparmiiveszeti  Mu.seum  (arts  and  crafts  mu.seum), 
with  its  adjoining  .schools,  the  master  work  of  the 
eminent  Hungarian  architect,  Edmund  Lechner,  was 
finished  new  life  was  brought  to  it,  and  a  fresh 
spurt  given  to  creating  a  new  national  art  based  on 
traditions  handed  down  from  past  ages. 


DESIGN    l-OR    A    DECORATIVK.  WAIL- I'AINTINC. 

34 


UV    N.    CAIIOR    (I'ROl.    IJVAKV'S   SI'KCIAL  CLASS) 


"REFLECTIONS."    from  a  wood 
ENGRAVING      BY      HELEN       HYDE. 


Royal  Hungarian  Arts  and  Crafts  ScJwol,  Budapest 


DESIGN    FOR   SMOKING-RECESS    IN   A   BILLIARD-ROOM 


BY   E.    KEM^NY 


Beginnings,  however,  are  proverbially  difficult,  and 
in  this  respect  the  Budapest  school  shared  the  fate 
common  to  all  kindred  institutions.  Nevertheless 
they  were  hopeful,  more  especially  so  when  Mr. 
\\^alter  Crane  was  invited  to  come  to  Budapest  and 
initiate  new  methods  in  the  teaching  of  design, 
and  some  fairly  good  results  were  achieved  for  a  few 


years.  Then  followed  a  period  of  apathy  which 
lasted  till  some  three  years  ago  when  with  the 
appointment  of  a  new  director  in  the  person  of  Dr. 
Elemer  von  Czako  a  new  period  of  activity  com- 
menced. Dr.  Czako  has  entirely  reorganised 
the  schools,  introducing  many  new  subjects 
connected  with  the  industrial  arts,  and  the  curri- 


DESIGN    FOR    A    HALL   IN   A   PUBLIC   BUILDING 


BY   E.    KEM£nY   (prof.    BALOGH's   CLASS) 

37 


Royal  Himgarinii  Arts  and  Crafts  School,  Budapest 


culum,  which  now  embraces  nearly  every  branch 
of  decorative  art,  will  in  a  very  short  time  include 
all  and  everything  comjjrehended  in  this  term. 

One  of  the  first  steps  taken  was  to  appoint 
teachers  of  the  new  generation,  men  and  women — 
for  several  women-teachers  are  on  the  staff — who 
arc  not  mere  theoreticians  but  are  practical  workers, 
and  another  important  step  was  to  introduce  work- 
shops, for  Dr.  von  Czak6  from  the  first  realised 
that  to  have  lasting  results  theory  and  ])racticu 
must  go  hand  in  hand.  The  aim  of  the  school 
is  in  fact  to  provide  thorough  all-round  instruction 
in  the  decorative  arts  and  in  those  subjects  which 
are  allied  to  them,  and  the  study  of  the  materials 
in  which  the  designs  are  to  be  executed  is  an 
important  factor  in  the  training  of  the  students. 


Before  dealing  with  the  methods  of  instruction, 
it  may  be  as  well  to  give  some  detailed  information 
as  to  the  conditions  on  which  the  students,  who  are 
of  both  sexes,  are  admitted  to  the  schools.  In  the 
first  ])lace,  all  those  applying  for  admittance  must 
have  passed  through  the  elementary  schools,  and 
must  therefore  have  completed  their  fourteenth 
year.  Many  of  the  students,  however,  have  been 
through  the  higher  schools.  They  come  from 
various  parts  of  Hungary,  only  one-fourth  hailing 
from  Budapest.  The  fees  are  twenty  crowns 
(i6.f.  8</.)  a  year,  but  ca.sual  students  are  charged 
double  this  amount,  the  prime  interest  being  in  the 
students  who  go  in  for  regular  courses  of  training. 
This  seems  but  a  small  sum,  but,  small  as  it  is,  the 
parents  are  oftentimes  unable  to  pay  it.     In  such 


CARTOON    FOR    A   WAI.I.-I'AlNTI.Nr. 
38 


^  .  or"  — -^w 

l>>    .1.    KONRAn   (PROF.    SANDORS   I  I.ASS    FOR    nF.CORATIVK   PAINTING) 


Royal  Hungarian  Arts  and  Crafts  School,  Budapest 


"AN    OLD    LANE    IN    BUDA."      BY   A.    ENGEL    (I'ROF.    UJVAKY's   CLASS    FOR 
DECORATIVE   TAINTING) 


arranged  under  three  heads, 
ordinary,  extraordinary, 
and  "  hospitants,"  the  last 
named  being  those  who  do 
not  go  through  the  entire 
course,  though  they  must 
take  up  one  special  subject 
and  attend  the  classes  in 
ornamental  design.  The 
extraordinarystudents  must 
also  study  these  subjects 
and  they  may  also  work  in 
the  workshops,  but  they  do 
not  follow  the  whole  cur- 
riculum. The  ordinary 
students  must,  in  addition 
to  the  arts  and  crafts 
classes,  also  attend  the 
classes  for  book-keeping, 
commercial    correspond- 


cases,  when  proofs  are 
forthcoming,  stipends  are 
granted  by  the  Ministry 
to  cover  the  cost  of  in- 
struction and  very  often  of 
living  also.  The  sum  given 
for  this  purpose  is  22,000 
crowns,  which  last  year  was 
distributed  among  seventy- 
three  students  from  a  total 
of  two  hundred  and  fifty 
attending  the  day  classes. 

The  course  of  training 
lasts  in  all  four  years,  and 
students  who  have  shown 
exceptional  talent  are  on 
leaving  given  scholarships 
to  enable  them  to  continue 
their  education  in  some 
foreign  school  selected  by 
themselves,  but  in  no  case 
are  they  allowed  to  stay  on 
at  their  alma  mater.  Small 
sums  are  also  granted  to 
specially  capable  students 
of  both  sexes  who  have 
passed  through  the  schools 
to  establish  themselves  in 
their  own  particular  branch 
of  applied  art,  and  in  this 
way  the  initial  difficulty, 
lack  of  capital,  is  got  over. 

The    students   may    be 


CARTOON    FOR    WALL-PAINTING 


I!V  J.    NOVAK 


CARTOON  FOR  WALL-PAINTING.      BY  E.   HALAPY  (PROF.   KRIESCH-KOROSFOl'S  CLASS) 

39 


Royal  Himganan  .1  rfs  and  Crafts  School,  Budapest 


1'1>I.,N    H>R   A   GARDKN    GATE.       BV   A.    KEM^NV    (PROF.    BENCZCr's   CLASS   FOR 

design) 


ence  and  other  business  subjects,  these  classes  fr< 
being  among  Dr.  von  Czak6's  innovations.  Every  it 
op|3ortunity  is  given  for  the 
students  to  equip  them- 
selves for  their  future 
careers :  they  easily  find 
employment  in  industries 
connected  with  art  or  as 
assistants  to  architects, 
while  many  of  them  estab- 
lish themselves  as  decora- 
tive artists;  but  as  art 
industries  are  at  present 
little  developed  in  Hun- 
gary, a  large  contingent 
finds  emj)loyment  in 
foreign  countries. 

The  courses  are  divided 
into  general  and  special, 
and  naturally  students 
must  first  attend  the  former 
or  give  proof  of  their  <|uali- 
fication  to  enter  the  special 
courses.  In  all  cases  they 
must  attend  the  classes  in 
figure  drawing  and  orna- 
mental design,  no  matter 
what  special  subject 'jhey 
lake  up.  Often  these 
40 


special  subjects  overlap 
one  another,  but  the 
grounding  in  all  is  fully 
comprehensive,  and  the 
students  are  given  every 
opportunity  to  choose  for 
themselves  which  line  of 
art  they  desire  to  specialise 
in.  The  staff  consists  of 
the  Director  and  seven- 
teen teachers  of  both 
sexes  and  a  number  of 
experts  in  the  practice  of 
applied  art. 

It  must  be  borne  in 
mind,  in  considering  the 
nature  of  the  de.signs  and 
the  teaching  methods  fol- 
lowed in  these  schools, 
that  Hungary  is  es.sentially 
a  country  with  a  living 
pea.sant  art,  that  from 
their  earliest  infancy  many 
of  the  students,  and  more 
especially  those  coming 
)m  the  provinces,  have  been  accustomed  to  see 
around  them  in  tiieir  homes,  alike  in  the  manner 


MAJOI.ICA    llOMIONNlfcRKS, 

'.  fArv  (I' 


INKSTAND,    CANDLESTICK,    AND   MATCH-HOLDER. 
ROF.    SIMAV    AND   K.    SCHLKICIl's  CLASS) 


Royal  Hiiugariaii  Arts  and  Crafts  School,  Budapest 


there  are  four  professors — D.  Gyorgi  for  the  first  year, 
F.  Frischauf-Szablya  for  the  second  and  third  years,  and 
L.  Gyalus  and  L.  von  Balogh  for  the  fourth  and  fifth  years. 
These  teachers  all  work  in  unison  with  one  another  and 
some  excellent  results  have  been  obtained.     The  course  of 

instruction  includes 
theory  and  practice, 
the  instruction 
covering  all  that  is 
comprehended  in  the 
term  interior  decora- 
tion, furniture  and 
cabinet  -  making  in- 
cluded. Not  only 
are  the  students 
taught  designing 
from  the  simplest 
forms  to  more  elabo- 
rate ones,  but  special 
stress  is  laid  on  con- 
struction and  work- 
manship. The  two 
designs  reproduced  on  p.  37  were  done  by  a  student  in  Prof, 
von  Balogh's  class,  E.  Kemenj-,  and  the  design  for  a  garden- 
gate  (p.  40)  is  by  a  student  of  the  same  name,  a  pupil 


three  studies  by  paul  bencsik  (prof. 
helbing's  class  for  drawing) 


of  decorating  them,  in  the  utensils  used  in  daily  life, 
and  in  their  national  dress.  They  have  an  innate 
feeling  for  form  in  design  and  for  the  building  up  of 
surface  decoration.  The  women  and  girls  are  very 
dexterous  in  the  use  of  the  needle  and  more  par- 
ticularly in  the  invention  of  designs  and  stitches. 
Moreover  the  recent  revival  in  embroidery  and 
lace-making  has  brought  in  its  train  the  desire  for 
new  designs  and  new  patterns  for  lace,  these  designs 
being  based  upon  those  indigenous  to  the  country. 
For  the  great  and  laudable  desire  is  to  create  a 
modern  and  growing  decorative  art  which  while 
based  on  the  best  traditions  of  the  past  is  in  con- 
formity with  the  spirit  of  our  times. 

After  having  satisfactorily  passed  through  the 
general  course  of  instruction  in  drawing  and  allied 
subjects  the  students  enter  on  the  course  of  special 
instruction.  Here,  again,  as  already  mentioned,  the 
subjects  overlap  one  another  so  that  it  may  happen 
that  a  student  may  attend  two  or  more  of  the 
classes.     In  the  division  for  interior  architecture 


title-page 


for    a   book.     bv   s. 
helbing's  class) 


SOMFAI    (I'ROF. 


41 


Royn/  Iliingan'dii  Arts  and  Crafts  School,  Budapest 


MADONNA     STATUE.      HV     \V.     oAl.I.AsZ 
(PROF.  SIMAY'.S  class   FOR  SCUI.ITURP.) 


of  I'rof.  Benczur,  who  till  a  short  time 
ago  taught  decorative  designing  to 
student.s  in  their  fourth  and  fifth  years. 
The  gate  is  pure  Hungarian  in  form, 
reminding  one  of  some  of  those  fine 
42 


examples  reproduced  in  the  Special  Studio  Number, 
"  Peasant  Art  in  .Austria  and  Hungary." 

Mural  decoration  is  specially  favoured  by  the  Hun- 
garians and  receives  due  attention  in  the  schools.  There 
are  three  teachers  for  decorative  painting.  Professors 
Ujvary,  Kriesch-Korosfoi,  and  Srindor.  It  will  be  seen 
from  the  illustrations  that  there  is  a  vast  difference  in 
the  styles  of  the  work  done  under  these  professors.  The 
students  study  in  the  open  air,  and  great  stress  is  laid  on 
composition  and  drawing  from  life. 

Prof.  Kriesch-Korfisfbi  teaches  the  more  advanced 
students,  his  special  subject  being  mural  jxiinting.  His 
appointment,  which  is  but  recent,  was  highly  welcomed, 
for  he  is  not  only  a  fine  artist  but  an  expert  in  this  line 
of  art.  Under  his  supervision  the  students  are  able  to 
carry  out  their  designs,  when  approved,  on  the  walls  of 
the  elementary  schools,  for  mural  decoration  is  very 
much  favoured  for  this  purpose. 

The  special  class  for  graphic  art  is  under  the  care  of 
Prof.  Helbing.  After  due  regard  has  been  given  to 
studies  from  Nature  the  students  proceed  to  style,  stress 
being   laid   on    the   application   of    design   to   different 


B<n'BSTRlAN    STATl)F.TTE 


BY   C.    IMRK   {I'ROF.    SIMAV's   Cl.ASS) 


Royal  Hungarian  Arts  and  Crafts  School,  Budapest 


ornamental  purposes  for  re- 
production by  various 
methods  such  as  ordinary 
letterpress,  printing,  linoleum 
engraving,  lithography,  &:c. 
There  are  excellent  work- 
shops in  the  school  fitted  up 
with  everything  requisite  for 
this  branch  of  the  school's 
work. 

The  special  classes  for 
plastic  art  and  ceramics  are 
under  the  charge  of  Prof. 
Simay,    as    is   also   that    for  study 

fi  gural  drawing.    He  has  been 

particularly  successful  in  introducing  rapid  drawing 
from  the  life.  Beginning  with  simplifiedVontours  of 
the  model,  he  proceeds  to  more  and  more  difficult 
problems   till    the    whole    human    form   has  been 


MAJOLICA   BOX.      BY  J.    FARY   (PROF.    SIMAY  S 
CLASS   FOR   CERAMICS) 


mastered.  The  drawings  are  made  in  five  minutes, 
and  here,  of  course,  practice  is  necessary  for  attain- 
ing anything  like  perfection.  After  the  simplified 
contours  from  the  life  with  the  skeleton  placed  by 
the  side  of  the  clothed  model  so  that  the  students 
have  a  thorough  comprehension  of  the  figure,  they 
repeat  their  work  in  light  and  shade  in  different 
tones,  first  with  the  pen  and  later  with  the  brush. 
Every  movement  of  the  human  body  is  thus  care- 
fully studied  and  rapidly  put  down  on  paper,  every 
time  in  more  intense  tones  and  shades,  first  from 
the  nude  and  then  from  the  dressed  figure.  They 
then  proceed  to  draw  two  figures  together,  male  and 


BY    L.    ENGEL   {PROF.    HELBINg's   CLASS) 

female,  the  final  step  being  the  study  of  composition 
in  space.  The  illustrations  on  these  pages  testify 
to  the  excellence  of  the  work  done  in  Prof.  Simay's 
class  for  sculpture. 

The  special  course  for  ceramics  is  only  a  year 
old,  but  in  this  short  time  good  results  have  been 


BUST    OF    A    WARRIOR.       BY    G.    IMRE    (PROF.    blMAVS 
CLASS    FOR   SCULPTURE) 

43 


Royal  Ilntigariaii  ^1  rfs  and  Crafts  School,  Budapest 


cliaracier,  for  Hungary  has 
a  tradition  in  lace-making. 
They  show  a  fine  feeling 
for  that  building  up  of 
form  which  is  so  great  a 
characteristic  among  the 
Hungarians  and  which  is 
perceptible  everywhere  in 
their  peasant  art. 

Other  subjects  are 
taught  in  connectioti  with 
textiles,  for  inst;ince  arras 
weaving  ;  in  fiict  there  is 
nothing  which  comes 
under  this  heading  which 
is  not  included  in  the 
course  of  study. 

From  what  has  been 
said  it  may  be  gathered 
that  the  general  tone  of 
the  schools  is  healthy,  and 
that  one  can  look  forward 
to  their  future  develop- 
ment with  the  fullest 
confidence. 


obtained.  The  students  exe- 
cute the  designs  they  have 
modelled  under  I'rof.  Simay 
in  the  ceramic  workshops, 
which  are  under  the  care  of 
an  able  expert  in  this  branch 
of  applied  art,  Mr.  Schleich. 
The  classes  for  textiles  are 
under  Prof.  Mihalik,  who.se 
students,  as  may  naturally 
be  suppo.sed,  are  chiefly  girls. 
They  learn  to  work  in  the 
material  before  designing  on 
paper,  that  is,  they  design  in 
the  material,  for  the  tech- 
nique of  embroidery,  lace- 
making,  and  even  machine 
embroidery  must  first  be 
mastered.  .Studies  are  made 
from  Nature  and  then  trans- 
lated into  design,  which 
must  he  specially  suited  to 
the  material  in  which  it  is 
to  be  executed.  The  de- 
signs here  reproduced  are 
pre-eminently  Hungarian  in 
44 


TIIRKK    DESIGNS    lOR    HUNGARIAN    NKEKl.BPOINT   I.ACF. 

BY   A.    TAR   (I'ROF.    MIHAI.IK's   CLASS) 


SOME  PEN-AND-INK  SKETCHES 

OF  EQUIHEN  BY 

LESTER  G.  HORNBY 


(  The  ri^hl  sketches  here  rcfirodtierd  are  selected  from  a  scries  executed  hy  the  artist  durins;  a  recent  Tisil 
to  I  he  little  French  fishing  Tillage  of  Equilicn,  a  few  miles  from  Boulogne.  In  tiinking  them  he  used  an 
ordinary  fountain-pen  andzvaslicd  the  values  in  7t>ith  a  brush  and  water^  using  only  the  inh  left  on  the pafer 
by  the  pen.      7'his  he  has  found  the  most  eon-rnient  method  for  recording  fassing  effects  in  line  and  value. ) 


•  IILIMEWAKDS 


liY    I.ICSJKK    i;.     llciKMiY 

45 


^■t- 

«■  J 


h 


m  w 


I 


^: 


[: 


i:f 


r 


\) 


1^ 


"A 


vi 


'         MV 


Recent  Designs  in  Domestic  Architecture 


"ROOKSWOOD,"    NAZEING,    ESSEX 


R 


ECENT  DESIGNS  IN  DOMESTIC 
ARCHITECTURE. 


"Our  illustrations  this  month  comprise  some 
country  houses  recently  erected  from  the  designs 
of  Messrs.  Unsworth,  Son  and  Triggs,  architects, 
of  Petersfield,  Hants. 

The  house  at   Nazeing,  Essex,   shown    on    this 


U.NSUORTH,    SON'    A.ND    TRIGGS,    ARCHITECTS 

page,  has  been  built  on  a  hillside  overlooking 
wide-spreading  views,  and  the  site  was  selected  to 
make  the  fullest  use  of  the  sloping  ground  for 
the  gardens,  a  hillside  site  affording  the  greatest 
opportunities  for  garden  craft,  especially  where 
water  can  be  easily  obtained.  The  approach  from 
the  road,  flanked  on  one  side  by  a  gardener's 
cottage  and  on  the  other  by  a  garage,  leads  to  a 


PLAN   OF    "  ROOKSWOOD,"   NAZEING 


UNSWORTH,    SON   AND    TRIGGS,    ARCHITECTS 

53 


Recent  Designs  in  Domestic  A  nliitcctnrc 


porch  on  the  north  side  of  the  house.  The  hall 
and  dining-room  are  panelled  in  oak,  and  the 
drawing-room,  opening  from  the  hall,  has  a  loggia 
overlooking  a  green  court.  An  interesting  feature 
of  the  house  is  the  paved  court  with  its  open-air 
breakfast-room  on  the  south  side,  easily  accessible 
for  service  purposes.  An  oak  staircase  leads  to 
the  first  floor  with  nine  bedrooms  and  two  bath- 
rooms. The  gardens,  which  have  been  laid  out  by 
the  architects,  are  arranged  upon  several  levels 
connected  with  stone  stiiirways  and  consisting  of 
terraces,  pool  gardens  and  small  courts,  all  planned 
to  be  in  scale  with  the  house,  and  contrived  to  get 
the  maximum  shelter  and  privacy  upon  an  exposed 
hillside.  The  water-colour  drawing  from  which 
the  illustration  is  reproduced,  and  which  shows  the 
south  front  of  the  house,  is  by  Mr.  FulUvood. 

Durford  Wood,  near  Petersfield,  has  one  of  the 
most  charming  sites  in  Hampshire,  surrounded  by 
woodland  scenery  and  overlooking  the  downs,  and 
in  this  case  also  the  gardens  have  been  laid  out  by 
the  architects.  The  exterior  of  the  building  is  of 
local  bargate  stone  with  half-timber  construction  of 
teak.  An  old  West  Sussex  tradition  has  been 
revived  in  the  filling  in  between  the  solid  half- 
timbered  work  with  bargate  stone  instead  of  the 
plaster,  brick,  or  flint  employed  in  other  parts  of 


the  country.  The  stone  and  timber  form  a  very 
agreeable  combination  of  materials  as  they  soon 
weather  and  mellow  to  a  delightful  tone  of  colour 
in  harmony  with  the  old  tiles  which  have  been  used 
for  the  roof.  The  drive  approaches  the  forecourt 
on  the  north,  which  is  enclosed  within  stone  walls 
and  overlooked  by  a  picturesque  dovecote.  Garage 
and  outbuildings  are  grouped  together  on  the  north 
side  of  the  house.  The  plan  has  been  arranged 
so  that  the  sitting-hall,  which  communicates  direct 
with  the  drawing-room  at  the  south-west  corner 
of  the  house,  does  not  become  a  passage  and 
that  access  to  the  front  door  is  obtained  without 
passing  through  the  sitting-hall.  The  dining-room 
overlooks  a  sunken  rose  garden  and  a  veranda 
opens  from  it  so  that  outdoor  meals  can  be  served 
easily.  An  oak  staircase  in  a  central  position  leads 
to  the  first  floor  with  nine  bedrooms  and  three 
bathrooms,  while  in  the  attic  story  above  are  four 
additional  rooms  for  the  use  of  the  servants.  The 
water-colour  drawing  from  which  our  coloured  illus- 
tration was  made  was  exhibited  at  this  year's 
exhibition  of  the  Royal  Academy. 

The  cottage  at  Steep,  a  village  situated  a  short 
distance  from  Petersfield,  was  built  entirely  of  old 
materials  obtained  by  pulling  down  a  mill  that 
formerly  stood  on  its  site.     The  lower  ]3arts  of  the 


ll-AN    OK 

54 


DURFOKI)   WOOD,    I'ETERSFIELU,    HA.MrSHIRE 


U.NSWORTII,    SON    AM)  TRIGOS,    ARCHITECTS 


z  o 

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I  H 

u.     - 
CO  en 

UJ  O 
I-  E 

CL   '^ 

q'z 

Ro 

O  CO 

°i 

u-  5 

OC  CO 
D  Z 


Stiidic-  Talk 


GeOUND  FLGDB  PLAN 


JO  5 


I  I  I  I  I  iJrt 


^ 


^ 


Each  scholarship  is  of  the  value  of  ^200  per 
annum  and  is  ordinarily  tenable  for  three  years. 
The  works  submitted  for  the  Open  Examination 
must  be  delivered  in  London  by  January  31,  and 
candidates  must  be  British  subjects. 

STUDIO-TALK. 
(From  Our  Own   Correspondoits.) 

LONDON. — The  general  public  is  grateful  to 
Mr.  Aitken,  the  Director  of  the  National 
Gallery  of  British  Art  at  Millbank,  for 
-^  the  exhibition  of  Pre-Raphaelite  art 
which  has  been  held  there  during  the  summer 
months.  Madox  Brown,  Rossetti,  Burne-Jones, 
and  Millais  were  represented  by  many  works, 
which  were  little  known  but  very  characteristic. 
The  exhibition  also  provided  an  exceptional 
opportunity  of  studying  the  development  of  these 
artists,  and  of  rejudging  their  art  in  the  light  of 
early  achievement  when  the  mannerisms  that  were 
to  overtake  them  individually — and  especially 
certain  of  their  number — 'were  not  yet  apparent. 
This  exhibition  is  now  giving  place  to  one  represen- 
tative of  the  art  of  Blake,  of  a  character  more 
important  than  any  that  has  yet  been  held  in  the 
name  of  this  poet-artist. 


walls  are  of  old  local 
clunch  with  tile-hanging 
and  half-timber  work 
above.  The  house  is 
placed  in  an  orchard,  and 
the  lines  of  the  roof  have 
been  brought  low,  a  fea- 
ture that  adds  so  much 
charm  to  the  traditional 
cottage  architecture  of  the 
neighbourhood. 


Intending  competitors 
for  the  three  scholarships 
in  architecture,  decorative 
painting,  and  sculpture  re- 
spectively, at  the  British 
School  in  Rome,  are  re- 
minded that  notification  of 
their  intention  must  be 
sent  to  the  hon.  general 
secretary  of  the  School,  54 
Victoria  Street,  London, 
S.W.,  accompanied  by 
certificate  of  birth,  cS:c.,  not 
later  than  January  24  next. 


g^:-S'^^^-^:i^v 


COTTAGE   AT    STEEP,    I'ETERSI'IELD.      GERALD    UNSWOKTII    (UNSWORTH,    SON    AND 
TRIGGS),   ARCHITECT 

57 


Sfmiio-  Talk 


We  illustrate  on  this  page  two  needlework  panels 
designed  and  worked  by  Miss  Joan  Drew,  assisted 
by  the  village  embroidery  class  at  Chilworth,  near 
Guildford,  the  county  town  of  Surrey.  The  two 
panels  form  part  of  a  set  of  three  hangings  for  the 
^'illage  Room  at  Blackheath  in  the  same  district. 
Both  are  in  appliquewith  gold  embroidered  spandrils 
above  and  a  line  of  embroidered  flowers  below. 
The  panels  were  exhibited  at  the  recent  Arts  and 
Crafts  show  at  the  Grosvenor  Gallery  in  New  Bond 
Street.  

The  Senefelder  Club  is  determined  "  to  raise 
the  lithograph  to  the  level  of  the  original  etching," 
and  that  the  eflforts  of  the  members  are  being 
rewarded  with  success,  all  who  have  studied  their 
exhibitions  must  agree.  "  It  was  at  a  Senefelder 
Club  show  "  writes  Mr.  Lewis  Hind,  "that  I  first  be- 
came acquainted  with  the  lithographs  of  Miss  Ethel 
Gabain  ( Mrs.  John  Copley  we  must  call  her  now  : 
she  was  married  last  June  to  the  talented  secretary 
of  the  club).  Her  lithograph  called  Caprice  caught 
my  eyes  at   once  and  held  them    in   admiration. 


Here  is  surety  of  touch,  deftness  of  drawing,  and 
style.  The  little  lady  is  delightfully  posed,  and  the 
frank  disorder  of  the  design,  held  together  by  the 
rich  and  velvety  blacks,  splendidly  massed,  give  to 
the  work  an  unusual  air  of  distinction.  In  another 
style  is  T/k  Mirror — light  and  graceful,  but  indi- 
cating that  the  artist  has  laboured  at  the  spade- 
work  of  her  craft.  Miss  Gabain  works  in  no 
groove ;  she  is  versatile,  the  evidence  being  a 
portfolio-box  of  sixty  and  more  of  her  lithographs, 
which  I  have  been  examining  with  delight.  She 
ranges  from  the  mystery  of  The  Recluse  to  the 
humour  of  The  Black  Beetle :  from  the  wit  of 
Depart  Fantastiijue  to  the  pathos  of  Tired : 
from  a  sunny  landscape  to  Les  Tours  de  St.  Sulpice. 
The  editions  of  her  lithographs  never  exceed  twenty- 
four:  sometimes  the  number  printed  is  as  low  as  four 
or  six.  Most  of  the  prints  are  done  direct  upon  the 
stone,  but  although  Miss  Gabain  occasionally  uses 
transfer  paper,  she  always  works  again  upon  the 
stone.  Many  of  her  prints  have  French  titles  ; 
indeed  they  show  much  of  the  Gallic  spirit,  with 
reason,   as   this   sensitive   artist   was   bom  at  Le 


rANEl.S   FOR    Vll.l.At;ii    ROOM,    Ul.ACKIiKATII,    GUILDl-ORI) 


BV   JOAN    II.    DRBW 


S8 


'■  '■■..'A,, 


r.A-f;^ 


■THE   MIRROR."      FROM   A   LITHO- 
GRAPH  BY  ETHEL  GABAL\ 


"CAPRICK." 
GRAPH    n\' 


FROM   A   LITHO- 
KTHKL    GABAIN 


Studio-Talk 


Havre,  where  she  lived  until  she  was  twenty-two. 
Later  it  was  under  a  French  trade  printer  in  Paris 
that  she  learnt  the  rudiments  of  the  working  of  the 
lithographic  press.  But  Miss  Gabain's  chief  know- 
ledge of  her  craft  was  gained  in  the  lithography 
classes  at  the  Central  School  under  Mr.  Jackson, 
and  at  Mr.  Jackson's  Saturday  lithography  class  at 
the  South  \\'estern  Polytechnic,  and  the  Slade 
School  had  her  as  pupil  for  a  year.  Lithographs 
by  JNIiss  Gabain  have  been  acquired  by  the  Victoria 
and  Albert  Museum,  the  Manchester  and  Liverpool 
Art  Galleries,  the  National  Gallery,  Toronto,  and 
the  National  Gallery  of  Modern  Art,  Rome.  ^Ve 
shall  hope  some  day  to  see  a  joint  exhibition  of  the 
work  of  Mr.  and  Mrs.  John  Copley,  so  different, 
yet  so  forcibly  expressive  of  the  personality  of  each 
artist."  Miss  Gabain's  print  Caprice  was  exhibited 
at  the  recent  Salon  of  the  Societe  Nationale  in 
Paris,  and  she  has  been  elected  an  Associate  of  that 
society. 

The  lockets  and  brooches  shown  on  this  page  were 
designed  by  Mr.  Byam  Shaw  and  executed  in  needle- 
work by  Miss  Jessie  Gregory. 
The  figures  are  embroidered 
in  silk,  the  choice  of  colours 
being  left  with  Miss  Gregory, 
and  in  this  she  displays  ex- 
ceptional taste,  in  every 
instance  achieving  an  effect 
exquisite  and  charming. 
The  stitching  itself  is  very 

finished  in  style  ;  and  work-  _.,._ 

ing  with  Mr.  Byam  Shaw's 
fine  drawing  as  a  basis.  Miss 
Gregory  enhances  the  design 
by  the  spontaneity  of  her 
own  execution.  Miss 
Gregory  is  now  turning  her 
attention  to  the  decoration 
of  fans,  and  she  proposes 
forming  a  class  for  teaching 
the  kind  of  needlework  in 
which  she  so  excels. 


of  South  Africa.  The  gift  is  for  the  purpose  of 
founding  a  National  Gallery  of  South  Africa  at 
Cape  Town,  and  in  The  Studio  for  May  last  we 
devoted  an  article  to  the  history  of  the  gift,  which 
in  its  first  shape  consisted  of  forty-six  pictures. 
We  then  pointed  out  that  the  collection  would 
bear  strengthening  on  the  side  of  that  domestic 
genre  and  interior  painting  which  the  art  of  Ter 
Borch  and  of  Metsu  so  particularly  represents. 
The  Metsu  picture,  The  Dessert,  which  is  now 
added,  was  an  important  item  in  the  famous  Lord 
Harrowby  collection,  and  Smith  in  his  Catalogue 
Raisonne  of  Dutch  Masterpieces  singled  it  out  for 
especial  praise.  The  additions  to  the  collection 
also  include  a  Wouverman,  which  is  among  the 
most  famous  of  this  master's  works.  La  Charrette 
Emboiirbee,  or  The  Cart  in  a  Rut.  In  the  col- 
lection of  the  Comtesse  de  Verrue  in  1737,  in 
that  of  Blondel  de  Gagny  in  1776,  Uestouches 
in  1794,  M.  Tolozan  in  1801,  the  Marquis  de 
Montcalm  in  1849,  Robert  Field  in  1856,  it  has 
come  down  to  us  in  a  truly  remarkable  state  of 
preservation.     Of  the  art  of  the   great  landscape 


We  are  reproducing  three 
paintings,  by  Ter  Borch, 
Metsu  and  Cuyp  respec- 
tively, which  form  part  of 
the  twenty-two  new  pictures 
added  by  Mr.  Max  Michaelis 
to  his  gift  of  pictures  by 
Dutch  masters  of  the  seven- 
teenth century  to  the  Union 


LOCKETS   AND   BROOCHES   WITH    FIGURES   E.MliROlDERED   IN    SILK,  DESIGNED  BY 
BYAM   SHAW  AND   EXECUTED   BY  JESSIE   GREGORY 

61 


studio-  Talk 


painter,  Philip  de  Koningh,  there  is  a  magnificent 
specimen,  showing  one  of  those  extensive  views  of 
countrj'  under  the  transforming  eflfects  of  April 
weather  in  which  that  master  excelled.  Other 
paintings  are  a  fine  Em;uiucl  de  Witte,  InUrior  of 
the  Nieuwekerk,  Delft ;  two  important  sea-pieces  of 
^'an  Goyen  ;  an  exquisite  work  by  \'an  de  Velde, 
besides  works  by  Jan  Both,  Hrekelenkam,  Hobbema, 
Ostade,  Saenredam,  Van  der  Neer  and  Jan  Wyck. 
There  is  also  a  work  by  Du  Jardin,  The  Start  for 
Jfau'khig,  from  the  Hope  collection,  of  which 
Smith  says  :  "  It  is  impossible  to  commend  too 
highly  this  exquisite  work  of  art."  The  landscape 
by  Cuyp,  which  we  are  reproducing,  is  very  expres- 
sive of  the  national  genius  in  landscape,  in  its 
simplicity,  its  sense  of  the  mystery  and  beauty  of 
indefinite  horizons  and  its  feeling  for  the  human 
element  in  landscape  compositions. 


of  his  1640  period,  and  a  remarkably  fine  example. 
The  picture  fetched  in  the  Demidoff  sale  in  1880 
the  highest  sum  that  had  hitherto  been  obtained 
for  a  Dutch  picture,  and  by  the  curious  expressive- 
ness of  the  face  it  has  aroused  the  enthusiasm  of 
artists  and  writers.  In  a  national  collection,  how- 
ever, it  is  important  that  the  student  should  be 
protected  from  every  suspicion  that  his  study  of  a 
single  work  standing  in  the  name  of  so  great  a 
master  may  end  in  deception.  The  generous 
donor,  Mr.  Max  Michaelis,  has  had  the  single 
aim  of  acquiring  the  best  that  modern  connoisseur- 
ship  could  secure  for  the  inauguration  of  a  National 
Gallery  in  a  country  whose  interests  he  has  deeply 
at  heart.  There  is  no  doubt  that  there  never  has 
been  a  national  collection  founded  before  upon 
work  which  so  helped  to  express  the  history  and 
character  of  its  founders,  or  a  modern  gallery 
opened  with   a   nucleus  collection  of  greater  im- 


The  Portrait  of  a  You/ig 
U'omtin  by  Rembrandt, 
which  formed  a  part  of  the 
collection  when  recently 
exhibited  at  the  Grosvenor 
Gallery,  has  been  with- 
drawn by  Sir  Hugh  Lane 
— the  maker  of  the  collec- 
tion— on  account  of  an 
attack  by  a  well-known 
writer,  and  the  twenty-two 
works  referred  to  above 
take  its  place.  They  make 
the  collection  extremely 
representative  of  the  art  of 
the  period  with  its  many 
facets,  and  it  cannot  be 
doubted  that  the  particular 
purpose  which  the  collec- 
tion is  intended  to  fulfil  is 
assisted  by  the  exchange. 
Since  the  transfer,  the 
Portrait  of  a  Young 
Woman  has  been  cleaned 
by  the  eminent  Professor 
Hauser,  of  the  Kaiser- 
Friedrich  Museum,  a  fine 
connoisseur  of  Rem- 
brandt's work.  It  has 
been  pronounced  by  him, 
also  by  the  still  better 
known  authority  on  Rem- 
brandt, Dr.  Bode,  and  by 
Dr.  Frielander,  to  be  un- 
(jucstionably  a  Rembrandt 
62 


"  l-ORTKAIT   OK   A    LAUV  " 


UV   UKKAKU  TEK    BOKCII 


'THE  DESSERT."     BY 
GABRIEL  METSU 


> 

D 

H 

< 


< 
u 

c/) 

Q 

< 


studio-  Talk 


portance.  It  reflects  the  greatest  honour  upon  the 
giver  and  Sir  Hugh  Lane,  who  co-operated  with 
him  in  the  scheme.. 

BERLIN.— Robert  F.  K.  Scholtz  is  one  of 
the  rising  masters  of  etching  in  Germany, 
an  art  which  is  making  great  head- 
way here,  many  new  devotees  making 
their  appearance,  while  artists  who  have  long  since 
earned  a  reputation  in  this  field  are  resuming 
practice  of  the  art  with  renewed  zest.  Scholtz  hails 
from  Dresden  and  is  the  son  of  one  of  the  higher 
judges  of  Saxony,  his  mother  being  English.  He 
studied  at  Budapest,  at  the  Dresden  Academy,  and 
under  Carl  Marr,  at  Munich,  and  since  then  he  has 
travelled  in  many  countries.  After  devoting  the 
earlier  years  of  his  career  almost  exclusively  to 
portrait  painting  he  entered  the  ranks  of  etchers  in 
1 90 1,  and  the  number  of  his  plates  is  now  not  far 
off  a  hundred.     A  real  son  of  the  impressionistic 


age,  he  finishes  his  plates  in  the  presence  of 
nature.  His  aim  is  always  the  epigrammatic 
expression,  the  strong  and  immediate  effect.  There 
is  always  a  feeling  of  freshness  in  his  renderings 
of  scenery,  and  his  facial  studies  and  architectural 
motifs  show  that  he  is  capable  of  manipulating 
his  needle  with  much  delicacy.  He  settled  in 
Berlin  some  few  years  ago  and  now  divides  his  time 
between  the  capital  and  a  rural  retreat  at  Lands- 
berg  on  the  Lech.  J.  J. 


Walter  Hauschild  has  earned  a  well-deserved 
reputation  in  Germany  as  a  sculptor  of  talent  and  his 
name  is  known  too  beyond  the  boundaries  of  his 
native  country.  Born  in  1876,  he  began  his  artistic 
career  in  Leipzig  in  the  year  1893,  when  besides 
attending  the  art  school  of  the  town  he  went 
through  a  practical  course  of  stone  cutting  in  order 
to  better  equip  himself  for  his  future  career.  How 
important  this  training  was  may  be  seen  from  the 


^^^■"?£5^^ ''^'^ 


■.oiK     - 


.■!ji^;^.^A.ta:L^.j^-aiyx.,.:q 


'VILLAGE    CHURCH   AND   PARSONAGE" 


ETCHING    BY   ROBERT   F.    K.    SCHOLTZ 


(By  pennission  of  Messrs.  Anisler  and  Rulhardt,  BerUii) 


65 


f"<r 


"I'Ul'LAR-TRKi:."      FROM   AN   ETCHING 
BY   ROBERT   E   K.   SCHOLTZ 


(  By  frrnihsion  of  Messrs.  Amsler 
and  A'lithardt,  bcrtin) 


studio-  Talk 


work  he  is  now  doing,  for  Hauschild  carries  out  all 
his  productions  in  bronze  or  stone  by  himself,  in 
addition  to  which  he  is  a  skilful  worker  in  wood. 
As  has  already  been  mentioned  in  this  magazine, 
wood-sculpture  has  been  attracting  very  much 
attention  of  late  in  Germany,  and  last  year,  it  will 
be  remembered,  this  branch  of  work  was  a  special 
feature  of  the  Grosse  Berliner  Kunstausstellung. 
The  bust  of  the  artist's  wife  reproduced  on  p.  68 
was  showTi  on  this  occasion. 


Hauschild  is  a  pupil  of  the  great  animal  sculptor 
Prof.  Reinhold  Begas,  and  as  will  be  naturally 
inferred  from  that  fact,  he  has  himself  paid  special 
attention  to  the  same  subject.  He  is  particularly 
fond  of  modelling  birds  in  quaint  and  curious  atti- 
tudes but  nevertheless  true  to  nature,  and  various 
e.xamples  of  these  have  been  acquired  by  public 
collections.  He  has  taken  a  prominent  part  in  many 
important  competitions  for  monumental  designs 
and  has  been  the  recipient  of  numerous  prizes  in 
connection  therewith.  Among  the  accompanying 
illustrations  is  shown  his  premiated   design  for  a 


monument  to  Rudolf  Virchow  in  Berlin,  on  the 
principal  face  of  which  is  a  relief  portrait  of  the 
great  scientist,  surmounted  by  a  reclining  figure 
intended  to  represent  suffering  humanity,  while 
the  two  erect  figures  symbolise  "  Science "  and 
"  Humanity"  respectively.  In  a  more  recent  com- 
petition he  secured  the  first  prize  and  commission 
for  a  monument  to  King  Albert  at  Bautzen.  It 
should  be  remarked,  apropos  of  such  competitions 
generally  in  Germany,  that  much  good  work  is  sent  in 
which  is  afterwards  lost  sight  of  because  no  provision 
is  made  for  the  carrying  out  of  the  design.  The 
system  is  to  be  deplored,  especially  as  it  deters 
many  young  artists  of  talent  from  participating  on 
the  score  of  the  large  expense  entailed. 


Finally  it  should  be  mentioned  that  Hauschild 
has  produced  numerous  models  for  fountains, 
among  which  one,  a  characteristic  design  for  a 
fountain  to  be  set  up  in  the  market-place  of  an  old 
town,  should  be  specially  signalised  on  account  of 
the  charming  relief  which  forms  part  of  it.  He  has 
struck  out  a  path  for  himself  and  it  is  due  to  his 


"scherzo"  (relief  for  a  fountain) 


BY   WALTER   HAUSCHILD 


67 


Sfndio-  Talk 


roKTKAII'    BUST    IN    Wiiul)   ill-'    THE   ARTISTS   WIKK 

BY  WALTKR    IIAUSCHI1.I) 


MONUMENT  TO   RUDOLF   VIRCHOW 
68 


BY    WALTER    IIAUSCHILlk 


studio-  Talk 


at  Rome  last  year,  and  the  Perseus  and  two  other 
of  his  statues  were  chosen  for  the  exhibition  at 
Venice.  His  bust  of  his  aunt  Donna  Adelaide 
Maraini,  herself  a  noted  sculptress,  was  shown  at 
the  recent  Secession  Exhibition  in  Rome.  In 
trying  to  revive  the  use  of  stone,  Maraini  has  done 
successful  work  in  tufa  and  travertin,  and  the  study 
of  the  various  materials  for  sculpture  and  the  neces- 
sary technique  fit  for  their  peculiar  characters  is, 
for  him,  the  subject  of  continual  experiment. 

Y.  P. 

PARIS. — One  of  the  most  interesting 
exhibitions  of  the  past  season  was  that 
of  a  collection  of  Impressionist  works 
shown  at  the  Manzi  Joyant  Galleries, 
rue  de  la  Ville  I'Eveque,  the  largest  and  best 
arranged  exhibition  rooms  in  Paris.  We  have  seen 
very  many  examples  of  Impressionism  these  last 
few  years,  but  what  is  interesting  for  art-lovers  is  to 
choose  from  anioncr  them  those  which  are  of  the 


DUST  OK   DONNA   ADELAIDE   MAKAINI 

liV   ANTONIO   MARAINI 


talent  and  unflagging  perseverance  that  his  name 
is  now  found  in  the  front  rank  of  contemporary 
German  sculptors.  W.  E.  W. 


F 


'^  LORENCE.  —  Of  the  younger  Italian 
artists  the  name  of  Antonio  Maraini  has 
been  brought  lately  into  particular  notice 
by  the  fact  that  he  has  won  a  competition 
with  his  model  of  a  statue  in  memory  of  the  great 
tragic  actress  Adelaide  Ristori.  The  competition 
was  international,  and  amongst  the  fifty  artists 
who  competed  were  many  well-known  sculptors. 
Maraini,  who  was  competing  for  the  first  time, 
received  the  favourable  vote  of  all  the  judges.  His 
monument  is  very  original  in  design.  Two  columns 
of  marble,  standing  on  a  pediment  of  rough  stones, 
and  supporting  enormous  bronze  masks,  form  the 
figure  of  Ristori  as  Medea.  The  monument  is  to 
be  put  up  at  her  birthplace — Cividale  del  Friuli. 

Maraini  began  his  career  as  a  sculptor  only  a 
few  years  ago,  exhibiting  a  statue  of  Perseus — his 
first  work — at  the  Universal  Exhibition  at  Brussels, 
in  1 910.  With  this  he  won  the  silver  medal. 
After  this  success  he  worked  under  Zanelli  at  the 
beautiful  bas-relief  of  the  "  Altar  of  the  Fatherland  " 


»^    !fr? 


-1 

I 


SKETCH    MODEL   FOR    MONUMENT  TO   RISTORI 

BY   ANTONIO   MARAINI 


69 


"MATERNITlt."     HV   MARY  CASSATT 


(Mann  Joyaul    CalUrits, 
Paris.— Photo,  E.  Druel) 


studio-  Talk 


highest  merit.  Just  such  a  selection  as  this  was 
made  by  the  organisers  of  this  exhibition.  Manet, 
Monet,  Pissarro,  Sisley.,  Guillaumin,  Degas,  Renoir, 
Lautrec,  Cassatt  and  Morisot  were  all  represented 
by  works  of  unquestionably  premier  order.  By 
Manet  there  was  a  little  scene  Les  ctitdiants  de 
Salamanque  which  has  the  finished  beauty  of 
a  masterpiece  of  the  Dutch  school,  also  a  very 
fine  portrait  of  his  sister-in-law,  and  a  superb  little 
sketch  for  r Execution  de  Maximilien.  Three  works 
by  Toulouse  Lautrec,  in  particular  the  Bal  public, 
showed  him  to  be  one  of  the  most  spirited  realists 
of  our  times.  Degas  was  represented  by  some  of 
his  most  beautiful  pastels,  among  them  an  excellent 
Portrait  de  Rejaiie  :  Monet  and  Sisley  by  various 
landscapes,  all  of  first-rate  importance,  and  there 
were  hung  also  a  score  of  pictures  by  Renoir, 
figures,  portraits,  landscapes,  still-life  and  flower- 
pieces,  in  all  of  which  this  artist  appeals  by  his  great 
gifts  as  a  colourist. 


Mary  Cassatt  and  Berthe  Morisot  are  the  two 
women  painters  of  the  Impressionist  group  who 
have  given  proof  of  the  greatest  talent,  and  during 
the  last  twenty  years  their  work  appears  to  have 


been  daily  better  understood  and  appreciated. 
Both  are  assuredly  great  artists.  Miss  Cassatt  was 
particularly  well  represented  in  this  exhibition,  and 
her  important  works  depicting  young  women  and 
children  seen  in  sunny  gardens,  are  of  delicate 
sensibility  and  at  the  same  time  fresh  and  seductive 
in  execution.  Some  delightful  examples  of  the  art 
of  Berthe  Morisot  were  also  hung.  Lastly  the 
work  of  Guillaumin  was  a  prominent  feature  of 
this  exhibition.  His  art,  at  times  very  violent, 
is  not  always  understood,  and  his  productions  are 
numerous  and  unequal.  Messrs.  Manzi  Joyant's 
selection,  however,  afforded  us  the  spectacle  of 
some  most  attractive  bits  of  colour.  The  exhibi- 
tion as  a  whole  proved  how  much  the  finest 
examples  of  Impressionism  have  in  common  with 
the  most  classic  art,  and  showed  how  the  Impres- 
sionist painters  take  their  place  in  history  beside 
the  masters  of  the  past. 


As  a  general  rule  we  have  no  art  exhibitions  in 
Paris  during  the  summer,  and  all  the  galleries  are 
closed.  This  year,  however,  there  was  a  very 
interesting  exhibition  at  the  Bagatelle  of  the 
Societe  des  Amis  de  Neuilly.     Many  of  the  painters 


"THE   CHRISTENINt;  "    ( WOOD-SCULrTURE) 


(See  Stockholm  Studio-  Talk,  next  t>age) 


BY   AXEL    PETTERSON — DODERHULT 


71 


studio-  Talk 


wlio  showed  here  undLr  tiie  prcsiilemy  of  M. 
Maurice  (iuillemot  figure  also  at  the  Salon,  so  that 
this  is  not  the  place  to  refer  in  detail  to  their  works, 
but  a  special  mention  should  be  made  of  the 
retrospective  collection  of  pictures  by  John  Lewis 
Hruwn.  This  artist,  who  lived  during  the  second 
half  of  the  nineteenth  century,  was  the  friend  of 
Manet  and  of  Degas,  and  is  somewhat  closely  akin 
artistically  to  the  former  of  these  painters,  whose 
vigorous  blacks  and  decided  contrasts  may  be 
found  in  his  works  also.  J.  L.  Brown  was  par 
excelknce  the  painter  of  sport  and  hunting.  His 
canvases  depict  the  races,  horses  at  exercise, 
mounted  officers,  coaches  on  the  road  or  on  parade, 
and  stags  or  boars  being  hunted  through  the  woods^ 
and  they  form  admirable  documents  ;  but  not 
merely  this,  for  the  artist  gives  proof,  furtluriiiore, 
of  admirable  ability  as  a 
landscapist. 


s|mce  allotted  to  private  exhibitors.  Patterson, 
who  is  generally  called  "Dbderhult"  after  his 
birthplace,  carves  in  wood  grotesque  caricatures 
of  certain  types  of  our  people  whose  figures  have 
not  profited  by  the  exercise  of  Ling's  gymnastics 
and  whose  picturesqueness  is  due  to  the  v.irious 
expressions  given  to  these  bodies  by  fatiguing  toil, 
indolent  abwidance,  dulness  of  intellect,  and  souls 
confined  and  bitter.  His  work  is  the  reveni;e 
taken  on  society  by  a  genial  but  heartless  wizard. 
But  deep  down  in  his  soul  we  catch  a  glimpse  of 
the  repressed  love  hidden  there  :  we  see  it  directi  d 
towards  animals  whose  forms  he  reproduces  wiih 
powerful  yet  sensitive  touches.  A.  G. 


Miss    Alice    Nordin's   sculpture    has   for   years 


In  the  galleries  of  M. 
Marcel  Bernheim  there 
were  shown  recently  some 
excellent  pictures,  and 
among  them  I  remarked 
particularly  the  work  of  a 
young  artist,  M.  Giroust, 
■who  appears  to  me  to  have 
a  very  brilliant  future  be- 
fore him.  He  handles 
Xoiiac/ie  most  cleverly,  and 
one  finds  in  his  works  those 
superb  qur.iities  which 
characterised  the  masters 
of  this  medium  in  the 
eighteenth  century.  M. 
Giroust  paints  for  the  most 
l^art  lamlscapes,  to  which 
he  brings  an  exquisite  note 
of  imagination  and  fanta.sy. 
I  shall  assuredly  have  oc- 
casion to  refer  again  to 
this  arti.st.  H.    F. 

STOCKHOLM.— 
At  Hallin's  Art 
Gallery  a  few 
months  back  Axtl 
I'etierson,  a  self-taught 
sculptor  from  the  parish  of 
Dbderhult  in  the  south- 
east of  Sweden,  shared 
with  the  painter  Gunnar 
Hallstrbm  the  restricted 
72 


'lim.DRP.N    WATIIIINU    A    l-IICIIl    cil      WHO   CKKSK 


IIY    ALU  K    NoKIHN 


Studio-Talk 


"crocus' 


BY   ALICE    NORDIN 


past  been  an  attractive  feature  of  art  exhibitions  in 
Stockiiulm,  and  any  one  who  compares  her  work 
of  seven  or  tight  years  ago,  when  some  examples 
were  reproduced  in  these  pages,  with  what  she  is 
doing  at  the  present  day  will  perceive  tliat  she  has 
not  stood  still.  Her  group  of  three  children  in- 
tently watching  a  flock  of  wild  geese  winging  their 
way  high  above  their  heads,  reveals  at  once  her 
technical  mastery  of  the  plastic  medium  and  her 
true  womanly  sympathy  with  child  life,  while  her 
figure  of  Crocus  displays  in  no  less  degree  her 
appreciation  of  graceful  form  and  the  imaginative 
vein  which  is  a  characteristic  of  so  much  of  her  work. 


Miss  Nordin  has  executed  a  large  number  of 
portrait  busts,  and,  indeed,  her  career  has  been 
a  very  busy  one  ever  since  she  left  the  Academy 
on  the  completion  of  her  training  some  sixteen 
years  ago,  when  she  received  from  diat  body  the 
much  coveted  Royal  Medal  for  her  Spring  Dream. 
On  leaving  the  Academy  she  spent  some  time  in 
Paris  and  Rome  ;  in  the  French  capital  she  worked 
under  Injalbert  in  the  Colarossi  .Studios,  and 
always  looks  back  to  this  time  as  the  real  com- 
mencement of  her  art  career.  T.  R. 


COPENHAGEN. —  Mile.  Helen  Dohl- 
mann  is  a  young  Danish  sculptress 
who  has  studied  in  Paris  and  attracted 
a  flattering  attention  at  the  Salon  with 
one  or  two  exhibits.  TIic  Little  Flute-Player,  (;f 
which  an  illustration  is  given  below,  is  one  of 
her  more  modest  efforts,  but  shows  to  advantage 
iier  careful  study  and  a  certain  self-contained 
sense  of  humour.         

There  seems  to  be  springing  up  what  may  almost 
be  called  a  cult  of  the  cushion,  a  revival  which  the 
present  scribe  for  one  hails  with  pleasure,  inasmuch 
as  the  cushion,  skilfully  de.signed  and  worked, 
fulfils  a  mission,  albeit,  a  modest  mission,  in 
making  the  home  beautiful.  Several  Continental 
countries  can  show  charming  results  in  this  con- 
nection and  amongst  these  Denmark  may  claim 
her  place.  On  p.  74  are  given  illustrations  of  three 
cushions  all  designed  by  Mr.  Christian  Permin, 
whose  work  is  marked  by  a  pleasing  self-contain- 
ment, both  in  the  matter  of  line  and  colour.  The 
first  of  the  three  is  of  straw-coloured  silk,  the 
embroidered  flowers  are  a  clear  yellow,  and  the 
leaves  a  greyish-green  toned  down  so  as  not  to  clash. 


"THE    I.ITTI.E    FI.l'TE-I'LAVER  " 

liV    HELE.N    DOIII.MANN 

73 


Sf/tdio-  Talk 


BMBROIDERED  CUSHION 


BY   CHRISTIAN    TERMIN 


The  second  cushion  is  of  plum-coloured  cloth,  the 
basket  and  flowers  being  of  a  n^ellow  golden  colour 
held  like  the  green  leaves,  in  intermediate  tones  and 
softly  harmonising  with  the  quiet  ground  colour. 
The  ground  of  the  third  is  black  satin,  and  the 
wreath  is  worked  in  yellowish-green  hues.  The 
central  ornamentation  consists  of  lavender-coloured 
bell-shaped  flowers,  the  leaves  being  a  cold  whitish- 
green.  The  effect  of  this  cushion  is  enhanced  by 
the  contrast  between  the  cold  tones  of  the  centre 
and  that  of  the  wreath.  G.  B. 

BUDAPEST. — The  piece  of  tapestry  repro- 
duced on  the  opposite  page  was  designed 
by  the  well  known  Hungarian  artist 
Alddar  Kriesch-Korosfoi  and  is  a  tender 
and  poetical  illustration  of  an  old  Hungarian  legend 
which  tells  of  Argirus  Kiralyfi  and  Tiinder  Ilona. 
King  Argirus  fell  in  love  with  a  beautiful  maiden 
whose  mawellous  golden  hair  fell  in  thick  strands 
to  her  feet.  In  this  lay  her  great  power  to  charm 
the  king's  love ;  it  was  death  to  his  love  and  to  her 
should  harm  happen  to  it.  Tiinder  Ilona  (Tiinder 
means  a  wicked  fairy)  was  well  aware  of  this,  and 
jealous  of  the  king's  love  for  an  unknown  maiden 
she  crept  stealthily  into  the  garden  one  day  when 
the  king  and  maiden  were  lying  asleep  in  each 
other's  arms  and  with  her  long  shears  cut  off  a 
thick  tress  of  her  hair,  and  ever  afterward.s,  .so  the 
story  goe.s,  King  Argirus  wandered  lonely.  The 
colour-scheme  of  the  tapestry  is  well  in  tone  with 
the  beautiful  legend,  it  being  yellow,  green,  and 
blue.  It  has  been  exquisitely  woven  by  Mr. 
Belmont,  a  Swedi.sh  artist  who  passed  some  years  in 
Paris,  where  he  made  some  mark  as  an  artist.  Hut 
weaving  appealed  much  to  him  and  he  finally 
74 


determined  to  join  the  artist's  colony 
at  Godollo,  where  he  is  able  to  pursue 
his  art  and  his  love  of  the  simple  life  at 
the  same  time.  He  dyes  all  his  own 
wools  and  passes  his  days  at  the  looms. 
He  and  Alddar  Kriesch-K6r6sf6i  are 
well  suited  to  work  in  unison ;  both 
are  in  close  sympathy,  and  together 
they  have  created  some  very  beautiful 
tapestries.  The  example  reproduced 
has  been  acc}uired  by  the  Hungarian 
Government.  Its  design  is  refined  in 
sentiment  without  being  sentimental ; 
it  has  a  grace  and  a  charm  entirely 
in  keeping  with  the  legendary  lore 
whence  its  motif  is  derived,  and  it  has, 
beside.s,  a  form  and  character  peculiarly 
its  own.  A.  S.   L. 


EMIlKOIDKREIl   CUSHIONS 


liV    tllKlMlAN    I'KRMIN 


Shidio-  Talk 


HAMBURG.— The  fifth  Graphic  Art 
exhibition  of  the  Deutscher  Kiinstler- 
bund  at  the  Commeter  Galleries  pre- 
sented to  amateurs  and  collectors  of 
modern  art  an  interesting  series  of  etchings,  dry- 
points,  lithographs,  woodcuts  and  drawings.  Max 
K  linger  (portraits  of  Counts  Leopold  and  Johann 
von  Kalckreuth  and  of  the  poet  Stephan  George), 
Count  Kalckreuth.  Emil  Orlik,  Max  Liebermann, 
Hans  Olde  and  Carl  Moser  were  conspicuous,  and 
among  the  younger  generation  of  German  draughts- 
men I  may  mention  Shinnerer,  Hans  Meid,  Max 
Oppenheimer,  Ernst  Oppler,  Fr.  Weinzheimer, 
Marcus  Behmer,  Greve-Lindau,  Arthur  lilies 
(portrait-etching  of  1  )etler  von  Liliencron  and 
Otto  Ernst),  Ludwig  Kainer  and  Ingwer  Paulsen. 
Moritz  Melzer  was  awarded  the  \"illa  Roniana 
prize  (one  year's  study  at  Florence)  for  a  collection 


of  coloured  woodcuts  giving  expression  to  a 
whimsical  conceit  in  looking  at  potteries,  earthen- 
ware and  glazed  majolica 


Ludwig  Kainer's  drawings  of  the  Russian  dancers 
Karsavina,  Rolm  and  Nijinsky.  were  notable  for 
instantaneous  grasp  of  rhythm  and  rapid  move- 
ment, combined  with  a  little  sprinkling  of  vivid 
colour.  Ingwer  Paulsen's  large-sized  architectural 
etchings,  embodying  the  results  of  visits  to  Venice 
and  Belgium,  showed  distinct  proof  of  a  growing 
depth  of  percei>tion  and  technical  skill,  while  Ernst 
Oppler  chose  similar  motives  to  those  of  Kainer  in 
his  fine  etchings  The  Spirit  of  the  Rose  and  the 
Russian  Ballet  of  Anna  Pavlova.  Among  the  lady 
artists,  ^Largerete  Geibel's  coloured  woodcuts  of 
Weimar  interiors  with  their  classic  reminiscences, 
Margerete  Havemann's  Blankenese  (Lower  Elbe), 


'THE   EAKI.V   MORMNC.   BOAT,    HAMBl'RC    HARBOUK  " 
76  '        "^  • 


IIV   SKl.I.A    IIASSK 


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Stifdio-  Talk 


and  Sella  Hasse's  humorous  etchings  of  workmen 
hastening  to  their  work  on  a  misty  morning  in 
Hamburg  harbour  should  be  mentioned. 


Oscar  Graf  showed  great  earnestness  and 
breadth  of  vision  in  his  large  etchings  of  The  Old 
Toivn  Gate,  a  dramatic  version  of  The  Crucifixion, 
and  a  laJidscape,  Approaclting  Storm,  here  repro- 
duced. Most  of  the  artists  living  in  or  around 
Hamburg  are  taking  a  growing  interest  in  local 
motives.  Kasimir  Hoernes  presented  a  spirited 
black-and-white  lithograph  of  the  Lombard  Bridge 
and  a  view  of  the  Alster  ;  Carlos  Grethe,  a  winter 
park  scene  along  the  Elbe  and  ///  the  Harbour ; 
A.  del  Hianco,  views  and  momentary  impressions  of 
street  scenes  by  the  water-side ;  Oscar  Bogel, 
Floating  Docks  and^  Courtyard  in  the  Old  Town  ; 
while  von  Ruckteschell  and  Schaper  gave  portrait- 
drawings  and  etchings  of  notable  Hamburg  per- 
sonaJities,  such  as  Burgomaster  Burckhard  and 
Rektor  A\olgast.  W.  .S. 


GHENT. — The  very  great  success 
achieved  by  the  British  Section  of 
applied  art  in  the  Ghent  Exhibition  is 
not  really  so  astounding  when  one 
realises  that  never  before  has  so  complete  and 
so  important  a  collection  of  this  kind  been  pre- 
sented. The  Studio  has  already  illustrated  in 
connection  with  the  recent  exhibition  of  the  Arts 
and  Crafts  Society  at  the  Grosvenor  Gallery  in 
London  a  large  number  of  the  works  shown  here  ; 
and  in  the  last  June  issue  an  article  was  devoted  to 
the  room  containing  the  mural  decorations  and 
furniture  designed  by  Mr.  Frank  Brangwyn.  So 
therefore  we  think  it  will  suflfice  if  we  show  now 
some  general  views  of  the  section,  from  which 
it  may  to  some  extent  be  appreciated  with  what 
care  and  with  what  taste  this  section  has  been 
arranged.  

On  the  occasion  of  the  Exhibition  of  Religious 
Art  organised  last  year  by  M.  Eierens-Gevaert  at 


INTERIOR   OF   CHl'RCH    AKKANCKK    IIV    IIKNKV    WII.SUN    IN    TlIK   IIRITIiill    ARTS   AND  l  RAFTS  SECTION    Al    1HK  lillK.M 

INTERNATIONAL   ICMIIBITION 


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studio-  Talk 


the  Salon  de  Bruxelles,  Belgian  connoisseurs  and 
amateurs  (Tart  made  the  acquaintance  of  the 
great  English  artist-decorator  Henry  Wilson.  The 
chapel  or  temple  which  he  has  constructed  here  and 
the  wonderful  pieces  of  work  shown  in  a  special 
glass  show-case  have  served  to  confirm  his  new 
admirers  and  friends  in  their  appreciation  of  his 
talents.  Enamels  and  jewellery  by  Messrs.  Fisher, 
Stabler,  Cooper,  Nelson  Dawson  and  Mr.  and  Mrs. 
Gaskin  are  to  be  found  in  cases  near  by.  Walter 
Crane  and  R.  Anning  Bell,  those  fertile  artists  who 
have  brought  so  much  of  art  into  daily  life,  are 
represented  here  by  paintings,  sculpture  and  reliefs 
in  painted  gesso,  cartoons  for  stained  glass,  designs 
for  book  illustrations  and  for  ex-libris. 


The  sculptors.  Sir  George  Frampton,  Sir  W. 
Goscombe  John,  Derwent  Wood,  Alfred  Drury, 
and  Gilbert  Bayes  contribute  various  works  all  of 
which  are  agreeably  disposed  in  the  exhibition. 
There  are  also  drawings,  cartoons  and  paintings  by 
Sir  Edward  Burne-Jones,  Sir  L.  Alma-Tadema, 
Prof.  Gerald  Moira,  F.  Cadogan  Cowper,  Henry  A. 


Payne,  and  Karl  Parsons ;  embroideries  by  Miss 
Una  A.  Taylor,  Miss  Ann  Macbeth  and  Miss  May 
Morris ;  ceramics  by  AVilliam  de  Morgan,  the 
Pilkington  Company,  Bernard  Moore,  Alfred  H. 
Powell,  F.  D.  Ewbank,  W.  Howson  Taylor  of 
Ruskin  Pottery  fame,  and  the  Martin  Brothers, 
some  wonderful  glassware  by  Powell  and  Sons, 
leatherwork  by  Harrison,  wall-papers  by  Jeffrey  and 
Co.,  leadwork  by  G.  P.  Bankart,  fans  by  Conder 
and  Sheringham,  sumptuous  stuffs  by  Morris,  and 
furniture  by  Morris,  Gimson  and  Heal. 

Lastly,  the  important  section  of  books  comprises 
manuscripts  by  Graily  Hewitt,  A.  \'igers.  Miss 
Harper  and  Miss  Frost;  illustrations  by  Walttr 
Crane,  Anning  Bell,  Edmund  J.  Sullivan,  Charles 
Robinson,  Edmund  1  )ulac ;  bookbindings  by 
Cobden  Sanderson,  D.  Cockerell,  Miss  Prideaux, 
Miss  Adams,  and  exhibits  by  the  Kelmscott  Press, 
the  Eragny  Press  of  M.  Pissarro,  and  the  Riccardi 
Press.  In  conclusion  let  me  add  that  to  aid  the 
public  in  the  study  of  the  exhibits  the  section  has 
two  admirable  commissioners,  Mr.  A.  A.  Lonuden 


THE    "stork"   chamber   OF  THE    NISHI    HONGWANJI,    A   BUDDHIST   TEMPLE   AT   KYOTO 
(See  Kyoto  Studio-  Talk,  next  page) 


8i 


studio-  Talk 


"CRANES"  BV    I'lEN    CHI.NC-CHAO 

and  Mr.  Palgrave  Simpson,  representing  the  P^xhibi- 
tions  Branch  of  the  Board  of  Trade,  whose  zeal  and 
courtesy  are  most  highly  commended  by  all  visitors 
to  the  exhibition.  Fernand  Khnopff. 

KYOTO. — No  incident  has  aroused  so 
much  interest  in  the  art  world  of  Japan 
during  the  last  few  years  as  the  recent 
sale  of  the  treasures  of  the  Lord-Abbot 
of  the  Nishi  Hongwanji,  the  chief  tenijile  of  the 
western  branch  of  the  Hongwanji  sect  of  Buddhists, 
which  was  erected  by  command  of  the  great 
Hideyoshi  in  1591.  Connoisseurs  from  all  parts  of 
the  country  came  to  Kyoto  and  thronged  around 
the  treasures  like  ants  round  a  heap  of  sugar.  The 
objects  were  divided  into  three  lots,  and  sold  on 
three  different  ocaisions.  In  all  some  two  thousand 
six  hundred  items  were  disposed  of,  comprising 
82 


drawings,  paintings,  and  autographs,  in  the  form  of 
kakemono  (hanging  pictures),  vtakimono  (rolls),  gajo 
(books  of  painting),  hyobu  (folding  screens)  ;  tables, 
stands,  suziiri-bako  (ink-cases),  fiimi-bako  (boxes  to 
carry  messages  in),  and  cabinets  in  lacquer  or 
inlaid  with  mother-of-pearl ;  articles  used  in  the 
tea  ceremony,. such  as  jars  to  keep  powder  tea  in, 
tea  bowls,  tea  scoops,  iron  kettles,  bronze  vessels 
for  water,  incense  boxes  and  burners,  as  well  as 
flower  vases,  okimono  (ornaments),  hanging  lanterns, 
gold-lacquered  saddles,  laccjuer  trays  and  bowls, 
and  even  arms  and  armour. 


The  sales  took  place  in  the  temple  itself.  The 
works  of  art  were  displayed  in  the  "Wild  Geese" 
chambers,  the  "  Chrysanthemum  "  chamber,  the 
suite  of  rooms  known  as  Shiro-Join  :  the  "  Stork  " 


"l.ANhSCAl'E' 


IIV   CIIIANC   CHIA-rU 


studio-  Talk 


"peacock"  BV   YOSUIMURA   KOKEl 

chamber,  the  "Wave"  chamber,  and 
several  other  smaller  rooms,  each  deriving 
its  name  from  the  subject  of  its  mural 
decoration.  The  intimate  association  of 
the  treasures  with  the  temple,  and  the 
sacred  atmosphere  of  the  rooms  served  to 
invest  each  article  displayed  with  a  certain 
air  of  authority,  which  was  no  doubt  very 
advantageous  from  the  selling  point  of  view  ; 
it  had,  however,  this  disadvantage,  that  the 
gorgeousness  of  the  mural  decoration  over- 
shadowed the  works  of  art  displayed.  It 
must  be  remembered  that  the  temple  is  no 
less  than  a  palace  in  the  exceptional  splen- 
dour of  the  rooms.  The  chambers  have 
excellent  wood-carvings  for  the  ramma 
(ventilating  panels  near  the  ceiling).  The 
fusuma  (sliding  screens),  walls,  ceilings  and 


cedar  doors  have  been  painted  by  such  famous  artists 
as  Kano  Ryokei,  Kaihoku  Yusetsu,  Kano  Hidenobu, 
Kano  Rvotatsu,  Kano  Koi,  Yoshimura  Kokei,  Kano 
Tannyu,  Kano  Eitoku  and  others.  Indeed,  nowhere 
else  can  the  decorative  genius  of  the  Kano  school  be 
seen  to  such  advantage.  Although  the  walls  and 
fusuma  were  pretty  well  covered  with  the  kakemono 
and  I'voIhi  offered  for  sale,  what  there  remained  exposed 
of  their  rich  paintings  in  subdued  gold  and  deep-toned 
green  gunjo  had  a  mysterious  power  of  captivating  the 
eyes  of  the  spectators,  and  of  belittling  the  objects 
displayed  in  front  of  them. 


A  pair  of  gold  screens  painted  by  Ogata  Korin, 
which  appeared  in  the  first  sale,  has,  perhaps,  created 
the  greatest  sensation.  The  subject  is  the  iris,  and  the 
composition  is  simple,  but  the  grouping  is  excellent 
and  the  treatment  bold  and  effective.     These  screens 


'  LANDSCAPE 


BY    PIEN    CHING-CHAO 


83 


Art  School  jVotes 


received  by  far  the  highest  bid  at  the  sales— 105,000 
yen  (;£' 10.500),  and  it  is  understood  that  they  have 
been  presented  to  the  temple.  .\n  autograph  poem 
by  .Saigyo,  a  famous  priest  of  old,  another  famous 
autograph  yioem  by  Ogura,  an  historic  small  tea 
jar  with  a  romantic  name  and  a  small  bronze  water- 
jar  once  in  the  Im|)erial  use,  brought  enormous 
prices.  Maruyama  Okyos  Music  and  the  Moon, 
a  kakemono  of  ordinary  size,  fetched  more  tlian 
^"1000,  and  there  was  some  good  work  from  the 
brushes  of  Sesshu,  Cho-densu,  Shubun,  Rosetsu, 
Kokei  and  other  Japanese  artists  of  note,  as 
well  as  some  excellent  paintings  by  old  Chinese 
masters,  such  as  Shen  Nan-P'in,  Chiang  Chia-Pu, 
Pien  Ching-Chao,  among  others.  It  was  generally 
conceded,  however,  that  the  authenticity  of  some 
of  the  paintings  sold  in  this  sale  (which  only  com- 
prised a  part  of  the  treasures  of  the  tem]5le)  would 
have  been  doubted  had  they  been  displayed  else- 
where, and  also  that  religious  sentiment  rather 
than  the  intrinsic  value  of  the  works  had  a  good 
deal  to  do  with  the  heavv  biddintr. 


The  Lord-Abbot  of  the  Xishi  Hongwanji.  who 
has  just  retired  from  the  active  control  of  the  affairs 
of  the  temple,  is  an  enterprising  man  of  great 
calibre.  He  is  said  to  have  lost  heavily  in  specula- 
tion, and  having  got  into  debt  was  obliged  to  sell 
his  treasures.  He  contributed  large  sums  towards 
an  expedition  to  Thibet,  for  the  purpose  of  ascertain- 
ing, if  possible,  the  exact  relation  of  the  old 
Buddhism  of  that  country  to  that  of  Japan,  and  a 
large  number  of  pieces  of  fresco,  earthen  sculpture. 
paintings  on  silk,  textile  fabrics,  and  other  interest- 
ing bits,  brought  back  from  there  about  a  year  ago, 
are  now  at  Nirakuso,  his  former  residence,  high 
upon  Rokkozan,  overlooking  Osaka  Bay,  which  has 
been  turned  into  a  sort  of  museum. 

Haraua  Jikc). 

-ART  SCHOOL  NOTES. 

tONDON.— The  London  County  Council 
offers  three  prizes,  one  of  ;i{^ioand  two  of 
;^5  each,  for  drawings  of  buildings  or 
-^  artistic  objects  in  museums,  and  especially 
the  .South  Kensington  Museum  and  the  British 
.Museum.  The  conii)etition  is  open  to  students  in 
art  schools  or  technical  institutes  maintained  or 
aided  by  the  Council  and  to  holders  of  the  Council's 
full-time  art  scholarships,  but  they  must  be  resident 
in  the  County  of  London.  The  competition  closes 
on  Saturday,  November  S,  and  full  particulars  and 
forms  of  application  can  be  obtained  from  the 
84 


("ouiicil's    Education    Offices,    Victoria    Embank- 
ment, W.C.  

At  the  Council's  Central  School  of  Arts  and 
Crafts,  Southampton  Row,  a  well-arranged  exhi- 
bition of  students'  work  was  held  last  month.  The 
various  departments  of  craft  work  carried  on  at  the 
school  were  represented,  of  especial  interest  being 
the  numerous  exhibits  concerned  with  book  pro- 
duction, writing  and  illuminating,  lithography  and 
etching.  In  connection  with  these  subjects  a  course 
of  seventeen  lectures  is  to  be  given  at  the  school  on 
Wednesday  evenings  beginning  on  January  14  by 
recognised  authorities  such  as  Mr.  Strange,  Mr.  .\. 
M.  Hind,  Mr.  Herbert,  Mr.  E.  B.  Havcll,  Prof. 
Arnold  and  others. 


Two  interesting  series  of  lectures  by  Mr.  Kaines 
Smith,  M..\.,  are  announced  to  be  given  in  London 
during  the  present  and  ensuing  months,  in  connec- 
tion with  the  London  University  Extension  move- 
ment. One  series,  to  be  given  at  the  British 
Museum  on  Tue.sdays,  is  on  "Greek  .\rt  and 
National  Life,"  the  aim  being  to  show  the  clo.se 
bond  that  exists  between  the  artist  and  his  times  ; 
the  other  series  will  be  given  at  the  Victoria  and 
Albert  Museum  on  Thursdays  on  "  The  Nature  of 
Beauty,"  the  aim  in  this  ca.se  being  to  analyse  and 
define  the  constituent  elements  of  various  accepted 
standards  of  beauty  in  the  arts.  Both  series  will  be 
illustrated  by  means  of  lantern  slides.  The  Hon. 
.Secretary  for  these  lecture  courses  is  Miss  C. 
Caudet,  120  Cheyne  Walk,  Chelsea. 


The  President  of  the  Board  of  Education  has 
a])pointed  Sir  Frank  Short,  R.A.,  P.R.E.,  to  be 
Professor  (supernumerary)  of  litching  and  En- 
graving in  the  Royal  College  of  Art. 

REVIEWS   AM)   .NOTICES. 

■  Heraldry  for  Craftsmen  ant  D;stgners.  By 
W.  11.  .St.  John  Hoi-e,  Litt.J).,  D.C.L.  (I^)ndon: 
John  Hogg.)  IS.  bd.  net. — The  learned  author  of 
this  latest  addition  to  the  "  ,\rtistic  Crafts"  Series 
of  Technical  Handbooks — ji  very  excellent  series 
which  we  can  heartily  commend  to  designers  and 
craftsmen — dei)lores  the  imperfect  understanding 
of  the  true  principles  of  ancient  heraldry  displayed 
in  their  works  by  so  many  artists  and  craftsmen  of 
every  degree.  "  \'ear  after  year,"  he  says,  "  in 
paintings  and  sculpture  at  the  Royal  .\cademy  and 
other  L-xhibitioiu,  in  the  architecture  and  decora- 
tions   of  (lui    (  hurdles   and    public  buildings,  on 


Reviews  and  Notices 


mf)numents,  on  plate,  jewellery,  and  ornaments  of 
all  kinds,  the  attempt  to  introduce  armorial  acces- 
sories, even  by  sorne  of  our  best  artists,  is  almost 
always  a  failure,"  and  as  a  significant  instance  he 
points  to  the  Queen  Victoria  memorial  opposite 
Buckingham  Palace,  where  in  addition  to  a  de- 
fective representation  of  the  arms  of  Scotland  there 
are  shields  with  devices  charged  on  bends  sinister  ! 
He  attributes  the  prevailing  ignorance  to  the 
disregard  of  the  principles  and  usages  of  true 
armory  that  pervades  so  much  of  the  printed 
literature  on  the  subject,  and  recognising  that  as 
the  best  source  of  information  we  must  go  back  to 
the  period  when  armory  was  a  living  art,  "  utilised 
for  artistic  purposes  by  every  class  of  worker  and 
unencumbered  by  the  ridiculous  conceits  of  Tudor 
and  later  times,"  he  has  founded  his  exposition  in 
the  main  on  the  various  documents  of  pre-Tudor 
times.  The  many  beautiful  seals  which  have 
descended  from  those  times  are  largely  made  use 
of  as  displaying  the  artistic  treatment  of  heraldry, 
while  tombs,  windows,  brasses  and  other  memorials 
also  furnish  numerous  examples.  The  text  illus- 
trat.ons  and  plates  number  together  more  than 
two  hundred,  and  at  the  end  there  is  a  chrono- 
logical series  from  the  thirteenth  to  the  eighteenth 
century. 

Elements  de  Composition  Decorative.  Cent  themes 
de  decoration  plane.  Par  Gaston  Quf.nioux, 
Inspecteur-General  de  I'Enseignement  du  dessin. 
(Paris:  Librairie  Hachette.)  40  francs.  —  M. 
Quenioux,  whose  official  experience  gives  great 
weight  to  his  opinion,  is  among  those  who  entertain 
serious  doubts  about  the  utility  of  books  which 
profess  to  teach  design.  "  However  ingenious  a 
method  may  be,"  he  remarks,  "  it  cannot  success- 
fully govern  taste  nor  train  it,  while  it  may  easily 
succeed  in  lowering  it.  Art  is  not  taught  by  means 
of  precept,  rules  and  formulas."  Realising,  there- 
fore, that  example  is  of  more  value  to  the  student 
than  precept,  he  has  gathered  together  in  this 
volume  an  unusually  large  collection  of  designs  of 
diverse  kinds  and  provenance  and  grouped  them 
into  one  hundred  chapters  or  "  themes,"  in  which 
he  directs  the  student's  attention  to  the  particular 
significance  of  the  designs.  Ancient  as  well 
as  modern  art  contributes  to  the  assemblage, 
modern  work  being  plentifully  represented,  while 
Oriental  art  has  also  furnished  a  considerable  quota  ; 
and  practically  every  form  of  surface  decoration  is 
exemplified.  Among  the  illustrations,  moreover, 
— the  whole  numbering  close  on  six  hundred — 
are  some  two  dozen  plates  in  colour,  which 
add   greatly   to    the   utility  of  the  volume.      The 


printing  (jf  these,  as  indeed  of  the  book  generally, 
is  excellent. 

The  official  catalogue  of  the  British  .Section  of 
Arts  and  Crafts  at  the  Ghent  International  Exhibi- 
tion contains  a  foreword  by  Commendatore  Walter 
Crane  in  which  he  traces  the  growth  of  British  arts 
and  crafts  as  a  whole  and  describes  the  scheme  and 
scope  of  the  display  at  Ghent.  Mr.  Anning  Bell 
writes  on  British  sculpture  and  mural  decoration, 
and  there  are  papers  on  various  other  subjects  by 
Mr.  Emery  Walker,  Mr.  Douglas  Cockerell,  Miss 
May  Morris,  Mr.  Christopher  \\'hall,  Mr.  Alfred 
H.  Powell,  Mr.  R.  LI.  B.  Rathbone,  Mr.  J.  H. 
Dearie,  Mr.  W.  A.  S.  Benson  and  Mr.  A.  S.  Cole. 
The  whole  of  the  catalogue  is  in  English  and  French. 

We  have  also  received  a  copy  of  the  Illustrated 
Catalogue  of  the  Exhibition  of  Chinese  Applied 
Art  recently  held  in  the  City  of  Manchester  Art 
Gallery.  The  exhibition  comprised  an  exceedingly 
interesting  collection  of  bronzes,  pottery,  porcelain, 
jades,  embroideries  and  textile  fabrics,  enamels, 
lactjuers,  etc.,  and  many  of  the  objects  are  repro- 
duced in  the  plates  forming  part  of  this  tastefully 
printed  catalogue.  Mr.  AVilliam  Burton  contributes 
a  preface,  in  which  he  pays  a  tribute  to  the  sense  of 
beauty  and  artistic  purpose  by  which  the  work  of 
the  Chinese  craftsmen  is  distinguished. 

An  account  in  English  of  the  Frans  Hals 
Municipal  Picture  Gallery  at  Haarlem  written  by 
the  Director  G.  D.  Gratama  and  illustrated  with 
reproductions  of  the  gallery  and  the  pictures  ex- 
hibited therein  is  published  by  De  Erven  F.  Bohn 
of  Haarlem,  price  2fl.  90. 

Mr.  J.  Lacoste,  official  photographer  to  the 
Prado  Museum,  Madrid,  has  issued  a  French 
edition  of  Madrazo's  Catalogue  of  pictures  in  the 
Museum,  with  the  text  and  numeration  revised 
and  one  hundred  reproductions  hors  texte  besides 
one  hundred  and  fourteen  facsimile  signatures  of 
the  painters  represented.  The  price  in  cloth 
binding  is  12  francs, 

"The  Haunts  of  George  Borrow  in  and  around 
Norwich  "  are  the  subject  of  four  etchings  by  Miss 
C.  M.  Nichols,  member  of  the  Royal  Society  of 
Painter- Etchers,  who  resides  in  the  Norfolk  city 
and  has  recorded  many  of  its  interesting  features  in 
her  etchings.  These  four  Borrow  etchings,  which 
are  published  in  a  portfolio  by  Messrs.  Jarrold  and 
Sons,  of  London  and  Norwich,  comprise  Borro-w's 
House  from  Coiv  Hill  (represented  as  it  was  in  his 
own  day)  :  Borrow' s  Court  and  House ;  Vieiv  oj 
City  from  Borroivs  Window  ;  and  Staircase  and 
Interior  of  Borrozvs  House.  The  plates  with  their 
mounts  measure  19  inches  by  13. 

85 


T 


The  Lay  Figure 


HK     LAV     FIGURE:     0\    THE 
MODERN    PHOTOGRAPHER. 


"  Woii.D  you  count  photography  among 
the  arts  ? "  asked  the  Man  with  the  Red  Tie. 
"  The  modern  photographer  claims  to  be  an  artist ; 
is  his  claim  a  just  one  ?  " 

"  Surely  the  men  who  produce  such  work  as  you 
see  in  the  photographic  exhibitions  must  be  counted 
as  artists,"  said  the  Plain  Man.  "  I  am  sure  that 
photography  in  their  hands  has  become  a  real  art, 
and  the  results  they  achieve  with  it  must  be  taken 
in  all  seriousness ;  they  are  certainly  quite  as 
desening  of  consideration  from  an  artistic  point  of 
view  as  a  good  many  of  the  paintings  one  sees  at 
picture  exhibitions." 

"  Yet  photography  is  after  all  only  a  mechanical 
process,"  broke  in  the  Art  Critic,  "  and  the  products 
of  a  mechanical  process  are  not  usually  accepted  as 
works  of  art." 

"That  is  just  the  point,"  agreed  the  Man  with 
the  Red  Tie ;  "  but  cannot  a  mechanical  process 
be  used  to  produce  really  artistic  results  by  men 
who  have  the  taste  to  apply  it  in  a  legitimate 
manner  ?  " 

"Oh  yes,  that  is  ([uite  possible,"  returned  the 
Critic,  "and  the'degree  of  taste  possessed  by  the 
man  who  handles  the  camera  will  certainly  be 
reflected  in  the  character  of  the  work  he  does. 
The  artist's  sense  will  dominate  and  direct  the 
craft  he  employs,  whatever  it  may  be  ;  and  even 
though  he  arrives  at  his  results  by  the  use  of 
mechanical  devices  his  productions  will  be  signifi- 
cant because  of  the  artistic  feeling  that  has  inspired 
them." 

"  But  photography  has  ceased  to  be  a  mechanical 
process,"  cried  the  Plain  Man.  "  Every  photo- 
grapher nowadays  has  his  own  way  of  working,  and 
no  two  of  them  work  alike.  You  cannot  call  a 
craft  mechanical  which  offers  so  much  scope  for 
individuality  of  expression  and  yields  such  a  great 
variety  of  results." 

"  You  cannot  get  away  from  the  fact  that  what 
the  photographer  uses  to  produce  those  results  is 
a  machine,"  laughed  the  Critic.  "It  is  a  flexible 
and  adaptable  machine,  I  admit,  but  he  cannot  do 
anything  without  it." 

"Surely  he  does  a  great  deal  without  it,"  protested 
the  Plain  Man.  "  What  he  gets  with  his  camera  is 
only  the  foundation  upon  which  he  builds  some- 
thing that  is  entirely  personal,  something  that  the 
machine  certainly  would  not  give  him.  The  camera 
plays  but  a  small  part  in  the  modern  photograph  ; 
it  is  the  clever  handwork  of  the  photographer  that 
86 


makes   the  print    he  shows  us  so  original  and  so 
attractive." 

"  But  is  that  print  to  be  reckoned  as  a  photograph 
at  all  ?  "  inquired  the  Man  with  the  Red  Tie.  "  Or 
is  it  an  independent  creation,  the  work  of  an  artist? 
It  seems  to  me  that  it  ends  by  being  neither  one 
nor  the  other." 

"  I  should  decidedly  call  it  a  work  of  art,'  replied 
the  Plain  Man,  '•  for  its  qualities  are  given  to  it  by 
the  handling  of  a  man  who  has  the  ambitions  and 
capacities  of  an  artist." 

"  But  tell  me,  would  you  recognise  the  print  as  a 
genuine  photograph  ?  "  persisted  the  Man  with  the 
Red  Tie. 

"  No,  of  course  not,"  returned  the  Plain  Man. 
"  That  is  where  the  modem  photographer  is  so  clever. 
He  will  show  you  things  that  you  could  not  tell  from 
etchings  or  chalk  drawings,  he  will  gi\e  you  even  the 
most  effective  imitations  of  water-colour  paintings  ; 
he  can  simulate  the  qualities  of  almost  all  the  other 
pictorial  arts.  ..." 

"  Ah,  wait  a  minute  !  "  cried  the  Critic.  "  He 
can  simulate  1  There  you  give  him  away.  The 
real  artist  does  not  try  to  deceive  you  by  pretend- 
ing to  be  what  he  is  not.  He  does  not  seek  to 
disguise  the  qualities  of  his  medium,  but  rather  to 
convince  you  by  the  way  in  which  he  recognises 
them  and  turns  them  to  account.  If  photography, 
to  be  successful,  has  to  deny  its  own  qualities  and 
to  depend  upon  imitation  of  other  pictorial  pro- 
cesses, it  assuredly  can  be  given  only  a  minor  place 
among  the  arts.  If  the  photographer  is  to  rank 
as  an  artist  he  must  be  as  other  artists  are,  an 
independent  creator  using  his  medium  for  all  it  is 
worth  and  respecting  the  limitations  which  are 
bound  up  with  it." 

"  And  what  is  photography,  i)ure  and  simple, 
worth  as  a  medium  for  artistic  expression  ?  "  asked 
the  Plain  Man. 

"  A  very  great  deal,  I  sincerely  believe,"  replied 
the  Critic.  "  The  camera  is  a  piece  of  mechanism 
which  will,  if  properly  used,  record  subtleties  of 
tone  gradation,  qualities  of  light  and  shade,  and 
varieties  of  detail,  with  an  exquisiteness  that  is 
wholly  impossible  by  any  other  means.  In  the 
hands  of  an  artist  who  can  appreciate  the  vast 
possibilities  of  such  a  machine  it  will  do  almost 
anything ;  and  with  its  assistance  and  by  the 
exercise  of  his  selective  sense  he  can  arrive  at 
results  which  will  have  an  undeniable  right  to  be 
regarded  as  true  works  of  art.  Hut  they  must  be 
true  photographs  at  the  same  time  ;  there  must 
be  no  deception  about  them." 

Tin;  Lav  Figure. 


Modern  Flower-Painting 


M 


ODERN    FLOWER-PAINTING. 
BY  T.   MARTIN   WOOD. 


The  great  period  of  the  flower-piece  in 
art  was,  of  course,'  the  seventeenth  century.  It 
was  the  Dutch,  with  their  enthusiasm  for  gardening, 
who  brought  the  fiower-piece  into  vogue.  They 
thought  that  no  travail  of  composition  was  in  vain 
that  enabled  them  to  express  their  sense  of  the  en- 
chantment of  flowers.  In  our  own  time,  side  by  side 
with  the  revival  of  gardening,  the  flower-piece  has 
again  come  into  favour.  There  is  no  exhibition  of 
importance  in  these  days  in  which  several  specimens 
are  not  to  be  found.  But  how  varied  in  character 
these  are.  We  are  tempted  to  ask  :  Is  there  all  this 
variety  in  men's  visions  ?  Is  there  such  an  immense 
difference  between  the  impression  which  so  simple 
a  thing  as  a  bunch  of  flowers  makes  on  one  man 
and  another  ?  Or,  in  a  modern  exhibition,  are  we 
merely  confronted  with  a  variety  of  those  efforts  to 
be  original  in  which  we  may  always  safely  conclude 
originality  will  not  be  found  ?     Effort  may  do  a  lot 


for  us  in  this  world,  but  we  cannot  make  ourselves 
original  by  effort.  \\'e  are  original,  not  because  we 
leave  the  beaten  track,  but  because  we  are  that 
particular  kind  of  person  who  cannot  find  it.  Some 
people  consider  that  originality  is  the  most  charming 
thing  in  art.  It  is  difficult  to  overrate  it,  but  it  is  not 
the  only  thing,  and  it  is  the  illusion  that  it  is  that 
has  destroyed  tradition,  thus  providing  us  with  the 
spectacle,  in  many  branches  of  the  arts,  of  a  tree 
that  strives  to  bourgeon  on  a  shrivelling  trunk. 

It  is  almost  possible  to  educate  every  one  to  see 
in  the  same  way.  Hence  the  horror  which  some 
people  have  of  a  school  of  art.  The  differences 
which  puzzle  us  in  the  interpretations  of  simple 
themes  by  the  various  artists  in  an  exhibition  are 
not  so  much  differences  of  vision  as  of  feeling. 
Flowers  may  look  the  same  to  different  people,  but 
they  do  not  mean  the  same.  And  all  the  differences 
in  the  arts,  in  the  last  analysis,  are  differences  of 
feeling — in  degree  and  in  kind.  There  are  some 
people  in  whom  a  vague  outline  induces  a  sensation 
of  real  distress ;  there  are  others  who  suffer  from 


'THE   SATSU.MA    BOWL'' 


LI.  No.  202. — December  1913 


FROM   A    WATER-COLOUR    BY    KATHARINE   CAMERON.    R.S.W. 
(In  the  possession  of  A.  T.  Miller,  Esq.) 


Modern  /''/(n^'c>'-/\n'//hiiiS 


the  presence  of  outlines  as  from  the  si)ectacle  of  a  particular  pleasure  to  discover  and  insist  ujion  the 

spirit  imprisoned  in  a  body  too  small  for  it.     There  instances    where   accident    contributes   to   such   a 

are  some  whose  life-work  seems  the  destruction  of  scheme.     Of  this  order  of  mind  the  Japanese  are 

barriers,  of  delimiting  lines  :  whose  consciousness  the  great  example,  and  their  art  has  used  the  whole 


of  life  is  of  something  immanent,  but  not  imprisoned 
at  any  point.  They  will,  I  think,  if  art  has  a 
meaning  for  them,  turn  at  once  to  impressionism, 
the  most  subjective  form  that  art  has  taken.  But 
perhaps  we  are  in  danger  of  over-subtlet)-  if  we 
follow  such  a  train  of  thought  further  here. 


of  its  immense  resources  to  insist  upon  the  decora- 
tive element  in  life.  In  this  wider  sense  of  decora- 
tion, of  course,  every  picture  in  its  set  frame,  with 
its  contrast  of  colour  and  the  rhythm  appertaining 
to  it,  contributes  to  decoration. 

In   this   article   we  have    to    contrast    with    the 


People  who  are  not  artists  may  almo.st  be  divided      consciously  decorative   flower-picture  tJiat  kind  <if 


into  two  classes  in  regard  to  their  attitude  towards 
flowers — we  are  thinking  now  of  gathered  flowers. 
Some  people  can  establish  the  relationship  of  actual 
friendshi]i  with  two  or  three  flowers  in  a  vase  on 
their  writing-table ;  to  others  flowers  are  simply 
the  most  beautifully  manufactured  ornamentation  in 


picture  of  flowers  which  seems  to  express  friend- 
ship with  flowers  and  intimacy  with  them  rather 
than  regard  for  their  character  as  natural  ornament. 
This  attitude  towards  them  lus  been  particularly 
represented  by  the  Impressionists,  and  most  ad- 
mirably by  Fantin  Latour.     At  first  sight,  indeed. 


the  world.     Those  ])eople  who  have  the  sense  of      there  seems  ax\  antagonism  between  Im])re.ssionism 
the  great  perfection  of  beauty  of  floral  ornaments,      and  decoration,  emphasised  by  the  historical  fact 
if  they  pursue  the  art  of  painting,  will,  naturally,      that  one  of  the  first  departures  of  the  original  Im 
we  think,  tend  to    exploit  the  decorative  aspects      pressionists  was  from  that  "  conscious  "  art  of  com- 
of  their  subject.     In  the  grouping  of  flowers  it  is      position  which  is  the  soul  of  decoration. 
so  easy   to   achieve  distinctive  combinations   and  ^Ve  must  come  now  to  the  point  of  view  from 

effective  contrasts  that 
from  this"  source  the  imagi- 
nation of  the  painter  is 
unceasingly  pr<)m|)ted  in 
composition.  Hut  we  must 
remember  that  in  this 
interest  in  the  ojiportunity 
flowers  afford  for  highly 
decorative  composition  we 
have  only  one  side  of  the 
art,  as  it  is  at  present  prac- 
tised. It  is  the  side  re- 
lated to  that  regard  for  the 
ornamental  character  of 
flowers  which  is  common 
am6ng  many  people  who 
are  not  painters,  and 
is  especially  shown  in  the 
adornment  of  rooms  with 
flowers  and  in  table- 
decoration.  l'eo[)le  highly 
trained  do  not  finil  it 
difficult  to  develop  a  con- 
sciousness of  the  decora- 
tive a.spect  of  things,  which 
in  the  end  shows  them 
almost  every  objective 
detail,  in  the  world  present 
to  vision,  as  an  incident  in 
one  great   scheme  of  de 

coration.      It    gives    them  "  i-ok<;kt-me-nots."        i-rom  an  oil  i'aintim;  uv  ii.   hams  ricutkk,  k.h.a. 

90  .(,. 


Modern  Floiver-Paintiiig 


which  a  flower-painting  is  most  generally  regarded. 
The  task  of  the  painter  in  this  case  is  simply  that  of 
imitatina  the  flowers  as  closely  as  possible.  People 
speak  of  this  as  realism,  but  this  kind  of  art,  we  are 
afraid,  cares  less  for  reality  than  for  appeai-aiia^ 
which  does  not  contain  the  whole  of  reality.  The 
art  we  are  speaking  of  seems  automatically  to  shut 
out  from  its  representations  the  mystery  of  nature, 
that  which  is  the  soul  of  true  Impressionism.  It  is 
photographic  in  character,  not  because  it  enjoys 
reality,  but  because,  like  a  photograph,  it  represents 
the  result  of  vision  without  feeling.  It  is  a  kind  of 
art  that  is  not  to  be  discovered  in  the  work  of  the 
old  masters — if,  in  truth,  from  the  absence  of  feeling 
it  does  not  cease  to  be  art  at  all.  Work  of  this  kind 
represents  a  phenomenon  unknown  before  the  con- 
tinued presence  of  photographs  redetermined  the 
character  of  vision  and  set  up,  as  between  the 
spectator  and  a  picture, 
new  demands.  The  lean 
conception  of  "  realism  " 
just  described  is  very  ap- 
parent in  Royal  Academy 
e.xhibitions.  It  seems 
there  to  have  taken  the 
place  once  held  by  the 
more  imposing  conven- 
tions of  "academic"  art. 
When  we  look  back  at  the 
history  of  modern  painting, 
we  are  chiefly  conscious  of 
the  struggle  between 
naturalism  and  conven- 
tion, and  in  our  partisan- 
ship on  one  side  or  the 
other  we  easily  forget  the 
exalted  character  of  some 
conventions  and  the  base- 
ness of  some  conceptions 
of  nature.  If  there  is 
creeping  into  the  mind  of 
the  artists  of  to-day  a  horror 
of  the  proposal  to  delineate 
nature,  it  is  perhaps  be- 
cause a  generation  of 
■'realists"  have  represented 
nature  in  terms  which  may 
well  make  the  next  genera- 
tion afraid  of  it. 

We  have  indicated  three 
separate  kinds  of  flower- 
painting,,  the  decorative, 
the  Impressionist,  and  the 
so-called  Realistic.  It  is,  of  ( Bv pt 


course,  the  Impressionists  who  are  the  true  realists, 
for  they  are  concerned  with  a  total  impression  of  their 
subject,  and  not  only  with  the  obvious  one.  \\'e 
shall  understand  the  superior  reality  of  their  art  when 
we  remember  all  that  contributes  to  it — sense  of  the 
weight  of  petals,  feeling  for  contours  dissolved  in 
shadow,  response  to  the  elusiveness  as  well  as  to 
the  definiteness  of  form,  and  to  colour  held  in 
shadows.  It  is  easy  to  see  that  such  vision  would 
at  last  reach  a  refinement  beyond  the  possibility  of 
being  reflected  in  an  accompanying  development 
of  skill  ;  that  a  time  would  come  for  the  reaction. 
Thus  it  is  that  we  get  the  recovery  from  forbidding 
assthetics  implied  in  Post-Impressionism,  the  re- 
lapse into  simplicity  which  charlatanry  has  been 
able  to  make  use  of  where  it  found  the  difliculties 
of  a  refined  impressionism  insurmountable.  But 
the  movement  should  not  be  studied  in  the  art 


'  FLOWER-PIECE 


FRO.M   AN   OIL   PAINTI.NG    BY    W.    P.    F.    KANUE.N 
■niiisswii  o)  Messrs.   W.  ManhanI  and  Co. ) 

93 


Modern  Flcm  'cr-Paiiifiiig 


of  such  quickly  made  disciples,  but  in  the  art  of  a 
few  austere  spirits,  at  the  point  where  it  departed 
from  impressionism.  In  turning  away  a  little  from 
nature,  such  art  indicates  an  abatement  in  the 
jxission  for  nature  which  sustained  the  greatest 
impressionist  art.  It  begins  to  fall  into  line  with 
conventional  and  with  purely  decorative  art  in  the 
matter  of  flower-iminting,  for  instance  ;  no  longer  is 
everything,  almost  to  the  scented  air  in  which  the 
flower  sways,  part  of  the  impression  to  be  rendered. 
Instead,  this  art  jjasses  at  once  to  the  sense  of 
pattern,  to  sensation  of  colour,  eliminated  from  its 
context.  It  attempts  to  go  beyond  nature.  The 
satisfaction  of  the  highly  disciplined  conscience  for 
the  truth  to  nature  no  longer  contents  it :  that 
gives  place  to  .sheer  invention.  Imagination,  which 
enters  into  every  kind  of  art,  enters  on  this  occasion 
with  a  new  intention.  It  is  not  now  the  endeavour 
of  the  artist  to  live,  as  it  were,  for  a  moment, 
through  complete  sympathy  in  the  flower  while  he 
paints  it,  and  express  his  profound  sense  of  its 
significant  life,  but  to  place  the  flower  on  canvas 
or  paper  as  an  incident  contributing  to  sensation, 
within  a  scheme  in  which  its  individuality  as  an 
offspring  of  nature  is  overlooked. 


^^■e  will  not  speak  further  of  this  school,  nor 
attempt  to  represent  it  in  the  illustrations  to  this 
article,  which  is  retrospective  in  character,  but  we 
will  turn  again  to  the  decorative  aspect  of  flower- 
painting  in  its  more  general  .sense.  We  have 
referred  to  tho.se  artists  who,  like  the  Japanese,  aim 
entirely  in  art  at  decoration.  But  the  element  of 
decoration  enters  consciously  into  every  deliberate 
scheme  of  composition.  In  its  first  and  its  greatest 
period,  Dutch  flower-painting  aimed  at  an  intensely 
natural  representation  of  the  detail  of  individual 
flowers,  but  their  pictures,  as  distinguished  from 
those  of  modern  naturalistic  art,  were,  in  spite  of 
their  naturalistic  detail,  elaborately  and  convention- 
ally composed.  In  its  later  phases  Dutch  flower- 
jiainting  entered  upon  a  conventionalism  of  form 
in  detail  to  correspond  with  the  conventionality  of 
composition.  It  then  commenced  a  treatment  of 
flowers  which  has  always  been  disliked  by  those 
who,  caring  for  flowers,  are  intimate  with  their 
sensitive  forms. 

In  the  hands  of  academical  artists  the  flower- 
piece  was  brought  into  disrepute  :  it  took  its  place 
then,  in  accordance  with  its  style,  with  such  arts 
as  needlework  and  tapestry-weaving,  and,  removed 


"WIIITK    PEONIES,    LCSTKE  JUG,    AND   RKH   LACQUER   BOX  "  I  RUM  AN  Oil.  PAINTING  BV  JACQUES   E.    BLANCHE 

( By  permission  of  Messrs.  11'.  .Mart  haul  and  Co.) 

94 


il 


f)/ 


f  By  permission  of 

Messrs.  U'm.  Marchant  &■  Co.. 
iloHpU  Catiery.) 


•'SWEET   PEAS  AND   ROSES."    from 

AN     OIL     PAINTING      BY     H.     M.     LIVENS. 


Modem  Flower-Paiuting 


from  the  inspiration  of  nature,  an  exquisitely  artificial 
result  was  reached.  There  is  a  tendency  for  all  art 
to  lapse  into  artificiality  the  moment  that  some 
other  intention  than  that  of  truth  to  nature 
sustains  it.  For  artists'  materials  tend  to  assert 
their  own  qualities  at  the  expense  of  the  exact 
resemblance  of  the  result  to  nature.  In  such  cases 
as  woolwork  the  result  must  of  necessity  be  so 
far  removed  from  this  resemblance  that  the  idea 
of  interpretation  rather  than  of  imitation  naturally 
asserts  itself.  The  supreme  virtue  of  the  quality 
of  oil  paint  is  that  it  allows  the  artist  the  triumph 
of  an  illusion  of  nature.  Because  of  this  great 
influence  over  his  effects  it  is  within  the  power  of 
the  painter  to  be  a  creator,  and  our  impatience 
with  him  if  he  chooses  rather  the  role  of  a  photo- 
grapher is  justified.  But  creation  begins  not  with 
the  introduction  of  something  unreal,  but  with  the 
expression  of  a  sense  of  reality  greater  than  the 
view  of  nature  exposed  to  a  lens.  The  reason 
that  we  turn  with  pleasure 
to  the  flower-pieces  of  the 
first  Dutch  period,  and 
display  less  interest- in 
conventionalised  flower- 
painting  of  a  later  time,  is 
that  what  we  are  always 
looking  for  in  art  is  reality 
— it  is  not  even  bound  to 
be  the  reality  of  nature  ;  in 
periods  of  renaissance  it  has 
been  the  reality  of  the  reve- 
lation of  beauty  in  a  former 
mode  of  art.  Painting  is 
distasteful  to  us  when  it  ex- 
presses no  real  conviction, 
when  it  accepts  a  working 
receipt  of  truth  to  nature, 
without  being  able  to  show 
the  love  of  nature  which 
alone  can  ensure  that  truth, 
or,  on  the  other  hand,  when 
it  clings  to  a  convention 
which  has  lost  its  emble- 
matic value. 

We  have  thought  it  best 
in  this  article  to  take  as 
wide  a  survey  of  the  field 
of  flower-painting  as  we  can. 
At  this  moment  it  is  en- 
gaging the  attention  of  the 
most  virile  talent  of  our 
time.  Every  shape  in  which 
the   flower-piece  can  be 


treated  has  its  representative  to-day.  Among  our 
illustrations  the  reader  will  discover  abundant  evi- 
dences of  the  vitality  with  which  this  class  of  subject 
is  now  treated.  Detailed  comparisons  of  the  art  of 
one  living  contemporary  with  that  of  another  tend 
to  become  invidious,  and  to  some  extent  they  are 
beside  the  mark  where  illustrations  of  the  work 
itself  can  be  shown.  A  picture  which  cannot  speak 
for  itself  is  not  a  work  of  art.  It  is  true  the  critic 
may  interpret  what  it  says  into  language  for  those 
who  can  hear  but  cannot  see.  But  this  is  hardly 
the  public  of  The  Studio.  What  we  have  written 
may  assist  visitors  to  modern  exhibitions  to  give  to 
the  art  of  flower-painting  the  attention  which  it 
deserves,  either  for  its  fascinating  decorative  beauty 
or  for  its  lyrical  charm. 

It  has  not  been  possible  to  represent  all  those 
whose  flower-painting  should  be  mentioned  in  a 
review  of  the  theme,  but  we  are  glad  to  be  able 
to  include  such  recognised  masters  as  Mr.  J.  E. 


mi^i 


'  I'l.OWERS    AND    STILL-HFE. 


FROM    AN    on.    rAINTING    BY    I'HILIP    CONNARD 


97 


E.  M.  Svfigcs  lltcliiiigs 


r.lanolu'.  Mr.  Francis  James,  Mr.  \\'.  B.  1-.  Rankcn, 
M.  \'allc)tton,  Mr.  Nicholson,  and  Mr.  Connard.  In 
addition,  the  work  of  Mr.  Davis  Richter,  Mr.  H.  M. 
I.ivens,  and  Miss  Katharine  Cameron  should  be 
closely  studied.  Those  interested  in  the  subject 
should  also  always  search  in  exhibitions  for  the 
work  of  Mr.  Gerard  Chowne,  whose  art  has  Ixtn 
illustrated  in  The  Stvuio,  and  for  that  of  Miss 
Ursula  Tyrwhitt,  a  brilliant  new-comer  in  the  fuUl 
— in  the  garden  we  might  say,  except  that  in  the  art 
of  the  flower-piece  it  is  the  cut  (lowers  that  are 
privileged  ;  this  art  commemorates  all  that  flowers 
mean  to  us  indoors. 

There  is  yet  one  aspect  of  flower  ])ainting  uhi^h 
we  have  not  mentioned.  The  art  affords  an  oppor- 
tunity for  the  dis])lay  of  virtuosity  which  painters 
who  have  no  regard  for  flowers  will  occasionally 
embrace.  And  artists  find  that  painting  of  this 
kind  tends  to  increa.se  the  freedom  and  subtlety  of 
their  execution  ;  they  find  the  shapes  and  colours 


of  tlowers  are  stimulating' while  the  result  |)romises 
them  a  picture  as  well  as  a  study.  In  exhibitions 
we  are  frequently  confronted  with  work  of  this  sort. 
It  is  interesting  ;  whatever  an  interesting  artist  does 
is  interesting.  Kut  we  shall  always  remember  the 
confession  of  a  true  disciple  of  Kantin  :  that  he 
found  himself  unable  to  jiaint  flowers  that  came 
from  a  shop  (|uite  as  sympathetically  as  those 
brought  straight  from  the  garden.  We  believe  that 
he  approached  his  work  in  the  true  spirit. 


T 


HE  ETCHINGS  OF  E.  M.  SYNGE, 
A.R.K.  BY  FRANK  XF.WBOl.T. 


•fi.eurs" 


98 


iiv  ffiix  vAii.orrn.N 
( Hy pcriniiiioii  of  Messrs.   II'.  Marchaiil  and  i 0.  ) 


Thk  tragedy  of  Edward  MiUington  Synge's 
artistic  career  was  that  he  began  too  late  and  died 
too  soon,  and  throughout  the  greater  part  of  his 
life  he  suffered  from  chronic  ill-health. 

The  merit  of  his  work  can  onl)^  be  appreciated 
by  estimating  its  improvement  during  the  short 
])eriod  when  art  was  his 
l)rofession.  If  he  had 
lived,  and  the  improvement 
had  continued  or  been 
maintained,  he  would,  in- 
deed, ha%e  reached  very 
high  rank  as  a  craftsman, 
for  in  addition  to  his  love 
of  beauty  he  had  that 
single-minded  determina- 
tion to  follow  his  cho>en 
branch  of  art,  undeterred 
by  his  late  start  and  lack 
of  early  opportunity  for 
study,  that  plucks  the  fruit 
of  success  from  the  most 
un|)romising  tree. 

Like  Hope  Mcl^ichlan, 
whose  neighbour  he  was, 
he  left  Cambridge  with 
honours,  but  without  the 
slightest  hope  of  being  an 
artist,  and  died  in  middle 
life  just  when  success  was 
in  sight  and  his  work  was 
being  shown  in  many  Hritish 
and  fort'ign  galleries.  Ik- 
was  a  Haileybury  boy,  the 
son  of  a  Chief  Inspector  of 
Schools,  and  on  leaving  the 
I'niversity  he  found  many 
careers  closed  to  him  on 
account  of  his  constitu- 
tional weakness.      In  1884, 


(lit  the  fossfssion  itj  A.  T.  ^filUr,  lisg.j 


WHITE   ROSES.       from  a  water-colour 
CY    KATHARINE    CAMERON,    R  S.W. 


E.  M.  Syiiges  Etchings 


at  twenty-four  years  of  age,  he  went  to  Shropshire 
to  try  an  open-air  life  and  learn  the  duties  of  a 
land-agent  on  Lord  Boyne's  estates,  and  a  year 
later  he  was  appointed  agent  to  Mr.  Locke-King 
at  Weybridge,  where  he  remained,  immersed  in 
the  duties  of  a  laborious  profession,  until,  in  igoi, 
a  change  in  his  circumstances  enabled  him  to  take 
the  great  plunge  and  abandon  what  had  appeared 
to  be  his  life's  business  for  his  one  real  ambition. 
Being  entirely  free  from  the  common  desire  for 
luxury  and  display,  he  never  for  a  moment  regretted 
his  choice,  and  in  1908  he  was  fortunate  enough  to 
meet  and  marry  a  kindred  spirit  in  Miss  F.  Maloney, 
herself  an  artist,  etcher,  and  printer,  and  they  lived 
in  entire  happiness,  marred  only  by  ill-health,  until 
his  death  at  Byfleet  a  few  months  ago.  As  an 
amateur,  Synge  was,  of  course,  an  enthusiast,  but  his 
was  not  the  perfervid,  headlong,  youthful  enthusiasm 
which  tore  Strang  from  the  office  stool  and  whirled 
him  up  to  London  with  his  copy  of  a  drawing  by 
Ernest  George,  or  that  which  drove  Hollar  from 


the  dusty  purlieus  of  the  law  and  brought  him  at 
the  risk  of  his  life  to  England,  but  the  restrained 
and  cultivated  enthusiasm  with  which  the  captive 
at  the  oar  looks  through  the  porthole  at  glimmering 
landfalls,  where  men  are  free.  He  was,  in  fact,  for 
years  a  captive  with  the  secret  happiness  of  a 
dream,  and  it  is  a  curious  thing  and  a  tribute  to  his 
individuality  that  little  or  no  trace  is  to  be  found  in 
his  work  of  the  influence  of  the  masters  whom  in 
early  days  he  so  greatly  admired. 

Always  busy  with  his  pencil,  his  first  step  in 
learning  was  taken  in  Claud  Hayes'  studio  at 
Addlestone,  where  a  few  of  us  gathered  for  a  time 
to  draw  a  village  model  in  charcoal,  and  I  well 
remember  the  fatigue  of  those  nocturnal  visits  on 
bicycle  or  on  foot  after  a  heavy  day's  work. 
U'hen  the  course  was  finished  and  others  fell  away 
Synge  snatched  from  his  scanty  leisure  the  time  to 
join  an  evening  class  at  the  Westminster  School  of 
Art,  encouraged  by  Seymour  Haden,  whom  he 
highly  appreciated,  and  later  by  Frank  Short,  whose 


IN   THE  COTSWOLD   COUNTRY 


(  By  pcnnission  of  Messrs.  James  Connell  &'  Sons) 


liV    E.    M.    SYNGE 
lOI 


E.  M.  Sv//iri''s  Efc/iiiiiTs 


expert  advice  has  always  been  at  the  disposal  of 
every  student  of  etching.  In  1898  his  dogged 
efforts  at  self-improvement  were  rewarded  by 
election  to  the  Royal  Society  of  Painter-Etchers, 
and  though  his  opportunity  of  studying  the  difficult 
process  of  etching  had  not  been  very  great  he  had 
executed  over  a  hundred  plates.  I  believe  that  he 
saw  a  notice  in  a  shop,  ''  Etching  taught  here,"  and 
took  lessons  there,  and  bought  tools  and  practised 
at  home.  His  first  successful  studies  were  made 
on  a  holiday  in  Holland,  and  in  1899  he  drew  a 
prize  in  the  doubtful  lottery  of  the  Academy,  and 
found  his  Forge  at  Samade/i  in  the  Black  and 
White  Room.  Shortly  afterwards  he  exhibited  at 
the  Salon,  and  later  on  in  Rome,  Dublin,  and 
elsewhere. 

In  1 90 1,  when  the  so-called  amateur  period  of 
some  ten  years  had  been  sufficiently  successful 
for  the  abandonment  of  land  agency  for  ever, 
Synge  went  to  Paris,  where  he  hired  a  studio, 
consulted  Carolus-Duran,  and  illustrated  a  book 
written  by  his  sister.     Rome  followed,  with  work 


under  Sabatte,  and  independent  studies  at  Assisi, 
\'enice,  I'ont-Aven,  and  other  places,  and  after- 
wards he  visited  Spain,  where  some  of  his  best  and 
most  important  plates  were  executed.  Burgos 
Cathedral,  one  of  these,  and  5.  Ftaiicesco,  Assisi, 
illustrated  here,  are  fair  examples  of  his  archi- 
tectural subjects,  some  of  which  are  remarkably 
well  constructed,  and  show  the  industry  and 
accuracy  with  which  he  tried  to  present  what  struck 
him  as  most  capable  of  reproduction.  He  avoided 
the  melodramatic,  and  left  nothing  to  chance,  and 
though  with  his  training  it  might  be  thought  that 
he  could  not  compete  on  equal  terms  with  the 
veterans  of  architectural  drawmg,  he  certainly 
reached  a  high  standard  by  his  serious  thoughtful- 
ness  and  indomitable  industry,  coupled  with  know- 
ledge of  the  possibilities  and  limitations  of  etching. 
The  building  in  the  background  of  The  Market- 
place, Tourettes,  is  an  example  of  the  extraordinary 
care  with  which  Synge  devoted  himself  to  every 
detail  of  his  plates,  even  when  the  scheme  was,  in 
general   effect,    of    the    slightest.     Another    print, 


4?>;  vi^AatJIfct- 


'TirK   MAKKET-PI.ACR,    TOURETTES 
102 


BY    E.    M.    SVNdE 


•rv- 


( By  permission  of  Messrs.  James 
Council  and  Sons) 


BURGOS  CATHEDRAL" 
BY  E.  M.  SYNGE 


it.") 


E.  M.  Synigc  s  Etchings 


Edinburgh  from  Salisbury  Crags,  is  well  contrasted 
by  its  airy  simplicity  with  the  more  pictorial  ///  the 
Cotswold  Country,  and  these  and  the  Poplars  (un- 
finished), diverse  as  they  are,  seem  equally  good 
examples  of  Synge's  work. 

It  is  worthy  of  note  that,  at  great  expense  of 
time  and  labour,  he  acijuired  the  art  of  priming, 
and  for  years  printed  all  his  own  proofs.  His 
printing  was  really  characteristic  of  his  thoroughness 
and  determination,  and  also  of  the  sober,  restrained 
aim  of  his  work.  \\'hat  is  called  the  theatrical  in 
biting  or  printing  did  not  tempt  him,  and  one  likes 
to  remember  that,  even  when  he  was  busy,  he 
could  spare  half  a  day  to  print  for  a  friend.  So  far 
as  I  recollect,  it  was  Charles  Welch  who  taught  him 
some  of  the  mysteries  of  the  craft,  and  he  is,  I  sup- 
pose, the  most  successful  printer  in  the  world. 

Though  it  has  nothing  to  do  with  the  intrinsic 
merits  of  his  plates,  which  must  eventually  be  judged 
by  them.selves  alone,  it  is  interesting  as  we  look  at 
them  to  reflect  that  a  man  who  never  had  good 
health  etched  no  fewer  than  two  hundred  and  twentv- 


three  plates,  in  addition,  of  course,  to  the  one 
hundred  and  fifty-seven  which  stood  to  his  credit 
as  the  fruits  of  a  land-agent's  scanty  leisure,  and  in 
addition  to  the  charming  water-colours  with  which 
this  is  not  the  right  place  to  deal.  It  is  impossible 
in  the  short  space  of  an  article  like  this  to  criticise  so 
many  plates,  even  in  the  most  general  way.  It  must 
suffice  to  .say  that  he  travelled  much,  worked  with 
untiring  patience,  and  produced  beautiful  work. 
The  Wlwehvrighfs  Shed  is  one  of  the  best  of  his 
compositions,  and,  besides  the  Spanish  set,  some 
of  the  Italian  plates  will  be  remenibered  by  all  who 
have  seen  them.  The  Rothenburg  .series,  al.so, 
shows  the  practised  hand  and  eye,  and  many  others 
occur  to  me  which  cannot  be  mentioned  in  detail. 

One  more  point  seems  to  me  remarkable..  Synge 
not  only  improved  in  style  and  execution  as  time 
went  on,  but  by  sheer  force  of  will  and  hard  work 
he  constantly  turned  a  doubtful  plate  into  a  good 
one.  He  never  despaired.  The  true  note  of  his 
life  was  a  courageous  hopefulness,  based  upon  a 
trulv  heroic  patience  in  most  trying  conditions. 


-oi'af.i  >  -jyj. 


w^"--^ 


7k.^..:mi>>'  --U 


'I 


1 


"  EKINDl'RC.ll    FHOM    SAI.ISltl'KV   CKAi.s' 

104 


IIY    K.    .M.    SVNC.K 


» ■■)'»%■, '■4»*f>-!y 


POPLARS   AND  STREAM,   LINGOSTIERE  " 
(UNFINISHED).     BY  E.  M.  SYNGE 


lot 


c/) 

< 


■-n  > 

w  ^ 

u  . 

< 


'X  ffi 


Three  Russian  Painters 


THREE     RUSSIAN      PAINTERS: 
KONSTANTIN    SOMOFF,    IGOR 
GRABAR,  AND  PHILIP  MALIA- 
VINE.      BY  VITTORIO   PICA. 

Russian  Art,  which  only  the  firm  will  and  en- 
lightened farsightedness  of  the  intelligent  tyrant, 
Peter  the  Great,  succeeded  in  delivering  from  the 
monotonous  and  exclusive  repetition  of  religious 
subjects  and  from  the  rigid  Byzantine  traditions 
which  for  centuries  and  centuries  it  had  followed, 
nevertheless  remained  for  one  hundred  and  fifty 
years  in  bondage  to  French  art,  despite  which, 
however,  it  produced  some  great  artists,  such 
in  particular  as  the  portrait-painters  Levitzky  and 
Borovikovsky. 

The  most  important  movement  towards  its 
emancipation  from  the  suffocating  and  oppressive 
academic  dominion,  and  also  (though  only  in 
part)  from  foreign  influence,  was  that  which  com- 
menced in  1863  with  the  revolt  of  thirteen  pupils 
of  the  Art  Academy  of  St.  Petersburg,  founded  in 
1757  by  the  Empress  Elisabeth.  These  artists 
resolutely  refused  to  submit  any  longer  to  the 
exigencies  of  the  annual   competition  ;   so,   com- 


bining under  the  leadership  of  Ivan  Kramskoi, 
they  founded  a  young  and  belligerent  society  which 
toured  its  exhibitions  from  town  to  town,  whence 
came  the  nickname  bestowed  upon  them  of 
"  Peredvishniki,"  or  "  \\'anderers." 

These  "  Wanderers,"  whose  ideals  were  fre- 
quently confused  by  inopportune  political  or  social 
propagandist  notions,  were  for  about  thirty  years 
the  dominant  factor  in  the  artistic  world  in  Russia. 
The  most  original  and  most  powerful  of  them  is 
Ilya  Repine,  who  has  now  passed  his  sixty-ninth 
year,  and  has  achieved  great  triumphs  both  in  his 
own  country  and  abroad. 

The  men,  however,  who  are  considered,  not  with- 
out reason,  to  be  the  true  initiators  and  the  real 
representatives  of  Russian  painting  are  Isaak 
Levitan,  who  died  in  1900,  before  he  reached  the 
age  of  forty,  Valentin  Setoff,  who  died  more 
recently,  and  Konstantin  Korovine.  Serofif,  how- 
ever, owed  a  great  part  of  his  fame  to  his  robust 
virtuosity  as  a  painter  of  portraits.  These  were, 
in  fact,  the  artists  who,  following  the  example  given 
at  first  in  literature  by  Pushkin,  Gogol,  and 
Turgenieff,  turned  their  attention  towards  their 
own  country,  with  its  vast  desolate  and  colourless 


'  DANS   LE   VILLAGE 


BY   KONSTANTIN   SOMOFF 
107 


Three  Russia )i  Pa  infers 


plains,  its  luibid  lakes  and  sparsely  planted  beech- 
woods,  and  its  melancholy  villages,  and  en- 
deavoured to  depict  its  character  and  that  of  the 
rustic  population  inhabiting  it  in  paintings  of  grey 
tonality,  monotonous  in  their  uniformity,  yet  of 
powerful  appeal  in  their  emotional  aitiibutes. 

The  most  characteristic  artist  and  the  least  tinged 
with  Occidentalism  in  the  whole  range  of  modern 
Russian  painting  is  undoubtedly  Mikhail  \rubel, 
who,  unappreciated  and  derided  by  his  com- 
patriots during  the  best  period  of  his  career,  was, 
not,  perhaps,  without  some  exaggeration,  lauded  as 
an  inspired  pioneer  at  the  close  of  his  life,  when  he 
had  become  blind  and  was  confined  in  an  asylum. 
Vrubel  was  gifted  with  a  fertile  and  impetuous 
imagination,   a  strange  mystic  attraction    towards 


regions  of  the  supernatural,  and  an  admirable 
balance  of  decorative  composition.  Even  in  the 
midst  of  his  most  extravagant  allegorical  concep- 
tions his  work  is  always  delicate  and  vivacious  in 
turn.  While  he  has  not  had  followers  in  his 
mysticism,  he  has  at  any  rate  found  among  the 
younger  generation  imitators  and  disciples  of  his 
decorative  fantasies,  and  of  these  the  most  interest- 
ing are  Paul  Kousnetsoff,  Nikolai  Millioti,  and 
Tatiana  Lugovsky. 

A  decorator  more  brilliant  than  N'rubel,  more 
finished,  more  restrained,  but  at  the  same  time 
more  superficial,  though  of  great  suggestive  talent, 
is  Alexander  Golovine,  who,  as  Korovine  and  Bakst 
have  done  lately,  has  specialised  in  scene-painling, 
and   has   invested    his   designs  with  a  profoundly 


'  I. A    DAMK   BN    BI.KU  ' 
I  08 


IIV    KONSTASTIN   SOMOI  I- 


'PORTRAIT  DE  JEUNE  FILLE  " 
BY   KONSTANTIN   SOMOFF 


10^ 


r/mr  Riissidii  Painters 


individual  note  which  has  obtained  for  iiim  much 
success  in  the  principal  theatres  of  Russia. 
(^Amongst    Russian   painters  of  pronounced  na- 
tional  characteristics    we    must  not   omit   Alexei 
Riabushkine,   who   died   in    1905,   and   achieved 
great  fame  in  portraying  the  national    Muscovite 
costumes    of   olden    days,    while    depicting   also 
with    uncommon    psychological     penetration    the 
peasants  and  artisans  of  the  present  day.     Nor,  in 
speaking  of  this  nationalist  element  in  Russian  art, 
must  we  forget  the  landscape-painter  Konstantin 
Bogayevsky,  the  landscape  and  figure  jiainter   K. 
Yuon,  and    the   young   Nikolai   Rerich,  who    has 
presented    the    old   Slav    legends    in    panels    of 
pronouncedly  decorative  character,  of  harmonious 
tcjnality.    restrained   colouring,    of    summary   and 
conventionalised     draughtsmanship,    and     of     a 
fantastic  inventiveness  which  is  in  some  measure 
reminiscent  of  the  Finnish 
artist  Axel  Gallen.     Philip 
Maliavine  I  will  reserve  till 
later,  but  mention  must  be 
made  here  of  Boris  Kusto- 
dieff,  who  has  revealed  him- 
self as  a  true  and  powerful 
master  of  portraiture.  There 
remains  nothing  further  for 
me  to  add  to  complete  this 
summary    of    present-day 
Russian  art  except  to  men- 
tion the  two  groups  of  young 
painters  who,  in   contradis- 
tinction  to  those   already 
referred  to,    represent  in 
Russia  the   absolutely  cos-  • 

mopolitan  tendency. 

In  contrast,  or  perhaps  as 
an  antidote,  to  the  realism 
of  Levitan,  Korovine,  and 
Seroff  and  the  romanticism 
of  Vrubel,  all  of  whom  have 
turned  to  the  past  or  to  the  ,  • 

present,  and  who  have  been  ' 

constantly   occupied    with  | 

direct  observation  of  reali- 
ties or  concerned  with  fan- 
tastic exaggeration  of  the 
imaginative     characteristics  j 

of  Russia  and  of  its  people, 
we  have  the  small  group  of 
"  Intellectuals"  or    "  Deca-  ' 

dents,"  almost  all  of  them 
primarily  draughtsmen, 
water  colourists,    and    illus-  "  neigk  de  mars' 


trators,  and  only  secondarily  painters  in  oils,  who 
gathered  round  Serge  DaghilefT  and  attached 
themselves  to  the  illustrated  review  "  Mir 
Isskustva"  (The  World  of  Art),  of  which  he  was 
the  director.  These  men,  all  of  whom  live  and 
work  in  St.  Petersburg,  while  the  aforementioned 
nationalist  tendencies  have  hitherto  flourished 
in  Moscow,  proclaim  themselves  with  courageous 
sincerity  t(j  be  of  cosmopolitan  aspirations  and 
seek  for  inspiration  in  the  gallant  world  of  the 
seventeenth  century,  in  the  fashionable  elegance  . 
of  1S30  and  of  the  second  French  Empire,  as  well  as 
in  ancient  Italian  or  Greek  epochs,  which  we  find 
more  or  less  arbitrarily  transfigured  according  to 
the  whim  of  the  artist.  Precious,  refined,  and  of  a 
literary  trait  in  their  researches  after  lightness  of 
suggestion  and  of  decoration,  they  appear  to  be 
closely  akin  in  inspiration  to  the  most  delicate/r/M 


IIV    IGOR   GKAIIAR 


RAYON   DE  SOLEIL' 
BY   IGOR  GRABAR 


I  i 


Three  Russian  Painters 


galantes  t)f  the  poet  Paul  Verlaine.  They  approach, 
now  deliberately,  now  unconsciously,  to  the 
Englishman  Aubrey  Beardsley  and  the  German 
■Ph.  Th.  Heine.  To  this  grou])  belong,  among 
others,  Alexandre  Benois,  Mstislav  Dobuzhinsky, 
Eugene  Lanceray,  Leon  Bakst,  and  in  a  measure 
we  may  also  include  Viktor  MussatofT,  who  died 
in  1905  when  barely  thirty  years  of  age,  after 
having  captured  by  a  single  exhibition  the  com- 
plete appreciation  of  the  Parisian  public. 

The   most   characteristic,  the    most;   significant, 
and  the  most  representative  among  these  artists  is, 
however,  Konstantin  Somoff,  and  it  is  therefore  of 
him  and  of  his  varied  and  seductive  works  that  I 
would  now  speak  to  the  readers  of  Thk  Stuiho. 
Son  of  the  art  critic  and  chief  curator  of  the  Hermi- 
tage Museum,  Konstantin  SomolT  was  born  in  St. 
Petersburg  on  November  18,  1S69.     After  having 
pursued  the  usual  classical  studies  he  entered  the 
Academy  of  Fine  Arts    in    the  autumn  of   1888, 
prompted  by  his  pronounced  sympathies  towards 
an  artistic  career.     But  if  while  studying  there  he 
acquired  some  of  the  rudiments  of  the  technique  of 
painting,  so  poor  was  the  teaching  that  the  seven 
long  years  which  he  passed 
at    the    school    must    be 
counted  as   time  lost  for 
Somoff,   having  regard   to 
the  direction  in  which  his 
taste  was  developing  and 
his  inborn  x'sthetic  talent. 
He  could  not   attain    the 
longed-for  personal  vision 
nor  find  his  own  path  in 
the    field  of  art   until    in 
1895   and   1896  he  came 
under  the  direct  and  bene- 
ficent influence  of  a  small 
and  select  coterie  of  enthu- 
siastic artists,  painters, 
lilUratetirs,  and  musicians, 
all  disdainful   in   their 
scholarly   refinement    of 
any  form  of  vulgarity,  and 
all  only  too  ready  to  wel 
come     anything      that 
savoured    of    a    cultured 
eclecticism. 

Somoff  left  the  Academy 
without  completing  his 
course  there,  and  went 
to  Paris,  where  he  spent 
the  winter  of  1897, 
and    whither    he    re-  "  i.a  taih  k  kn  nfesoKDRK' 


turned  the  following  winter.  This  decided  his 
future,  and  brought  his  particular  individuality 
as  a  painter  to  complete  maturity.  He  worked 
alone  with  great  fervour,  drawing  his  inspiration 
from  the  most  delicate  and  excjuisite,  and  often 
most  fantastic,  aesthetic  manifestations — from  the 
languid  music  of  the  eighteenth  century,  from 
the  gorgeous  architecture  of  N'ersailles,  from  the 
imaginative  recitals  of  the  Arabian  Nights  or  the 
weirdly  humorous  tales  of  Hoffmann,  from  the 
nebulous  paintings  of  the  Far  ICast  or  the  mor- 
bidly elegant  drawings  of  Beardsley.  Under  these 
influences,  the  plant  of  art  flourished  suddenly  and 
luxuriously  in  Somoff  and  revealed  its  growtii  in  an 
abundant  production  of  different  works  in  pencil, 
water-colour,  pastel,  or  in  oils,  of  an  accentuated 
individuality  of  character  which,  while  it  formed 
the  chief  attraction  and  the  special  interest  in  these 
pictures,  could  not  do  otherwise  than  call  forth  at 
first  the  disapprobation  of  the  established  critics 
and  the  protests  of  the  great  mass  of  the  public. 

Of  rather  aristocratic  character  and  somewhat 
misanthropic  tendencies,  Konstantin  Somoff,  like 
other  modern  artists  of  the  pen  and  brush,  delights 


IIV    IGOR    liKAIlAK 


Three  Russian  Painters 


'UNE   VIEILLE 


BY    PHILIP   MALIAVINE 


to  seek  refuge  in  bygone  times.  The  epoch  he 
most  often  chooses  is  the  latter  part  of  the 
eighteenth  century,  and  the  society  he  loves  to 
depict  as  being  most  suited  to  his  temperament 
is  that  of  the  Court  of  Louis  XV  or  Louis  XVI. 
The  languishing  grace,  the  mellifluous  elegance, 
the  licentious  extravagance  of  the  gallants  of  the 
period,  and  the  piquant  wit  which  the  menacing 
influence  of  the  bloody  catastrophe  of  the  Revolu- 
tion veils  with  sadness  for  us  who  can  look 
back  across  the  centuries,  the  dames  also  in  their 
high  poiidre  coiffures  and  flowery  hooped  gowns, 
with  their  satellites  in  laced  coats  and  swords 
and  tricornes,  stimulated  the  imagination  of  the 
young  Russian  artist,  and  he  takes  profound 
pleasure,  and  is  able  furthermore  to  infect  the 
sympathetic  beholder  with  the  same  enthusiasm, 
in  depicting  them  in  their  rich  and  gay  costumes, 


against  the  picturesque  background  of  the 
formal  gardens  of  the  period. 

Somoff  has,  however,  sometimes  con- 
descended to  depict  types  and  costumes  of 
a  less  remote  age,  though  always  sufficiently 
far  removed  from,  those  of  the  present  day. 
The  romantic  exaltation,  the  melancholy 
passion,  and  the  sentimental  vapourings, 
not  to  mention  the  elegant  clothes,  of  the 
contemporaries  of  Werther,  of  Rene,  and 
of  Jacopo  Ortis,  with  their  ostentatious  in- 
tolerance of  the  banalities  of  everyday  life 
and  the  common-sense  ways  of  practical 
men — these,  too,  have  atttracted  the 
painter's  attention  and  laid  siege  to  his 
sympathies.  In  a  series  of  very  tasteful 
compositions  painted  in  oil,  tempera,  or 
pastel  he  has  presented  to  us  the  poets 
and  the  diminutive  dames  with  their  sad 
and  fatalist  lovers  of  the  early  part  of  the 
last  century,  drawing  them  usually  in  pairs 
in  languishing  attitudes  in  the  shadow  of 
overhanging  trees  yellow  with  autumn,  or 
reclining  on  the  bank  of  some  lake  whose 
limpid  waters  reflect  the  cloudy  sky. 

The  sympathy  of  the  public  was  at  first 
alienated  from  these  works  of  Somoff  be- 
cause of  a  certain  wilful  simplification 
drawing  and  rather  daring  chromatic  effects 
which  aroused  the  ire  of  the  critics.  Then 
also  he  showed  a  tendency  to  forsake — in 
his  female  figures  especially — the  tra- 
ditional characteristics  of  plastic  beauty 
in  favour  of  that  beauty  of  expression  which 
is  apparent  rather  in  imperfect  contour  and 
irregularities  of  feature. 
The  works  of  which  I  have  spoken  are  in- 
dubitably those  in  which  the  personality  of  Somoff 
has  manifested  itself  in  its  most  original  and  most 
interesting  manner,  but  we  must  not  forget  that  his 
art  is  not  limited  to  these  subjects.  His  various 
landscapes,  treated  with  largeness  and  sobriety, 
reveal  him  as  a  robust  painter  of  nature,  while 
numerous  portraits  of  men,  women,  and  children, 
varied  in  technique,  in  composition  and  size,  testify 
to  his  abilities  in  searching  out  and  depicting  the 
physical  aspect  and  psychic  character  of  a  human 
creature.  A  large  number  of  black-and-white 
drawings  and  sketches  in  colour  afford  additional 
proof  of  his  elegance  as  a  delicate  and  refined 
designer  of  book  decorations.  Nor  must  I  omit  to 
mention  some  delightful  porcelain  figures  designed 
and  coloured  after  the  fashion  of  the  exquisite 
pieces   of  the   eighteenth   century,  and   executed 

"3 


Three  Russian  Pniiiters 


with  all  the  care  and  great  skill  of  the  Imperial 
Porcelain  Manufactory  at  St.  Petersburg. 

Side  by  side  with  the  group  of  young  painters 
and  draughtsmen  whose  inspiration  is  derived 
from  the  past,  there  has  arisen  in  Russia  during 
the  last  ten  years  or  so  another  group,  not 
less  interesting  in  its  audacious  anti-academicism, 
which  loves  to  depict  nature  in  her  most  bizarre, 
uncommon,  and  vivid  aspects,  with  a  technique 
somewhat  like  that  of  the  French,  Belgian,  and 
German    impressionists     and    neo-impressionists. 

The  most  typical  representative  of  this  group, 
by  reason  of  his  subtle  acuteness  of  vision,  his 
sapient  techniijue,  and  his  artistic  knowledge, 
is  without  doubt  Igor  Grabar.  Born  in  1871, 
he  entered  the  Imperial  Academy  of  Art  at  St. 
Petersburg  in  1894,  having  previously  taken  his 
degree    as   Doctor   of   Law.     It  was  the  year  in 


"  I'AVSANNE   KUSSK" 
114 


BY    I'llllll'    MAI-IAVINE 


which,  under  the  direction  of  Repine,  the  Academy 
seemed  destined  to  undergo  a  radical  reconstruc- 
tion. He  here  had  as  fellow-students  Somoff  and 
Maliavine,  but  when,  as  it  soon  did,  the  .Academy 
sank  back  into  its  former  stagnant  condition,  he 
left  it  without  completing  his  studies,  just  as  all 
the  best  men,  such  as  Levitan,  Vroubel,  Seroff, 
Maliavine,  Moussatoff,  and  Somoff,  had  done  or 
were  about  to  do  later  on.  I^eaving  Russia,  Grabar 
wandered  throughout  the  length  and  breadth  of 
Europe,  only  to  find  on  finally  returning  to  his 
fatherland  that  he  had  lost  his  artistic  bearings. 
He  therefore  decided  to  settle  in  Paris  and  then 
pay  a  visit  to  Munich.  The  work  of  the  Impres- 
sionists at  the  Exhibition  of  1900  in  Paris  defined 
the  artistic  future  of  the  young  Russian,  who  had 
already  been  influenced  by  Japanese  paintings  and 
prints  of  the  so-called  "  common  "  school. 

Returning  at  length  to  Russia,  he 
went  to  live  in  a  village  near  Moscow, 
where  he  studied  with  great  assiduity, 
painting  continuously  men  and  things 
en  pleiti  air  and  striving  to  depict  them 
with  the  proper  atmospheric  effect.  In 
this  manner  Grabar's  art  attained  its 
completion,  and  in  spite  of  adverse 
criticism  he  achieved  both  at  home 
and  abroad  more  than  one  decided 
victory.  In  particular  he  occupied 
himself  with  problems  of  snow-painting. 
In  a  series  of  exceedingly  admirable 
pictures  he  has  depicted  the  snow  with 
the  delicacy  of  toucii  of  a  Claude 
Monet  or  a  Camille  Pissarro,  of  a 
Hiroshige  or  other  great  artist  of  the 
Far  East.  He  has  rendered  not  only 
its  soft  downy  whiteness,  but  also  that 
rare  and  delicate  susceptibility  to  reflec- 
tions of  many  hues  which  produces 
infinite  variations  in  its  aspect.  When 
we  remember  the  surprise  which  works 
like  the  Matinee  frakhe  by  Grabar 
aroused  among  the  jHiblic  at  large  and 
the  irate  protests  which  this  particular 
work  called  forth,  one  is  forced  to  the 
conclusion  that  the  majority  of  ])eo[)le 
look  at  nature  without  really  .seeing 
it,  or,  to  be  more  exact,  only  perceive 
it  through  an  accustomed  conven- 
tionalism which  has  been  slowly  im- 
posed by  traditions  of  artistic  vision. 
The  dead  uniform  whitewash  which 
triumiihs  in  the  winter  landscapes  of 
Christmas  cards  in  England,  suggesting 


Three  R/issiaii  Painters 


"  PAYSANNE    RUSSE' 


BY    PHILIP    MALIAVINE 


rather  the  effect  of  cotton-wool  on  the  dark  green  of 
the  conventional  Christmas  trees — this  is  what  gives 
to  the  majority  their  familiar  idea  of  snow,  and  which 
rouses  the  enthusiasm  of  even  the  fairly  enlightened 
among  the  public  when  it  is  reproduced  on  the 
canvas  by  the  adept  art  of  one  of  the  popular 
painters  of  perverted  realism. 

This  explains  the  fierce  and  sustained  hostility 
towards  all  who  have  dared  to  present  the  luminous 
scenes  of  nature  as  a  vision  more  precise  and 
exact  but  very  different  from  that  dictated  by  the 
representative  tradition  which  has  for  many  years 
held  sway.  Therefore  a  genial  master  of  impres- 
sionism such  as  was  Claude  Monet,  or  an  inspired 
discipJe  such  as  Igor  Grabar,  deserves  to  be  held 
in  esteem  and  admiration  for  his  artistic  fearlessness 
and  also  to  be  regarded  with  gratitude  for  educating 
and  perfecting  our  visual  sensibility. 


Igor  Grabar  has  affirmed  himself  as  an 
artist  of  uncommon  skill  and  rare  ability 
in  the  painting  of  snow  scenes,  for  which 
he  has  evinced  a  special  predilection. 

In  order,  however,  to  avoid  the  danger 
of  becoming  monotonous  by  self-repeti- 
tion he  has  had  the  good  sense  to  present 
such  effects  in  their  most  varied  forms 
and  to  place  in  his  pictures  now  and 
again  some  female  peasant  figure,  as  he 
has  done,  for  instance,  with  infinite  grace 
and  elegant  artistry  in  the  painting  Neige 
de  Mars. 

Another  type  of  Vfork  in  which  Grabar 
excels  is  the  pamting  of  still-life.  Suffi- 
cient proof  of  this  may  be  found  in  various 
brilliant  works  of  exquisite  and  delicate 
execution,  such  as  La  table  en  dhordre, 
of  which,  as  indeed  of  all  his  paintings, 
a  black-and-white  reproduction  gives 
only  a  very  imperfect  idea. 

During  a  journey  which  he  made  to 
the  north  of  Russia  and  along  the  banks 
of  the  Dvina  and  its  tributaries  Grabar 
depicted  in  a  series  of  water-colour  draw- 
ings and  in  a  decorative  panel  of  more 
sober  colouring  than  usual  and  of  more 
finished  design  the  varied  scenes  along 
the  course  of  the  river  and  the  charac- 
teristic low-roofed  and  massive  houses 
and  cottages  which  abound  on  its  banks. 
There  is  a  serious  atmosphere  in  the 
design  of  these  drawings  which  places 
them  in  a  category  apart  from  the  other 
works  of  the  young  painter,  and  shows 
also  in  Grabar  a  tendency  towards 
decorative  art  which  has  gone  on  developing  and 
intensifying,  especially  during  the  last  few  years,  up 
to  the  point  of  almost  leading  one  to  predict  a 
further  evolution  of  his  talent.  Already  in  certain 
of  his  more  recent  works  it  would  seem  as  though 
his  intention  were  to  present  not  merely  a  small 
bit  of  nature  as  it  appears  to  an  artistic  tem- 
perament, but  to  paint  more  in  the  decorative 
manner  and  according  to  the  traditions  of  the 
old  masters  of  landscape — traditions  which  would, 
however,  be  modified  throughout  by  the  modern 
technique,  so  that  the  naturalistic  tendencies 
and  the  impressionist  discoveries  of  light  and 
colour  effects  may  be  added  to  the  great  decora- 
tive style  of  our  time.  At  the  same  time  I 
think  the  ever-increasing  development  of  his 
artistic  individualism,  placing  a  restraint  upon 
this  complex   impetus   to   his   talent,  will  always 

115 


Kay  Nielseti s  Draivings 


keep   the   ideals   of   Igor   Grabar   very   noble,    if 
always  intangible. 

There  is  still  another  young  artist,  born  in  the 
province  of  Samara  on  October  1 1,  1869,  who  can- 
not be  classified  as  belonging  to  one  or  other  of 
the  above-mentioned  groups  of  revolutionary  artists, 
but  who  nevertheless,  more  than  any  other,  has 
aroused  by  his  anti-traditionalist  campaign  the 
indignation  of  the  academic  class  both  at  home 
and  abroad,  and  who  has  been  roundly  abused 
by  some,  whilst  being  enthusiastically  hailed 
as  an  artist  of  distinction  by  others.  This  is 
Philip  Maliavine,  whose  most  important  work, 
J^  Rire,  hangs  in  the  Galleria  d'Arte  Moderna 
in  ^'enice. 

It  was  in  the  Art  Exhibition  at  St.  Petersburg 
in  1899  that  this  work  first  appeared  with  the 
simple  title  of  Ptnsari/ies  en  rouge,  and  certainly 
never  was  such  a  forceful  and  original  work  sent  to 
a  competition  for  a  travelling  studentship.  Those 
robust /'(7)-,w////t'.f,  with  their  hearty  and  contagious 
laughter,  seemed  as  it  were  to  have  invaded  those 
torpid  halls  and,  together  with  the  spirit  of  their 
portrayer,  Maliavine,  to  have  scorned  the  stagnant 
art  of  that  Academy.  The  professors  were  scan- 
dalised beyond  measure  at  the  work  of  this  son  of 
nature,  whose  crime  also  it  was  to  be  descended 
himself  from  a  jjeasant  family  and  who,  worse  still, 
had  served  for  a  part  of  his  life  with  a  brotherhood 
in  a  monastery  before  dedicating  himself  to  art,  and 
they  not  only  refused  to  award  him  a  travelling 
scholarship,  but  would  have  also  banished  the 
picture  from  the  exhibition  had  not  Repine  him- 
self opposed  this  hostile  treatment  of  his  pupil. 
This  work,  when  exhibited  under  the  shorter  and 
more  expressive  title  of  Zf.^/>f  in  the  International 
Exhibition  of  Paris  in  1900,  had  a  most  triumphant 
success,  and  was  adjudged  worthy  of  a  diploma  of 
honour. 

As  is  often  the  case  after  an  early  tiiumph  which 
renders  the  artist  indolent  and  the  public  ex- 
ceedingly exigent,  Maliavine  for  some  years  did  not 
produce  anything  which  would  bear  comparison 
with  this  first  work.  In  1906,  hovyever,  he  ex- 
hibited in  Paris  some  figures,  rather  larger  than  life- 
size,  of  Russian  peasants  in  their  national  costume 
of  bright  colours,  depicted  with  nervous  yet  frank 
ability  and  of  extreme  plasticity.  Here,  to  the 
great  delight  of  our  eyes,  he  showed  that  .same 
beauty  of  touch  which  marked  his  early  triumph, 
but  which  is  at  the  same  time  a  danger,  since 
it  might  be  the  means  of  tempting  him  away  from 
the  sober  study  of  the  truth  and  of  leading  him 
to  the  development  of  a  mannerism. 
116 


T 


hi:  d  r  a  wings  o  f  k  a  y 
mf.lsen.  hv  marion  hep- 
worth  dixon. 


It  has  become  a  truism  to  urge  the  impossi- 
bility of  "  placing  "  an  artist,  of  estimating  him  at 
his  proper  worth  during  the  short  term  of  his 
natural  life.  Nor  is  the  reason  far  to  .seek.  There 
is  the  personal  equation.  The  man's  attractions  as 
a  man,  his  mentality,  his  very  ego,  all  go  to  obscure 
the  issue,  and  help  to  make  or  mar  his  reputation 
amongst  his  contemporaries.  'Jake  the  case,  for 
example,  of  Aubrey  Beardsley.  A  genius  techni- 
cally of  the  highest  rank,  the  Beardsley  mandate 
seemed  to  wane  with  his  frail  and  ailing  body. 
The  term  degenerate,  that  accusation  of  possessing 
a  "  warped  and  sinister  outlook,"  gave  a  bias. 
What   was   perverse  and  maeabre  in  his  tempera- 


"TUK   CHASM 


BY    KAY    MKl.SKN 


^ Py  perntission  of  Messrs. 

Hodder  &•  Stou^htcn.J 


"I    HAVE  HAD   SUCH   A  TERRIBLE   DREAM." 

ILLUSTRATION    TO    THE    STORY    OF    "ROSANIE" 
("(N    POWDER   AND   CRINOLINE,')   BY    KAY    NIELSEN. 


in 


Kay  Niclseii  s 


Draioiiigs 


ment  (traits  perhaps  unduly  developed  in  the 
illustrations  to  "  The  Rape  of  the  Lock  ")  went  far 
to  alienate  the  British  public.  There  was  a 
moment  when  he  seemed  to  be  sought  for  only  by 
the  curious  in  book-shops  difficult  of  access,  his 
great  gifts  seeming  to  be  ignored  or  to  be  acknow- 
ledged by  only  the  more  far-seeing  critics  of  the 
Continent.  Naturally  the  loss  was  ours.  For  if, 
as  is  continually  urged,  black-and-white  art  has 
languished  in  the  twentieth  century,  it  is  not 
difficult  to  see  to  whom  the  blame  must  be  applied. 
For  the  Fates — whom  the  Greeks  rightly  regarded 
as  malevolent  hags — decreed  that  the  finest  living 
master  of  black  and  white  should  be  summarily 
placed  out  of  court,  should  be  anathema  to  the 
compact  majority. 

That  such  a  verdict  could  survive  was  manifestly 
impossible.  ^Ve  have  too  few  masters  of  any  art 
to  permanently  ignore 
them.  Moreover,  as  pen- 
and-ink  drawings  occupy 
the  place  that  engravings 
and  woodcuts  filled  in  the 
days  of  our  grandfathers, 
it  was  on  the  face  of  things 
little  likely  that  the 
Beardsleytradition  should 
be  suffered  to  die.  The 
torch,  indeed,  had  been 
kept  alight  by  others  than 
ourselves.  Hence  the 
curious  significance  and 
widespread  influence  of 
the  Aubrey  Beardsley 
school  on  the  Continent. 
For  look  where  we  may, 
the  inspiration,  the  trick 
of  looking  at  life  from  the 
exotic,  the  A  Rehours 
standpoint,  is  the  same. 
Have  not  Germany, 
France,  Austria,  Russia, 
Denmark  all  succumbed 
to  the  overpowering  in- 
fluence of  the  Beardsley 
formula?  Go  into  any 
modern  picture  gallery  at 
random,  and  we  find  Leon 
Baskt,  Alistair,  and  one 
of  the  latest  of  new  re- 
cruits, Kay  Nielsen,  all 
bearing  witness  to  the 
master  in  their  several  and 
special  manners. 


Now  I  know  little  or  nothing  of  the  personal  history 
of  Mr.  Kay  Nielsen — the  subject  of  this  article. 
Young  and  curly,  impulsive  and  pessimistic,  his 
history  is  probably  yet  to  make.  Rumour,  how- 
ever, has  it  that  with  no  mean  attractions  of 
outward  person,  the  young  Dane  is  indebted  to  his 
mother — a  famous  actress — for  his  talent.  There 
is  a  high  sense  of  drama  in  his  outlook.  Can 
anyone  studying  the  sorrow  of  Pierrot  in  "  The 
Book  of  Death "  series  fail  to  be  struck  by  the 
drawing  called  Solitude  ?  Technically  it  is  all 
a  pen-and-ink  should  be.  The  blacks  are  superb, 
while  with  rare  felicity  the  sketch  conveys  its 
tragic  meaning  with  a  curious  economy  of  line. 

First  seen  at  the  Dowdeswell  Galleries  in  New 
Bond  Street  in  July  191 2  when  Mr.  Kay  Nielsen's 
initial  one-man  show  was  inaugurated,  the  illus- 
trations to  "  The  Book  of  Death  "  were  made  one 


THE    Fl.VINC,   TRUNK      :    AN    ILLUSTRATION   TO   HANS   ANDERSEN  S    KAIRV   TALES 
FROM    A    WATER-COLOUR    BY    KAY    NIELSEN 

(By  cojirtesy  of  Messrs.  Dowdeswell  and  Dowdeswell,  Ltd.) 

119 


Kay  Nielsen  s  Drawings 


of  the  principal  features^  of  the  exhibition.  They 
were  certainly  not  the  least  arresting  and  poignant 
of  the  drawings.  The  theme,  no  doubt,  as  well  as 
the  sincerity  of  the  artist's  mood,  largely  accounted 
for  their  popularity.  Pierrot  loves  a  young  and 
lovely  maiden,  as  every  Pierrot  should,  but  a  sharp 
foreboding — some  imminent  presage  of  disaster — 
is  ever  present  to  the  lovers.  The  first  drawing, 
entitled  Omen,  the  third.  Inevitable,  the  fourth,  Left, 
and  the  fifth,  called  The  Chasm,  perhaps  sufficiently 
explain  the  story.  For  our  light  o'  love  is  separated 
from  his  innanwrata  by  death,  and  in  his  despair 
seeks  destruction  in  the  deep  dark  tomb  of  the 
beloved.  T/u  Cliasm,  in  fact,  shows  the  desperate 
lover  flinging  roses  into  the  sepulchre  as  he  prepares 
to  take  the  fatal  plunge  into  the  darkness  below. 
Intermezzo  follows,  and  in  The  Vision  and  \  'earning 
we  see  Pierrot  struggling  to  regain  the 
beloved  one — not  now  in  her  mere 
bodily  beauty  and  effulgent  youth,  but 
in  the  finer  essence  of  the  spirit.  Of 
Solitude  we  have  already  spoken.  The 
End,  the  last  of  the  series,  is  inevitable. 

No  less  an  interpreter  of  the  incom 
parable  genius  of  Heinrich  Heine,  Mr. 
Kay  Nielsen  has  at  moments  the  same 
light-hearted  cynical  smile,  the  same 
sense  of  the  inevitable,  the  same  fan- 
tastic environment.  For  if  he  has  the 
master  poet's  sense  of  tears  he  has  also 
something  of  his  irony. 

Take  the  drawing  illustrating  the 
verse  : 


The  angels  they  call  it  the  joys  of  Heaven, 
The  devils  they  call  it  Hell's  torment  even, 
And  mortals  they  call  it  loving  ! 

The  scene  depicts  a  pair  of  lovers  em- 
bracing with  all  ardent  protests  of  con- 
stancy, while  a  leering  devil  squirms  and 
an  angel  prays  in  a  very  fervour  of  pious 
ecstasy.  No  angel,  alas !  attends  the 
lovers  of  another  famous  poem  by 
Heine : 

There  was  an  aged  monarch. 

His  heart  was  sad,  his  head  was  grey. 

This  sad  and  aged  monarch 

A  young  wife  wed  one  day. 

There  was  a  handsome  page,  too. 
Fair  was  his  hair,  and  light  his  mien. 
The  silken  train  he  carried 
Was  the  train  of  the  self-same  queen. 

Dost  know  the  ancient  ballad  ? 
It  sounds  so  sweet,  it  sounds  so  sad. 
They  both  of  them  must  perish, 
For  too  much  love  they  had. 


Needless  to  say,  Mr.  Kay  Nielsen's  version  of  the 
"ancient  ballad  "  is  vivid  and  picturesque.  Yet  in 
his  interjiretation  the  young  Dane  and  the  stricken 
poet — the  poet  of  the  mattress  grave — are  altogether 
at  one.  A  third  drawing,  seen  at  the  Dowdeswell 
Gfllleries  in  191  2,  has  something  of  the  same  theme 
for  a  subject.  It  is  spoilt  by  having  rather  too 
obvious  a  moral  tacked  on  to  it.  In  a  wholly 
decorative  setting  the  two  lovers  meet  in  the 
flowering  fields,  but  even  as  we  perceive  their 
rapturous  transports,  we  are  made  to  shudder  at  the 
grim  and  grinning  skull  which  lies  partly  concealed 
at  their  feet  among  the  herbage.  Has  Kay  Nielsen 
an  affinity  with  Rops,  the  Belgian  etcher  and 
draughtsman,  as  is  alleged  by  no  less  an  authority 
than  Sir  Claude  Phillips  ?  Probably  in  some  of 
his  moods.     Not  that  the  young  Dane  is  entirely 


^^SSi^^i^^B^SS:^^ 


"  SOI.ITI'DK' 


IIV    KAY    MKl  SKN 


KAT  NUl^tty  a. 


'  By  fermis^ion  of  Af.'SSi-s. 


"PRINCESS    M  I  NON-MIN  ETTE    RIDES    OUT 
IN  THE  WORLD  TO    FIND   PRINCE   SOUCI" 

ILLUSTRATION       TO      THE      STORY     OF     "  M  I  NON-M I N  ETTE '■ 
("IN     POWDER    AND    CRINOLINE")    BY     KAY     NIELSEN. 


\u 


it 

§1 
5  i^ 


V 
^ 


I'i.'b 


•'SHADOWS  OF  Till--   NIGHT" 
HV   KAV   NH-XSEN 


(By  (oiirtesy  of  Messrs.  Dowdeswelt 
and  DowdeswelU  l-ld. ) 


Kay  Nielsen's  Dnnciiigs 


perverse  and  morbid.  He  can  enter  into  the  spirit 
of  Hans  Andersen.  A  drawing  such  as  The  F/yi/tg 
Trunk  shows  that  the  young  artist  can  emancipate 
himself  wholly  from  the  Beardsley  tradition.  In  it 
he  exhibits  a  nice  sense  of  whimsicality  and 
espiegkrie,  while  The  Story  of  a  Mother  is  not  with- 
out its  potent  charm.  Charm,  by  the  way,  is  the 
adjective  which  best  describes  such  illustrations  as 
The  Tute/ve  Da/icing  Princesses,  Minon  Minette,  and 
Felicia  listening  to  the  Hen's  Story  in  the  little  tale 
called  "  The  Pot  of  Pinks  "  in  Sir  Arthur  Quiller 
Couch's  recent  volume  called  "  In  Powder  and 
Crinoline,"  published  by  Messrs.  Hodder  and 
Stoughton.  The  original  drawings  for  these  illus" 
trations  are  to  be  seen  this  autumn  at  the  Leicester 
Galleries,  and  should  go  far  to  prove  that  happy  as 
Mr.  Kay  Nielsen  is  as  a  black-and-white  artist  he 
can  be  equally  felicitous  when  he  attempts  to  in- 
terpret his  thoughts  in  colour. 

In   speaking   of   Mr.   Kay    Nielsen's  colour  we 


FELICIA   LISTENING   TO   THE    HENS    STORY      .    ILLUSTRATION    TO        THE   POT   OF 
PINKS."      BY    KAY   NIELSEN 
(By  courtesy  of  Messrs.  //odder  &=  Stougliton  and  A/essrs.  Ernest  Brown  &^  /^hillips) 


enter  into  the  second  phase  of  his  career,  and  see 
him  now  manifestly  indebted  to  the  great  Chinese 
colourists  for  inspiration.  He  could  go  to  no 
better  masters.  In  truth,  while  the  art  of  all 
young  men  is  derivative — and  Mr;  Kay  Nielsen's 
precocious  talent  was  bound  to  be  eminently  so — 
he  is  manifestly  showing  as  he  progresses  a  fancy 
so  delicate,  an  outlook  so  original,  that  no  charge 
of  plagiarism  can  be  brought  against  him.  Thus 
if  he  assimilated  and  made  his  own  Beardsley's 
method  of  spatter  and  stipple  as  he  did  much  of  his 
sense  of  line,  it  is  clear  the  new-comer  knows  the 
uses  of  a  jumping-off  board.  It  is  safe  to  say  that  he 
will  attain  to  complete  self-expression  and  originality 
when  he  has  acquired  the  use  of  his  tools. 

In  his  colour  designs  he  is  delicate  and  sugges- 
tive rather  than  forceful.  So  much  Mr.  Nielsen's 
second  exhibition  of  works  at  the  Leicester  Galleries 
will  prove  to  the  public  this  autumn.  Very  lovely  in 
its  faint  blues  and  greens  with  tones  of  russet-red  is 
the  illustration  to  Minon 
Minette.  The  dramatic 
gesture  of  the  lady,  the 
fine  sweep  of  the  flowery 
skirts,  the  correct  model- 
ling of  the  white  horse 
— all  are  dainty  yet  finely 
considered.  Properlysub- 
dued  to  the  scheme  of  a 
purely  decorative  theme  is 
the  illustration  to  the  story 
of  Rosanie ;  yet  here  again 
the  Beardsley  tradition 
rears  its  head.  In  The 
Man  'cvho  never  laughed 
the  artist  has  struck 
a  pretty  vein  of  his 
own  and  one  he  would  do 
well  to  cultivate.  Inimit- 
able as  a  study  of  charac- 
ter is  this  glimpse  of  the 
Early  Victorian  coulisse. 
The  louche,  blear-eyed 
waiter  fingering  his 
money  is  a  study  in  him- 
self, and  suggests  that 
Mr.  Kay  Nielsen  might 
give  us,  if  he  were  so 
minded,  another  and 
vastly  entertaining  Early 
Victorian  "  Rake's  Pro- 
gress." Will  he  try?  His 
success  would  be  a  fore- 
gone conclusion. 

125 


The  Clidtcaii  of  Rosoiborg 


THE    CHATEAU    OF    ROSEN- 
BORG. COPENHAGEX,  AND  ITS 
COLLECTIONS.      BY    GEORG 
BROCHNER.      (Second  Article.) 

In  a  former  issue  (July)  I  dealt  with  the  chateau 
itself  and  some  of  its  very  nandsome  ajjartments  :  in 
this  and  subsequent  articles  I  now  propose  to  render 
some  descriptive  accounts  of  the  manifold  treasures 
it  contains,  of  which  a  number  unquestionably  are 
entirely  unique  both  as  regards  superbcraftsmanship, 


three  centuries,  presents  a  singular  and  distinct 
character,  somewhat  exclusive  no  doubt,  but  on 
the  other  hand  enhanced  by  class  and  historical  as 
well  as  pronounced  artistic  interest. 

The  miniatures  which  in  course  of  time  have 
found  their  way  to  Rosenborg  amount  in  number 
to  the  very  imposing  aggregate  of  about  five  hun- 
dred. Even  if  some  of  these  may  be  deficient  in 
merit,  the  majority  constitute  a  collection  of  un- 
questionable international  interest  and  importance 
af>art  from  their  historical  associations,  and  a 
number  of  the  world's  most  famous  miniature 
painters  during  the  last  three  hundred  years  will  be 
found  represented  among  them.  Unkind  things  are 
nowadays  often  uttered  and  written  about  kings 
and  princes,  but  lovers  of  the  beautiful  in  the  arts, 
and  perhaps  even  more  in  the  crafts,  should  feel 
some  gratitude  towards  these  exalted  personages, 
for  to  them  we  are  indebted  for  collections  like  the 
one  now  under  review. 

A  short  suriey  of  some  of  the  more  notable 
amongst  the  miniature  painters  represented  in  the 
Rosenborg  collection  may  not  be  considered  out  of 
place.  I  say  collection,  but  as  a  matter  of  fact  the 
miniatures  have  not  been  looked  upon  or  treated  as 
a  distinct  and  definite  collection  ;  they  have,  more 
or  less,  shared  the  fate  of  other  Rosenborg  treasures, 
and  have  been  arranged  or  kept  in  attachment  to 
other  relics  of  the  royal  personages  with  whom 
they,  one  way  or  another,  were  or  had  become 
connected.     No  special  heed  appears  to  have  been 


"KING   CHARLES    11."      BY    TAl  I.    I'RIEIIR,    1669 


intrinsic  beauty,  and  monetary  value,  from  the 
collector's  point  of  view.  One  simply  marvels 
at  the  subtle  ingenuity,  at  the  inventive  powers,  at 
the  incredible  patience  revealed  in  scores  upon 
scores  of  objects  in  tiiis  collection,  and  at  the  utter 
disregard  for  costliness  of  material  in  which  many 
of  the  craftsmen  of  old  were  enabled  to  indulge. 
Surely  our  own  time  can  never  attempt  to  vie  with 
past  ages  in  this  field  of  the  crafts,  from  sheer  lack 
of  sincerity  in  and  reverence  for  the  work,  if  for 
no  other  reiison.  Moreover,  a  royal  court  was  then 
wont  more  than  now  to  attract  those  most  skilful 
in  the  arts  and  crafts,  and  a  number  of  the  most 
famous  craftsmen  arc  rc{)resented  in  the  Rosenborg 
collection. 

This,  as  might  be  expected,  also  applies  to  the 
charming  art  of  miniature  painting.  Miniature 
portraits  always  have  been,  and  for  the  matter 
of  that  still  are,  exceedingly  popular  with  royalty ; 
and  it  almost  goes  without  saying  that  this  royal 
collection,  by  means  of  its  unbroken  growth  through 
126 


"IIAKIIA.RA    VIl.l.lKRS,    COl'NTKSS    CASTI.EM AINE, 

AITKRWARDS      lULIIKSS     OF     CI.KVEI.ANI)."       BY 

rAl'l.    I'KIEl'R,    1669 


The  Chdteaii  of'  Rosenborg 


paid  to  them  as  miniatures.  Under  these  circum- 
stances it  can  be  no  matter  of  surprise  that  some 
uncertainty  has  existed  as  to  both  the  identity  of 
the  persons  portrayed  and  the  names  of  the  artists. 
Thanks,  however,  to  the  able  and  assiduous 
investigations  of  Mr.  E.  F.  S.  Lund,  of  the  National 
Museum  of  Denmark,  much  light  has  now  been 
thrown  upon  this  charming  and  fascinating  subject. 
Mr.  Lund  has  embodied  the  results  of  his  ex- 
haustive labours  in  a  handsome  and  elaborate  work 
(which  so  far  has  only  appeared  in  Danish)  and  I 


'  KING   CHARLES    I. 


BY   C.    HORNE.MAN 


some  charming  examples  of  the  work  of  Prieur's 
famous  contemporary  Jean  Petitot  (born  in  Geneva 
in  the  year  1607),  who,  like  other  great  artists  of  his 
time,  betook  himself  to  England,  where  he  resided 
for  some  time  and  was  knighted  by  Charles  L  He 
afterwards  became  court  painter  to  Louis  XIV. 

During  the  reign  of  Christian  IV,  the  builder  of 
Rosenborg,  there  was  much  intercourse  between 
the  Danish  and  English  courts.  Queen  Anne 
(consort  of  James  I)  being  the  sister  of  the 
Danish  king,  and  the  year  of  her  death,  16 19,  a 
number  of  English  miniatures  were  brought  to  the 
Danish  court.  As  the  king  wrote  in  his  diary  (this 
gold-mine  for  research)  on  October  2,  1619:  "One 
came  from  England  with  some  portraits,  whom  I 
presented  with  twenty-five  Rose-nobles."  King 
Christian  several  times  visited  his  sister  in  England, 
on  one  occasion  taking  her  entirely  by  surprise, 
having  arrived  unannounced  and  ridden  incognito 
from  Yarmouth  to  London,  and  as  Queen  .'Vnne 
shared  his  interest  in  matters  appertaining  to  art, 
the  two  would  naturally  exchange  presents  consist- 
ing of  objefs  (fart.  On  the  other  hand,  the 
painter  Franz  Cheyn,  who  had  worked  for  King 
Christian  in  Copenhagen,  went  to  England,  where 
both  he  and  his  children,  amongst  them  his 
daughter  Penelope,  practised  miniature  painting. 

Of  Christian  IV  himself  there  are,  naturally, 
several  miniatures  at  Rosenborg.  The  one  repro- 
duced here  is  by  Jacob  van  Doort  (1616),  who 
painted  the  king  on   divers   occasions.      Another 


take  this  opportunity  for  expressing  my  appreciation 
of  the  invaluable  assistance  he  has  rendered  me. 

Some  of  the  most  famous  English  painters  of 
miniatures  are  represented  at  Rosenborg,  where 
will  also  be  found  portraits  of  kings  and  queens  of 
England.  Formerly  kings,  those  of  Denmark 
amongst  them,  not  only  had  their  specially  ap- 
pointed court  miniature  painters  (as  they  now  have 
their  photographers),  but  they  were  also  wont  to 
despatch  famous  miniature  painters  to  foreign 
courts  for  the  purpose  of  portraying  other  kings 
and  queens.  Thus  King  Frederick  III  of  Denmark 
sent  the  well-known  French  enamellist  Prieur  to 
London  in  1669  to  paint  a  miniature  of  King 
Charles  II,  which,  as  well  as  that  of  Lady  Castle- 
maine  painted  on  the  same  occasion,  is  reproduced 
here.  The  following  year  Prieur  had  to  go  to  Poland 
in  order  to  paint  the  king  of  that  ill-fated  country 
Altogether  miniature  painting  must  have  played  an 
important  part  in  international  courtesies  and  inter- 
course at  the  time.     At  Rosenborg  there  are  also 


"(lUEEX    ANNE"   (ENAMEL). 


BY   C.    BOIT,    1705 
127 


The  Clidtcait  of  Rosenborg 


'THE   SCILITOK    BEKTKI,   THORVAl.DSEN 

BY    C.    HOKNEMAN 


miniature  of  the  king  has  now  definitely  been 
ascribed  to  the  famous  Enghsh  artist  Isaxic  Oliver 
(1611),  Mr.  Lund  acquiescing  in  Dr.  Williamson's 
view,  although  he  is  of  opinion  that  certain  traits 
might  point  to  Van  Doort  himself  having  painted 
this  miniatiu-e  replica,  slightly  altered  in  some 
details,  of  his  large  portrait  of  the  king.  The 
miniature  is  enca.sed  in  a  oipsule  with  gold  edge 
and  a  red  enamelled  back  bearing  the  initials 
of  Christian  1\'  with  royal  crown  in  gold.  The 
miniature  of  his  queen,  .\nna  Catherine  (161 2),  is 
in  a  more  elaborately  enamelled  capsule.  Dr. 
Williamson  also  authoritatively  pronounces  this  to  be 
the  work  of  Oliver.  These  two  portraits  are  painted 
on  a  clear,  blue  background,  like  portraits  by 
Holbein  and  Hilliard,  only  Oliver  attained  to  a 
higher  degree  of  perfection  than  did  Hilliard,  whose 
pui)il  he  was.  IJy  \'an  I  )oort  there  are  other  minia- 
tures of  ('hristian  \\  at  Rosenborg,  and  whilst 
several  portraits  of  the  king  cannot  be  traced  to  any 
known  artist,  Mr.  Lund  looks  upon  one  as  prob- 
ably [)ainted  by  Karel  van  Mandern,  whilst  another 
is  after  a  portrait  by  this  artist.  The  latter,  ap- 
imrenlly  dating  from  1643,  is  the  earliest  portrait  in 
enamel  in  the  collection.  .\t  that  time  enamel 
portraiture,  so  to  speak,  was  still  in  its  infancy, 
notwithstanding  the  fact  that  I'etitot's  famous 
enamel  portrait  of  the  Countess  of  .Southampton 
dates  from  just  about  that  year,  and  besides  I'etitol 
only  a  couple  of  other  artists  in  England  and  France 
practised  enamel  portraiture  at  the  time. 

During  the  reign  of  Kretkrick  HI  another  famous 
Iviiglish     miniature     painter,    Alexander    Cooper, 
128 


painted  a  number  of  miniatures  of  Danish  (and 
more  especially  Swedish)  royalties.  He  resided 
for  a  lengthy  period  first  in  Holland  and  afterwards 
in  Sweden,  where  he  became  court  painter,  and  in 
a  register  of  the  inhabitants  of  Stockholm  in  1647 
he  is  described  as  Abraham  .Mexander  Cooper, 
Jew,  ])ortrait  ])ainter.  'l"he  King  of  Sweden,  how- 
ever, owns  a  signed  portrait  by  Cooper  of  Gustavus 
Adolphus,  probably  painted  before  1632  (the  year 
of  the  king's  death).  He  was  a  favourite  with  this 
king's  daughter.  Queen  Kristina,  and  was  paid  a 
very  handsome  sum  towards  gala  garments  on  the 
occasion  of  her  magnificent  coronation  in  1650. 
Cooper  also  became  court  jxiinter  to  her  successor, 
and  he  received  a  fixed  sum  (nominally  ^,^  lor.) 
for  each  portrait. 

In  the  year  1656  Cooper  paid  a  visit  to  Denmark, 
where  he  painted  the  portrait  of  King  Frederick  HI, 
here  reproduced,  and  those  of  Queen  Sophie  Amalie 
and  the  royal  children,  among  them  the  little 
Princess  ^'illlelnline  Ernestine  (al.so  reproduced), 
all  of  which  portraits  are  at  Rosenborg  in  finely 
enamelled  capsules.  The  cost  of  the  capsule  some- 
times exceeded  that  of  the  portrait  by  fifty  or  as 
much  as  a  hundred  times.  Cooper  died  in  Stock- 
holm in  1660,  "alone,  at  his  work,  brush  in  hand." 

Three  years  after  Cooper's  death  the  French 
enamellist  Paul  Prieur  came  into  the  employ  of 
King  Frederick  HI,  for  whom  he  painted  a  large 


"THE    CO.MrOSER    CHRISTOril     WIl.lllAl.li    GLfCK. 
C.    HORNKMAN,    AKTKR   DUI'LESSIS 


The  Chdteaii  of  Rosenborg 


"  KING 
MARK.' 


KREDERICK      III     OF     DEN- 
BY     ALEXANDER     COOPER 


1656 


"  PRINCESS  VILHELMINE  ERNESTINE, 
DAUGHTER  OF  FREDERICK  III  OF 
D&NMARK."  BY  ALEXANDER  COOPER 
1656 


"queen      CAROLINE     AMALIE, 

CONSORT  OF  KING  CHRISTIAN  VIII 

OF  DENMARK."    BY  M.  M.  F.JASPER 

182I 


KING  CHRISTIAN   IV  OF  DEN- 
MARK."    BY  JACOB  VAN  DOORT 
1616 


"KING   CHRISTIAN    VIII    OF   DENMARK' 
BY  JOHANNES   MOLLER 

129 


The  Chdtcau  of  Rosenborg 


"  PHE    MINIATURIST  CHRISTIAN    HORNEMAN  " 

PAINTEll   BY    HIMSELF 


number  of  portraits,  including  those  of  the  king 
and  queen.  He  worked  for  the  Danish  court 
for  a  great  many  years,  also  after  the  death  of 
Frederick  III,  painting,  amongst  others,  numerous 
portraits  of  King  Christian  \'.  As  already  men- 
tioned, he  was  sent  to  England  in  1669,  from  which 
visit  date  the  portraits  of  Charles  II  and  Lady 
Castlemaine  referred  to  above.  Mr.  Lund  has 
succeeded  in  raising  the  veil  which  shrouded  the 
origin  of  Prieur,  but  space  will  not  allow  me  to 
enter  upon  this  otherwise  very  interestnig  subject. 

By  Charles  Boit,  of  F"rench  e.xtraction,  bom  in 
Stockholm  and  afterwards  domiciled  in  England, 
where  after  diverse  adversities  he  became  a  much- 
thought-of  portrayer,  the  Rosenborg  collection 
comprises,  amongst  others,  a  very  handsome 
miniature  in  enamel  of  Queen  Anne  of  England 
(1705),  reproduced  here;  the  low-cut  robe  is  of 
orange  colour  with  lace  trimming,  the  m;witle  red 
and  edged  with  ermine,  the  medallion  of  the  Carter 
hanging  from  a  blue  ribbon.  There  is  also  a  minia- 
ture of  Queen  Anne  in  oil  on  copper  at  Rosenborg. 

Josias  Barbette  is  another  Erench  artist  (native 
of  Strasburg)  who  during  a  lengthy  period  was 
miniature  enamellist  to  the  Danish  court  :  having 
lived  some  forty  yeiirs  in  Copenhagen  he  died 
there  in  the  year  1731.  Hiller  painted  a  number 
of  very  decorative  miniatures  of  and  for  King 
Frederick  IV,  several  of  which  are  remarkable  also 
for  the  elaborateness  of  their  frames. 

Also  from  the  reign  of  the  following  kings 
Rosenborg  boasts  a  large  number  of  miniature 
portraits  of  the  kings  as  well  as  of  the  queens  of 
'3° 


Frederick  V  and  Christian  \"1I  (both  of  whom 
were  English  princesses),  but  in  artistic  merit  they 
hardly  vie  with  those  already  dealt  with,  nor  has 
it  in  numerous  cases  been  possible  to  identify  with 
any  certainty  the  respective  artists  in  question. 

By  degrees  a  school  of  eminent  Danish  painters, 
miniature  and  otherwise,  was  formed,  and  they,  in 
harmony  with  the  eternal  fitness  of  things,  are  very 
fully  represented  in  the  Rosenborg  collection. 

Amongst  these  Cornelius  Hoyer  is  perhaps  best 
known  outside  Denmark  ;  and  his  miniatures  still 
enjoy  a  great  reputation.  In  the  year  1768  Hoyer 
returned  to  Denmark  from  Paris,  and  he  ranks  high 
amongst  the  Danish  miniaturists  of  his  day.  He  was 
succeeded  as  court  miniature  painter  by  Christian 
Horneman.  Horneman  left  Denmark  in  the 
year  1 788  and  remained  abroad  for  sixteen  years, 
principally  residing  in  Germany  and  Italy.  On  his 
return  he  became  a  much-esteemed  portrait  painter, 
and  Rosenborg  possesses  a  separate  Horneman 
collection  of  forty-seven  miniatures.  They  are  partly 
painted  after  works  by  older  artists.  His  miniature 
self-portrait,  reproduced  here,  is  from  a  larger  self- 
portrait  in  pastel.  The  portrait  of  Thorvaldsen 
is  likewise  painted  from  a  larger  pastel  portrait  (also 
by  Horneman),  whilst  the  miniatures  of  King 
Charles  I  of  England  and  Gluck,  the  composer, 
also  reproduced  here,  are  respectively  from  Van 
Dyck's  and  Duplessis's  well-known  paintings. 

The  latest  of  the  miniatures  chosen  for  repro- 
duction here  are  the  portraits  of  King  Christian  VIII 
of  Denmark  and  his  queen,  Caroline  Amalie.  The 
former  is  painted  by  Johannes  Moller,  a  wellknowTi 
]  )anish  artist  and  miniature  painter  to  the  court. 
He  had  studied  in  Paris,  where  he  distinguished 
himself  and  painted  King  Louis  Philippe,  and  he 
also  worked  in  other  cajjit-ils,  including  London, 
St.  Petersburg  and  Stockholm.  The  charming 
portrait  of  Queen  Caroline  Amalie,  according  to 
an  autograph  note  on  the  back,  was  ]>ainted  at 
Plombieresin  182  i  by  a  lady  artist,  M.  M.  F.  Jaser. 

By  the  death  of  Prince  Hans  of  Glucksburg,  the 
youngest  brother  of  King  Christian  IX  of  Denmark, 
Rosenborg  became  possessed  of  his  valuable  and 
comprehensive  collection  of  miniatures.  My  space 
will  but  allow  of  a  cursory  reference  to  this  recent 
addition,  which  contains  numerous  eminent  ex- 
amples of  the  miniaturist's  art ;  but  I  should  in  con- 
clusion like  to  mention  a  charming  portrait  by  Jens 
Juel  of  Queen  Marie  So])hie  Frederikke,  consort  of 
King  Frederick  VI,  which  possesses  all  the  subtle 
grace  characteristic  of  this  artist,  and  another  of 
Prince  Hans  of  Glucksburg  by  Rehling-Qvistgaard, 
which  is  much  prized  by  the  Danish  Royal  Family. 


SOME  RECENT  EXAMPLES  OF 
ARTISTIC  PHOTOGRAPHY 


(As  many  of  our  readers  are  interested  in  the  progress  of  artistic  photography  -we  give  here  reproductions 
of  a  few  prints  which  have  attracted  our  notice  recently — chiefly  at  the  London  Salon  of  Photography  —  as 
showing  some  of  the  pictorial  possibilities  of  the  camera. ) 


'l'Scharpe  de  oachemire' 


(London  Salon  of  Photography) 


BY   GUIDO   KEY 

13 


■TALKINT,."      HY    RU1K)LF 
AND   MINYA  DUHRKOOP 


(London  Salon  of  Photography) 


•♦= 


1 


m^^^^i^^^:^^^^^^^''^^^^^- 


(London  Salon  of  Pilot ography) 


"THE  LETTER."     BY 
RICHARD   POLAK 


'3  3 


WO 


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"  MAKN  A    UELVARD" 
HY   K.   HIKBKR 


(London  Salon  of  Photography ) 


NATURE  MORTE."     BY 
DRTIKOL,   PRAGUE 


■^-x^ 


"OSCAR   I'ATKKSON 
BY  W.  RANSI'OKU 


studio-  Talk 


STUDIO-TALK. 

From  Our  Own   Correspondents. 

LONDON.— The  loss  which  British  art  has 
sustained  by  the  death  of  Sir  Alfred  East 
is  certainly  to  be  regarded  as  irreparable. 
—^  Among  the  artists  of  our  times  he  stood 
alone,  not  only  as  a  man  of  unusual  gifts  but  as  the 
possessor  of  a  remarkable  and  dominating  per- 
sonality which  made  its  power  felt  in  many  direc- 
tions, and  the  position  he  occupied  he  had  made 
for  himself  by  the  sincerest  devotion  to  high  prin- 
ciples of  artistic  practice.  In  his  art  he  followed 
a  noble  tradition — a  tradition  established  by  some 
of  our  greatest  masters  of  landscape  painting — and 
he  strove  with  rare  consistency  to  prove  himself  a 
worthy  supporter  of  a  splendid  creed.  An  earnest 
student  of  nature,  he  avoided  that  tendency  towards 
realistic  trivialities  which  has  affected  so  many  of 
the  modern  painters  of  landscape,  and  he  sought 
always  for  those  finer  qualities  of  decorative  ex- 
pression which  give  strength  and  significance  to  the 
pictorial  representation  of  open-air  subjects — for 
those  qualities  of  design,  colour  arrangement,  and 


decorative  sentiment  which  make  a  picture  a 
personal  thing  rather  than  a  mere  record  of  more 
or  less  closely  observed  facts.  Certainly  it  was  his 
sincerity  in  the  pursuit  of  his  ideals  that  enabled 
him  to  take  in  a  comparatively  short  career  the 
place  that  for  some  years  he  held  in  the  art  world. 
Born  in  1849,  at  Kettering,  he  had  reached  the  age 
of  five  and  twenty  before  he  was  able  to  commence 
the  serious  study  of  art,  and  it  was  nearly  ten  years 
later  before  he  exhibited  his  first  picture  at  Bur- 
lington House,  yet  for  more  than  twenty  years  he 
has  ranked  as  one  of  the  chief  artists  of  our  school. 
It  is  distinctly  discreditable  to  the  Royal  Academy 
that  the  official  recognition  of  his  powers  was 
delayed  until  1899,  when  he  was  elected  an  Asso- 
ciate, and  that  he  had  to  wait  another  fourteen 
years — until  July  in  the  present  year — for  his  pro- 
motion to  the  rank  of  Royal  Academician,  and 
that  none  of  his  works  should  ever  have  been 
acquired  for  the  Chantrey  Fund  Collection.  Other 
societies  at  home  and  abroad  showed  far  more 
anxiety  to  do  him  the  honour  that  was  his  due.  In 
1906  he  was  chosen  to  succeed  Sir  Wyke  Bayliss 
as  President  of  the  Royal  Society  of  British  Artists, 


"^^^JW^ 


-y',    M 


^^h. 


\j2cx. 


VENICE,    THK    DOGANA 


(Fine  An  Society ) 


FROM    A   WATER-COLOUR    BV    MOFFAT    MN'DNEK,    K.I. 


Qi 
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2  :i 

X  C 


Studio-Talk 


and  in  1910  he  received  the  honour  of  knighthood. 
He  died  on  September  28  last. 


The  exhibition  of  water-colours — chiefly  Venetian 
subjects — by  l\Ir.  Moffat  Lindner  in  the  galleries  of 
the  Fine  Art  Society  claims  particular  attention  as  a 
fascinating  display  of  the  capacities  of  an  artist  who 
has  exceptional  originality  of  outlook  and  a  very 
high  degree  of  technical  confidence.  His  work  is 
always  worth  studying  for  its  brilliant  directness  of 
handling,  its  dainty  charm  of 
colour,  and  its  luminous 
freshness  of  tone  quality; 
and  in  these  examples  the 
better  characteristics  of  his 
practice  are  shown  with 
admirable  effect.  In  his 
Venetian  studies  especially 
he  is  very  happy  in  suggest- 
ing elusive  subtleties  of 
atmosphere  and  in  convey- 
ing a  telling  suggestion  of 
the  chosen  subject  by  means 
of  the  frankest  possible  de- 
vices of  execution.  He 
never  fumbles,  he  is  never  in 
doubt,  and  he  never  weakens 
the  strength  of  his  statement 
by  unnecessary  elaboration  : 
therefore  his  work  carries  the 
completest  conviction  and 
never  fails  to  charm. 


with  pictures  expressing  quite  other  conceptions 
of  what  a  picture  should  be.  The  Institute 
does  well  to  keep,  in  the  well-placed  work  of 
the  older  members,  an  historical  background  to 
the  newer  kinds  of  work  it  now  wishes  to  in- 
clude in  its  exhibitions.  Pictures  of  interest  from 
various  points  of  view  in  the  present  one  are  Mr. 
Steven  Spurrier's  Walk  Up  I  JJ'a/k  Up .'  Miss 
Marion  Dawson's  Carnival  is  passing,  Mr.  C.  M. 
Q.    Orchardson's    Souvenir  du   Bat,    Miss    Ethel 


With  every  exhibition  the 
Royal  Institute  of  Oil 
Painters  frees  itself  a  little 
more  from  the  bondage  of 
old-fashioned  conventional- 
isms in  painting.  The  In- 
stitute is  now  beginning 
to  attract  to  itself  many 
younger  painters  with  ex- 
tremely modern  views  on 
the  art  of  painting  in  oil,  but 
it  would  not  be  fair  to  say 
that  they  alone  provide  the 
best  element  of  the  present 
exhibition.  As  a  matter  of 
fact  the  President,  Sir  J.  D. 
Linton,  who  has  not  moved 
with  the  times,  has  few  rivals 
in  draughtsmanship  and 
style.  His  work  affords  a 
rather    delightful    contrast 


"THE    ROAD    TO    BLFI.AND 


DECORATIVE    PANEL    liY  JESSIE    BAVES 
141 


Stiic/io-  Talk 


Wright's  Pierrot  and  Dog,  Mr.  Douglas "  Almond's 
A  Washing  Pool — Pont-Aittt,  Mr.  Henry  Bishop's 
Shadmv  of  t/u  Mosquf,  Miss  I.  L.  Gloag's  The 
White  Elephant,  Mr.  \V.  Russell  Flint's  A  Young 
Lady  as  an  Amazon,  Mr.  Chas.  I).  Ward's  A  Studv. 
Miss  Hilda  Fcaron's  The  Black  and  While  Shawl, 
Mr.  Eric  H.  Kennington's  Cw/<'/-Z(jW,  Mr.  George 
Bells  The  Beach  at  Petites-Dallcs,  and  Mr.  W  .  B. 
E.  Ranken's  Blue  Cinerarias. 


W'e  give  here  some  interesting  examples  of  recent 
work  by  Miss  Jessie  Bayes,  from  an  exhibition 
which  she  held  earlier  in  the  present  year  at  the 
Baillie  Galleries,  in  Bruton  Street.  The  charming 
jmnel  The  Road  to  Eljland,  with  the  becoming  frame 
designed  for  it  by  the  artist,  the  drawing  East  of 
the  Sun  and  West  of  the  Moon,  and  the  bedstead, 
all  show  her  to  be  an  artist  with  a  highly  developed 
sense  of  decoration  and  a  fertile  imagination.  The 
modus  operandi  pursued  by  her  in  the  making  of  the 
bedstead  may  interest  many  of  our  readers.  It 
has  a  foundation  of  very  old  seasoned  cedar-wood, 
and  the  entire  bed  received  a  priming  of  six  coats 
of  gesso  made  of  {)archment  size  and  whitening 
rubbed  down  smooth,  first  with  sticks  and  water 
and  then  with  emery-paper.  For  the  top  moulding 
hard  gesso  was  used,  the  core  of  the  figures  being 
built  up  with  cotton-wool  steeped  in  gesso  and 
modelled  with  a  steel  tool  and  afterwards  overlaid 
with  more  gesso  applied  with  a  brush.  The  gilding 
has  been  done  in  the  Florentine  manner  on  .Armenian 
bole,  and  all  the  gold  is  burnished.  The  panels  at 
the  foot  of  the  pillars  are  painted  over  gold  in  oils  ; 
the  subjects  were  suggested  by  the  Song  of  Solomon, 
though  only  the  centre  panel,  "  I  sleep  but  my  heart 
waketh,"  is  a  direct  illustration  to  the  poem.  In 
the  carving  of  the  pillars  Miss  Bayes  was  assisted 
by  Miss  Emmeline  Bayes  and  Miss  Figgis. 


The  exhibition  of  Spanish  Old  Masters  at  the 
Grafton  Galleries  in  support  of  National  Gallery 
funds  and  for  the  benefit  of  the  .Sociedad  de 
Amigos  del  Arte  Espanola  is  of  extraordinary 
interest.  The  character  of  Spanish  art  has  always 
iK-en  very  individual,  and  in  this  character  an 
essentially  aristocratic  race  reflects  itself.  But  the 
finality  which  is  most  evident  in  Spanish  art  is 
realism.  It  is  this  that  makes  it  estimable  to  the 
modern  world.  .\nd  there  is  present  in  the 
realism  <if  the  Spaniards  that  which  is  absent  in  the 
realism  of  the  Dutch,  except  in  the  c.ise  of  Rem 
brandt :  all  the  men  and  women,  and  even  the 
children,  in  Spanish  portraiture  seem  to  possess  an 
"inner  life."  It  is  this  that,  in  sjnte  of  the  many 
'42 


sombre  characteristics  of  their  style,  lights  up  their 
work,  and  seems  to  shed  lustre  even  upon  the 
details  of  the  often  very  artificial  setting  in  which 
their  portraits  are  comjjosed.  It  is  the  quality  that 
burns  luminously  in  the  art  of  Goya,  and  which 
remained  in  Spanish  painting  as  long  as  it  held  its 
place  in  the  foremost  art  of  Europe. 


rhe  print  department  of  the  Victoria  and  -Vlbert 
Museum  has  acquired  Mr.  Bennell's  original  draw- 
ing for  his  lithograph  of  the  W'oolworth  Building, 
New  ^'ork,  together  with  the  stone  itself  and  a  print 
from  it  as  an  example  of  the  modern  method  of 


>.^ 


1/      ^V^' 


L 


"EAST    or    TlIK    SUN    AMI    WKST   Ol-    TlIK 
MOON."      BY  JKSSIR    IIAVKS 


I 


m 


i 


f  Lttmt^rt  Photo  H.  Koe^ter-j 


BEDSTEAD  decorated  by  JESSIE   BAYES. 


Studio-Talk' 


artistic  lithography. 
This  lithtjgraph  (de- 
scribed by  an  over- 
sight as  a  drawing) 
was  reproduced  in 
(jur  August  number. 

'Hie  oak  statue  by 
Mr.  Alec  Miller  which 
we  illustrate  on  this 
page  is  one  of  the 
supporting  figures  for 
the  rood-beam  in 
Urswick  Church, 
Lancashire,  and 
represents  a  palmer 
or  pilgrim  of  the 
thirteenth  century. 
Mr.  Miller  has  re- 
cently been  engaged 
on  other  figures  des- 
tined for  the  top  of 
the  rood-beam.  The 
work  has  been  exe- 
cuted in  his  workshop 
at  the  picturesque  old 
market  town  of  Chip- 
ping Campden  in 
G  1  o  u  c  es  t  ershire, 
where  during  the  summer  he  takes  charge  of  the 
sculpture  class  in  the  Summer  School  of  Arts  and 
Crafts  organised  by  the  local  Higher  Education 
Committee  under  the  direction  of  Mr.  C.  R.  Ashbee. 


"THErn.GRIM.  A  FIGURE 
SUPPORTING  THE  ROOD- 
DEAM  IN  URSWICK  CHURCH, 
LANCASHIRE.  DESIGNED 
AND  CARVED  IN  OAK  DY 
ALEC   MILLER 


Mr.  Nelson  Dawson's  jewel,  also  illustrated  on 
this  page,  is  of  gold  enriched  with  translucent 
enamel,  pearls,  and  white  sapphires,  and  is,  we 
understand,  destined  for  presentation  to  the  wife  of 
a  Mayor  as  an  ornament  to  be  worn  on  occasions 
of  civic  ceremony. 

The  Senefelder  Club,  with  a  view  to  uniting  more 
closely  collectors,  amateurs,  and  artists  interested 
in  artistic  lithography,  has  decided  to  admit  Lay 
Members,  who  for  an  annual  subscription  of  one 
guinea  will  be  entitled  to  a  signed  proof  of  a  litho- 
graph specially  drawn  by  one  of  the  artist  members 
and  not  otherwise  distributed,  and  will  enjoy  all 
the  privileges  of  membership  save  the  right  to  vote. 
Applications  for  lay  membership  should  be  made 
to  Messrs.  Goupil  and  Co.,  25  Bedfcjrd  Street, 
Strand. 

The   work    of    Mrs.    Isobelle    Dods-Withers    is 


missed  from  the  International  Society's  exhibition 
this  autumn  for  the  first  time  for  several  years,  but 
this  artist  concentrated  all  her  forces  in  the  exhibition 
she  shared  with  her  husband,  Mr.  Alfred  Withers,  at 
the  Leicester  Gallery  last  month ;  there  her  imagina- 
tive interpretation  of  landscape  made,  with  Mr. 
Withers'  more  matter-of-fact  but  not  less  gifted 
painting,  one  of  the  most  interesting  exhibitions 
which  have  recently  been  held  at  this  Gallery. 


Some  interesting  possibilities  in  domestic  decora- 
tion were  illustrated  in  two  rooms  called  the 
"  Island  and  Starlit  Nurseries,"  exhibited  some 
few  weeks  ago  at  the  headquarters  of  the  Ryder 
Decorative  Co.,  8ia  Chester  Square,  and  more 
recently  at  the  Ideal  Home  Exhibition  at  Olympia. 
These  rooms,  designed  and  fitted  up  by  Mr.  H. 
Kemp  Prossor  and  Mr.  Geoffrey  Holme,  showed 
what  agreeable  results  can  be  obtained  by  simple 
means  when  all  the  details  of  a  decorative  scheme 
are  controlled  by  designers  who  have  the  right 
instinct  for  their  work.  In  this  case  the  collabora- 
tion of  Mr.  Prossor  and  Mr.  Holme  has  been  pro- 
ductive of  something  that  is  Ireshly  unconventional 
without  being  extravagant  and  possesses  that  essen- 
tial artistic  quality,  fitness  for  its  purpose. 


'  LOVE-IN-A-MIST        PENDANT 

BY  NELSON    DAWSON 


145 


Sfiidio-  Talk 


On  the  whole  the  exhibition  of  the  International 
Society  of  Sculptors,  Painters,  and  Gravers,  at  the 
Grosvenor  Gallery,  seems  to  be  rather  lacking  in 
ihe  vigour  by  which  the  earlier  shows  of  this  enter- 
prising association  were  distinguished.  There  is  in 
it  a  fiiir  amount  of  eccentric  and  unusual  work,  but 
most  of  this  is  wanting  in  any  freslmess  of  outlook 
and  represents  merely  the  conventions  which  are 
being  followed,  not  too  intelligently,  by  certain 
grouj)s  of  present-day  artists  ;  and  of  the  contribu- 
tions by  men  who  do  not  depart  so  assertively 
from  the  beaten  track,  only  a  few  can  be  said  to  be 
inspired  by  any  very  great  strength  of  conviction. 
Still  there  is  enough  capable  work  in  the  show  to 
make  it  worth  the  attention  of  students  of  art  who 
are  not  simply  seeking  for  startling  surprises — there 
is  a  good  deal  which  can  be  commended  ftir 
soundness  of  craftsmanship  and  for  individuality  of 
manner,  and  there  are  many  things  which  are 
ijuite  satisfying  as  examjjles  of  serious  effort. 
One  of  the  most  impressive  pictures  is  Mr.  Glyn 
I'hilpot's  CEdipus  and  the 
Sphinx,  a  powerful  con- 
ception ably  realised  :  but 
there  is  engrossing  in- 
terest, loo,  in  such  can- 
vases as  Mr.  I).  Y. 
Cameron's  Inverlochy,  Mr. 
W.  Nicholson's  ingenious 
technical  experiment  Rue, 
Mr.  .\.  ]>.  Peppercorn's 
Thi  Farm,  Mr.  G.  F. 
Kelly's  sincere  and  refined 
J 'or I  rait  of  Mrs.  Kee7-es, 
M.  Jac(|ues  HIanche's 
tenderly  handled  and  un- 
conventional portrait  of 
his  mother,  and  the  de- 
lightful Interior  by  Mr. 
\V.  Orpen.  Admirable, 
again,  are  the  three  water- 
colours  hy  Mr.  Oliver 
Hall,  the  |Mistel  I.e  Ballet 
and  the  fan  Danseiises  by 
I)ega.s,  the  powerfully 
direct  Kelso  Abbey  by 
Mr.  A  Streeton,  the 
clever  study  Two  of  them 
by  Mr.  A.  J.  Munnings, 
the  brilliant  Versailles  b) 
Mr.  A.  Jamieson,  and 
the  amusing  sketch  I'iek- 
ing  J'lcvers  by  Uerthe 
Morisot.  Among  the  other 
146 


things  which  must  not  be  overlooked  are  Mr. 
G.  W.  Lambert's  portrait  of  Mrs,  Dodgson,  Mr. 
Henry  Bishop's  Sirouo,  Mr.  F.  H.  Newbery's 
Ellaline  and  The  Hearth,  Mr.  ^\^  Strang's  water- 
colour  Creation  of  Eve,  Mr.  .\.  S.  Hartrick's 
Studies  of  an  Archaic  Dance,  the  pen  and  colour 
drawings  by  Miss  A.  .Viry,  and  ihe  group  of  litho- 
graphs by  Mr.  Pennell,  who,  fresh  from  his  triumphs 
in  portraying  the  monumental  aspects  of  modern 
days  in  America,  has  been  visiting  the  seats  of 
ancient  civilisation  in  Greece  and  recorded  his 
impressions  of  its  ruins. 


The  Fine  Art  Society  has  been  holding  an 
important  exhibition  of  Mr.  Gwelo  Goodman's  work. 
The  land.scapes  of  this  artist  reveal  c|ualities  which 
place  them  in  the  front  rank  of  English  landscape 
painting.  Mr.  (loodman  has  been  particularly 
successful  with  Indian  themes.  He  is  a  master  in 
the  management  of  tone,  securing  in  every  canvas 
successful  atmospheric  effect. 


I'ORTKAIT   01    TIIK 


AK11ST  S    MOTUKR 

( Inlernational  Society) 


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f  /nttnialioiial  Soticly) 


TEMPLE  OF  THESEUS  FROM  THE  ACROPOLIS' 
FROM   A   LITHOGRAPH   BY  JOSEPH   PENNELL 


1^^'. 


Studio-Talk 


GI,ASGO\V. — The  impression  created  by 
the  fifty-second  annual  exhibition  of 
the  Royal  Glasgow  Institute  of  the 
Fine  Arts  is  instant  and  emphatic. 
The  new  galleries  are  well  planned,  sumptuously 
appointed,  efficiently  lit,  and  altogether  form  fit 
environment  for  the  highest  type  of  art.  The 
hanging  of  the  six  hundred  odd  works  has  been 
universally  approved,  and  could  not  have  been 
excelled.  On  the  hanging  committee  there  served 
a  supreme  decorative  artist,  and  one  distinguished 
for  his  acute  colour  sense. 


an  otherwise  completely  satisfying  exhibition  should 
have  been  disturbed  by  a  note  of  discord. 


The  exhibition  is  strong  in  portraiture  and 
in  figure  studies  :  there  are  numerous  interesting 
landscapes  and  seascapes  :  the  still-life  and  interior 
representations  are  more  than  clever,  and  there  are 
fine  examples  of  plastic  art.  For  the  first  time  at 
Glasgow,  too,  there  is  shown  a  collection  of  the 
work  of  the  new  impressionists,  but  this  has  suc- 
ceeded in  raising  a  storm  of  criticism  almost 
amounting  to  ridicule.     It  is  to  be  regretted  that 


I'ride  of  place  is  given  to  the  huge  royal  group 
by  Mr.  John  I^ivery,  lately  on  view  at  the  Royal 
Academy  in  London.  The  "record"  Raeburn,  ex- 
quisitely mellowed  by  a  century  of  time,  is  another 
point  of  interest ;  two  dissimilar  portraits  by  Sir 
James  Guthrie  are  instinct  with  all  the  artistry  and 
characterisation  at  the  command  of  the  President 
of  the  Scottish  Academy  ;  Lady  Reid,  by  Alexander 
Roche,  renews  the  sincere  regret  at  the  untimely 
interruption  through  ill-health  of  the  work  of  this 
gifted  artist ;  W.  M.  Petrie  shows  a  bust  portrait  o( 
a  young  woman,  in  tempera,  quietly  charming  and 
effective  :  James  Paterson  sends  a  strong,  vigorous, 
full-lengih  portrait,  with  open-air  environment  ;  anil 
Maurice  Greiffenhagen's  portrait  of  Fra.  H.  Xcwhery 
is  a  frank  and  masterly  piece  of  characterisation. 


The  Reading,  by  George  Henry,  A.R.A.,  is  rich 
in  tonal  emphasis  and  luminous  feeling,  and  the 


«*- 


1  ■    -      4\ 


'  H.KRTIM.    SIIAKOWS 
•SO 


(ijhtsf,'m' Jnsiinire  Of  ihf /■iiif  .tris)  liY  .1.   hamii.ton  mackknzie,  r.s.w. 


Studio-Talk 


'THE    PASSING   OF   AUTUMN 


(Glasgow  Institute  of  the  Fine  Arts) 


BY    \V.    A.    GIBSON 


Corporation  in  this  have  secured  a  fine  example  of 
the  gifted  artist's  style.  The  Passing  of  Autumn,  by 
W.  A.  Gibson,  also  purchased  for  Glasgow's  per- 
manent collection,  is  a  powerfully  phrased  moor- 
land effect  in  far-away  Ross-shire.  These  two 
important  purchases  are  a  dignified  rebuke  to  the 
ill-mannered  and  irresponsible  criticism  levelled  at 
the  Corporation  committee  in  their  earnest  efforts 
to  bring  within  the  reach  of  the  people  the  finest 
examples  of  contemporary  art. 


The  Bathers,  an  early  work  by  ^^■illiam  M'Taggart, 
full  of  that  open-airness  this  distinguished  Scottish 
landscapist  had  at  command,  will  serve  to  call 
attention  to  the  fact  that  in  the  city's  permanent 
collection  there  is  yet  no  example  of  his  art.  The 
■  Benediction,  by  R.  Macaulay  Stevenson,  is  full 
of  that  tender  poetic  feeling  and  shadowy  atmo- 
sphere so  characteristic  of  this  artist's  work  ;  while 
Spring  in  the  Woodlands  is  rich  in  all  the  qualities 
in  which  E.  A.  Hornel  excels.  Another  contri- 
bution by  a  Glasgow  artist  is  the  big  Dutch  pastoral 
by  J.   Hamilton  Mackenzie.     This  picture,  which 


has  been  added  to  the  list  of  purchases  for  the 
Glasgow  Corporation's  permanent  collection,  is  well 
composed,  harmoniously  phrased,  the  light  and 
shadow  cleverly  handled,  there  is  keen  sense 
of  distance,  and  the  work  is  that  of  an  artist  who 
is  intimately  familiar  with  the  characteristics  of  the 
Dutch  sketching  grounds.  A.  R.  W.  Allan  contri- 
butes earnest  pastoral  studies,  and  Gertrude 
Coventry  marks  advance  in  her  fishing-port  tran- 
scriptions. In  the  water-colour  section  there  are 
conspicuous  examples  of  the  incomparable  art  of 
Melville,  of  the  genius  of  Joseph  Crawhall,  and  of 
the  power  of  Brangwyn,  besides  poetic  renderings 
by  A.  K.  Brown,  animated  colour  subtleties  by 
R.  M.  G.  Coventry,  and  delicate  interpretations  by 
Katharine  Cameron,  R.S.W.  J.  T. 

PARIS. — In  the  prof ondeiirs  de  la  conscience 
alsacienne,  to  borrow  a  familiar  expression 
of  Barres,  Zwiller  has  discovered  resources 
of  talent  and  of  will  such  as  have  enabled 
him  to  raise  himself  to  the  level  of  that  chosen 
band  of  artists  of  whom  Alsace  is  justly  proud — an 

■51 


Studio-Talk 


(lite  of  thought,  of  intelligence,  of  an  art  which 
possesses  its  own  traditions,  which  claims  as  its 
own  that  land  where  its  ancestors  have  dwelt  and 
where  their  ashes  lie  after  death,  where  genera- 
tion by  generation  have  been  gathered  up  those 
uncon(iuerable  resources  which  constitute  the 
character  of  a  race,  its  ideal,  its  faith  in  itself,  its 
hope.  If  his  admiration  has  reverted  to  Leonardo 
da  Vinci  for  beauty  of  form,  to  Corrcggio  for  softness 
of  flesh  painting,  to  Titian  for  rich  and  sumptuous 
colouring,  and  to  Holbein  for  strength  of  drawing, 
he  may,  nevertheless,  himself  be  counted  as 
a  disciple  of  the  great  painter  of  Bernwiller. 
Like  Henner,  Zwiller  has  been  led  by  his  birth  and 
inclinations  to  sound  the  depths  of  the  Alsacian 
character  ;  both  painters  have  breathed  and  dreamed 
under  the  same  skies  :  they 
have  held  enshrined  in  their 
hearts  the  same  tender  recol- 
lections, have  felt  the  same 
hopes,  while  having  each 
one  his  own  ideal  to  be  at 
length  adapted  and  de- 
veloped in  harmony  with 
his  own  especial  faculties. 
Here  we  have  an  explana- 
tion of  their  artistic  affinities. 
The  career  of  this  artist 
proceeds  with  sureness,  and 
with  tranijuil  faith  in  the 
future.  'Ihe  future  will 
surely  fulfil  our  expectations 
and  it  will  then  be  recognised 
what  unsuspected  reserves 
of  energy  and  lalent  are 
latent  in  the  depths  of  the 
Alsacian  conscience. 

L.  H. 

BERLIN.  — With 
the  completion  of 
the  "Marchen- 
Hrunnen,"  or 
Fairytale  Fountain,  at  the 
entrance  to  the  Friedrichs- 
hain  Park,  Berlin,  a  few 
weeks  ago,  a  uniijue  ad- 
dition has  been  made  to  the 
amenities  of  the  ca|)ital.  It 
was  an  idea  entirely  in  har- 
mony w-ilh  the  social  spirit 
(if  the  times  to  erect  a  really 
artistic    monument   which 

should  bef<jre   all  give  joy  ,.v  ,„k  ikikok 

'5» 


to  multitudes  of  poor  children,  and  this  considera- 
tion dictated  the  fixing  of  the  site  on  the  north- 
eastern outskirts  of  the  city  and  also  the  choice  of 
Stadt-Baur.it  Ludwig  Hoffmann  as  designer-in- 
chief.  The  successor  of  Messel  was  the  right  man 
for  such  a  task,  as  his  principal  works,  the  Virchow 
Hospital,  the  Home  for  Old  Men  at  Kuch  near 
Berlin,  as  well  as  his  ])ublic  baths  and  schools,  not 
only  amply  demonstrated  his  unusual  capabilities 
as  an  architect,  but  also  evinced  a  strong  social 
note.  The  jjlans  (or  the  laying  out  of  the  fountain 
and  its  grounds  have  been  maturing  for  something 
like  sixteen  years.  Prof.  Ignatius  Taschner.was  en- 
trusted with  the  execution  of  the  fairy-tale  groups, 
Josef  Rauch  with  the  animals,  and  Prof.  Georg 
Wrba  with    the  border   figures  and  those  for  the 


ONKOK  THE  C.ROt  rs  l-'OK.MI.Nt;  THE  FAIRV-TAl.R  FOII.NTAIN 
ICHSIIAIN    I-AKK,    IIERI.IN.       BY    ICNATIl'S  TASCHNBR 


MELANCOLIE."     BY  A.  ZWILLER 


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studio-  Talk 


smaller  basin.  It  was  the  special  wish  of  the 
Emperor  that  an  excess  of  the  romantic  element 
should  be  avoided  and  that  preference  siiould  be 
given  to  simple  and  natural  groups  which  should 
make  a  direct  appeal  to  the  juvenile  heart. 


Asa  preliminary  to  the  formulation  of  his  design, 
Ludwig  Hoffmann  consulted  the  gartien-archi- 
tecture  of  a  villa  of  the  baroque  period  at  Frascati, 
but  as  a  modern  architect  he  has  exercised  the 
utmost  freedom  in  elaborating  the  scheme  now 
completed,  so  that  it  is  in  no  sense  a  replica  of 
anything  already  existing.  A  narrow  hedge-walk 
at  the  entrance  leads  to  the  large  basin,  where, 
as  will  be  seen  from  the  illustration,  water  gushes 
forth  from  a  number  of  jets  distributed  at  regular 
intervals,  as  well  as  from  vases  and  lion-heads  in 
the  semicircular  arched  arcade  of  the  background. 
At  the  rear  of  this  is  a 
circular  opening  surrounded 
by  trees,  and  here  is  another 
basin  with  a  fountain  which 
throws  u])  a  mighty  column 
of  water.  Labyrinthine 
walks  lead  from  side- 
entrances  into  the  central 
ground,  which  with  its 
numberless  figures  and 
groups  has  been  trans- 
formed into  a  joyous  fairy- 
world,  while  in  the 
side-walks  are  concealed 
fantastic  and  fearsome  stone 
figures  as  a  warning  to 
naughty  children.  One  of 
these  represents  a  huge 
"  Menschenfresser,"  a 
cannibal  Titan  who  grasps 
a  tender  little  infant  in  each 
of  his  huge  hand.s,  while 
borne  on  his  head  is  a 
whole  basketful  of  children 
who  do  not  seem  old  enough 
to  be  guilty  of  any  serious 
wrong.  The  introduction 
of  these  figures  is  jierhaps 
open  to  question,  but  a 
humorous  touch  pervades 
all  these  sculptures,  whether 
grim  or  benignant,  and  it  is 
this  which  lends  a  peculiar 
charm  to  thcwhole  creation, 
whilst  the  animal  spectators 
on     the    balustrade    of 


the  arcade  look  down  with  grave  dignity  on  the 
wonderland  at  their  feet.  The  fairytale  groups 
of  I'rof.  Taschner  are  particularly  charming.  The 
severe  style  of  early  classical  art  has  determined 
their  final  shape,  yet  the  delight  in  real  human 
form  is  everywhere  prevalent,  and  a  warm-hearted 
and  original  artist  with  a  bent,  for  good-natured 
grotesquerie  has  extracted  new  interpretations  from 
old  subjects.  

In  the  \\'erckmeister  Salon  a  series  of  new 
cut-paper  wall-panels  by  I^otte  Nicklass  left  a 
pleasing  impression.  The  W'erckmeister  X'erlag  has 
initiated  the  revival  of  this  black-and-white  art  in 
Germany,  and  it  is  interesting  to  watch  its  various 
ai)plications  in  modern  arts  and  crafts.  However 
fanciful  the  scissor-work  of  Lotte  Nicklass  may 
appear,  it  has  grown  out  of  direct  eye-impressions, 


I'KIEDKIellSIIAlN     lAIKY-TAI.E     HOU.NTAIN  :    AMMAl     FICIRE    IIV     lOSKI-     RAt'CH 


156 


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DESIGNED  AND   MADE   BY   KATHE   KRUSE 


Kngland — for  in  addition 
to  being  artistic  they  have 
certain  utilitarian  qualities 
in  their  favour — they  are 
made  of  indestructible 
material  and  can  be  washed 
as  often  as  necessary.  The 
illustration  shows  a  group 
of  recent  production. 

r.  R. 


having   been   inspired   by  scenes   from   art-school 
festivities.  J.  J. 

Kathe    Kruse's    delightful    dolls    have     been 
much  appreciated  in  foreign  countries — especially 


VIENNA.—  In 
summer  one  of 
the  chief  at- 
tractions of  the 
delightful  city  of  Salzburg 
is  the  Art  Gallery  located 
just  a  little  way  from 
its  centre.  The  number 
of  works  exhibited  is  naturally  small,  but  these,  as 
a  rule,  are  exceedingly  well  chosen,  Austrian  and 
German  artists  being  the  chief  contributors. 
Among  the  former  are  members  of  all  the  different 
art  societies  from  all  parts  of  the  Empire.     Franz 


I 


'A   i.rUiKI    RblKkAl 


BY    HANS    BKsT 


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Studio-  Talk 


'•STILLNESS    IN    THE    FOREST 


von  Pausinger,  the  well-known  painter  of  moun- 
tain wilds  and  big  game,  sent  to  the  recent 
exhibition  some  fine  speci- 
mens of  his  art.  Heinrich 
Rauchingerwas  represented 
by  two  excellent  portraits 
Adolf  Helmberger,  whose 
Stillness  in  the  Forest  is 
here  reproduced,  is  a  native 
of  Salzburg,  and  a  delight- 
ful painter  of  mountain 
scenery  and  atmosphere. 
Adolf  Reibmayr,  who  has 
made  his  mark  as  a  painter 
of  animals,  chiefly  horses, 
was  here  represented  by 
two  praiseworthy  works. 
Therese  Schachner  contri- 
buted some  refined  studies 
of  flowers,  Edward  Zetsche 
some  charming  landscapes 
of  the  surroundings  of 
Vienna,  and  Dr.  Horatio 
Gaigher  subtle  renderings 
of  colour  in  his  Guitar 
Player  and  The  Flowery 
Shawl.  Among  the  German 
artists  represented  mention 
must    be    made    of    Hans  "threb  white  horses' 


Best,  an  artist  of  fine 
sentiment.  His  picture 
of  a  cottage  interior,  here 
reproduced,  is  a  refined 
rendering  of  an  every-day 
theme,  admirably  and 
sympathetically  handled. 
Richard  Fehdmer,  Emmy 
Lischke,  Clemens  Niels- 
sen,  Prof.  Carl  Marr, 
Charles  Vetter,  August 
Liidecke,  Johann  Holz, 
Otto  Thiele,  and  Tini 
Rupprecht  were  all  ade- 
quately represented. 
Among  the  sculptors 
special  mention  must  be 
made  of  Franz  Zelezny's 
busts  of  Wagner  and 
Franz  Stelzhamer,  exe- 
cuted in  oak.  In  the 
graphic  section  the  chief 
contributors  were  Frank 
Brangwyn,  Hans  Nowack 
(delightful  gouache  draw- 
ings of  odd  and  out-of-the-way  corners  of  Salzburg), 
Otto  Trauner,  and  ^Villy  Tiedjen.  A.  S.  L. 


BV   ADOLK    helmberger 


BY   ALBERT   REIBMAYR 
159 


studio-  Talk 


TORONTO,  CANADA.— The  collection 
of  pictures  at  this  year's  National 
Canadian  Exhitjition  at  Toronto,  whilst 
not  including  any  worldfiimous  paintings, 
maintains  the  high  level  for  general  excellence 
which  marks  these  annual  displays.  The  galleries  of 
the  Fine  Arts  Palace  are  filled  with  canvases  from 
the  United  Kingdom,  United  States,  Germany,  and, 
of  course,  Canada.  To  British  art-lovers  the  British, 
United  States,  and  Cierman  contributions  are, 
probably,  more  or  less  well  known ;  but  the 
Canadian  pictures  are  novelties  and  their  makers  are, 
to  them,  mostly  new  men.  Much  excellent  work, 
however,  is  being  done  here  in  the  open  and  in  the 
studio — examples  of  which  adorn  the  exhibition 
galleries.  In  the  selection  of  pictures,  a  new  tiepar- 
ture  was  witnessed  this  year.  In  lieu  of  asking  every 
artist  or  amateur  to  send  in  contributions  for 
judgment,  visits  were  paid  to  most  of  the  studios, 
and  the  best  canvases  have  been 
chosen  without  fear  or  favour. 


Three  other  painters  who  stand  out  prominently 
among  the  Canadian  painters  this  year  are  A,  Suzor 
Cote  of  Montreal,  John  Russell  of  Hamilton,  and 
Horatio  Walker  of  (J|uebec.  Mr.  Cote's  Old  French- 
Canadian  Pioneer  is  a  striking  portrait-study  of  an 
old  inhabitant  of  the  Province  of  Quebec.  Whilst 
the  pose  and  animation  are  quite  natural  the 
technique  of  light  and  texture  is  cleverly  studied. 
The  strong  sunshine,  striking  the  old  gentleman 
from  behind,  tints  hair,  nose,  and  shoulder  with 
golden  light.  Mr.  Cot6  is  also  very  excellent 
in  landscape  and  marine  subjects  ;  he  has  a  vivid 
sense  of  colour  and  a  wise  habit  of  expression. 
Mr.  Russell,  hitherto  almost  an  unknown  man, 
has  three  portraits  in  the  exhibition  all  marked  by 
strong  brush-work  and  sympathetic  finish.  Principal 
Miller  of  Ridley  College,  Ontario,  shows  the 
reticence  and  dignity  of  mellow  age  ;  Mrs.  A.  H.  C. 
Proctor  exhibits  the  subtle  vagaries   of  feminine 


Notable  canvases  are  Ice  Han<est 
by  Maurice  Cullen  of  Montreal, 
A  Prairie  Mail  by  C.  W.  JefTerys 
of  Toronto,  and  A  Florentine  by 
I^ura  Muntz  of  Montreal.  Mr. 
Cullen  is  unrivalled  in  Canada  for 
his  effects  of  snow  and  winter 
atmosphere.  This  canvas  in  par- 
ticular is  effective  by  reason  of  the 
clever  technique  which  marks  the 
vapoury  background.  The  ox- 
drawn  ice-sleigh  is  a  novelty  for 
British  eyes.  Mr.  JefTerys  is,  par 
excellence,  the  painter  of  the  prairies, 
where  the  silent  drama  of  nature 
is  enacted  with  the  simplest  details 
— sky,  grass,  scrub,  and  flowers. 
Everything  is  resolved  into  a  homo- 
geneous colour-scheme  of  blues 
and  browns,  sage-greens  and 
yellows.  A  Prairie  Mail  is  the 
best  thing  Mr.  Jefferys  has  done. 
Mi.ss  I^iura  Muntz's  speciality  is 
children,  whom  she  paints 
with  all  their  naivete.  This 
Florentine  shown  here  is  a  fair 
maiden  from  the  Tuscaji  hills  per- 
chance. Her  gown  is  black  velve- 
teen, with  green-gold  trimming. 
The  background  is  a  dazzling  bit 
of  Italian  lakeland. 
t6o 


'A    KI.ORKNTINR"  IIV    1  AURA    Ml!NTZ,     A.R.C.A. 

(National  Canadian  Exhiiilion,  Toronto) 


Studio-Talk 


AXjrthn 


ICE   HARVEST 


BY    MAURICE   CULLEN,    R.C.A. 


A    PRAIRIE    mail" 


{.\a'-ional  Canadian  Exhibilion,  Toronto) 


I!Y    C.    .N.    JEFIEKVS,    A.K.C.A. 

i6i 


Stticiio-Talk 


fashion  in  an  uncommon  pose ;  and  The  Orchid — 
a  fancy  portrait — proves  that  Mr.  Russell  is  a  poet- 
portraitist  to  boot.  The  last  is  a  very  attractive 
piece  of  work  :  the  orchid-tinted  gown  of  tiie  lady, 
her  orchid  hat-feather,  and  the  orchid  bloom  in  her 
hand  are  well  graded  in  tone  and  substance.  Mr. 
Russell  has  a  future  before  him.  Milking  Time,  by 
Horatio  Walker,  suggests  the  influence  of  English, 
Dutch,  and  French  cattle-painters.  This  canvas  has 
the  brilliant  illumination  of  the  Barbizon  masters, 
the  minute  quaintness  of  the  l.owlanders  and  the 
open-handed  work  of  British  artists.  It  is  such 
a  sunshiny  canvas  as  is  calculated  to  enliven 
the  dullest  gallery  or  the  most  dreary  drawing-room. 
All  Mr.  Walker's  work  is  marked  by  unconven- 
tionality :  he  is  truthful  and  interesting.  He  is 
a  true  son  of  Canada  and  a  delightful  exponent  of 
rustic  life  in  the  Dominion. 


Other  noteworthy  pictures  of  the  year  are  Mr 
F.  M.  Bell-Smith's  Where 
the  Lights  Quiver  so  Far 
into  t/ie  River — a  late 
evening  study  of  the  pur- 
ples and  pearl-gold  of  the 
Thames  near  Cleopatra's 
Needle;  Mr.  W.  H. 
Clapp's  Morning  —  a 
pointilliste  movement  in 
meadowland,  in  gold  and 
prismatic  colours  ;.  Mr.  R. 
F.  Gagen's  Near  High 
Tide — a  fine  piece  of 
Atlantic  rock  and  splash 
work  ;  Mr.  J.  K.  I>awson's 
Boston,  Lincolnshire,  with 
all  the  subdued  light  and 
colour  of  the  fens;  Mrs. 
Mary  H.  Reid's  still-life 
Study  in  Greys  ;  and  Mr. 
Lauren  Harris's  The 
Comer  Store — one  of  his 
best  renderings  of  golden 
sunshine  on  the  snow  and 
vivid  blue  shadows, 
unique  in  Canada.  The 
veteran  Mr.  Rotx-rt  Harris, 
C.M.G.,  R.C.A.,  of  Mon- 
treal, has  a  clever  por- 
trait-study of  himself 
when  a  dreamy  and 
whimsical  young  man. 


are  attractive :  Mr.  Ci.  A.  Reid's  Mountain  Top,  a 
view  of  wide  rolling  country  through  great  pine 
stems  in  the  chiaroscuro  of  a  Canadian  sunset ; 
Mr.  J.  E.  H.  Macdonald's  Fine  Weather,  Georgian 
Bay;  Mr.  U.  Staple's  Briek  U'orks,  Don  Valley,  a 
sunset  effect  of  smoke  and  stacks  ;  and  Mr.  H.  S. 
Palmer's  Down  the  Valley,  an  excellent  study  with 
all  the  beetroot,  sunflower,  and  burnt-umber  tints 
of  the  Canadian  autumn.  Lastly,  but  not  least  in 
estimation,  there  are  Mrs.  Elizabeth  A.  Knowles's 
miniatures.  Some  of  these  little  |)ictures,  the  sub- 
jects of  which  are  taken  from  rural  life,  are  no  more 
than  the  size  of  a  postage  stamp,  but  they  are 
quite  as  fully  painted  as  are  the  talented  artist's  oil- 
paintings  in  large.      

The  Canadian  pictures  of  the  year  are  noticeable 
for  high  tone  in  conception,  skilfulness  in  arrange- 
ment, and  carefulness  in  execution,  whilst  they  are 
peculiarly  Canadian  in  character.     The  painters  of 


Four  decorative  panels 
162 


'  VOUNli    KNC.LAND 


(See  Melhoumt  Sludio-  i'alk) 


HY    H.    S.    POWF.R 


Ai't  School  Notes 


"miss   CHRISTINE   SILVER   TAKING   A   CALL" 

BY   GEORGE  J.    COATES 


to-day  have  laid  well  and  truly  national  foundations 
upon  which  their  sons  and  daughters  will  build 
effectively.  The  scenic  beauty  of  the  land  and 
the  busy  enterprise  of  the  people  are  incentives  to 
good  work  by  brush  and  palette.  J.  E.  S. 


M 


ELBOURNE.— Mr.  H.  S.  Power,  a 
returned  Australian  painter  who  has 
"  made  good  "  in  England  and  Scot- 
land with  his  pictures  of  hunting  and 
sporting  incidents,  recently  held  a  successful  exhi- 
bition at  the  Guild  Hall  here.  This  artist  is  gifted 
with  a  fine  sense  of  movement  and  colour,  and  his 
pictures  awakened  the  keenest  interest  among  art- 
loving  Australians  generally.  The  Exmoor  Stag 
Hunt,  Young  Etig/and,  Toil,  and  many  others 
testified  to  his  keen  love  for  nature  and  the 
character  of  animals  generally. 


Another  exhibition  of  much  interest  was  that 
held  by  Mr.  George  Coates  and  Miss  Dora  Meeson, 
two  Australians  well  known  as  exhibitors   at  the 


London  and  Paris  exhibitions,  but  who,  neverthe- 
less, had  all  their  grounding  in  art  in  Australia. 
Mr.  Coates's  work,  mostly  figure,  is  excellent,  his 
handJing  of  textures  and  skilful  posing  being  much 
admired.  Some  of  his  Salon  and  Royal  Academy 
triumphs  were  exhibited.  His  wife  (Dora  Meeson- 
Coates)  is  best  in  landscape  work,  though  she  also 
has  done  some  good  figure  work.  J.  S. 

ART  SCHOOL  NOTES. 

LONDON.— The     London     County     Council 
Central     School     of     Arts     and     Crafts 
entered   on    its    sixth    winter   session   in 
-^   its  present  palatial  quarters  at  the  close 
of  September  with  a  varied  and  well  co-ordinated 


INLAID   MUSIC   CABINET  BY    W.    ALLEN 

( L.  C.  C.  Centra/  School  o;  Arts  and  Crafts) 

163 


Art  School  Notes 


l)rogrammc  of  studies.  The  school  has  a  liighly 
Qiixiblc  princii>al  in  Mr.  F.  V.  Burridge,  the  well- 
known  etcher,  who  before  coming  to  London  last 
year  wa.s  head  of  the  Mount  Street  School  in 
Liverpool,  and  the  list  of  teachers  and  lecturers 
includes  the  names  of  many  who  are  well  known  in 
the  fields  of  art  and  architecture.  The  instruction 
is  carried  on  both  in  the  daytime  and  in  the 
evening,  and  falls  into  seven  main  groups  or  schools 
— architecture  and  building  crafts,  including  archi- 
tectural Nvood-car\ing  and  stone-carving  :  cabinet 
work  and  furniture,  among  the  subjects  being 
ivory-carving  (Mr.  R.  Garbe);  silversmith's  work  and 
allied  crafts  ;  book  ]>roduction,  in  which  numerous 
subjects  are  included,  such  as  bookbinding  (Mr.  A. 
de  Sauty),  tool-cutting,  typography,  black-and- 
white  illustration,  wood-engraving,  poster-designing, 
writing  and  illumination  (Mr.  Graily  Hewitt  and 
Mr.  H.  L.  Christie),  lithography  (Mr.  F.  Ernest 
Jackson),  etching  and  mezzotint  (Mr.  Luke  Taylor), 
i\:c.  ;  drawing,  design,  and  modelling  ;  decorative 
needlework,  stained-glass  work,  mosaic  and  decorative 
painting.     The  equipment  of  the  school  is  all  that 


could  be  desired,  and  students  who  wish  to  specialise 
in  a  ]3articular  calling  have  therefore  every  facility  for 
acquiring  a  thorough  training.  The  various  handi- 
craft classes  are  restricted  to  those  engaged  in  the 
trade,  and  the  fees  charged  to  such  are  merely 
nominal.  Exhibitions  of  work  executed  by  .students 
during  the  previous  session  are  held  at  the  be- 
ginning of  a  new  session.  W'e  give  .some  illustra- 
tions of  exhibits  which  figured  in  that  with  which 
the  jjresent  session  was  inaugurated.  Though 
some  of  the  departments  were  represented  by 
comparatively  few  items,  the  general  quality  of  the 
work  was  excellent  and  marked  a  distinct  advance 
on  that  shown  a  year  ago.  The  display  was  par- 
ticularly strong  in  the  .section  of  book  production 
comprising  the  subjects  enumerated  above,  and  it 
was  interesting  to  find  among  the  students  of 
lithograi)hy  an  artist  who  enjoys  a  high  repute  as  a 
painter  in  oils  and  water-colours.  \Ve  refer,  of 
course,  to  Mr.  Walter  West,  R.W.S.,  who,  as  may 
be  inferred  from  the  accomixinying  reproduction  of 
one  of  the  prints  he  exhibited,  has  found  his  new 
medium  a  congenial  one. 


'LElCKStEK   SijUAKE 

164 


(  /-.  f.  C.  central  Sihoul  0/  Arts  aiid  Cra/ls) 


i'RuM  A  i.iriio(;KArii  iiv  w.  kiih.uav 


( L.  C.  C.  Centra/  School  of 
Arts  and  Crafts) 


"IN  THE  FIRELIGHT."     LITHOGRAPHIC 
STUDY  BY  J.   WALTER  WEST 


l^' 


Art  School  Notes 


■  AT   THE   CIRCUS. 


A   LITHOGRAPH    IN   COLOURS    BY   W.    G.    MACHELL   AFTER 
A    DESIGN    BY   MAUD   KLEIN 


IL-^'-' 


^htf  Cock  is  avwirut 

Ihc  sCtxam  i6JUnviria 

ihc  sntall  birds  tmaur 

%t  lake  iiffes  (jUtUr 

%e  ifntnfieitsUcps  inthesui 

'jhc  ''ciitd'  aad  ykuv^est 


hke  on  lurttJdtftadd  ^  t 

Du  snow  hoBi  ntnaUi  '■* 

Ami  now  da6\  fm  ill 
On  thi  top  of  the  bare  hill 
1)u  piotu^tilULS  whoopiaacuw^ 
\hertsji\j  in  tfx  mJiufcun.-     '  ^ 
'thens  life  in  the  jinuxtaini 
Srru:dl^iui3  atv  Sailinq 
3lue  3^1/  prevailinJ     ^ 
Ihc  rain'ii  oiHratut  acne . 

i>0 


"sTrieDAY 

LeNGTHeNS 


THeYeARv. 
STW:NGTH€NS. 

Orcu-^  sircTV)^  and  hand^<?nte , 
galUiit  And.  xxnnsinwe , 
Ccmelii  And  d&xr. 

Ov.\\\  cLujs  s\vAi  hML  r^oxx . 

suvrt:  Axi.\s  sl-uU-frld  ijini., 
Ti  1 1  t\^exe  shall  ccvnc 
Th£  u'ild  fti-nvvrs  dancing. 

ttv  tulip.<  glancU-»g- 
Th^  su'.illovus  hcxvu . 


"MARCH.' 


i66 


TAGE    FROM    A    HOOK   OF    STRING   SONGS.      LF.TTF.REII    BY 
AM  ILLUMINATED  PAGE  OF  LETTERING  MISS     LILIAN     FROST;     ILLUMINATED    BY    MISS     ISABEL 

BY   MRS.    M.    S.    KUCK  POCOCK 

(L.  C.  C.  Central  School  of  Arts  and  Cra/ts) 


Reviews  and  Notices 


museum  twice  daily  at  noon  and  3  p.m.  .The 
guide's  services  may  be  obtained  at  other  times  by 
special  arrangement,  and  in  all  cases  no  charge 
is  made  for  his  services  and  no  gratuities  are  to  be 
offered.  The  arrangement  is  to  continue  till 
March  31. 

REVIEWS  AND  NOTICES. 

Leonardo  da  Vinci.  By  Dr.  Jens  Thus.  (Lon- 
don :  Herbert  Jenkins.)  42/-  net. — As  is  pointed 
out  by  Dr.  Thiis  in  his  deeply  interesting  mono- 
graph, which  has  been  admirably  translated  by  Jessie 
Muir,  it  is  only  comparatively  recently  that  the  priccr 
less  manuscripts  left  by  Leonardo  da  Vinci  have 
been  rendered  accessible  to  the  student.  Widely 
scattered  in  public  and  private  libraries  in  many 
different  countries  and  written  in  a  mirror-script 
exceptionally  difficult  to  decipher,  they  remained  a 
closed  book  until  they  were  translated  and  edited 
by  a  few  earnest   scholars,  whose  names  and  the 


PLASTER    DESIGN    FOR   CORBEL  BY   A.    BUTTNER 

(  L.  C.  C.  Central  School  of  Arts  and  Crnjts) 


The  authorities  of  the  Victoria  and  Albert  Museum 
are  anxious  that  students  of  the  arts  and  crafts 
should  derive  as  much  benefit  as  possible  from 
close  study  of  the  objects  in  the  collections,  and  for 
some  time  special  facilities  for  such  study  have 
been  afforded.  A  further  step  in  this  direction  has 
been  taken  by  the  institution  of  a  .series  of  free 
evening  lectures  on  the  technical  processes  con- 
nected with  three  branches  of  the  textile  art — 
Plain  and  Ornamental  Weaving  (Mr.  Luther 
Hooper)  ;  Printed  Fabrics  (Mr.  C.  T.  Lindsay) ; 
and  Embroidery  Stitches  (Miss  Louisa  Pesel).  The 
practical  value  of  such  lectures,  illustrated  as  they 
were  by  lantern  slides  and  actual  specimens  from 
the  museum  collection,  cannot  be  over-estimated, 
and  it  is  to  be  hoped  that  the  Board  of  Education 
will  not  only  extend  the  scope  of  such  lectures  but 
make  them  a  regular  feature  of  the  museum  adminis- 
tration. A  course  of  lectures,  for  instance,  on  the 
furniture  of  various  epochs  would  prove  popular  not 
only  among  craftsmen  but  also  among  the  general 
public,  whose  ignorance  is  amply  demonstrated  by 
the  vast  quantity  of  spurious  "  antiques  "  now  in 
existence.  

The  Board  of  Education  has  also  provisionally 
appointed  an  official  guide  to  conduct  parties  of 
visitors,  not  exceeding  twenty  in  number,  round  the 


PLASTER    EAGLE.      MODELLED    BY    T.     W.    PARFITT 
( L.C. C.  Caih al  School) 

167 


Reviews  and  Notices 


roTTERY  (L.C.C.  Central  Sihool  of  Arts  and  Crafls) 

work  they  have  done  are  given  in  one  of  the 
appendices  to  this  volume.  Their  researches  are 
now  constantly  supplemented  by  the  society  known 
as  the  Raccolta  Vinciani  of  Milan,  founded  in  1 904 
for  the  purpose  of  collecting  everything  in  any  way 
connected  with  Leonardo,  his  writings  and  his  con- 
temporaries, so  that  the  difficulty  at  the  present 
day  is  that  of  selection  rather  than  of  paucity  of 
material.  Dr.  Thiis  has  not  only  made  an  ex- 
haustive study  of  the  original  writings  of  the  great 
master  and  the  literature  founded  on  them,  but 
he  has  personally  examined  all  the  paintings  and 
drawings  he  criticises,  bringing  to  bear  on  them  an 
insight  into  characteristics  of  style  as  valuable  as  it 
is  rare.  As  the  result  of  his  searching  analysis 
of  the  works  long  attributed  to  Leonardo  he  finds 
himself  compelled  to  reject  more  than  half  of 
those  accepted  a  generation  ago  as  authentic.  Of 
the  forty-two  drawings  in  the  Uffizi,  for  instance,  he 
says  he  is  able  to  acknowledge  only  seven  as 
genuine,  but  in  these  seven  he  finds  "  the  balance, 
the  force,  and  the  grace  in  the  construction  of  the 
figures,  and  feels  the  electric  current  from  the 
creative  genius  that  vibrates  in  the  spring  and 
nervous  sinuosities  of  the  lines,"  which  are  to  him 
"a  revelation  of  the  young  Leonardo's  genius,  his 
temperament,  manner  of  handling,  method  of 
working,  techniijue  and  delineating  media."  In  his 
present  volume,  the  Cierman  critic  considers  only 
the  Florentine  period  of  da  Vinci's  career,  when 
he  was  under  the  influence  of  Verrocchio,  before 
the  journey  to  Milan  and  the  production  of  The 
Last  Supper.  In  his  concluding  chapter,  however, 
he  dwells  on  the  genesis  of  that  consummate 
creation,  noting  its  strange  connection  with  the 
earlier  Adoration  oj  the  Ma^i,  and  declaring  that 
the  artistic  idea  of  the  former  is  to  be  found  among 
the  preliminary  studies  for  the  group  of  warriors  in 
the  latter.  'I'he  volume  is  abundantly  illustrated, 
168 


and  the  reproductions, 
especially  of  the  numerous 
drawings,  are  irreproach- 
able. 

The    Meaning  oj     Art. 
By  Paul  Gaultier.  (Lon- 
don :    G.    Allen    and   Co., 
Ltd.)  5.y.net. — As  a  serious 
study  of  a  very  wide  sub- 
ject this  book  can  be  com- 
mended to  the  attention  of 
all  students  of  art.     It  is 
treated   thoughtfully  and 
judiciously,    without 
fanatical  enthusiasms  ;  and 
it  is  free  from  those  afTectations  of  abstruse  sugges- 
tion which  spoil  much  that  has  been  already  written 
on  the  subject.     The  author  has   evidently  clear 
convictions  which   he   has  not  hesitated  to  state 
frankly  and  intelligibly  :  and    the  straightforward- 
ness of  his    style  helps    to   make   convincing   his 
statement  of  his  case.     The  sections  into  which  the 
book  is  divided—"  What  is  Art,"  "  What  a  \Vork 
of  Art  Teaches,"    "The   Morality  of  Art,"  "The 


BY   G.    SPl'RC.K 


I'LASTER    DKMliN 


1-OK    A    DOOK-KN'OCKER 
BY   A.    V. 


A.   wim; 
(I..  C.  C.  Central  .Stiiool  ^f  Arts  and  Crafts) 


Reviews  and  Notices 


Social  Role  of  Art,"  and  "The  Criticism  of  Art " — 
cover  the  ground  adequately  and  allow  of  the  sub- 
ject being  dealt  with  from  different  aspects.  Each 
one  is  well  considered  and  each  one  is  argued  with 
ability ;  no  one  who  reads  the  book,  whether  he 
agrees  with  the  writer's  conclusions  or  not,  would 
deny  his  sincerity. 

Die  Radierungeii  und  Steindrucke  von  Kathe 
Kollwitz.  Ein  beschreibendes  Verzeichniss  von 
Johannes  Sievers.  (Dresden:  Herrmann  Hoist.) — 
Kathe  Kollwitz,  whose  ivitvre  as  an  etcher  and  litho- 
grapher from  the  year  1 890  (when  she  was  twenty- 
three)  down  to  191 2  is  set  forth  in  this  descriptive 
catalogue,  enjoys  a  high  repute  in  Germany  both 
among  connoisseurs  and  collectors  of  prints  and 
among  critics.  The  number  of  works  described  and 
illustrated  is  122,  and  of  these  nearly  a  score  are 
self-portraits  executed  at  various  stages  of  the  artist's 
career,  so  that  the  volume  forms  a  record  of  her- 
.self  as  well  as  of  her  work.  As  for  the  rest,  they 
reveal  a  curious  penchant  for  portraying  the  "  seamy 
side  "  of  life — and  death  too,  is  the  theme  of  not  a 
few — but  at  the  same  time  they  certainly  bear 
witness  to  an  executive  ability  of  no  mean  order, 
which  is  especially  evident  in  the  two  series  or  cycles 
of  etchings  representing  episodes  in  the  War  of  the 
Peasants  and  the  Rising  of  the  Weavers.  The 
savage  fury  of  these  mobs  of  desperate  men  and 
women  is  in  strong  contrast  to  the  sullen  passivity 
of  other  proletarian  types  portrayed  by  the  artist. 
There  is,  of  course,  a  pronounced  social  note  in  the 
.artist's  work,  as  there  is  in  that  of  many  other  German 
artists  at  the  present  day,  some  of  whom,  like  Frau 
Kollwitz,  have  no  qualms  about  portraying  the  most 
unsavoury  aspects  of  human  life.  There  is,  indeed, 
one  etching  in  this  catalogue  which  by  its  very  name 
cannot  but  excite  repugnance,  and  there  are  others 
which,  whatever  their  merits  from  a  technical  point 
of  view,  leave  on  us  anything  but  an  agreeable 
impression. 

An  Artist  in  Italy.  Written  and  painted  by 
W.\LTER  TvNDALE,  R.I.  (London:  Hodder  and 
Stoughton.)  20s.  net. — If  hardly  so  satisfying  as 
the  companion  volume  "An  Artist  in  Egypt,"  Mr. 
Walter  Tyndale's  latest  book,  "An  Artist  in  Italy," 
has  much  to  commend  it.  The  twenty-six  plates 
in  colour,  though  mostly  dealing  with  a  theme 
which,  from  an  artist's  point  of  view,  is  somewhat 
hackneyed,  are  sympathetically  treated,  while  the 
letterpress  is  bright  and  interesting.  The  author 
modestly  says  in  his  preface  that  the  volume  is  little 
more  than  a  painter's  record  of  the  places  he 
visited  while  in  search  of  material  for  his  pro- 
fessional work.     We  would  not  wish  it  otherwise. 


Glorified  guide- books  to  Italy  can  be  had  by  the 
score ;  the  impressions  of  an  'artist  like  Mr. 
Tyndale,  with  his  keen  powers  of  observation  and 
picturesque  yet  convincing  style  of  writing,  are  not 
so  easily  accessible,  and  their  appearance  calls  for 
no  apology  from  the  author.  The  present  volume 
deals  mostly  with  Venice  and  the  hill-towns  of 
Tuscany,  the  chapters  on  Siena  forming  perhaps 
the  most  enjoyable  part  of  the  book.  Th«  descrip- 
tion of  the  "  Palio "  of  Siena,  one  of  the  most 
remarkable  and  best  known  of  the  fesfa  of  ancient 
religious  origin,  is  particularly  interesting. 

Famous  Paintings  selected  from  the  World's 
Great  Galleries.  (London  :  Cassell  and  Co.,  Ltd.-) 
2  vols.,  \2S.  net  each. — Mr.  G.  K.  Chesterton  intro- 
duces these  volumes  of  coloured  reproductions  with 
a  plea  for  the  republication  of  "  old  and  good 
pictures  as  a  real  part  of  that  grossly  neglected 
thing — public  education."  With  the  omission  of 
the  first  two  words  here  quoted,  we  entirely  concur 
in  this  recommendation.  We  hope  Mr.  Chesterton 
is  not  one  of  those  who  cannot  see  any  merit  in  a 
picture  unless  it  is  old.  However,  if  the  pictures 
here  reproduced,  numbering  fifty  in  each  volume, 
are  good,  they  are  not  all  old,  for  not  a  few  living 
or  recently  deceased  artists  of  note  are  represented 
along  with  various  of  the  great  old  masters.  Each 
reproduction  is  accompanied  by  a  descriptive  note, 
and  as  the  selection  includes  many  works  of  great 
interest  from  various  standpoints,  the  two  volumes 
are  pretty  sure  to  prove  popular. 

A  Soldiers  Diary,  South  Africa,  iSgg-igoi. 
Written  and  illustrated  by  Murray  Cosby  Jackson. 
(London:  Max  Goschen,  Ltd.)  10s.  6d.  net. — 
The  auther,  who  served  with  distinction  as  a  non- 
commissioned officer  in  South  Africa,  wrote  this 
account  of  his  own  personal  experiences  during  the 
war  for  the  benefit  of  his  family  circle.  It  pretends 
in  no  way  to  be  a  history  of  the  events  of  the 
campaign,  and  is  here  presented  just  as  it  was  com- 
piled by  Sergt.  Jackson.  His  pages  form  most 
interesting  reading  and  are  full  of  humorous — and 
often  very  grim — anecdotes  of  his  own  and  his 
comrades'  experiences  in  the  field.  Altogether  this 
is  a  very  entertaining  human  document  and  one 
which  throws  a  most  interesting  sidelight  on  the 
South  African  War.  The  author's  illustrations  are 
admirably  graphic,  though  as  he  does  not  pretend 
to  be  an  artist  it  would  not  be  fair  to  criticise  them 
as  drawings. 

Sketches  from  Xature.  Hy  John  MacVVhirter, 
R.A.  (London:  Cassell  and  Co.)  6s.  net. — This 
is  an  extremely  attractive  book  of  sketches  in  water- 
colour  and  pencil  made  in  travelling  by  the  late 

169 


Reviews  and  Notices 


Academician.  To  artists  it  will  be  interesting  for 
the  revelation  of  refined  .skill  in  pencil-draught.s- 
manship.  The  late  artist  failed  to  preserve  in  his 
paintings  the  highly  artistic  qualities,  the  e.xpressive 
touch  and  appreciation  of  tone  which  the  delightful 
drawings  in  pencil  show. 

Guillaume  Charlier.  Par  S.vnder  Pierron. 
(Brussels:  G.  Van  Oest  et  Cie.)  —  Generally 
speaking  the  contemporary  school  of  sculpture  in 
Belgium  is  a  very  interesting  one,  and  the  work  of 
the  artist  who  forms  the  subject  of  this  latest 
volume  in  the  "Collection  des  Artistes  Beiges 
contemporains,"  in  particular  is  well  worth  a  study. 
Unquestionably  Meunier  is  the  dominant  figure  in 
modern  Belgian  sculpture,  but  in  the  case  of 
Charlier  it  is  interesting  to  note  that  while  his 
artistic  outlook  has  been  somewhat  similar  his 
development  was  entirely  independent.  A  number 
of  excellent  illustrations  accompany  the  text. 

Subsoil.  By  Ch.\rles  M.arriott.  (London ; 
Hurst  and  Blackett.)  6j.  net. — The  author,  well 
known  as  a  novelist,  is  also  familiar,  though  per- 
chance to  a  smaller  circle,  as  an  art  critic.  In 
"  Subsoil "  he  seems  to  combine  the  dual  role,  and 
interwoven  with  a  story  which  is  hardly  as  con- 
vincing as  have  been  some  of  his  other  novels  we 
find  him  dealing  with  some  aspects  of  the  unrest 
in  art  generally  at  the  present  day.  Whether  he 
wishes  to  be  here  the  novelist  or  the  art  critic  one 
cannot  feel  quite  sure,  but  the  "  mixture  "  is  un- 
deniably interesting. 

Rubdiydt  of  Omar  Khayyam.  Illustrated  in 
colour  by  Renk  Bull.  (Hodder  and  Stoughton.) 
\^s.  net;  edition  de  luxe,  42.?.  net. — Publishers 
have  evidently  found  that  the  public  are  not  tired 
yet  of  Omar  Khayyam  in  gift-book  form.  The 
cover  of  this  volume  is  of  a  beautiful  though  highly 
elaborated  character,  and  Mr.  Rene  Bull's  colour 
drawings  are  full  of  inventiveness  and  charm  of 
colour  and  design.  Mounted  simply  on  their  cream 
paper  they  would  have  been  wholly  delightful,  but 
here  the  effect  has  been  marred  by  an  unnecessary 
bordering  of  excessive  gold  ornamentation.  The 
black  and  white — or  rather  green  and  white — 
embellishment  of  the  letterpress  is  not  a  success. 
Whether  from  the  effect  of  this  green  ink,  or  from 
the  style  of  the  decoration  of  the  page  and  the 
lettering  itself,  the  letterpress  pages  are  common- 
place and  detract  from,  instead  of  comporting  with, 
the  exquisite  pattern  work  and  inspiriting  style  of 
the  coloured  drawings. 

The  Old  Curiosity  Shop.     Illustrated  in  colour  by 
Frank   Revnold.s,   R.I.     (London  :   Hodder  and 
Stoughton.)    15.?.  net;  edition  de  luxe,  42s.  net. — Mr. 
170 


Frank  Reynolds,  who  is  a  most  scholarly  draughts- 
man and  attractive  colourist,  whole-heartedly 
adopts  all  the  Dickens  conventions.  His  treatment 
of  his  subject  may  lie  said  to  have  every  (juality  but 
originality.  But  your  true  lover  of  Dickens  is  above 
everything  conservative,  and  probably  nothing 
could  recommend  this  pleasantly  embellished  book 
to  them  so  much  as  its  staunch  adherence  to  the 
types  which  the  earlier  Dickens  illustrators  created. 

Vanity  Fair.  By  W.  M.  Th.'vcker.'W.  Illustrated 
by  Lewis  B.\umer.  (London :  Hodder  and 
Stoughton.)  155.net;  edition  de  luxe,  .\2s.  net. — In 
this  case,  as  in  the  case  of  Dickens,  one  does  not 
look  for  any  marked  departure  from  precedent,  and 
indeed  as  the  various  characters  have  to  appear  in 
the  costumes  and  environment  of  a  certain  epoch, 
the  illustrator  has  definite  limitations  imposed  upon 
him.  Mr.  Baumer's  illustrations  are,  however, 
instinct  with  vitality  and  charm,  and  it  is  clear  that 
he  has  striven  to  interpret  his  author  conscientiously. 

The  Jackdaw  of  Rheims.  By  Thos.  Ingoldsbv. 
Illustrated  by  Ch.\rles  Folkard.  (London  :  Gay 
and  Hancock.)  \os.  dd.  net. — Mr.  Folkard  has 
an  undoubted  gift  for  illustration,  though  we  hardly 
think  colour  is  the  chief  element  in  his  artistic  en- 
dowment. We  are  judging,  of  course,  by  the  coloured 
illustrations  to  this  ever-attractive  legend  of  Thomas 
Ingoldsby  ;  here  the  colour  is  rarely  pleasing  and 
at  times  decidedly  unpleasant.  It  may  be,  of  course, 
that  they  have  suffered  in  the  printing-press,  like 
many  of  the  coloured  illustrations  one  sees  nowadays 
In  some  of  his  illustrations  of  three  or  four  years  ago, 
Mr.  Folkard  showed  somewhat  too  plainly  the 
influence  of  Mr.  Rackham,  but  though  we  are  still 
reminded  of  that  influence  here,  it  is  far  less  obvious  : 
the  drawings  show  a  humorous  inventiveness  of  his 
own,  and  among  them  are  some  which  also  disclose 
a  new  technique,  being  apparently  executed  in  part 
by  the  aid  of  what  is  called  "poker  work."  The 
text  pages  contain  numerous  black-and-white  draw- 
ings which  do  the  artist  credit. 

The  Sonf;  of  Songs,  which  is  Solomon's.  Authorised 
Version.  Illustrated  after  the  drawings  by  W. 
Russell  Flint.  (London:  P.  Lee  Warner.) 
Cloth,  Gs.  net;  parchment,  \2S.  6d.  net. — This  is 
a  reprint  in  smaller  format  of  the  first  Riccardi  Press 
edition  published  four  years  ago.  The  binding, 
with  its  sinuous  scroll  in  gold,  is  adapted  from  a 
Persian  manuscript  in  the  British  Museum.  The 
reproductions  of  Mr.  Russell  Flint's  charming 
drawings  are  fully  mounted,  but  in  some  cases  the 
rich  mellow  colour  characteristic  of  the  artist's 
water-colour  drawings  has  not,  we  think,  had  full 
justice  done  to  it. 


Reviews  and  Notices 


My  Dog.  By  Maurice  Maeterlinck.  Illustrated 
by  Cecil  Aldin.  (London:  Geo.  Allen  and  Co.) 
2,s.  6d.  net. — Mr.  Cecil  Aldin's  work  is  popular  and 
deservedly  so,  for  in  his  drawings  there  are  qualities 
of  humour  and  of  sympathetic  understanding  that 
are  most  attractive.  This  excellent  translation  by 
Mr.  A.  Teixeira  de  Mattos  of  Maeterlinck's  charm- 
ing little  essay  "  Sur  la  Mort  d'un  Petit  Chien " 
from  "  Le  Double  Jardin,"  is  accompanied  by  six 
reproductions  of  water-colour  drawings  of  a  little 
bull-dog  pup  that  show  all  the  artist's  accustomed 
ability. 

The    Children's    Blue    Bird.     By    Georgette 
Leblanc    (Mme.    Maurice    Maeterlinck).      With 
illustrations  by  Albert  Rothenstein.     (London  : 
Methuen.)     5^.    net. — If    we    study    Mr.    Albert 
Rothenstein's  pictures  in  this  book  simply  as  pictures, 
we  cannot  fail  to  find  in  the  best  of  them  a  con- 
siderable art  in  attaining  the  old-world  feeling  of 
picture-books  illustrated  with  great  vividness.      Mr. 
Rothenstein  strikes  a  note  of  colour   fantasy   far 
removed  from   the  commonplace,  like  the  tale  of 
the  Blue  Bird  itself.  But  the  tale  breathes  reverence 
and  enchantment,  and  if  anything  could  dispel  these 
qualities,  we  think  it  would  be  Mr.  Rothenstein's 
work,  for  its    effect   rests   entirely   with   a   clever 
fantastic  distribution  of  colour.     In  the  region  of 
caricature   his   mockery   of  the   contours    of  life, 
animate  and  inanimate,  may  be  exhilarating  because 
it  is  artful  and  novel,  and  amusingly  clever  in  its 
way,  as  well  as  anything  but  tame ;  but  for  us  as  an 
interpretation  of  "  The  Blue  Bird,"  it  expels  that 
story's  gracious,  happy  charm. 

The  Fairy  Book.  Illustrated  by  ^\' arwick  Goble. 
(London:  Macmillan.)  15i-.net. — The  sub-title  of 
"The  Fairy  Book"  is  "The  Best  Popular  Fairy 
Stories,  selected  and  rendered  anew  by  the  author 
of  '  John  Halifax,  Gentleman.' "  Mr.  Warwick 
Goble's  pictures  are  thoroughly  typical  of  the  high 
standard  reached  in  the  best  colour  illustration 
of  to-day,  and  we  are  sure  that  this  volume  will 
find  favour  with  the  best  critics  of  such  books  as 
these,  namely,  the  children  who  receive  them  as 
presents.  We  ourselves  should  have  preferred 
more  original  interpretations  of  the  stories,  but 
the  young  are  conservative  and  dislike  to  see  their 
old  favourites  in  new  clothes.  The  cover  of  the 
book  is  delightful. 

The  Walpole  Society  has  issued  to  its  subscribers 
its  second  annual  volume,  containing  papers  on 
various  topics  of  much  interest  accompanied  by  a 
large  number  of  plates  in  photogravure,  colour,  and 
ordinary  half-tone,  the  printing  of  which  reflects  the 
highest  credit  on  the  Oxford  University  Press.     In 


view  of  the  fact  that  the  society  was  founded  for 
the  purpose  of  encouraging  the  study  of  British 
Art,  it  is  a  little  curious  to  find  one-third   of  the 
volume  allotted  to  a  paper  on  a  painter  who,  though 
he  lived  and  worked  in  England  for  many  years, 
was  an  alien  by  birth  and  training.     This  is  the 
painter  whose  monogram  IE  is  found  on  numerous 
portraits   of  royal    and    other  notable  personages 
who,  lived  about  the  middle  of  the  sixteenth  century. 
Mr.  Lionel  Cust,  as  the  result  of  much  research,  is 
able  to  establish  the  identity  of  this  limner  of  society 
in  those  days.     It  appears  that  he  came  from  the 
Netherlands,  and  that  his  full  name  was  Hans  or 
Haunce  Eworth,  but  many  variations  of  the  name 
are  given  from  contemporary  documents.     The  por- 
traits he  painted,  though  they  cannot  be  claimed  as 
products  of  British,  art,  are  nevertheless  of  consider- 
able interest  as  paintings  as  well  as  historically.    The 
second    paper    concerns    the    de    Critz    family   of 
painters   who  came    to    England    from    Antwerp, 
and  w'ere  also  successful  in  securing  the  patron- 
age  of  the   Court.      In    the    latter    half    of    the 
volume    the   topics    discussed    are    more    strictly 
British.     Mr.  E.  F.  Strange  gives  an  account  of  the 
fine   rood-screen   of  Cawston  Church  in  Norfolk 
with  its  painted  panels  and  carved  figures,  which 
the  evidence  he  adduces  shows  to  have  been  the 
work  of  English  artists  and  craftsmen  ;  and  again  an 
English  origin  is  asserted  by  Mr.  Kendrick  with  a 
good  show  of  reason  for  the  Hatfield  tapestries  of 
The  Seasons.     Mr.  W.  G.  Strickland  reviews  the 
work  of  Hugh  Douglas  Hamilton,  a  portrait  painter 
of  the    eighteenth   century  who  practised  first  in 
Dublin  and  then  in  London.     M.  A.  Dubuisson 
writes  in  French  on  the  influence  of  Bonington  and 
the  English  School  of  landscape  painting  in  France, 
which  began  to  make  itself  definitely  felt  in  1824 
when  a  group  of  seven  English  painters  exhibited 
at   the  Paris  Salon.     The   volume    closes   with  a 
paper  by  Mr.    A.  J.  Finberg  on  "  Some   of  the 
Doubtful  Drawings  in  the  Turner  Bequest  at  the 
National  Gallery,"  accompanied  by  reproductions 
of  numerous  drawings  which  he  has  been  able  to 
assign  to  their  rightful  authors,  Thomas  Girtin,  de 
Loutherbourg,   and   Dayes,  the  attributions  being 
corroborated   by  other   drawings  by  these  artists, 
which  are  reproduced  by  way  of  comparison. 

Miss  Gladys  Wynne  has  written  for  Messrs. 
T.  C.  and  E.  C.  Jack's  "  Shown  to  the  Children  " 
Series  a  litde  book  on  architecture  (2^-.  dd.  net)  in 
which,  with  the  aid  of  numerous  illustrations,  she 
tells  in  a  vivacious  conversational  way,  well  suited 
to  juveftile  comprehension,  the  chief  facts  concern- 
ing the  development  of  European  architecture. 

171 


The  Lay  Figure 


T 


HE  LAY  FIGURE  :  ON  FACING 
BOTH   WAYS. 


Do  you  chance  to  have  read  a  book 
called  '  Thorley  Weir,'  by  E.  F.  Benson  ?  "  asked 
the  Man  with  the  Red  Tie.  "  If  you  have  not,  let 
me  commend  it  to  your  attention  :  the  story  has  a 
moral." 

"Ob,  yes,  I  have  read  it,"  laughed  the  Ait 
Critic.  "  Did  you  think  the  villain  of  the  piece  was 
drawn  from  me?  I  can  assure  you  that  the  portrait 
is  not  the  least  like  me." 

"  What  is  the  book  about  ?  "  broke  in  the  Young 
I'ainter.     "  I  have  not  seen  it." 

"  It  is  just  an  ordinary  love  story,"  replied  the 
Man  with  the  Red  Tie,  "  but  the  hero  is  a  young 
artist  of  spectacular  ability  and  the  villain  is  a 
critic ;  the  whole  plot  turns  upon  the  relations 
between  these  two." 

"  But  what  a  type  of  critic  is  he  !  "  cried  the 
Critic.  "  You  should  explain  that  though  he  is 
nominally  a  critic  and  a  writer  on  Art  for  various 
papers,  he  is  really  a  dealer,  and  that  he  makes  a 
fortune  by  exploiting  young  artists  to  his  own 
advantage  and  by  decidedly  tricky  dealings  in  Old 
Masters." 

"Good  Lord  I  That  is  a  commonplace  type 
enough  to  write  a  story  about,"  said  the  Young 
I'ainter.  "  Most  modern  critics  are  dealers  in 
disguise — and  usually  in  a  very  thin  disguise  too. 
Those  that  are  not 'actually  dealers  themselves  are 
in  with  the  regular  dealers  and  regularly  .share  their 
profits." 

"The  type  is  a  common  one,  I  admit,"  sighed 
the  Critic,  "  but  there  are  exceptions  to  the  rule. 
I  may  be  a  bit  old-fashioned,  but  I  can  say  without 
fear  of  contradiction  that  I  have  never  myself 
diverged  into  Art  dealings." 

"  Is  that  due  to  want  of  inclination  or  lack  of 
opportunity  ?  "  sneered  the  Man  with  the  Red  Tie. 
"  Or  is  it  merely  a  pose  ?  " 

"It  is  due  to  a  ([uite  sincere  belief  that  the 
functions  of  the  critic  and  the  dealer  are  opposed 
to  one  another,"  returned  the  Critic.  "  I  do  not 
see  how  the  two  can  be  associated  without  a  very 
serious  deterioration  of  the  critic's  character.  If 
the  critic  adopts  the  dealer's  necessarily  material 
point  of  view  his  own  mental  attitude  must  in- 
evitably degenerate.  He  ought  to  be  an  idealist, 
not  a  shrewd  commercial  man." 

"  Yet  I  suppose  every  tlealer  ought  to  he  a  hit  of 
a  critic,"  argued  the  Young  I'ainter. 

"  A    bit   of  a""  critic !    Yes,"  agreed    the   Critic. 
"  That  is  true  in  this  sense,  that  the  dealer  must  bi- 
172 


able  to  appreciate  fully  the  difference  between  good 
Art  and  bad,  and  that  to  exercise  this  appreciation 
he  must  possess  the  critical  faculty.  But  what  is 
much  more  important  to  him  is  that  he  should 
know  infallibly  what  .sort  of  Art  will  sell  and  what 
sort  of  Art  he  can  make  saleable.  He  must  not 
hesitate  to  handle  bad  Art  if  the  public  want  to  buy 
it,  and  if  he  can  see  his  way  to  make  a  sufficiently 
large  profit  out  of  it.  His  eye  must  always  be  on 
the  Art  market." 

"  And  the  critic,  I  suppose,  must  never  be  so 
indiscreet  as  to  allow  himself  to  become  conscious 
that  there  is  such  a  thing  as  an  Art  market  at  all," 
laughed  the  Man  with  the  Red  Tie. 

"  Precisely,  that  just  sums  it  up,"  answered  the 
Critic.  "  The  existence  of  an  Art  market  cannot, 
of  course,  be  concealed  from  the  critic,  but  the 
only  consciousness  of  it  that  he  may  show  .should 
appear  solely  in  his  desire  to  influence  the  market 
always  to  demand  the  best.  In  other  words,  he 
must  advocate  the  best,  whether  it  happens  to 
appeal  to  the  public  or  not,  and  he  must  strive 
perpetually  and  sincerely  to  teach  the  Art  lover  to 
discriminate  carefully  between  what  is  good  and 
bad  in  Art." 

"  May  he  not  back  his  opinion  by  buying  and 
selling  what  is  good  ? "  asked  the  Man  with  the 
Red  Tie.  "  Must  his  advocacy  of  the  things  in 
which  he  honestly  and  sincerely  believes  always  be 
disinterested  ?  " 

"  If  it  is  not  disinterested  his  criticism  becomes 
merely  the  advertisement  of  the  tradesman  who  is 
puffing  his  wares,"  said  the  Critic.  "  The  critic 
cannot  face  both  ways  and  keep  one  eye  on  great 
Art  princi|)les  and  the  other  on  the  main  chance. 
Such  a  strain  on  his  visual  organs  must  result  in 
moral  astigmatism,  and  human  nature  being  what  it 
is,  the  twist  will  generally  be  in  the  direction  of  his 
personal  profit." 

"  It  seems  to  me  that  the  astigmatism  of  the 
modern  critic  has  developed  into  a  regular  stjuint," 
laughed  the  Young  Painter. 

■'  Let  us  be  charitable  and  call  it  a  defect  in 
vision,"  replied  the  Critic.  "  But,  all  the  same,  it  is 
a  defect  I  would  like  to  see  cured.  So  long  as  the 
critics  give  way  to  the  temptation  to  make  a  bit  for 
themselves  out  of  what  they  know  about  Art,  so 
long  as  they  buy  and  sell  either  on  their  own  or  in 
co-operation  with  the  avowed  Art  dealers,  there  can 
be  no  i)ure  and  helpful  Art  criticism.  No  man  can 
write  without  bias  if  he  has  a  direct  monetary  interest 
in  the  things  about  which  he  is  writing  :  and  I  am 
afraid  this  bias  is  very  apparent  at  the  present 
time."  TuK  Lav  Fkuirk. 


A  New  Mural  Panel  by  Mr.  Brangwyn 


A 


NEW  MURAL  PANEL  BY 
MR.  FRANK  BRANGWYN, 
A.R.A. 


The  latest  of  the  now  lengthy  series  of  mural 
decorations  painted  by  Mr.  Frank  Brangwyn  is  a 
large  panel  recently  placed  in  the  new  Court  House 
at  Cleveland  in  the  State  of  Ohio  and  having  for 
its  subject  an  historical  event  to  which  all  members 
of  the  Anglo-Saxon  race  in  every  part  of  the  globe 
look  back  as  perhaps  the  most  significant  in  the 
evolution  of  the  race — King  John  Signing  the 
Great  Charter  at  Run7iymede.  The  panel  is  of 
monumental  proportions,  the  length  from  side  to 
side  being  no  less  than  fifty  feet,  while  the  height 
from  the  base  line  to  the  top  is  fifteen  feet.  These 
proportions  made  it  impracticable  to  reproduce  the 
finished  panel  satisfactorily  in  colour  on  the  small 
scale  required  by  the  pages  of  this  magazine  ;  hence 
it  has  been  deemed  best  to  give  a  black-and-white 
reproduction  only  of  the  panel  as  now  placed  in 


position  in  the  Cleveland  Court  House,  and  as'a 
substitute  for  a  colour  reproduction  of  it  Mr. 
Brangwyn  has  kindly  placed  at  our  disposal  two 
of  his  preliminary  sketches  which,  though  fairly 
large,  have  served  admirably  for  the  purpose  of 
polychrome  reproduction.  It  will  be  observed 
that  the  second  of  these  two  sketches  corresponds 
very  closely  to  the  large  panel  as  regards  the 
general  design,  and  the  colour-scheme  also  presents 
no  marked  divergence,  the  keynote  in  both  being 
the  bright  red  cloak  of  the  figure  in  close  proximity 
to  King  John. 

The  execution  of  this  large  panel  occupied 
Mr.  Brangwyn  fully  if  not  quite  two  years,  and 
the  whole  of  the  work  was  carried  through  with- 
out any  collaboration  on  the  part  of  assistants. 
His  chalk  studies  of  the  various  figures  com- 
posing this  historic  gathering  have  an  interest  apart 
from  the  finished  result,  and  we  are  glad  therefore 
to  be  able  to  include  a  typical  selection  from  them 
among  our  illustrations. 


STUDY   FOR   THE   CLEVELAND   COURT   HOUSK    I'ANEL 

LI.  No.  20J.— January  1914 


«V    FRANK    HKANGWYN,    A.R.A. 


/73- 


175 


STUDY  FOR  CLi:VELAND  COURT  HOUSE 
PANEL.      HY   ERAXK    IJRANGWYN,   A.R.A. 


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STUDY   FOR  CLEVELAND  COURT  HOUSE 
PANEL.      BY   FRANK  BRANGWYN,  A.R.A. 


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Beppe  Ciardi 


A 


N  ITALIAN   PAINTER:   BEPPE 
CIARDI.      BY   L.   BROSCH. 


Beppe  Ciardi,  the  subject  of  this  article, 
belongs  incontestably  to  the  very  front  rank  of 
contemporary  Italian  landscape  painters  —  and 
animal  painters  as  well,  for  in  that  class  of  subject 
also  he  has  few  if  any  rivals.  His  collection  of 
representative  works  which  formed  one  of  the 
mostre  i?idividuati  at  the  Tenth  International  Art 
Exhibition  of  the  City  of  Venice  last  year  created 
a  lasting  impression  by  the  strength  of  colour,  the 
vigorous  draughtsmanship,  and  the  virile  sentiment 
revealed  therein. 

Like  his  sister  Emma,  whose  work  is  familiar 
to  the  readers  of  this  magazine,  Beppe  Ciardi 
owes  not  a  little  to  his  father,  Guglielmo  Ciardi, 
more  particularly  as  regards  technique,  with  which 
both  he  and  his  sister  became  acquainted  in 
early  years  under  paternal  supervision,  but  also 
in  regard  to  individuality  of  perception,  which 
the    father    always    strove    to    encourage.      The 


two  have,  however,  in  their  subsequent  careers 
followed  widely  divergent  paths.  Emma  is  the 
poetess  of  those  dreamy  rococo  gardens  where  the 
beau  tnonde  and  its  gilded  youth  were  wont  to  pass 
their  time  in  leisure  and  love-making.  Beppe,  on 
the  other  hand,  is  a  realist  who  unflinchingly  essays 
to  interpret  Nature  in  all  sincerity,  and  asks  only 
that  her  message  shall  be  plain  and  without  affec- 
tation of  any  sort.  When  the  writer  first  made 
acquaintance  with  his  Work  in  an  exhibition  of 
sketches  some  fifteen  years  ago  he  was  impressed 
by  the  capability  shown  in  it,  and  especially  by  the 
intelligent  and  thoughtful  way  in  which  the  artist 
had  worked  out  his  themes.  His  interpretation  of 
sunshine  and  simple  child-life  was  admirable  and 
quite  free  from  artificiality,  and  his  broad,  "  fat " 
handling  of  his  pigment  imparted  an  enjoyable 
freshness  to  his  work.  The  young  artist  was 
accustomed  to  look  at  Nature  even  in  those  days 
with  a  free  and  expansive  vision,  and  though  with 
the  passing  of  the  years  he  has  gained  greater 
assurance  and  seated  himself  more  firmly  in  the 


"THE    MOU.NTEBANKS"' 


BY    BEPI'E   CIARDI 


183 


Bcppc  Cianii 


saddle,  his  progress  towards  his  ultimate  goal  has 
been  steady  and  unfaltering,  without  any  of  that 
temerity  or  indecision  which  so  often  proves  an 
obstacle  to  the  pwiinter  of  weaker  fibre.  To-day  we 
see  him  in  the  full  tide  of  his  maaihood,  able  to 
look  back  upon  a  rich  harvest  of  successful  accom- 
plishment. 

Beppe  Ciardi  is  a  native  of  Venice,  where  he 
was  born  in  the  year  1875,  and,  as  already  indicated 
above,  he  began  to  jmint  at  an  early  age.  In  fact 
he  was  barely  ten  )-ears  old  when,  in  the  atelier  of 
his  father,  Guglielmo  Ciardi,  he  first  took  brush  in 
hand,  and  he  might  soon  have  developed  into  a 
prodigy,  as  sometimes  happens  in  the  case  of  ofT- 
shoots  from  an  artistic  stock.  But  the  father,  a 
man  of  an  uncommonly  energetic,  determined  nature, 
absolutely  refused  to  allow  anything  of  that  sort. 
Perhaps  this  distinguished  landscape  painter  of  the 
old  school  was  thinking  of  the  early  and  not  alto- 
gether smooth  stages  of  his  own  career,  or  wliat 
among  artists  is  called  the  "  thorny  path  "  ;  at  all 
events  his  son  Beppe  had  to  go  through  the  regular 


school  training,  finishing  off  at  the  University.  That 
his  studies  in  natural  science  liiiled  to  quench  his 
love  for  art  is  of  course  self-evident,  and  as  a 
matter  of  fact  when  he  was  a  University  student 
the  spare  time  left  to  him  from  his  studies  was 
employed  in  painting.  Subsequently  he  joined  the 
Academy  in  Venice  and  diligently  practised  draw- 
ing from  the  nude  and  heads  under  the  eminent 
painter,  I'rof.  Ettore  Tito.  Here,  without  lapsing 
into  an  imitative  manner,  he  acquired  a  certain 
technical  foundation  for  his  later  figure  pictures. 
A  good  example  of  these  is  I Saltimlmitchi,  showing 
a  troupe  of  mountebanks  giving  an  exhibition  of  their 
feats  of  skill  on  one  of  the  piazzas  of  Venice,  the 
dark  mass  of  spectators  forming  an  effective  back- 
ground to  the  performers,  while  the  effect  of  warm 
sunlight  has  been  achieved  without  any  undue 
forcing  of  the  shadows.  This  work — which,  with 
others  now  reproduced,  figured  in  his  collective 
exhibition  at  Venice  last  year — has  been  referred  to 
by  a  well-known  critic  as  "  veramente  I'opera 
memorabile  dun  maestro." 


"THE   LITTLE   MOTHERS 
184 


BV    liKl'I'K    ClARIil 


'"THE    HAY    WAIN" 
BY   BEPPE  CIARDI 


Bcppc  Cinrdi 


Beppe  Ciardi  almost  invariably  paints  with  a 
well-loaded  brush,  and  applies  his  colour  with 
energetic  strokes,  never  condescending  to  such  old 
tricks  as  leaving  tlie  ground  showing  or  glazing 
thinly  over  a  white  canvas.  The  modem  methods 
of  the  pointillists,  too,  are  very  rarely  or  never 
adopted  by  him,  but  he  paints  quite  simply  just  as 
he  sees,  unaffectedly  and  straightforwardly  without 
the  slightest  prejudice  in  the  matter  of  technique — 
an  advantage  he  no  doubt  owes  in  some  measure 
to  his  father.  His  aim  and  vision  are  concentrated 
on  the  work  before  him  in  its  entirety,  and  as  a  rule 
he  has  the  good  fortune  to  find  that  the  details  fit 
into  their  proper  place  spontaneously.  An  instinct 
for  the  rhythmical  distribution  of  masses,  for 
sparkling  colour  and  for  harmony  of  line  is  charac- 
teristic of  him  :  and  that  which  above  all  di.s- 
tinguishes  his  work  is  its  fidelity  to  actuality,  its 
veracious  rendering  of  what  has  been  accurately 
observed. 

A  special  predilection  of  this  artist  is  for  strong 
contrasts  of  light  and  shade,  particularly  when 
painting  human  subjects  and  animals.    Significant  in 


this  respect  are  his  pictures  and  sketches  of  little  girls 
in  the  open,  two  of  which  are  shown  in  the  accom- 
panying illustrations.  Ciardi  is  certainly  an  excel- 
lent and  sympathetic  painter  of  children  :  he  paints 
them  wherever  he  finds  them,  on  the  sand-dunes 
or  lagoons,  in  the  meadows  and  fields,  sometimes 
alone  or  in  twos  and  threes,  at  other  times  in  merry 
groups,  as  in  Giro  Tortdo,  where  clasping  one 
another's  hands  in  a  ring  they  are  playing  at  one 
of  those  games  which  children  of  all  countries 
delight  in.  The  children  depicted  by  the  artist 
are  mostly  sturdy,  mirthful  beings  with  fair  or 
raven-black  hair ;  they  are  full  of  life  and  move- 
ment, and  often  there  is  a  touch  of  roguishness  in 
their  faces.  But  though  Ciardi  shows  a  decided 
partiality  for  painting  juvenile  humanity,  his  figure 
subjects  comprise  grown-ups  as  well.  I  recall  par- 
ticularly a  life-sized  picture  of  a  Venetian  woman 
with  a  somewhat  sad  look — a  work  of  fine  tonality 
and  one  which  derives  a  peculiar  charm  from  the 
masterful  suggestion  of  an  autumn  landscape  amid 
which  the  painter  has  placed  the  figure.  And 
another  noteworthy  performance  of  the  same  kind 


'A    MKNA(  INC;   SKV 

1 86 


nV    HKITK    CIARDI 


"ASCENDING  CLOUDS' 
BY   BEl'PE  CIARDI 


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is  a  study  of  a  shepherdess  in  a  landscape  suffused 
with  the  golden  tones  of  twilight. 

Numerous  as  Ciardi's  figure  pictures  are,  I  am 
inclined  to  think  that  the  painter  feels  freer 
and  more  at  home — more  "himself"  in  fact — 
when  he  takes  his  place  before  his  easel  in  the 
open  air — perhaps  in  the  midst  of  a  broad,  verdant 
meadow,  with  the  infinite  expanse  of  Italy's  blue 
sky  above  him  and  far  away  from  any  sound  save 
the  rustling  of  leaves  and  the  distant  tinkling  of 
sheep-bells.  Although  our  artist  is  inclined  to 
loneliness  he  is  not  among  those  who  seek  the 
solitude  of  the  high  mountains  with  their  bare 
rocky  crags,  for  the  life  he  loves  most  of  all  is  one 
of  idyllic  peace  and  brightness.  But  when  storm- 
clouds  roll  up  across  the  clear  sky  and  with 
tempestuous  rapidity  gather  overhead  in  black, 
threatening  masses,  then  he  feels  himself  at  one 
with  the  death-bringing 
elements,  and  we  get  such 
a  picture  as  Cielo  minac- 
cioso,  in  which  we  sec  a 
white  horse  standing  like  a 
spectre  in  the  foreground 
of  a  spacious  landscape 
against  a  background  of 
threatening  sky,  a  theme 
which  is  repeated  with 
sligin  variations  in  the 
picture  which  derives  its 
title  from  the  white  horse, 
//  Cavallo  hiaiiio;  while  in 
numerous  other  pictures, 
somewhat  similar  atmo- 
spheric conditions  have 
been  recorded  in  a  no  less 
masterly  way. 

In  Ciardi's  dramatic 
realisation  of  Nature's 
aspects  one  discerns  a 
certain  distant  affinity  with 
the  great  Dutch  masters, 
Cuyp  and  \'an  Horssom. 
He  is  fond  of  the  broad 
vista,  and  in  many  of  his 
pictures  a  great  placid 
calm  reigns  over  the  whole. 
Wide  stretches  of  green 
pasture  lose  themselves  in 
the  hazy  distance,  while 
often  cattle  of  one  or  other 
kind  occupy  the  foreground, 
and  are  observed  and  fell 
as  part  and  [larcel  of  the 
190 


landsaipe.  The  painting  of  the  air  has  become  so 
to  speak  a  vital  necessity  with  him,  and  rarely  do  we 
find  him  leaving  off  abruptly  just  above  the  line  of 
sight,  as  many  landscape  painters  do  from  reasons 
which  do  not  require  to  be  stated.  On  the 
contrary,  as  the  critic  quoted  above  has  remarked, 
his  landscapes  often  consist,  to  the  extent  of  three 
(juarters,  of  azure  sky  and  cloud  and  the  distant 
horizon.  Ciardi  is  entirely  a  child  of  reality, 
wholly  absorbed  in  the  material  thing  and  seized 
with  a  determination  to  capture  the  air  which 
wafts  over  fields  and  men  and  animals.  And 
unquestionably  we  are  quite  justified  in  regarding 
him  as  one  of  the  foremost  animal  painters  in  Italy 
at  the  present  day. 

This  article  would  not  be  complete  were  no 
mention  made  of  Ciardi  as  a  painter  of  the  lagoons 
with  which  from  the  days  of  his  childhood  he  has 


IIV    ItKl'I'E   CIARDI 


"THE  WHITE   HORSE" 
BY  BEPPK  CIARDI 


Bcppc  Cinrdi 


'EASTER   NIGHT 


been  on  intimate  terms.  It  is  somewhat  remark- 
able that  so  many  \'enetian  painters  should  have 
taken  to  landscape  when,  ha\ing  regard  to  their 
maritime  environment,  one  would  have  supposed 
them  predestined  to  be  jiainters  of  the  sea.  Beppe 
Ciardi  is  a  true  son  of  N'enice,  and  has  always 
remained  faithful  to  his  native  city.  He  does  not, 
of  course,  paint  those  local  "  views  "  of  Venice 
which  are  produced  to  meet  the  requirements  of 
foreign  visitors,  nor  those  elegant,  rosy-cheeked 
Venetian  women  and  girls  favoured  by  the  art 
dealer— he  is  (juite  willing  to  leave  that  sort  of 
thing  to  others.  And  so  when  he  paints  the 
lagoons  it  is  not  those  with  which  the  tourist  is 
familiar  that  a.\)\>i:a.\  to  him,  but  he  prefers  lagoons 
which  are  not  so  well  known — those  extending 
from  Allino  past  Torcello  right  close  to  \enice. 
He  is  wont  to  rove  about  over  these  lagoons  in  all 
directions,  using  for  conveyance  a  (latbottomed  boat 
like  those  built  at  Burano,  which  are  the  only  kind 
adapted  for  these  shallow  waters.  Not  one  of  the 
many  islands  is  unknown  to  him — .San  Francesco  del 
Deserto,  .San  l-lrasmo,  .Mazorbo,  \'igniole,  or  what- 
ever else  their  names  may  be,  the  radiant  Spring 
Islands  of  Venice  which  sooner  or  later  are 
192 


doomed  to  disappear — 
all  have  inspired  Ciardi 
with  motives  for  (iiscinat- 
ing  pictures.  Such  works 
as  L'Isola  del  Silensio 
and  L'Isola  della  Follia 
are  poetic  in  their 
tonality;  there  is  no 
trace  of  uncertainty  or 
hesitation,  and  the  whole 
vista  has  been  observed 
and  rendered  with  a  rare 
clarity  of  perception. 
The  latter  of  these  pic- 
tures possesses  a  note  of 
tragic  mystery,  and  re- 
calls Maeterlinck's  subtle 
description  of  this  "  Isle 
of  Madness." 

It  should  be  remarked 
in    conclusion    that    the 
N'enetian  has  always  been 
somewhat   shy  of  the 
water,  and  his  fame  as  a 
mariner  is   often  over- 
rated.    An   old  proverb 
current    in    these    parts 
speaks   of  the  sea  as  a 
betrayer  —  il   mare    e 
traditore ;  and  this  attitude  perhaps  explains  why, 
although  Venice  is  a  maritime  city,  no  ^^enetian 
has  yet  developed  into  a  real  marine  painter. 

The  qualities  which  characterise  Beppe  Ciardi's 
ivuvre  are  sound  and  honest  workmanship  and  a 
wholesome  sentiment  at  once  broad  and  deep.  In 
it  we  find  no  eccentric  experimenting,  no  ex- 
aggerated gestures,  but  capable  execution  and 
genuine  sincerity  of  purpose ;  and  bearing  in  mind 
that  he  has  not  yet  reached  middle  life  ami  that 
he  possesses  a  remarkable  fund  of  energy,  we  may 
confidently  expect  many  good  things  from  him  in 
vears  to  come. 


BY    BEPPE    CIARDI 


Among  recent  additions  to  the  permanent  col- 
lection of  the  Tate  Gallery  is  Mr.  \Villiam  Orpen's 
picture  The  Mirror,  which  was  presented  by  Mrs. 
Coutts-Michie  through  the  National  Art  Collections 
Fund.  Several  of  Mr.  Borough  Johnson's  drawings 
recently  on  exhibition  at  Mr.  Paterson's  Galleries 
have  been  acquired  by  the  British  Museum  and 
the  N'ictoria  and  Albert  Museum  ;  and  the  French 
Government  has  purchased  Mr.  Hughes-Stanton's 
Lumil're  sur  les  dunes,  Pas  de  Calais,  exhibited  in 
the  Paris  .Salon  during  the  past  summer. 


"SEVEN  HAPPY  DAYS" 


A  SERIES   OF  DRAWINGS 

BY  JESSIE  M.  KING 

WITH     QUOTATIONS    FROM 
JOHN  DAVIDSON  &  OTHERS 


NEW  YEAR'S 
SUPPLEMENT 
TO  THE 

STUDIO 
M  C   M   X   I   V 


IEZaSZSM5SPloE^3SSI^3EEHQ^5SI 


>£l 


fci-  pAY-5ne  -SAID  -I  •  fee  l-  all  •  dav 
tmee'AFt:  rn-i^  luwe-BeHeAiM-ny-reer  •: 

lH£AK-IHTAMCVrAR-AWAV-  |i 

"meTIDAL  |-l€ARTOF-  OCeAWaCAT  •. 


J__i.'i. 


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|CAKOLrOfT)t1€-nC)ON-PlP€ri-PlP€K 
)PLAYYOVRBeST  MCLTTHE- 
iSVhi  'INTO  '  YOVK.   "  nVME. 


Reiniiiiscences  of  Corot 


S 


OME  PERSONAL  REMINI- 
SCENCES OF  COROT.  BY 
ALBERT    DUBUISSON. 


/ 


I  BECAME  acquainted  with  Corot  during  the  last 
years  of  the  reign  of  Napoleon  III  ;  the  painter 
was  then  already  well  advanced  in   years,   and   I 
was   barely   a   young    man.     His   death  occurred 
while  I  was  still  a  student,  and  consequently  I  did 
not  profit  as  much  as  I  should  have  desired  from  his 
presence  and  his  good  counsel.     But  the  impres- 
sion that  I,  in  common  with  all  who  knew  him, 
was  left  with  was  a  profound 
one,  and  it  is  always  with  the 
keenest  pleasure  and  an  in- 
terest  which    has   increased 
as  I  have  grown  older  that  I 
recall  the  most  minute  details 
of  our  meetings.    Since  those 
days  I  have  often   chanced 
to  speak  of  Corot  to  other 
artists,  to  collectors,  to  critics 
and   picture   dealers,    and 
sometimes,  though    nowa- 
days, alas  !  not  so  often  as 
in  past  years,  my  interlocutor 
will    stop    me    to    exclaim, 
"  Ah  !  you  knew  pere  Corot? 
so  did  I  !  "     Immediately  our 
faces  light  up,  our  eyes 
brighten,  and  at  once  a 
communion,    a    bond    of 

sympathy,  establishes  itself  between  us.  Without 
referring  to  it  in  words  we  feel  that  we  have  shared 
together  the  most  rare  privilege  of  having  lived  in 
the  times  of  one  of  those  great  artists  of  exceptional 
character  and  remarkable  personality,  whom  no 
one  will  see  again ;  and  feeling  ourselves  thus 
favoured  by  this  good  fortune  we  cannot  but  be 
conscious,  when  face  to  face  with  those  who  speak 
of  Corot  but  who  never  saw  him,  of  that  "  If  you 
had  known  him  .  .  .  !  "  in  which  is  expressed  so 
much  more  of  regret  than  may  be  appreciated  or 
divined  from  the  written  word. 

My  father,  a  great  lover  of  pictures,  who  had 
already  met  Corot  several  times  at  the  houses  of 
friends,  invited  him  to  spend  some  days  at  a 
country  place  surrounded  by  delightful  grounds 
which  he  owned  at  Brunoy  in  the  neighbourhood 
of  Paris.  This  was  in  the  spring  of  1868.  I  was 
then  at  school  in  the  capital,  but  on  holidays  I 
used  to  take  the  earliest  train  home  so  as  to  be  with 
my  people  as  quickly  as  possible.  I  remember 
one    morning    as    I    entered    the    park    catching 


sight  of  Corot  down  one  of  the  paths,  standing  in 
his  white  blouse  and  talking  to  my  father,  ramming 
the  tobacco  into  his  pipe  as  he  chatted  away.  I 
cannot  say  whether,  as  his  contemporaries  have 
asserted,  he  had  in  his  youth  a  somewhat  common- 
place appearance,  but  I  can  hardly  believe  that 
they  could  have  looked  at  him  properly.  His  coun- 
tenance when  he  was  starting  to  paint  must  have 
lit  up  and  taken  on  quite  another  character.  At 
the  time  of  which  I  wrife  he  possessed  a  superb 
head  which  could  not  fail  to  inspire  respect  and 
admiration.     It    is    true    that    it    offered   no    very 


FROM    A   SKETCH    MADE 


BY  COROT    ON    THE    BACK    OK 
M.    DUBUISSO.n's    UNCLE 


A    DISH    WHEN    VISITING 


characteristic  features,  nor  evinced  any  pronounced 
traits,  but  his  eyes  were  astounding  in  their  vivacity 
and  intelligence ;  under  his  fine  head  of  white 
hair,  framing  them  like  the  mane  of  an  old  lion,  they 
looked  out  at  you  with  such  an  expression  of 
kindliness  and  dignity  that  you  felt  no  doubt  of 
being  in  the  presence  of  a  personage  of  distinction, 
and  no  one  ever  felt  inclined  to  adopt  the  least 
familiarity  towards  him.  His  mouth  was  large  and 
very  mobile,  the  chin  square  and  energetic.  Always 
clean  shaven,  his  complexion  had  that  fresh  colour 
of  a  full-blooded  man  who  passes  much  of  his  life 
in  the  open  air  ;  holding  himself  upright,  with 
movements  easy  and  brisk,  without  anv  weakness 
or  infirmity,  his  health  as  yet  practically  unim- 
paired and  his  energy  seemingly  inexhaustible, 
he  represented,  as  it  was  said  of  Alexandre  Dumas, 
one  of  the  forces  of  nature,  and  astonished  all  who 
apjjroached  him, 

I  went  forward  to  meet  him,  timid  and  nervous, 
for  since  my  childhood  I  had  heard  talk  of  him 
amongst  artists,  and  I  knew  their  almost  fanatical 

209 


Reniiiiiscences  of  Corot 


admiration  and  enthusiasm  for  Gorot.  My  father 
presented  me  as  one  of  his  sons,  and  Corot,  with 
his  customary  kindness  and  indulgence,  asked  what  I 
was  doing,  and  tried  to  draw  out  my  jwrticular 
tastes.  While  talking  and  puffing  away  at  his  pipe 
he  kept  throwing  from  time  to  time  a  glance  at  his 
study.  Suddenly  he  rushed  forward  to  his  palette 
and  snatched  up  his  brushes,  crying,  "  Ah !  the 
brigand  !  the  scoundrel !  he  shan't  escape  me  a 
second  time.  I've  got  him  ! ''  And,  seating  him- 
self quickly  before  his  easel,  he  .squeezed  out  a 
tube  of  white  and  started  to  model  on  his  canvas  a 
big  white  sunlit  cloud  that  was  just  appearing 
above  the  mass  of  green  and  foliage  that  formed 
part  of  his  picture.  "  We  are  just  like  crafty  fisher- 
men," he  added  as  he  made  rapid  strokes  with  the 
brush,  "  we  have  to  seize  the  propitious  moment  to 
make  the  fish  fall  into  our  net — for  we  too,  we  have 
nets  and  a  mesh  in  which  to  snare  him  as  he  goes 
by."  Some  moments  later  the  cloud  was  fixed 
upon  the  canvas,  imparting  an  extraordinary  life  and 
charm  to  his  picture.  "  Now  that  we  are  at  rest 
again,  having  worked  well,'  he  said,  "we  can  go  on 
with  the  old  pipe  ixnd  talk  a  bit."  He  rose  and 
regarded  his  work  with  .satisfaction,  so  much  so 
that  he  swung  round  merrily  and  danced  about 
singing   the   while    the   air   frftm    the    Muette    de 

Portici : 

pd-cheur.  parle  bas, 
Le  roi  des  mers  ne  t'tchappera  pas  ! 

This  fine  old  man,  so  gay  and  so  alert,  was  then 
seventy-two  years  old.  That  year  the  spring  re- 
mained very  cold  ;  the  foliage  was  very  backward 
and  one  had  not  the  usual 
sensation  of  having  left 
winter  behind.  Neverthe- 
less, despite  the  rigour  of 
the  season,  Corot  insisted 
upon  finishing  his  picture. 
He  spent  in  all  eight  morn- 
ings at  it,  shivering  some- 
times with  numbed  fingers, 
but  forgetful  of  everything 
save  his  work.  -All  that  we 
could  prevail  upon  him  to 
do  to  mitigate  the  discom- 
forts (jf  the  weather,  was  to 
put  his  feet  upon  some 
boards  so  as  to  avoid  the 
dampness  of  the  gruund. 
He  was  so  happy  to  find 
himself  once  more  face  to 
face  with  nature,  after 
pa.ssing  the  winter  months 

2IO 


indoors  in  the  studio,  that  he  would  listen  to  no 
counsels  of  prudence  and  reason. 

He  left  us  after  about  ten  days,  having  during 
that  time  completed  two  importajit  pictures,  which 
he  carried  very  far,  made  sketches  and  projects  for 
drawings  of  all  kinds,  and  prepared  several  com- 
positions which  he  proposed  to  complete  the 
following  winter  in  his  studio ;  a  considerable 
quantity  of  work,  all  of  which  he  executed  with 
gaiety,  exuberance  of  s]iirits  and  enthusiasm. 

Some  years  later,  in  the  s])ringof  1 873,  ("orot  came 
back  to  Brunoy  and  was  again  unfortunate  in  the 
weather,  for  it  rained  during  the  greater  part  of  his 
visit.  His  activity,  however,  was  as  great  as  ever. 
When  unable  to  paint  out  of  doors,  under  the 
shelter  of  our  umbrellas  held  over  his  canvas,  a 
large  one,  as  a  protective  shield,  in  the  manner  of 
the  "  tortoise  "  of  the  ancient  Romans,  he  sketched 
in  certain  compositions  under  cover  in  the  house. 
One  never  saw  him  without  either  his  brushes  or  a 
piece  of  charcoal  in  his  hand,  ^\'hen  evening  came 
one  would  have  expected  him  to  feel  tired  by  work 
so  sustained,  but  he  never  seemed  in  the  least 
fatigued.  His  gaiety  and  his  spirits  seemed  inex- 
haustible. After  the  evening  meal  he  would  often 
ask  for  .some  paper,  no  matter  of  what  kind,  white 
or  coloured,  or  even  jxicking  paper  if  no  other  was 
forthcoming,  then,  taking  charcoal  or  pencil  and 
chatting  and  telling  stories  all  the  time,  he  would 
abandon  himself  to  the  pleasures  of  improvisation, 
creating,  as  it  were  by  enchantment,  Elysian  land- 
scapes of  amazing  fantasy  which  he  delighted  to 
present    to  those  gathered  around  him.     Nothing 


A   STUDY    or    THE    IIOl'SE    AND    PARK    AT    BRl'NOV    MAliK    IIV   CclROT    Dl'RINC.    A 
VISIT   TO   MONS.    I)UlltISSON"s   KATIIKR 


Reminiscences  of  Coyot 


came  amiss  so  long  as  he  could  satisfy  his  craving 
to  draw.  As  he  used  to  say,  at  certain  times  paint- 
ing flowed  from  his  fingers. 

After  lunch  one  day  at  the  house  of  one  of  my 
uncles,  as  his  palette,  still  charged  with  colour, 
was  lying  by  him,  he  painted  two  charming  com- 
positions on  the 
backs  of  a  plate 
and  dish.  On  an- 
other occasion  he 
decorated  a  box 
and  another  time 
the  back  of  a  hand- 
glass. Whereverhe 
went  it  delighted 
him  to  leave  some 
delicate  souvenir 
of  his  visit  in  the 
form  of  a  study,  a 
drawing,  a  com- 
position painted 
on  the  walls,  or 
sometimes  a  por- 
trait. His  hosts 
of  several  weeks  or 
of  a  day,  friends, 
farm  people  or 
poor  folk  who  let 
him  a  room  or  a 
bed  almost  in- 
variably received 
one  of  these  pre- 
cious gifts  on  his  departure.  It  was  a  necessity  with 
him  to  give  pleasure,  to  bring  happiness,  and  to  see 
smiling  faces  around  him.  Once  at  Rouen,  at  one 
of  my  uncles,  he  stopped  painting  to  enjoy  a  smoke. 
Finding  he  had  no  matches,  he  asked  around  for 
some,  pretending  a  feverish  desire  to  borrow  a  box 
and  exclaiming  in  fun,  "My  kingdom  for  a  match!" 
One  of  my  cousins  had  a  box  which  he  offered  to 
Corot,  who,  after  lighting  up,  put  it  in  his  pocket. 
By  the  end  of  the  sitting  his  pipe  had  gone  out  and 
been  relit  many  times  and  the  box  was  practically 
empty.  "  I'll  keep  it,"  said  Corot,  "  we'll  make  an 
exchange,"  and  setting  to  work  again  he  sketched 
a  cascade  among  some  mountains  on  a  little  panel 
which  was  handy  and  christened  it  "'  Souvenir  de 
Tivoli "  and  presented  it  to  my  cousin.  One  soon 
discovered  that  it  was  good  to  be  among  his 
creditors. 

I  remember  also  that  one  morning  at  Hrunoy 
when  the  weather  was  wet  we  did  not  see  him  come 
down  from  his  room  at  his  customary  hour — about 
half-past  six — and  thought  that  possibly  the  dear 


FROM   A   SKETCH    MADE   BY   COROT  ON   THE   BACK   OF  A  PI-ATE    DURING 
A   VISIT  TO   MONS.    DUBUISSON's   UNCLE 


old  man,  seeing  that  he  could  not  work  out  of  doors, 
had  stayed  in  bed  and  fallen  asleep  again.  Suddenly 
we  heard  him  singing  in  his  room.  Since  he  was 
up  we  might  venture  to  go  and  wish  him  good 
morning.  Great  was  our  astonishment  to  find  him 
already  at  work  I     But  how  !     Noticing  above  the 

mirror  over  the 
fire-place,  a  single 
panel  of  wood 
without  any  orna- 
mentation, Corot 
had  been  seized 
with  the  idea  of 
decorating  it  in 
his  own  way.  To 
reach  it  he  had 
dragged  a  table 
near  and  on  this 
had  placed  a  chair, 
on  to  the  top  of 
which  he  had 
managed  to  hoist 
himself,  and  there 
he  was  perched, 
forgetful  of  his 
seven  ty-seven 
years  and  as  happy 
as  a  god  to  be 
able  to  indulge 
his  favourite  pas 
sion  for  mural 
decoration. 
His  favourite  passion  !  He  said  in  almost  these 
very  words  as  he  finished  this  panel :  "  They  never 
would  call  upon  old  papa  Corot  to  decorate  the 
large  spaces  in  their  public  buildings.  How  I 
should  have  loved  lo  cover  the  walls  with  my  land- 
scapes !  however,  they  didn't  think  me  fit  to  paint 
anything  but  little  pictures  !  Ah  !  if  they  had  only 
entrusted  me  with  the  decoration  of  hospital  wards 
or  even  of  prisons  !  My  country-sides  and  my  woods 
would  have  brought  consolation  and  fewer  sad 
thoughts  to  the  poor  unfortunates  therein  confined." 
The  generous  sentiments,  the  kind-heartedness 
of  Corot,  ever  spontaneous  and  to  the  fore,  asked 
nothing  better  than  to  manifest  themselves  at  every 
opportunity.  Here  for  instance  is  a  little  scene  of 
which  I  was  a  witness  during  the  winter  of  1868. 
My  father  went  to  pay  a  visit  to  Corot  in  his  studio 
in  the  rue  Paradis-Poissoniere  and  it  was  my  good 
fortune  to  accompany  him  on  this  occasion.  This 
studio,  most  simple  in  its  a[)pointnients,  contained 
nothing  but  the  furniture  indispensable  to  the  artist 
for  his  work  and  his  rest,  though  it  is  true  there  were 

211 


Rciiiiiiiscciiccs  of  Corot 


KKOM    AN    OVERMANTEL   PANEI.    PAINTED   BV   COROT   DURINC    A    VISIT  TO   BRUNOY 


all  the  master's  studies  hung  upon  the  walls  to  turn 
it  into  an  ajMrtment  of  incomparable  beauty.    Corot, 
seated  at  one  of  his  easels,  was  working  away  with 
his  usual  ardour.     It  had  been  agreed  that  he  would 
this  day  hand  over  to  my  father  a  little  study  of  the 
Valley  of  the  Seine  at  Rouen,  to  which  he  was  much 
attached,   for  he  did  not  part  easily  with  his  old 
studies,  the  evidences  and  companions  of  his  long 
struggle  and  his  enormous  labours  of  forty  years. 
But  he  knew  he  would  give  pleasure  to  my  father, 
who  had  lived  at  Rouen,  and  for  this  he  could  refuse 
nothing.     They  began  to  talk  together  of  the  old 
town  where  Corot  had  spent  a  part  of  his  youth,  of 
his  wanderings  during  the  summer  months  and  of 
other  matters.     My  father  was  about  to  take  his  leave 
when  there  came  a  knock  at  the  door  of  the  studio. 
"  Come  in,"  cried  the  artist.    There  entered  a  dealer 
in  pictures  who  was  come  to  ask  Corot  for  a  new 
landscape,  for  he  had  none  left  in  his  gallery  and 
his  clients  were  worrying  him.     Corot,  kind  as  usual, 
but  anxious  to  get  back  to  work,  promised  him  the 
picture  he  asked  for,  and  sent  him   away   pretty 
quickly.     -My  father  advanced  to  bid  him  adieu. 
"Don't  hurry  away,"  said  Corot,  "you  don't  interfere 
with  my  work  at  all ;  have  a  look  round  at  my 
drawings  and  while  you  do  so  I'll  get  on  with  my 
picture.     When  I  have  to  rest  we  can  continue  our 
chat  about  Rouen." 

Only  too  happy  to  accept  the  invitation  my  father 
stayed  and  we  set  to  work  to  examine  one  after 
another  all  the  masterpieces  gathered  on  the  walls. 
Only  a  few  minutes  had  passed  when  there  came 
another  knock.  This  lime  Corot  frowned.  "Come 
in  "  he  called,  but  in  less  gentle  tones  and  with  a 
little  impatience  in  his  voice.  It  was  a  gentleman 
from  the  country  who  came  to  beg  his  co-operation 
at  a  local  exhibition.  The  master  did  not  wait  to 
be  pressed  but  promised  to  send  one  of  his  latest 
works  and  made  a  note  of  the  date  of  the  exhibition 

212 


in  his  memorandum   book.     His  visitor  departed 
enchanted.     "  -Ml  the  same,"  said  Corot,  "  one  of 
these   days  I  shall  have   really   to   bar    my   door 
against  all   who   have   not   apprised    me   of  their 
coming  and   asked   for  an   appointment.     These 
everlasting  callers  and  their  demands  wear  me  out 
and  prevent  me  from  working.     It  is  intolerable  I " 
He  returned  to  his  easel  giving  touches  of  the 
brush  to  all  parts  of  the  canvas,  now  with  haste  and 
feverish  rapidity,  now  with  extreme  care  and  exacti- 
tude.    At  the  moment  when  he  was  most  absorbed 
there  came  yet  another  knock.  Corot's  face  reddened 
with  an  expression  of  the  most  lively  annoyance. 
"  What  is  it  now?"  he  cried,  turning  rapidly  towards 
the  door.    "  Come  in  1  who  are  you  ?     What  do  you 
come  and  disturb  me  for  ?     What  is  it  you  want  ?  " 
These  rapid  questions,  jerked  out  with  an  accent  of 
undisguised  irritation,  were  addressed  to  the  new 
arrival,  a  good  fellow  whose  face  showed  consider- 
able dismay  at  such  a  reception.     "  I  came.  Monsieur 
Corot,"  he  stammered  out,  "...   I  wanted  to  ask 
you  .  .  .  it's  about  an  accident.     A  workman  en- 
gaged on  the  building  has   just  had  a  fall.     His 
condition  is  very  grave,  they  have  just  tiiken  him  off  to 
the  hospital.     \\'e  know  the  poor  chap,  he's  a  work- 
man who  leaves  behind  him  a  wife  and  four  children. 
We  are  getting  up  a  subscrijition  among  the  lodgers 
in  the  building  for  the  unfortunate  family.     I  thought 
that  you  would  perhaps  like  to  join  in  with  us.  .  .  ." 
While  the  visitor  was  speaking  Corot's  expressive 
face  betrayed  all  manner  of  emotions.     One  could 
see  he  regretted  having  received  him  so  roughly, 
that  he  had,  in  fact,  almost  been  rude  to  him,  and 
one  could  also  see  how  the  news  of  the  accident  and 
the  sad  calamity  that  had  befallen  these  poor  peo])le 
had  excited  his  pity  and  a  desire  to  come  to  their 
assistance ;  he  seemed  quite  overcome.     "The  p<)t)r 
fellow  I  "  he  exclaimed,  "  tlie  unfortunate  family  I  a 
wife  and  four  children !    I  am  quite  with  you,  my  dear 


Rcmiitiscoiccs  of  Corot 


sir,  we  must  do  everything  that  is  possible  to  help 
them.  Now  how  can  I  be  of  use  to  you — I  who  only 
know  how  to  amuse  myself  with  painting  trees  and 
streams?  Theymust  be  assured  theirfood  and  shelter 
and  they'll  need  money.  Here  !  you  see  that  little 
bureau,"  and  he  pointed  to  a  piece  of  furniture, 
"  do  )  ou  mind  going  to  the  first  drawer  ?  Good  ! 
Now  take  out  what  you  think  necessary,  and  I  beg 
you  not  to  use  too  great  discretion.  You  have 
plenty  of  time,  my  back  is  turned  and  I  won't  look. 
\'ou  can't  think  how  glad  I  am  to  be  allowed  to 
share  in  your  kind  efforts  on  their  behalf." 

The  while  he  spoke  he  got  back  to  his  easel  and 
went  on  working  at  his  canvas  without  taking  the 
slightest  notice  of  what  was  going  on  behind  him. 
The  visitor  had  opened  the  drawer  and  remained 
for  a  moment  thunderstruck,  for  he  beheld  there 
bank-notes  and  gold  in  profusion.  It  was  here  that 
Corot  threw  all  the  money  that  came  to  him  from  the 
sale  of  his  pictures  pell-mell,  without  counting  it, 
or  even  worrying  about  the  large  sums  that  he 
flung  into  it.  I  do  not  know  what  the  gentleman 
took — gold  pieces  or  note;;,  but  he  went  off  radiant 
and  overcome  with  profuse  thanks.  "  You'll  bring 
me  news  of  these  poor  things,  won't   you,"    said 


Corot  as  he  showed  him  out,  "and  don't  forget  the 
old  papa,  for  you  may  have  need  of  him."  Then 
he  turned  back  to  my  father  with  his  face  beaming: 
"  There  is  a  warning  from  the  good  God  ;  here  was 
I  turning  into  an  old  egotist,  forgetting  that  before 
the  pleasures  of  painting  there  are  misery  and 
unhappiness  to  be  assuaged." 

How  many  instances  of  this  kind  were  there  not 
in  the  life  of  this  noble  artist  ?  His  generous  heart 
always  followed  the  first  impulse,  the  good ;  that 
which  should  be  despised  according  to  Talleyrand, 
a  man  whom  Corot  would  never  have  understood 
and  whom  he  would  have  pitied.  He  never  sought 
to  protect  himself  against  the  invasion  of  the 
numerous  requests  for  help  which  from  the  day 
upon  which  he  became  famous  ne\-er  ceased  to 
arrive  from  all  sides.  His  family  would  have 
wished  to  put  him  on  his  guard  against  what  they 
called  his  weaknesses  and  his  imprudence.  They 
would  have  preferred  to  see  him  take  greater  pre- 
cautions, to  have  placed  the  large  sums  he  received 
in  a  safe  place.  They  sought  to  prove  to  him  that 
he  was  for  ever  allowing  himself  to  be  imposed 
upon.  "  Never  mind  !  never  mind  !  "  he  would 
say,  "  I  would  rather  myself  be  duped  than  dupe 


SOUVENIR    DE    VU.LE    L)  AVRAY 


(  PresatUd  by  I  he  artist  to  Miiu-.  Dtibiiissoit ) 


IIV   J.     11.    C.    COROT 

213 


Roiiiiiiscci/ces  of  Corot 


"VALI.KY   OF   THE  SEINE   AT    ROUEN 


(Presented  by  the  artist  to  M.  Dubiiissoit  pl're) 


BY   J.    B.    C.    COROT 


Others "  ;  and  he  remained  unchanged  in  his  con- 
fidingness  and  his  impatience  to  be  doing  good. 
Nothing  gave  iiim  greater  joy  than  to  be  able  to 
relieve  some  one's  distress,  unobtrusively,  without 
being  either  seen  or  known.  Reference  has  fre- 
quently been  made  to  his  long  collaboration 
in  charitable  works  with  Sister  Maria  of  the  Order 
of  St.  Vincent  de  Paul,  who  said  :  "  in  the  common 
room  of  our  sisterhood  we  have  the  portrait  of 
M.  Corot  beside  the  image  of  Christ." 

Corot's  kindly  actions  towards  other  artists, 
towards  Daumier  and  the  femily  of  Millet,  for 
instance,  are  well  known,  as  also  is  the  exquisite 
delicacy  with  which  he  invariably  performed  these 
acts  of  generosity.  He  was  always  ready  and  on 
the  spot  when  there  was  any  question  of  coming 
to  the  assistance  of  one  of  his  confreres.  Should 
a  dealer  beg  of  him  one  of  his  latest  pictures 
(towards  the  end  he  was  much  pestered  by  them) 
he  would  say,  "  All  right,  then,  this  picture  shall 
be  for  you,  only — on  one  condition,  that  you  buy 
also  at  the  same  time  these  two  here  by  my  young 
friend  Lepine  at  300  francs  each."  The  unfor- 
tunate Lepine,  a  painter  of  great  talent,  never  sold 
a  picture,  and  was  burdened  with  a  family  and 
lived  consequently  in  mi.sery.  Only  too  haj)[)y  to 
secure  the  ])ainting  by  Corot  on  which  he  reckoned 
to  make  a  hundred  per  cent,  profit,  the  dealer 
would  agree  to  the  other  transaction,  and  so  poor 
I-e])ine  got  at  one  anti  the  same  time  the  necessary 
daily  bread  and  the  .satisfaction  of  living  by  his  art. 
Who  can  .say  how  many  other  painters  Corot  did 
not  aid  in  this  roundabout  way,  leaving  with  them 
the  illusion  of  having  achieved  success  with  public 
and  dealers,  and  thus  restoring  to  them  their  con- 
fidence in  them.selves  in  their  difficult  struggles? 

214 


This  warm-heartedness,  this  delicate  sympathy 
so  strongly  developed  as  it  ainie  in  touch  with  the 
hard  lot  and  misery  of  so  many  human  beings,  did 
not,  however,  in  Corot's  ca.se  take  a  sentimental  or 
melancholy  form.  His  kindness  was  always  stirring, 
and  his  natural  gaiety  was  never  lacking.  His 
imagination,  ever  alert  and  aided  by  an  astounding 
memory,  gave  alwavs  a  wealth  of  picturesque 
imagery  to  his  conversation,  and  endued  with  much 
charm  all  his  anecdotes  of  his  life  as  an  artist. 
His  speech  was  full  of  naif  and  delicate  reflections, 
always  vcr\'  personal  in  character.  His  vivacity 
and  humour,  his  elo(]uent  gestures,  the  inflexions  of 
his  voice  and  the  mobility  of  his  features  in  the 
course  of  conversation  lead  one  to  suppose  indeed 
that  he  might  have  been  as  great  an  actor  as  he  was 
a  painter. 

Lack  of  space  in  an  article  so  restricted  as  this 
prevents  my  dwelling  at  greater  length  upon  the 
souvenirs  I  have  retained  of  this  great  artist,  but 
there  is  one  remark  that  I  must  make  before  I  close. 
There  have  been  published  many  of  Corot's  reflec- 
tions, observations  and  conversations  on  art  in 
general,  collected  from  his  note-books  or  in  the 
course  of  his  chats  with  his  pupils  or  his  friends. 
These  lose  much  of  their  .savour  by  being  thus  read 
because  they  aflect  in  their  written  form  something 
professional  and  dogmatic,  such  as  was  the  very 
antithesis  of  Corot's  customary  manner  of  speaking. 
Never  was  there  a  person  less  ]x)ntifical  than  he. 
He  loved  independence  too  well  to  seek  ever  to 
impose  his  i)rinci|)les  upon  others.  All  his  ideas 
on  this  subject  are  summed  up  in  the.se  few  words 
written  in  a  letter  to  his  friend  Uutilleux  :  "  bonne 
peinture,  bien  conscicncieuse,  et  fichons  nous  de 

tout."  A.    DUHLIS.SON. 


Craig-y-Payc,  South  Wales 


CRAIG-Y-PARC  :   A  HOUSE  AND 
GARDEN     IN    SOUTH    WALES 
DESIGNED  BY  C.  E.  MALLOWS, 
F.R.I.B.A. 

The  set  of  pencil  sketches  and  plan  of  Craig-y- 
Parc,  Pentyrch,  near  Cardiff,  here  reproduced, 
were  made  for  Mr.  Thomas  Evans  in  order  to 
give  a  general  preliminary  idea  of  the  arrangement 
of  the  house  and  garden  on  the  site  and  of  the 
character  of  the  internal  decoration  of  the  prin- 
cipal rooms.  Modifications  in  detail  have  been 
made  in  the  completed  design,  but  the  essential 
features  have  been  retained  of  both  the  house  and 
garden  plan. 

The  governing  idea  of  the  house  plan  is  the 
arrangement  of  the  principal  living-rooms  around  a 
cloister  placed  between  the  projecting  wings  of  the 
dining  and  drawing  rooms  and  on  the  central  axis 
of  the  scheme.  The  cloister  garth  has  its  walks 
complete  on  the  east,  south,  and  west  sides  ;  on  the 
north  side  the  hall  is  connected  directly  with  the 
garth  by  a  large  bay  window,  forming  the  north  walk. 
The  east  and  west  walks  have  been  made  of 
sufficient  width  to  form  covered  rooms  for  meals 
in  the  open  air.  In  this  position  they  are  there- 
fore  both  well  sheltered    from    the    weather   and 


in  direct  communication  with  the  principal  living- 
rooms.  The  cloister  so  placed  forms  a  pleasant 
connecting  link  with  the  garden,  being  in  itself  a 
feature  half  of  the  garden  and  half  of  the  house, 
and,  moreover,  serves  the  useful  purpose  of 
merging  the  one  into  the  other,  the  first  step  in  the 
gradation  of  the  whole  design  from  the  architectural 
lines  of  the  house  to  the  countryside. 

In  modern  house  design  little  advantage  has 
been  taken  of  the  cloister  form  of  plan,  yet  it  is 
surely  one  of  the  most  beautiful  ever  evolved.  So 
far  as  house  planning  is  concerned  it  is  quite 
true  that  the  cloister,  atrium  or  patio  form  is 
most  usually  associated  with  brighter  climates 
than  ours,  yet  it  is  nevertheless  capable  of  being 
adapted  in  many  ways  to  modern  northern  require- 
ments, and  made  to  serve  purposes  both  of 
practical  and  picturesque  value. 

The  general  disposition  of  the  whole  design  of 
Craig-y-Parc  has  been  naturally  dictated  by  the  site 
and  its  surroundings,  which  are  of  quite  unusual 
picturesque  interest  and  beauty  ;  it  is  surrounded 
by  fine  views  of  valleys  and  distant  hills.  On 
the  north  is  the  Garth,  one  of  the  famous  land- 
marks of  Glamorganshire,  and  towards  the  south- 
east glimpses  are  obtained  of  the  Bristol  Channel. 
A    plateau    most    happily    forms    the    north-east 


Q"v  'rS^^-  Ui/rauiz  --^, 


CRAIG-Y-PARC,    NEAR   CARDIFF:    ENTRANCE    I.OnclES 


C.    E.    MALLOWS,    F.R.LB.A.,    ARCHITECT 

215 


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angle  of  the  site,  and  on  this  is  to  be  placed  the 
house  and  its  adjoining  buildings,  the  entrance 
lodges,  stables,  &:c.,  with  kitchen  garden  and 
orchards  to  the  west  and  east  of  the  approach. 

From  this  plateau  the  ground  falls  to  the  south, 
at  first  gently,  but  at  a  distance  of  about  200  feet 
from  the  garden  front  more  rapidly,  while  beyond 
the  southern  end  of  the  tennis  lawn  the  fall  is  very 
great  until  at  the  southern  boundary  of  the  site 
there  is  a  total  depth  of  over  100  feet  from  the 
plateau  above.  Advantage  has  been  taken  of 
this  to  form  the  gardens  in  a  series  of  four  levels, 
the  first  of  which  is  occupied  by  the  terrace  imme- 
diately in  front  of  the  cloister,  the  second  by  the 
croquet  lawn,  the  third  by  rock  gardens,  which  will 
intervene  between  the  croquet  lawn  and  the  fourth 
level — the  tennis  lawn.  Beyond  the  southern  end 
of  the  tennis  lawn,  wild  and  water-gardens  with 
woodland  walks  are  planned,  which  will  form  a 
series  of  pleasant  gradations  from  the  formal  lines 
of  the  tennis-court  to  the  natural  scenery  beyond. 
Between  the  upper  terrace  level  and  the  croc|uet 
lawn  there  is  a  fall  of  14  feet,  which  gives  an 
opportunity  of  arranging  two  narrower  terraces, 
approached  from  landings  on  the  central  stairway  : 
the  latter  will  be  the  width  of  the  cloister  and 
planned  in  three  flights  of  broad  low  steps.     From 


the  first  landing  wide  paths,  bordered  with  flowers, 
lead  to  garden  stores  placed  under  the  gazebos  at 
the  extreme  east  and  west  ends  of  the  two  terraces. 
The  gazebos  will  be  approached  from  the  level  of 
the  upper  terrace  and  from  the  pergolas  which  form 
the  east  and  west  boundaries  of  the  terraces. 

The  difficulties  of  the  planning  of  the  gardens 
were  increased  by  the  contour  of  the  ground  on  the 
east  side  where  it  rises  Steeply  from  the  west.  In 
order  to  arrange  the  level  of  both  lawns  to  the  greatest 
advantage  it  was  found  necessary  to  cut  deeply  into 
the  side  of  the  hill  through  practically  the  whole  of 
this  portion.  But  these  difficulties  have  been 
turned  to  advantage,  as  there  is  hard  and  durable 
stone  within  four  feet  of  the  surface,  which 
provides  excellent  quarries  for  the  buildings  and 
enables  the  whole  of  the  external  walling  of  the 
house  and  terraces  to  be  done  at  but  little  more 
than  the  cost  of  brick  and  rough-cast.  More- 
over, by  the  exercise  of  care  and  thought  in  the 
shaping  of  the  quarries  after  use,  a  great  gain  is 
added  to  the  amenities  of  the  garden  as  well  as  the 
provision  of  splendid  shelter  to  the  lawns  and  rock 
gardens  from  the  north-east  winds.  There  is  also 
an  additional  gain  from  the  same  reason  at  the 
junction  of  the  two  lawns,  where  an  unusual  oppor- 
tunity occurs  for  the  making  of  a  real  rock  garden. 


-ry/rr-ty/j/rnrr^  , ,.  -        ■  /v  ,./  nn/zr-yXM. 


''marf^iji.  :tr^-- 


CRAIG-Y-l'ARC  :   THE   CLOISTER   OR   ATRIUM 


C.    E.    MAI. LOWS,    K.R.l.H.A.,    ARCHITECT 
217 


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GROUND   PLAN  OF   CRAIG-V-PARC 
C.  E.  MALLOWS,  F.R.I. B.A.,  ARCHITECT 


^'/ 


CRAIG-Y-I'ARC,  SOUTH  WALKS:  DKSIGNS 
lOR  HALL  AND  DRA\VIN(;-ROOM.  HV 
C.  E.   MALLOWS,    r.R.LH.A..    ARCHITECT 


studio-  Talk 


On  the  west  side  of  the  future  rock  garden  is  a 
most  interesting  feature  of  the  site,  a  circular  mound 
which  Mr.  Lewis,  the  well-known  Welsh  antiquary, 
thinks  is  of  Neolithic  origin.  The  ramparts  and  ditch 
are  practically  intact.  This  roundel  oi  course  will 
not  be  interfered  with  in  any  way.  It  will  be  retained 
in  its  present  condition  and,  as  the  plan  shows,  will 
form  a  prominent  feature  of  the  garden  scheme. 

As  just  described,  the  house  will  be  faced  with 
stone  quarried  on  the  site,  with  the  very  hard  granite- 
like Pontypridd  stone  for  the  quoins  and  other 
moulded  stonework,  which,  including  the  work  in 
the  cloisters,  will  be  of  the  simplest  character 
throughout.  The  roof  is  to  be  covered  with  old 
graded  stone  slates.  All  the  interior  woodwork  will 
be  of  hard  wood,  for  the  greater  part  English  oak. 

The  accompanying  plan  shows  the  general 
arrangement  and  accommodation  provided  for  the 
ground  floor  of  the  house.  The  staircase,  which 
will  be  wide,  and  of  solid  English  oak,  is  so  planned 
that  its  main  landing  on  the  first  floor  is  centrally  con- 
nected with  a  wide  north  gallery  of  a  total  length  of 
60  feet.  From  this  gallery  and  two  others  at  either 
end  all  the  principal  bedrooms  are  approached,  four 


of  which  overlook  the  cloisters  and  have  access  to  the 
upper  part  of  it.  A  smaller  staircase  in  the  centre  gf 
the  gallery  gives  access  to  the  second  floor,  where 
additional  bedroom  and  boxroom  accommodation 
is  obtained.  The  whole  of  the  servants'  bedrooms 
are  planned  over  the  kitchen  part  of  the  house,  and 
are  completely  separated  from  the  main  portion  by 
linen  cupboards  and  stores. 

STUDIO-TALK. 
(From  Our  Oivn   Correspo?tdeiifs.) 

LONDON  — This  year's  Goupil  Gallery  Salon 
is,  if  anything,  more  interesting  than 
usual  as  a  comprehensive  display  of 
-^  work  by  artists  of  the  younger  school. 
It  is  full  of  things  which  deserve  attention  as 
original  and  ingenious  efforts  and  which  show  an 
intention — sometimes  a  little  extravagant  it  is  true 
— to  break  away  from  conventional  lines.  One  of 
the  best  canvases  in  the  collection  is  The  Yellow 
Jersey  by  Mr.  W.  Nicholson,  who  also  shows  some 
delightful  paintings  of  still-life ;  but  there  are,  as  well, 
such  excellent  pictures  as  Mr.  Orpen's  Kit  and  On 


SK5SO^SP!<E!3aR" 


A    DAMl'    liAV,    PHII..\IJF.L1'HIA 


WATER-COLOUR    BY    DEI-ISLli   BURNS 


(Goupil  Gallery  Salon,  If)! 3) 


studio-  Talk 


the  Roiks,  Mr.  V.  W .  Steer's  Tlu  Laa  Shawl,  Mr. 
Philip  Connard's  By  the  River  Tang,  and  others 
not  less  notable  by  Mr.  IX  \'.  Cameron,  Mr. 
Hughes-Stanton,  and  Mr.  Arthur  Streeton  ;  and 
there  are  two  small  paintings  by  Mr.  Charles  Sims 
The  I'al/ey  of  Little  Beginnings  and  lanthe,  which 
charm  by  their  daintiness  of  sentiment  and  beaut)- 
of  technical  expression.  Other  things  which  deserve 
to  be  particularly  noted  are  Mr.  Bellingham  Smith's 
Ruins,  Teesdak,  Mr.  James  Pryde's  The  Black 
Column,  Mr.  Arnesby  Brown's  The  Pasture,  Mr. 
Raymond  Mclntyre's  Phyllis,  the  exquisite  fans  by 
Mr.  George  Sheringham,  the  water-colours  by 
Mr.  A.  W".  Rich,  Mr.  Romilly  Redden,  Mr.  A.  H. 
Fullwood,  Mr.  John  Copley,  Mr.  Davis  Richter, 
Mr.  Delisle  Bums,  and  Mr.  H.  M.  Livens,  Prof. 
Moira's  vigorous  pastel  Goathorn  China  Clay  Pit, 
and  the  wonderful  tinted  drawing.  Sighting  the 
Boat,  by  Mr.  Orpen,  remarkable  for  its  combina- 
tion of  delicacy  and  decision.  There  is,  too,  a  series 
of  small  panels  by  Mr.  Augustus  John  which  are 
without  doubt  remarkably  clever  as  designs  though 
in  some  case's  they  are 
rather  carelessly  handled. 


sketch  just  mentioned,  Mr.  Edwin  Alexander 
shows  three  or  four  exquisite  studies  of  hedge 
flowers.  Mr.  Charles  Sims  has  also  a  second 
panel.  The  Basket  of  Floiuers,  which  disappoints, 
however,  by  an  unwonted  touch  of  the  common- 
])lace  in  this  delightful  painter's  work.  Mr.  George 
Clausen  exhibits  studies  of  skies  which  arc  most 
successful.  Mr.  A.  S.  Hartrick  is  also  among 
those  who  exhibit  greatly  to  the  advantage  of  the 
Society  ;  especially  is  The  Crofter  s  Daughter  to 
be  remembered.  Other  works  of  importance  are 
Mr.  Herbert  Alexander's  The  Lily  Pool  at  Tongs- 
ivood,  which  would  have  delighted  the  heart  of 
John  Ruskin  in  its  refinement  of  finish,  and  Mr. 
Francis  James's  perfect  little  study.  Purple  and 
Grev. 


The  Autumn  Exhibition  of  the  Royal  Society  of 
British  Artists  included  a  good  deal  of  work  which 
deserves  to  be  praised  for  its  soundness  and 
originality.  The  late  Sir  Alfred  East  was  well 
represented  by  an  exceedingly  characteristic  land- 


The  Winter  Exhibition 
of  the  Royal  Society  of 
Painters  in  Water-colours 
holds  its  own  with  some  of 
the  best  of  preceding  years, 
though  on  this  occasion  it 
depends  for  its  success 
more  than  ever  upon  mem- 
bers who  have  been  elected 
in  quite  recent  years,  and 
upon  works  more  a.\> 
proaching  sketches  in 
character  than  formerly. 
Mr.  Lamorna  Birch  in  his 
Study  of  a  tillage  near 
Etaplcs,  The  Approach  to 
Ataples,a.nd  Showery  After- 
noon—  Montreuil,  Mr. 
Edwin  Alexander  in  The 
Guillimot  Stacks,  Mrs. 
Laura  Knights  in  her 
picture  Tlte  Bathing  Pools, 
Mr.  Charles  Sims  in  Wild 
Weather,  and  Mr.  Hughes- 
Stanton  in  Evening — 
Titchfield,  Hants,  contri- 
bute the  most  interesting 
features  of  the  exhibition. 
Besides    his   landsca[)e 

222 


"THE    I.Ki;KNI>  or   the    nativity"  WATKK-COl.OUK    BY  JOll.N    COl'LEY 

(  Goiipit  Gallery  Saion,  1^1  J ) 


(  Goupii  Gallery  Salon,  igij) 


KIT."     OIL  PAINTING  BY 
WILLIAM  ORFEN,  A.R.A. 


"I'llVLLIS."     OIL   r.MNTlXG 
BY   RAYMOND    McINTYRE 


(Goiipil  Gallery  Salon,  ii^is) 


studio-  Talk 


scape,  Glowing  October — a  picture  finely  designed 
and  delightful  in  colour — and  by  a  robust  and  ex- 
pressive portrait  of  himself,  painted  for  the  Uffizi 
Gallery ;  and  among  the  other  canvases  which 
have  the  fullest  right  to  be  remembered  can  be 
reckoned  a  dignified  decorative  landscape  by  Mr. 
Alfred  Hartley  ;  a  magnificent  colour  arrangement. 
The  Glory  of  the  Day\  by  Mr.  Foottet ;  In  Snow- 
donia,  by  Mr.  Westley  Manning  ;  The  Avenue,  by 
Mr.  Burroughs-Fowler  ;  and  The  Foreland,  an 
extraordinarily  vivid  and  powerful  transcription  of 
nature  by  Mr.  Mease  Lomas,  an  artist  of  marked 
originality  and  exceptional  capacity.  There  were 
some  good  portraits  by  Mr.  F.  Whiting  and  Mr. 
R.  G.  Eves  ;  and  the  most  notable  of  the  water- 
colours  were  Mr.  Cecil  King's  Sunday  in  Venice 
and  Regent  Street,  Mr.  Hawksworth's  London  River 
from  Southu'ark  Bridge,  Mr.  Edwin  Noble's  Steady 
and  The  Shcepivash,  Mr.  C.  G.  Holme's  ingenious 
design  The  Bath,  Mr.  J.  S.  Blunt's  Sivanage 
Quay,  Mr.  Murray  Smith's  Penarth  Head,  and  Mr. 
Burroughs-Fowler's  firmly  handled  Stratford  Lock. 


The  New  Society  of  Water-Colour  Painters  in 
its  first  exhibitions  a  few  years  since  could  not 
take  a  prominent  place  as  an  exhibiting  society, 
but  it  has  completely  reformed  itself,  and  this  year 
has  made  a  bid  at  the  Alpine  Club  Gallery  for  wide 
recognition.  Mr.  R.  G.  Eves  sent  some  of  his 
water-colours,  sweeping  in  style  but  delicate.  Mr. 
J.  R.  K.  Duff  and  Mr.  W.  J.  M.  Hawksworth  con- 
tributed, and  Mr.  Catchpole  was  responsible  for 
some  very  happy  beach  scenes  in  sunshine,  whilst 
the  intensely  artistic  method  of  Mr.  Fred  Mayor 
was  to  be  seen  in  over  half  a  dozen  works.  Messrs. 
D.  Murray  Smith,  H.  Davis  Richter,  and  Romilly 
Fedden  have  come  into  the  Society,  and  each  sent 
many  very  representative  paintings.  Other  con- 
tributors of  reputation  were  Mr.  Henry  Fullwood, 
Mr.  D.  Douglas  Fox-Pitt,  Mr.  Terrick  Williams, 
and  Mr.  F.  Whiting;  but  much  of  the  honour 
must  be  given  to  Miss  H.  Gloag  for  her  Gardenias 
and  Black  and  White. 


The    exhibition    of    lithographs    held    by    the 


'GOATHOR.N  CHINA  CLAY  PIT  "  (PASTEL)  ( Goiipil  Gallery  Salon,  l^Jj) 


BY    PROF.    r.ERAI.n    MOIRA 
225 


Studio-Talk 


"  THK    CIKCl'^ 


il.Ol'R    HV    kOMU.l.Y    1E1U)I:N 


•THK    market  quay,    I.I'CKRNK"  WATKR-tol.orK    IIV    II.    I'AMs    KlLlllKK.    K.ll.A. 

(Goupil  Galleiy  Salon,  191J) 

226 


studio-  Talk 


'THE  vase"  (fan)         {Goiipil  Galh-ry  Salon,  ig/j) 


members  of  the  Senefelder  Club  during  October 
and  November  at  the  Manzi-Joyant  Gallery,  the 
fifth  since  the  inauguration  of  the  Club,  transcended 
all  preceding  ones.  Everything  irrelevant  to  the 
main  issue  had  been  rigorously  excluded  There 
were  more  lithographs  on  this  occasion  completely 
expressive  of  the  qualities  of  the  beautiful  medium 
than  in  any  former  exhibition,  ^^'ithin  its  natural 
limitations  the  art  can  be  practised  in  two  ways. 
Some  lithographers  draiv  with  the  crayon,  while 
others  to  all  intents  paint  with  it  :   the  touch  of 


many  of  the  artists  in  the 
recent  exhibition  was  the 
painter's  touch,  and  their 
effects  were  hardly  at  all 
concerned  with  quality  of 
pure  line.  Yet  it  cannot 
be  said  that  they  were  not 
displaying  the  true  quality 
of  lithography  ;  indeed,  in 
sotiie  cases  appreciation 
of  the  soft  broad  touch 
which  is  one  of  the  charms 
of  the  medium  almost  be- 
trayed the  artist  into 
merely  flourishing  his 
fascinating  instrument. 
Mrs.  Laura  Knight's  work  stood  out  in  the  exhibi- 
tion for  its  possession  of  all  the  essentials  of  fine 
lithography,  and  Mr.  A.  S.  Hartrick  also  was 
responsible  for  some  of  the  best  work  shown. 


BY    GEORCE    SHERINCHAM 


At  the  Dudley  Galleries  there  was  recently  on  view 
a  collection  of  water-colours  by  Miss  E.  J.  ^^'hyley 
which  had  a  strength  of  handling  and  a  decisiveness 
of  manner  far  beyond  what  is  usually  found  in 
the  work  of  feminine  artists.  Miss  Whyley  paints 
broadly  and  effectively,  and  her  draughtsmanship  is 


"THE   BRETO.N    STRONGHOLD   OF   THE    DE    KOHANS" 

(Dudley  Gallery) 


WATF.R-COLOUR    BY    EVELYN    1.    WHYLEV 


227 


Sttidio-Talk 


"  PONT-EN-ROYANS"  w  ATEKLilLOUK    BY    EVELYN   J.    WHYLEV 

(Dudley  Gallery) 


example  of  the  work  of  an 

artistwho  has  of  late  years 
produced  much  that  is 
worthy  of  attention.  Mr. 
Yates  has  made  a  con- 
siderable reputation  as  a 
painter  of  romantic  land- 
scapes marked  by  un- 
usual charm  of  sentiment 
and  distinguished  by 
technical  qualities  of  a 
high  order  ;  but  he  ranks 
also  as  a  portrait  painter 
of  exceptional  capacities, 
as  a  shrewdly  obser\-ant 
interpreter  of  character 
who  can  give  in  his  pic- 
tures something  more 
than  the  merely  super- 
ficial aspect  of  his  sitter 
and  whose  portraits  have 
a  notable  degree  of 
vitality  and  power.      In 


commendably  sound  ;  in  the  architectural  subjects, 
especially,  which  were  included  in  the  exhibition, 
she  showed  her  power  in  this  direction  to  great 
advantage.  A  Peaceful  Corner,  Canterbury,  and 
St.  Binoit  on  the  Loire — both  paintings  of  archi- 
tecture— were  in  many  ways  the  best  things  she 
exhibited ;  and  among  her  landscapes  The  Blue 
City,  The  Breton  Stronghold  of  the  De  Rohans,  and 
Ponten-Royans  did  her  the  fullest  justice.  In 
the  same  gallery  were  some  good  examples  of 
artistic  bookbinding  by  the  Hon.  Norah  Hewitt, 
things  admirable  in  taste  and  very  soundly  handled. 
They  were  especially  commendable  for  their  reti- 
cence and  freedom  from  over-elaboration. 


Mr.  William  C.  Coles,  a  well-known  exhibitor  at 
the  New  ICnglish  Art  Club,  has  been  holding  a 
show  of  his  water  colours  at  the  Dowdeswell 
Galleries.  It  is  not  difficult  to  trace  in  his  art  the 
continuity  of  the  tradition  of  the  old  English  water- 
colour  school,  and  lie  displays  a  profound  know- 
ledge of  cloud  form  and  sky  effect.  The  artist  is 
happiest  in  grey  and  golden  schemes  in  landscape. 
The  Valley  of  the  Sci<ern,  An  Old  Quarry,  The 
Cotswolds,  Sunset  near  Pin  Mill  being  beautiful 
drawings  in  the  true  sense  of  the  word. 


Mr.  Fred  Yates's  portrait  of  President  W'oodrow 
Wilson,    reproduced   opposite,  is  a  characteristic 
228 


JKWKl.l  KIl    HAMll.K   OK  KEY  USED  AT  OI'KMNli 
CI-   KOYALWKSTOK  E.NGl.AN  l>  ACA1>KMY,  IIKISTOI. 


I 


/ 


"PRESIDENT  VVOODROW    WILSON."      FROM 
A   PASTEL  DRAWING   BY   FRED   YATFS 


studio-  Talk 


this  particular  example,  executed  during  a  visit  he 
p)aid  to  the  United  States  some  time  ago,  his  cer- 
tainty of  draughtsmanship  and  decisive  handling 
of  executive  essentials  are  admirably  displayed  and 
his  suggestion  of  the  personality  of  his  subject  is 
conveyed  with  remarkable  significance. 


At  the  CarAix  Gallery  Mr.  Walter  Bayes  has 
been  holding  an  exhibition  of  his  paintings,  and 
the  artist's  fine  sense  of  colour  made  the  whole 
effect  of  the  exhibition  extremely  agreeable.  Close 
examination  of  Mr.  Hayes's  work  reveals  the  great 
amount  of  knowledge  that  accounts  for  the 
decorative  .satisfactoriness  of  every  canvas  of  his. 
Open-air  and  sunlit  effects  are  his  chief  attraction. 
His  style  is  to  some  extent  lacking  in  lightness 
and  swiftness  of  character,  and  in  these  circum- 
stances it  is  the  more  remarkable  that  he  can 
secure  so  effectively  the  sense  of  movement  and 
atmosphere  necessary  to  the  themes  he  chooses. 
More  happily  than  most  of  his  contemporaries,  he 
combines  decoration  with  impressionism. 


Mr.  Francis  James  exhibited  water-colours  at  the 
A'an  \Visselingh  Gallery  last  month,  proving  him- 
self still  an  exceptionally  able  painter  in  water-colour 
and  a  great  master  in  still-life.  There  is  so  much 
variety  and  inventiveness  in  his  work  that  though 
he  often  returns  to  the  same  themes  the  spectator 
is  only  conscious  of  the  artist's  sustained  enthusiasm 
and  his  resources  in  imagining  new  points  of  view 
from  which  to  regard  his  favourite  subjects. 

BRISTOL.— With  the  rebuilding  of  the  old 
Bristol  Academy  and  the  granting  of  a 
Royal  Charter  to  the  members,  the 
Royal  \\'est  of  England  Academy,  rejire- 
senting  all  the  art  of  the  west,  including  the  famous 
Cornish  schools  at  Folperro,  St,  Ives,  Newlyn,  and 
Lamorna,  is  now  holding  its  inaugural  exhibition. 
It  can  safely  be  said  that  no  provincial  gallery  has 
ever  been  able  to  hold  such  an  important  modern 
exhibition  of  pictures,  so  much  of  which  has  been 
drawn  from  the  provinces  which  it  represents. 
The  \\'est  of  England  has  great  traditions,  with  its 


'  MORMNt;    MIM 


(Stf  Betiiii  .'iiiiiiw-  7 alt,  op/'osite /^,Qr ) 


IIV   lARI.    KAVSF.RKU  HllF.RC. 


230 


studio-  Talk 


" HOMEWARD  ' 


BY    CARI.    KAYSER-EICHBERG 


memories  of  Gainsborough,  Barker  of  Hath,  Miiller, 
and  also  of  Turner,  who  worked  in  the  neighbour- 
hood of  Bristol  for  some  time  with  enthusiasm  ;  and 
the  members  of  the  Academyhave  come  to  recognise 
that  their  city  is  the  natural  and  inevitable  centre 
of  the  west,  while  the  past  policy  of  favouring  only 
local  art,  in  the  most  narrowly  interpreted  sense,  at 
the  expense  of  the  wider  prestige  of  their  institution, 
has  now  been  abandoned.  Much  of  this  has  been 
due  to  the  energy  of  the  Hon.  Secretary,  Mr.  E.  W. 
Savory  ;  but  the  former  Hon.  Secretary,  Mr.  Richard 
Tuckett,  had  paved  the  way  with  many  years  of 
work  and  contention  with  local  prejudice  in  matters 
of  art.  The  Bristol  Academy  has  in  Mr.  Havard 
Thomas  produced  from  its  own  schools  one  of  the 
recognised  great  sculptors  of  to-day.  In  taking  to 
itself  the  more  inclusive  title,  with  letters  R.\\'.A. 
attached  to  membership,  and  with  the  vitality, 
modernity,  and  comprehensiveness  of  its  first  ex- 
hibition, it  shows  it  recognises  its  essential  mission 
as  the  chief  art  centre  of  the  west.  The  recon- 
structed building  is  extremely  successful  in  design. 


making  an  impressive  environment  for  the  pictures. 
The  Lady  President,  Miss  Stancomb-Wills,  Lord 
Winterstoke's  relative  and  successor  in  the  presi- 
dency, presided  at  the  inauguration  and  the  ban- 
quet which  followed.  The  list  of  those  present 
included  many  of  the  most  representative  names 
in  modern  English  art  and  art  criticism.  We 
reproduce  on  page  228  the  ornamental  part  of  the 
key  used  on  the  occasion.  T.  M.  ^V. 


BERLIN. — The  landscape  painter  and 
graphic  artist  Carl  Kayser-Eichberg  was 
one  of  the  artists  who  were  invited 
to  exhibit  in  the  select  exhibition  at 
Stuttgart  this  summer,  and  his  Morning  Mist  a.Ko'cd'A 
fresh  proof  of  his  e\er-growing  talent.  He  is  a 
[)u[)il  of  Bracht,  and  his  works  combine  deco.'ative 
and  emotional  qualities  so  admirably  that  they  have 
become  real  favourites.  A  serious  striving  to 
assimilate  modern  principles  and  a  deep-rooted 
regard  for  tradition  define  his  artistic  character. 

231 


i 


studio-  Talk 


Among  recent  exhibitions  at  the  Schulte  Salon  the 
f)osthumous  display  of  Karl  Haider's  works  at  once 
aroused  sympathy  for  an  art  which  was  practised 
with  persistence  and  reserve.  In  portraits,  land- 
scapes, and  genre  subjects,  this  painter  carried  on 
the  old  German  tradition  manifested  in  Holbein 
and  later  in  Defregger  and  Leibl.  Hans  Thoma 
again  proved  his  authority  as  a  landscapist  in  some 
large  Black  Forest  pictures  of  superior  merit.  The 
wide  sweep  of  his  vision,  his  consummate  search 
for  realistic  veracity  and  a  sensitive  recognition  of 
emotional  beauties  have  deservedly  given  him  a 
unique  position.  He  also  showed  himself  to  be  a 
colourist  of  distinction  and  a  capable  painter  of 
children.  The  winter  and  summer  pictures  of  Max 
Clarenbach  evoked  sympathy  by  their  quietude,  but 
in  spite  of  a  fine  study  of  air  and  light  they  imparted 
an  impression  of  monotony.  A  reserved  sense  of 
colour  was  also  a  feature  of  the  pictures  of  Wilhelm 
Hambiichen,  whose  large  canvas  Near  Diisseldorf, 
favourably  sums  up  the  best  gifts  of  this  painter. 
Mohrbutter  and  Mosson  excelled  as  flower-painters, 
and  the  impressionistic  temperament  which  now 
strives  for  expressionism  was  discernible  in  a  series 
of  Italian  pictures  by  Philipp  Franck,  who  con- 
vinced of  a  strong  colour-sense  and  solid  draughts- 


manship, though  on  the  whole  his  energetic  methods 
appeared  more  appropriate  for  the  designer  in 
applied  arts.  Joseph  Oppenheimer's  adhesion  to 
modern  methods  was  evinced  in  his  portraits  and 
excerpts  from  everyday  life,  but  it  was  clear  that  his 
nervous  verve  was  controlled  by  a  refined  taste. 
He  strives  for  the  richest  gamut  of  pigment,  and  an 
endeavour  to  differentiate  colour  has  now  become 
his  chief  aim.  The  importance  of  this  task  cannot 
be  overrated  when  it  is  a  question  of  rendering 
effects  of  sunlight  in  the  open  air,  but  it  must  be 
practised  with  discretion  in  interior  painting.  Karl 
Strathmann  aroused  interest  as  a  clever  draught.s- 
man  and  decorative  composer  whose  figure-subjects 
and  fantastic  landscapes  with  their  strong  tonalities 
and  embroideries  of  pointillistic  colour  present  a 
curious  mixture  of  pathos  and  caricature. 


In  the  Cassirer  Salon  the  renown  of  the  animal 
painter  Karl  Steffeck  was  revived  by  a  display  which 
demonstrated  the  refined  and  clever  brushwork  of 
this  teacher  of  Max  Liebermann  and  many  others  of 
our  leading  painters  here.  Some  animal  pictures, 
portraits,  and  landscapes  of  real  distinction  bore 
witness  to  the  high  standard  of  our  art  about  the 
middle  of  last  century.     In  Fritz  Gurlitt's  galleries, 


'  NEAR    IJIISSEI.DORF 
232 


( Sihiillf's  Salon,  /in/ill) 


IIY    Wll  nil  M    llAMin  (HEN 


studio-  Talk 


'  DON   nUIXOTE 


( Sihulte's  Salon,  Balin) 


BY   KARL   STRATHMANN 


where  the  poUcy  of  presenting  interesting  old  art 
side  by  side  with  the  most  modern  is  being  con- 
tinued, one  has  been  able  to  enjoy  Spitzweg  and 
Trdbner  and  to  study  the  much  disputed  Max 
Pechstein  in  the  dual  role  of  sculptor  and  graphic 
artist.  This  artist's  power  of  line  and  impressionistic 
grasp  were  again  evident  but  failed  to  satisfy  the 
demands  of  high  art. 

In  the  summer  exhibitions  of  Berlin  and  Cassel 
this  year  the  bronzeanimalsof  the  sculptor  Edmund 
Gomansky  have  again  been  much  remarked. 
Contemporary  German  art  can  boast  of  prominent 
animal  artists  like  Ziigel,  Tuaillon,  and  Gaul,  and 
Gomansky  is  decidedly  coming  to  the  front  within 
this  domain.  He  had  already  made  a  name  by  his 
interpretations  of  the  human  figure,  and  now  his 
love  for  birds  has  led  him  to  his  new  speciality. 
He  keeps  and  watches  pretty  singers  in  his  home 
and  loves  to  study  peculiar  birds  in  the  Zoo. 
Their  decorative  forms  and  extraordinary  plumages 
fascinate  his  artist's  eye,  and  their  habits  and 
character  his  psychological  vision.  He  often 
corrects   his   sketches    from    life    at    the    Natural 


History  Museum,  and  is  only  satisfied  when  racial 
characteristics  as  well  as  the  smallest  crest  feather 
are  true  to  nature.  He  has  gained  several  prizes 
in  competitions,  and  the  Berlin  Municipality,  for 
whom  he  is  now  executing  commissions,  has  bought 
his  Edekranich  (Crested  Crane),  of  which  an  illus- 
tration accompanies  these  notes.  J.  J. 


Although  Germany,  like  Great  Britain,  declines 
to  participate  officially  in  the  forthcoming  Inter- 
national Exposition  to  be  held  in  San  Francisco, 
steps  are  being  taken  by  the  Gesellschaft  fiir 
Deutsche  Kunst  im  Ausland,  an  organisation 
founded  in  1907  for  the  express  purpose  of  further- 
ing the  interests  of  German  art  in  foreign  countries, 
to  ensure  that  the  pictorial  and  plastic  art  of  the 
Fatherland  shall  be  adequately  represented  on  this 
occasion.  An  exceptionally  strong  committee  has 
been  formed  on  which  prominent  artists  repre- 
senting the  chief  art-centres  of  the  empire  have 
consented  to  serve  under  the  presidency  of  Herr 
von  Pilgrim-Baltazzi.  The  Munich  section  includes 
I'Vanz  von  Stuck,  Prof.  Carl  von  Marr,  Richard 
Kaiser   and   Julius    Schrag,    among   others.     The 

233 


I 


Studio-  Talk 


'CRESTKD  crank"   (BRONZE) 

BY    KllMUNl)    c;(lMANSKV 


Ht-rlin  contingent  comprises  numerous  well-known 
artists,  such  as  Emil  Orlik,  Carl  Langhammer,  Carl 
Kayser-Eichberg,  Leo  von  Konig,  Max  Slevogt, 
Louis  Tuaillon,  Hans  P.aluschck,  and  Lovis  Corinth, 
and  the  eminent  jurist,  Jusiizrat  Gerhard  ;  while 
among  the  representatives  of  other  centres  are 
(iari  Melcheri!,  Ludwig  von  Hoffmann  (Weimar), 
Lugen  Hracht,  Gustav  Schonleber,  Wilhclm 
Triibner,  Robert  Sterl,  and  Hans  von  Volkmann. 

DARMSTADT.— Ikrnhard  Hoetger  oc- 
cupies a  leading  place  among  the 
sculptors  of  (Jermany  not  only  on 
account  of  the  numerous  works  he  has 
created  in  marble,  bron/e,  and  other  materials,  but 
also  because  of  the  various  decorative  objects 
in  majolica  which  have  added  so  much  to  his 
reputation.  Like  so  many  of  his  confreres,  he  was 
234 


a  craftsman  before  becoming  an  arts-man,  and  is 
not  only  a  master  in  the  moulding  of  forms  and  of 
the  material  in  which  they  are  to  be  executed,  but 
also  in  the  designing  of  them.  It  was,  in  fact, 
his  technical  knowledge,  as  well  as  his  rare  gifts  as 
an  artist,  which  led  the  Grand  Uuke  of  Hesse  to 
call  him  to  Darmstadt  as  Professor.  Hoetger  won 
his  first  laurels  in  Paris,  where  he  practised  for 
seven  years  ;  but  even  before  going  there  the  young 
sculptor  had  gained  recognition  in  Dresden,  Perlin, 
Cologne,  and  other  German  towns  for  his  realistic 
rendering  of  street  types.  He  was  then  at  the 
beginning  of  his  career,  and  his  artistic  output  has 
ill  tlie  meantime  assumed  a  very  different  character. 
At  the  Diisseldorf  exhibition  in  1903  two  female 
busts  which  the  sculptor  exhibited  revealed  him  in 
a  new  and  (juite  original  light  as  a  decorative  artist 
gifted  with  fine  visionary  power  and  remarkable 
individuality  in  the  trcatnunt  of  surfaces  and 
the  distribution  of  masses.  As.syrian  and  ancient 
Egyi)tian  sculpturi'  have  their  place  in  his  artistic 
development,  but  to  these  influences  he  has  added 
his  own  personal  note,  so  that  his  works  have  a 
place  of  their  own  in  modern  sculpture.  He  has 
lately  devoted  much  of  his  skill  to  the  manipulation 
of  the  material  and  the  moulding  of  the  designs  tor 
his  maiolica  figures.  'These  were  first  exhibited 
at  the  -Soiiderbund  rxhihition  in  Cologne  last 
year,    where    they    evoked    iiiuch    praise.      In    this 


'•  |1IA\.\  "    (MAJOl.ICA) 


IIV    ItKKNllAKK    IIOKPIKR 


"INVOCATION."      BY 
BERNHARD   HOETGER 


studio-  Talk 


"  E<JUESTRIIINNE  "'  (MAJOLICA).    KY  BERNHARD  HOETGER 

branch   of  his   work    Hoetger   has    gone    to    the 

Chinese   and   Japanese   for    inspiration,    but    his 

methods   are    liis   own.     Though    moved    by    the 

greatest  plastic  artists  of  bygone  days  he  has  not  let 

the    great    modem    master 

Rodin    go    by    unheeded, 

but   in    no   sense   is    he  a 

copyist.       Hoetger    is    still 

young,    and    it   will    be 

pleasant   to    follow    his 

future  development,   for 

this   artist  is   in   all  things 

progressive.  L. 


opportunity  of  displaying  their  individuality.  The 
arrangement  of  the  section  was  carried  through  by 
Prof.  Jan  Kot£ra.  The  rooms  containing  it  were 
grou|)ed  round  a  central  hall  which  served  to 
exhibit  the  works  of  four  sculptors — Professors 
Hanak  and  Miller,  both  of  Vienna,  the  talented 
young  Bohemian  sculptor  Jan  Stursa,  of  Prague, 
whose  monumental  statue  Eva  was  bought  by 
the  Bavarian  State  for  the  Glyptothek,  and  the 
Polish  artist  Prof.  Dunikowski  of  Cracow.  The 
other  rooms  were  given  over  to  the  Austrian 
painters.  Here  one  encountered  Gustav  Klimt,  an 
artist  whose  work  has  had  a  strong  influence  on  .some 
of  the  younger  generation.  The  \'iennese,  Franz 
Rumpler,  showed  forty  oil  paintings,  including 
some  exquisite  genre  pieces.  The  genuine  and 
honest  feeling  of  a  true  artist  was  revealed  in  the 
collection  of  another  \"iennese  painter,  Ferdinand 
Andri  :  very  remarkable  being  his  large  cartoons  for 
wall-paintings  of  the  Apostles.  Max  Svabinsky,  of 
Prague,  proved  himself  an  excellent  draughtsman  in 
his  etchings,  and  a  portraitist /ar  exedUnte  whether 
in  large  family  groups  or  single  portraits.  His 
delightful  way  of  treating  colour  made  every  one  of 
his  |)ictures  a  real  joy  to  look  at.  The  other  artists 
representing  Austria  were  Jan  Preissler,  who 
showed  his  strong  individuality  and  a  remarkable 
talent  for  decoration  in  his  pictures.  Otto  Laske, 
Karl  Sterer,  and  Julian  Falat.  The  works  of  all 
these  artists  were  displayed  under  the  best  possible 


MUNICH.  — At 
this  year's  In- 
ternational Art 
Exhibition — 
the  eleventh  of  its  kind — 
the  Austrian  section  was 
notable  on  account  of  the 
way  in  which  the  collection 
was  organised.  Preferring 
quality  to  quantity  Austria 
was  content  to  be  repre- 
sented by  a  few  artists  only, 
who  thus  had  an  amjile 
236 


AUSTRIAN     SECTION     AT     MU.NICH      INTERNATIONAL     ART     EXHIBITION.         ROOM 
CONTAININi;  WORKS  OF  MAX  SVAIIINSKV.       ARRANGED  HV  I'ROE.  JAN   KOtEra 


studio-  Talk 


AUSTRIAN     SECTION    AT     MUNICH     INTERNATIONAL    ART     EXHIBITION.       ROOM    CONTAINING    WORKS     BY     FERI).    ANDRI. 

ARRANGED   BY    I'ROF.    IAN    KOT6ra 


conditions,  and  one  could  not  fail  to  be  struck  by 
the  good  taste  of  the  installation  as  a  whole. 

B.  P.  C. 

By  the  death  of  Prof.  Hans  von  Bartels,  \vho 
died  here  on  October  5,  the  German  school  of 
\vater-colour  painting  has  lost  one  of  its  foremost 
representatives.  His  particular  predilection  was 
the  painting  of  coast  scenery  and  fisher-folk,  and 
he  travelled  much  in  quest  of  subjects  for  his 
pictures.  He  visited  England  from  time  to  time 
on  the  same  errand  and  gained  many  friends  and 
admirers  of  his  work  there.  He  was  a  freejucnt 
contributor  to  London  exhibitions,  notably  those  of 
the  Royal  Institute  of  Painters  in  Water-Colours, 
of  which  he  was  an  honorary  member.  Prof,  von 
Bartels  was  born  at  Hamburg  on  Christmas 
Day,  1856. 


M 


n.AN. — M.  Renato  Brozzi,  whose  work 

was  awarded  a  prize  recently  at    the 

Academy   of  Fine   Arts   here,    is  an 

artist  hailing  from  Parma,  and  he  has 

now  for  some  years  been  successful  in  attracting 


the  attention  of  amateurs  to  his  little  bas-reliefs, 
plaquettes  and  medals.  It  seems  therefore  only 
right  to  bring  to  the  notice  of  readers  of  The 
Studio  the  productions  of  this  young  artist,  who  is 
continuing  an  art  formerly  much  practised  in  the 
provinces  of  North  Italy.  In  his  native  town 
M.  Brozzi  has  had  an  opportunity  of  admiring  the 
work  of  that  eminent  sculptor  of  Farnese  monu- 
ments, Francesco  Mochi,  an  artist,  alas  !  almost 
unknown,  who  came  under  the  influence  of  Bernini, 
and  whose  masterly  work  in  bas-relief  is,  I  venture 
to  say,  unequalled.  M.  Brozzi,  then,  has  been 
able  to  carefully  observe  at  his  ease  these  Farnese 
bas-reliefs,  and  has  not  required  to  study  the  work 
of  Alexandre  Charpentier,  although  that  illustrious 
French  "  plaquettist "  might  well  have  been  his 
master.  Brozzi  is  artistically  akin  to  those  Re- 
naissance masters  even  in  so  far  that  this  sculptor, 
of  whose  work  we  give  a  few  illustrations,  came 
originally  out  of  an  industrial  workshop,  as  did  the 
"  quattrocentisti "  who  worked  in  the  goldsmiths' 
shops.  

Employed  at  first   in  the    imitation  of  ancient 

237 


i 


Sf/ufio-  Talk 


■  liuMKUAKi) 


HKONZK    ri,Ac.H-KTTl-; 
(Gallery  of  Modern  Art,  Koine ) 


liV    KKNATO    BROZ/.l 


and  the  trees  and  herbage 
in  the  foreground — these, 
llic  familiar  animals  and 
fauna  of  our  towns  and 
country-sides,  are  the  sub- 
jects that  attract  M.  Bro/./i. 
His  works  in  this  vein 
evince  a  serene  and  tender 
faculty  which  unquestion- 
ably makes  for  success — 
for  a  legitimate  success  into 
which  enters  nothing  of 
that  so-called  permissible 
imitation  of  the  antiiiue 
which  denotes  a  com- 
nicrcial  spirit  such  as  wc  do 
not  desire  to  encourage. 
A.  M. 


pieces,  dishes  and  de- 
corated salvers,  working  a 
sl'alzo,  as  we  call  it  in  Italy 
— that  is  to  say,  from  the 
reverse  side  —  M.  Brozzi 
applied  himself  with  all 
patience  to  this  mode  of 
craftsmanship,  which  calls 
for  a  consummate  tech- 
nical ability  before  any 
success  may  be  attained. 
Asa  result  of  this,  mayhap, 
come  certain  of  the  artist's 
works  in  which  the  ana- 
tomical accuracy  seems  to 
be  n(jthing  more  than  cold 
imitation  and  in  which  no 
inspiration  is  revealed.  In 
contradistinction  to  the 
fierce  ira.scibility  and  pride 
of  those  sculptured  animal 
forms  of  which  the 
Assyrian  carvers  have  left 
such  incomparable  ex- 
amples, we  find  M.  Brozzi 
perpetuating,  and  that  not 
without  some  trace  of 
humour,  the  more  docile 
and  submissive  traits  of 
animals.  Turkeys,  fowls, 
ducks,  pigs,  donkeys,  cattle, 
sheep,  deer,  depicted  in 
their  natural  surroundings, 
composing  little  pictures 
with  the  far-distant  hills 
238 


mutspi 


•THE   sHKKI'lOi.li 


^^W^^ 


HKON/.K    II.Ai.iCKlTE    ilV    R.    BKO/.ZI 


•'  I.IM  KMNC^ 


llKON/i:    n  Ai.U'I'.I  I  K    IIV    K.    IIKOZZI 


Studio-  Talk 


"HOW    cold!"  bronze    PLAljUETTE    BY    R.     BROZZI 

(  Gallery  of  Modern  Arl^  Rotne ) 

TOKYO. — Among  important  exhibitions 
of  Japanese  paintings  held  recently  may 
be  mentioned  that  of  the  Nihon  Gakai, 
which  was  founded  in  1897  as  an  off- 
shoot of  the  Bijutsu  Kyokai  (Art  Association 
of  Japan)  for  the  purpose  of  preserving  the 
worthy  characteristics  of  Japanese  painting.  It  has 
Viscount  Suematsu  as  its  president  and  is  sup- 
ported by  such  artists  as  Mochizuki  Kimpo,  a 
noted  animal  painter,  and  such  landscape  painters 
as  Araki  Tanrei,  Moroboshi  Raisho,  Ikegami  Shuho 
and  Vamaoka  Beika.  Accompanying  this  are 
reproductions  of  three  works  included  in  the 
recent  exhibition  of  the  society. 


The  Nihon  Bijutsu  Kyokai  above  referred  to  is 
one  of  the  oldest  and  most  influential  art  societies 
in  this  country.  It  holds  an  exhibition  of  carvings, 
lacquered  wares,  metal  work,  enamels,  etc.,  in  the 
autumn  and  of  paintings  alone  in  the  spring.  While 
most  of  the  i)ictures  exhibited  this  year  lacked 
depth  and  originality — defects  by  no  means  con- 
fined to  this  exhibition — they  showed  sincerity  of 
purpose  and  faithfulness  of  execution  in  an  en- 
deavour to  preserve  the  best  qualities  of  the  old 


school.  The  striking  feature  of  the  exhibition  was 
an  excellent  collection  of  screens  and  kakemono 
painted  by  an  old  master,  Tawaraya  Sotatsu, 
which  included  the  pair  of  famous  screens  with  a 
design  of  fans  owned  by  the  Imperial  Household, 
and  reproduced  in  these  pages  to  illustrate  my 
article  on  "Old  Japanese  Folding  .Screens." 


The  Bijutsu  Kyokai  recently  lost  one  of  its  in- 
fluential members  by  the  death  of  Kuniagai  Naohiko, 
who  had  been  a  Court  artist.  Born  on  December 
24,  1828,  he  took  lessons  in  painting  when  he  was 
fourteen  years  of  age  from  Okamoto  Shigehiko,  and 
was  called  Suehiko.  He  was  subsequently  adopted 
by  Kumagai  Samon,  a  family  in  charge  of  the  man, 
or  crests,  for  one  of  the  feudal  lords.  As  a  vassal 
of  the  lord  of  Aki,  Kumagai  Noahiko  took  lessons 


BY    MATSU.N.\G.\    TEXSHO 

( Xihon  Gakai ) 

239 


I 


studio-  Talk 


in  spear  and  horsemanship  at  Hiroshima.  At  the 
time  of  the  Restoration,  1868,  he  threw  aside  his 
paint-brush  to  serve  his  lord,  but  soon  resumed 
painting  and  kept  it  up  to  the  end  of  his  long  life. 
His  gago  (m»n  de  plume)  was  Tokuga,  but  he  only 
used  it  on  very  rare  occasions. 


Prince  Takehito  Arisugawa,  who  passed  away 
recently,  was  a  great  patron  of  art,  and  as  honorary 
president  of  the  Japan  Art  Association,  he  did 
much  towards  its  encouragement.  For  the  famous 
swordsmith,  Sakurai  Masaji,  he  built  a  forge 
in  the  compound  of  his  villa  at  Maiko,  where 
he  spent  the  last  years  of  his  life.  It  was 
customary  for  the  prince  to  present  the  best  swords 
forged  during  each  year  to  the  Emperor  and  the 


Crown  Prince,  and  the  master  swordsmith  always 
marvelled  at  the  ])rince's excellent  judgment  in  select- 
ing the  swords.  An  interesting  incident  brought 
the  swordsmith  to  the  prince's  attention.  It  is  said 
that  one  day  when  Princess  Arisugawa  visited  his 
workshop  in  Tokyo,  the  swordsmith  was  far  from 
being  pleased,  and  rebuked  the  distinguished  visitor, 
of  course  without  knowing  who  she  was,  saying  that 
ladies  had  no  business  to  be  at  his  place  of  work. 
Such  behaviour  was  readily  understood  by  the 
prince,  who  knew  that  master  swordsmiths  re- 
garded their  workshops  as  sacred,  inasmuch  as  the 
"  spirit  of  Samurai  "  is  forged  and  the  presence  of  a 
woman  was  considered  sacrilege  to  the  god  Inari, 
who  is  believed  to  help  the  forging  with  a  mysterious 
hammer.  It  was  this  incident,  it  is  said,  that  led 
the  prince  to  take  an  interest  in  him.  H.  J. 


"MONKEYS   AT    I'l.AV  "  IIY    KONliO   SUISEN 

(Nikon  llakai. — Boiif,'hl  by  I  he  Empress  of  Japan) 
340 


'  LANIISCAI'E 


IIV    MAKINO    l.lsllo 


{Nihon  Gakai ) 


Art  ScJiool  Notes 


"  BAMP.OROUGH    CASTLE,    NORTHUMBERLAND 


WOOD-ENGRAVING    BY   J.    BARRIE    ROBINSON 


(See  Hull  Arl  Srhool  Notes,  /.  242) 


ART  SCHOOL  NOTES. 

LONDON.— The  sketching  club  at  the  Royal 
College  of  Art  has  many  generous  sup- 
porters who  offer  awards  each  year  for 
~J  the  best  work  submitted  in  various  de- 
partments of  the  arts  and  crafts  ;  and  the  prize- 
givers  at  the  competition  and  exhibition  last  month 
ipduded  Sir  Cecil  Harcourt  Smith,  Mr.  Walter 
Runciman,  M.P.,  Mr.  J.  A.  Pease,  M.P.,  Sir  L.  A. 
Selby  Bigge,  and  two  of  the  most  distinguished 
of  South  Kensington's  old  students,  Mr.  J.  J. 
Shannon,  R.A.,  and  Mr.  Alfred  Drury,  A.R.A. 
The  exhibition,  which  was  held  in  the  Iron 
IJuildings  behind  the  Natural  History  Museum, 
contained  some  good  work  but  was  not,  taken 
altogether,  up  to  the  standard  of  a  few  years  ago. 
There  was  an  overwhelming  display  of  landscapes 
but  the  figure  compositions  were  few  and  poor  in 
quality,  and  the  display  of  modelling  was  not  as 
good  as  the  high  re[)utation  of  the  College  in  this 
department  would  have  led  visitors  to  expect.  The 
most  interesting  things  in  the  exhibition  were  a  set 
of  brilliant  little  water-colour  studies  by  Mr.  H. 
Youngman,  of  the  streets  and  monuments  of 
Florence,  Naples,  and  Rome.  Some  excellent 
work  in  pencil,  sketches  in  Caen  and  other  French 
towns  by  Mr.  'William  Keesey,  also  deserve  notice. 


They  gained  the  first  prize  for  the  best  set  of 
sketches  in  black  and  white,  and  Mr.  Keesey  also 
carried  off  the  prize  for  etching,  offered  by  Mr. 
D.  Y.  Cameron,  A.R.A.  Professor  Lethaby's  prize 
for  the  best  piece  of  workmanship,  designed  and 
wrought  by  the  same  student,  in  one  of  the  artistic 
crafts,  was  awarded  to  Miss  Helen  Lamb  for  an 
embroidered  bag.  The  remaining  prize  winners 
included  Mr.  H.  Hendrie,  Mr.  H.  F  David,  Miss 
Doris  Perkin,  Mr.  H.  Dearden,  Mr.  W.  J.  Rowden 
Mr.  C.  ^y.  Wheeler,  and  Mr.  M.  C.  Oliver. 


Mr.  F.  W.  Pomeroy,  A.R.A.,  Mr.  Harold  Speed 
and  Mr.  Bertram  Priestman  were  the  judges  in  the 
competition  known  now  as  the  "  Gilbert-Garret," 
in  which  most  of  the  sketching  clubs  attached  to 
London  art  schools  take  part.  The  exhibition 
and  competition  took  place  in  the  Iron  Buildings 
a  few  days  after  the  Royal  College  of  Art  sketches 
had  been  shown,  and  the  clubs  represented  in- 
cluded, besides  the  Royal  College,  the  Gilbert- 
Garret,  Grosvenor,  Polytechnic  (Regent  Street), 
Byam  Shaw  and  Vicat  Cole,  City  and  Guilds 
Institute,  Birkbeck,  London  Art  School,  South- 
western Polytechnic,  and  Crystal  Palace.  The 
Royal  Academy,  perhaps  because  this  is  one  of 
the  years  in  which  the  important  biennial  com- 
petitions are  held  at  Burlington   House,  was  fur 

241 


Art  School  Notes 


once  unrepresented.  The  award  of  honour  for  the 
best  collection  of  sketches,  and  four  out  of  five 
first  prizes,  went  to  the  Royal  College  of  Art  ;  and 
the  other  clubs  strongly  represented  included  the 
Grosvenor,  the  llyam  Shaw  and  N'icat  Cole,  the 
London  Art  School,  and  the  dilberl-Garret.  The 
first  prize  for  figure  composition  (subject  A 
Holiday)  was  awarded  to  Mr.  W.  J.  Rowden 
(Royal  College) ;  hut  there  was  more  promise  in  a 
curious  low-toned  painting  of  a  woman  and  children 
seated  in  a  meadow,  shown  by  Mr.  Bunt  of  the 
Bvam  Shaw  and  \'icat  Cole  School.  First  prizes 
in  landscape,  sculpture,  and  poster  design  were 
given  respectively  to  Mr.  H.  Youngman,  Mr.  C.  W. 
\\'heeler,  and  Mr.  .\.  \V.  Moore  of  the  Royal 
College  :  and  for  animal  painting  to  Mr.  H.  Hubner 
of  the  Gilbert-Garret  for  a  study  of  Polar  bears  and 
icebergs.  W.  T.  ^\■. 


The  Gilbert-Garret  competition  was  foundetl  at 
the  St.  Martin's  School  of  Art  in  1870.  This 
school,  probably  the  oldest  public  art  .school  in 
London,  then  occupied  the  top  floor  of  an  elemen- 
tary school  in  Endeli  Street,  but  now  after  nearly 
sixty  years  in  these  restricted  ([uarters  it  finds  itself 
in  possession  of  more  commodious  and  convenient 
premises  in  Charing  Cross  Road  adjoining  St. 
Mary's  Church,  which  have  been  assigned  to  it  by 
the    London  County    Council.     Here   ample    ac- 


commodation is  available  for  the  increasing  number 
of  students  attending  the  various  day  and  evening; 
classes  and  for  the  meetings  of  the  Sketch  Club 
which  serves  to  bring  together  the  jiast  and  present 
students  of  the  school.  Black-and-white  drawing 
and  designing  for  posters,  advertisement.s,  book- 
illustration,  iSrc,  are  prominent  features  of  the 
curriculum,  which  also  includes — besides  the  usual 
art-school  subjects — etching,  art  needlework,  and 
architectural  drawing.  Mr.  J.  E.  Allen,  A.R.C.A., 
is  tlie  Principal,  and  he  is  assisted  by  a  staff  of 
twelve  teachers. 

HULL. — Mr.  J.  Barrie  Robinson  is  one 
of  a  small  band  of  workers  at  the 
Kingston-upon-Hull  Municijial  School 
of  Art  who  have  been  attracted  by  the 
modern  revival  of  the  earlier  reproductive  arts,  and 
in  the  accompanying  illustrations  .some  results  of 
his  experiments  in  the  manner  of  the  early  wood- 
block printers  are  shown.  Always  a  close  student 
of  nature,  he  of  necessity  at  first  interpreted  her 
chiefly  in  her  simpler  moods,  making  the  most  of 
the  technical  advantages  offered  by  the  silhouette. 
^^'ith  increased  power  of  expression,  however, 
greater  subtleties  of  tone  have  ensued,  as  in  the 
evening  dock  scene  at  Hull,  and  this  development 
no  doubt  heralds  a  still  wider  range  of  expression, 
including  colour.     Mr.  Robinson  was  very  success- 


'A    MliMK    HV    INI'.    ^KA,    VOKKnIIIKI', 
242 


«Oi'il-li.N0KA\  IM.    IIV   .1.    llAKKil.    KciUI.NsdN 


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Reviews  and  Notices 


ful  with' his  prints  in  the  last  National  Competition, 
though  he  had  only  taken  up  wood-engraving  a 
short  time  previously,  and  had  only  the  spare  time 
left  over  from  his  occupation  as  a  school  teacher  to 
pursue  his  art  studies.  S.  R. 

REVIEWS  AND   NOTICES. 

Charles  Cornier.    By  Fr.\nk.  Gibson.    (London  : 
John  Lane.)     21s.  net. — Mr.  Frank  Gibson's  essay 
on  the  life  and  work  of  Charles  Conder  has  ap- 
peared just  at  the  right  moment — when,  owing  to 
the   growth    of  movements    expressed   in   violent 
terms  of  form  and  colour,  the  delicate  twilight  art 
of  Conder  is  in  danger  of  being  for  the  moment 
undervalued.     That   artist   was    so    perfectly   the 
type  of  a  great  painter  that  his  art  reflected  the 
mood  of  his  time  intimately,  and  in  the  valuable 
record  of  his  achievement  which  the  copious  illus- 
tration of  this  volume   affords,  we  are   reminded 
that  in  this  country  the  needle  first  pointed  in  the 
direction  which   things  are  now    taking  with  the 
newest   schools    in    the   few   pieces   in   oil    which 
Conder  executed  just  before  his  final  illness.     We 
remember  the  complete  change  that  took  place  in 
his  art  after  a  visit  to  Spain  towards  the  end  of  his 
life,  and  an  exhibition  held  at  the  Leicester  Gallery 
of  larger  work,  containing  such  pictures   as    The 
Blue    Sofa,    illustrated    in    this    volume.     These 
would  be  much  better  understood  to-day,   in  the 
light  of  recent  developments,  than  they  were  in  his 
own  time.     In  many  of  those  works  it  seemed  to 
us,  though  on  the  large  scale  his  imperfect  training 
in  draughtsmanship  showed  disastrously,  there  was 
the  expression  of  a  greater  Conder  than  ever  ap- 
peared in  the  delicate  fantasies  on  silk  for  which 
he  was  so  famous.     In  the  later  canvases  he  turned 
to  actuality,  and  his  realism  was  coloured  by  the 
highly  imaginative  mind  which  he  possessed.     On 
the  bigger  scale,  too,  the  immense  resources  of  his 
colour  were  revealed.     As  a  colourist  he  will  per- 
haps come  to  be  recognised  among  the  greatest  of 
the    English    school.     In    temperament    his    work 
showed  a  marked  affinity  to  that  of  Beardsley,  and 
it   is   interesting   in    this   connection  to  mention, 
what  Mr.  Gibson  has  omitted  to  record,  that  one 
of  the  most   fascinating   examples   of  the  art  ot 
writing    "  words    to    pictures "    was    penned    by 
Beardsley's  sister  Mabel  to  Conder's  paintings  in 
Mr.  Herbert  Vivian's  u[)hemeral  periodical,  "  The 
Rambler."      Mr.    Gibson's   account    of    Conder's 
artistic  development  is  singularly  interesting.     The 
biography    is    not  exhaustive,  but    it    is    intimate 
and  sympathetic,   and  in    its  equitable    tone  will 


serve  to  perpetuate  the  memory  of  the  artist 
better  than  any  other  style  we  can  imagine.  It' 
leaves  the  reader  with  no  false  conception  of 
Conder's  unique  position,  as  an  artist  embarrassed 
to  a  degree  by  limitations  but  with  a  distinction  of 
mind  and  a  power  of  giving  it  expression,  through 
imaginative  pattern  and  mystery  of  colour,  for 
which  we  shall  find  no  equivalent  unless  we  look 
beyond  the  lesser  names  in  the  history  of  art.  The 
book  contains  a  catalogue  of  the  artist's  lithographs 
and  etchings  compiled  by  Mr.  Campbell  Dodgson 
of  the  British  Museum,  and  one  hundred  and 
twenty-one  illustrations,  many  of  them  in  colour, 
making  a  volume  of  sufficient  importance  in  ap- 
pearance to  represent  the  lifework  of  the  short- 
lived individualist  whom  it  commemorates. 

Stained  Glass  oj  the  Middle  Ages  in  England  and 
France.  Painted  by  Laurence  B.Saint.    Described 
by  Hugh  Arnold.     (London  :   A.  and  C.   Black.) 
25^-,    net. — Ancient    Painted    Glass    in   England, 
iryo-ijoo.      By    Philip    Nelson,  M.D.,  Ch.B., 
F.S.A.       (London:     Methuen.)       75.     6d.     net. — 
Although  the  titles  of  these  two  works  suggest  that 
they  cover  the  same  ground,  at  all  events  in  so  far 
as  old  English  stained  glass  is  concerned,  the  plan 
and  scope  of  the  two  are  in  fact  widely  different. 
I  )r.  Nelson's  volume,  which  belongs  to  the  series  of 
"  Antiquary's  Books,"  and  except  for   the  frontis- 
piece   contains    only  black-and-white    illustrations, 
consists  almost  in  its  entirety  of  an  inventory  of  all 
the   painted   glass    now   extant    in   churches,  &c., 
throughout  England  which  can  be  assigned  to  the 
period  indicated  in  the  title.     This  inventory,    in 
which  a  county  classification  has  been  followed,  has 
obviously    been   compiled    with    much   care,    and 
should  prove  of  great  value  to  students  of  English 
mediaeval    arts   and  crafts.     It  is  clear  from  both 
these  contributions  to  the  subject  that  in  the  pro- 
duction of  stained  and  painted  glass  (which,  as  Mr- 
Arnold  remarks,  is  the  description  appropriate  to  the 
glass  under  consideration),  for  the  embellishment  of 
important  buildings,  such  as  cathedrals,  churches, 
baronial    halls  .and    the    like,    a   high    degree   of 
excellence    was    attained    by    English    craftsmen, 
though  it  is  equally  clear  that  at   the   outset   the 
chief    stimulus    came    from     France     and     more 
especially  Chartres.     The  points  of  contact  between 
the  English  and  the  French  schools  are  dealt  with 
by  Mr.  .Vrnold,  whose  work  is  restricted  to  a  dis- 
cussion of  the  characteristics  in  regard  to  design 
and  technique  of  a  series  of  typical   windows  of 
medieval  origin  now  existing.     His  text  is  accom- 
panied by    e.xcellent  illustrations    in   colour   from 
drawings  by  Mr.  Saint,  who  has  succeeded  in  render- 

245 


Revicivs  and  Notices 


ing  the  qualities  peculiar  to  stained  glass  very 
effectively,  the  examples  depicted  being  from 
churches  at  Canterbury,  York  and  Fairford  in 
England,  and  Chartres,  Poitiers,  Rouen,  and  Le 
Mans  in  France. 

Paris  Nights  and  other  Impressions  oj  Pkues 
and  People.  15y  Aknoi.d  ]5ennett.  With  illustra- 
tions by  E.  A.  RicKARiis,  F.R.I. K.A.  (London: 
Hodder  and  Stoughton.)  1 2s.  net. — On  our  way 
through  this  most  interesting  and  entertaining 
volume  of  impressions  we  find  Mr.  Bennett,  ajmipos 
of  his  having  on  one  occasion  successfully  worked 
a  system  at  the  tables  at  Monte  Carlo,  recording 
his  state  of  mind  in  the  following  words:  "I  was 
as  happy  as  though  I  had  shot  a  reviewer  without 
being  found  out."  Naturally  it  is  with  a  feeling  of 
profound  relief  that  one  finds  oneself  impelled 
quite  conscientiously  to  pen  those  eulogies  of  this 
clever  author's  latest  book,  which  even  were  the 
volume  of  much  less  interest,  the  (juaking  reviewer 
would  be  terrorised  into  writing !  In  the.se  essays 
he  gives  us  impressions  of  Paris,  London,  Italy, 
and  other  places  and  people,  and  his  observation 
is  shrewd  but  kindly  and  his  criticisms  though 
often  scathing  and  trenchant  are  always  sympa- 
thetic. His  chapters  on  The  British  Home  may 
be  read  with  much  amusement  but  they  most 
decidedly  "give  to  think."  The  eminent  archi- 
tect, whose  drawings  are  reproduced,  appears  here 
in,  to  us,  a  new  light.  Mr.  Rickards'  pencil  im- 
pressions are  airy  and  graceful  and  his  sketches 
though  mostly  very  slight  and  free,  are  full  of 
suggestion.  They  form  an  admirable  accompani- 
ment, or  what,  to  borrow  a  term  from  another  art, 
we  should  like  to  describe  as  a  delightful  obbligato, 
to  the  author's  excellent  essays. 

French  Colour  Prints  of  the  XVIIIth  Century. 
Introductory  Essay  by  M.  C.  Sai.aman.  (London  : 
William  Heinemann.)  £2  is.  net. — Unlike  the 
line  engraving  which  had  such  an  extensive  vogue 
in  France  before  the  Revolution  and  through  the 
facilities  offered  by  modern  i)rocesses  of  rejjroduc- 
tion  is  now  tolerably  well  known  outside  the  land 
of  its  origin,  the  French  colour-print  of  the  same 
peri(jd  and  equal  if  not  greater  jropularity  during 
that  peculiar  phase  of  French  history  has  until  now 
remained  practically  unknown,  except  to  a  restricted 
circle  of  connoisseurs  and  collectors,  outside  France. 
Both  species  of  print  are,  however,  eagerly  sought 
after  by  collectors,  and  at  Christie's  in  London  as 
well  as  at  the  Hotel  Drouot  in  Paris  the  com- 
petition for  good  impressions  waxes  very  keen. 
I'eculiar  interest  therefore  attaches  to  this  sump- 
tuous volume  in  which  Mr.  .Salaman  has  brought 
246 


together  a  typical  series  of  fifty  examples  of  these 
old  colour-prints,  the  reproduction  and  ])resentation 
of  which  merit  the  highest  praise.  Those  who 
have  studied  this  jjhase  of  French  art  know,  of 
course,  that  many  of  the  prints  which  saw  the  light 
in  the  years  preceding  the  great  social  upheaval 
were  of  such  a  character  as  to  negative  their  publi- 
cation in  a  work  of  this  kind,  and  there  may, 
indeed,  be  critics  who  will  demur  to  the  inclusion 
of  two  or  three  which  ai)pear  towards  the  end  of 
this  series,  such  as  I  Sonnet's  La  Toilette  and  Le 
Bain  after  Jollain,  Regnault's  Le  Bain  after 
Baudouin,  and  Le  Lever  by  and  after  the  same 
engraver,  but  "  naughtily  daring  '  as  many  of  these 
pre-Revolution  artists  oft«n  were,  to  quote  an  apt 
phrase  from  Mr.  Salaman's  introduction,  there  is 
always  a  certain  refinement  in  their  revelations  of  the 
vie  intime  which  enables  us  to  condone  much  of  their 
audacity,  and  so  instead  of  being  repelled  we,  with 
our  stricter  code  of  taste,  are  merely  amused.  In 
his  entertaining  and  illuminating  essay  Mr.  SaJaman 
sketches  the  history  of  the  French  colour-print  of 
the  eighteenth  ceritury  from  the  mezzotint  process 
invented  by  the  unfortunate  Le  Blon,  who  is 
represented  by  two  examples,  to  the  later  stages 
when  the  aquatint  process  became  general.  This 
essay  is,  indeed,  with  its  store  of  technical  and 
historical  information,  a  valuable  part  of  what  is  in  all 
respects  a  volume  of  great  and  permanent  interest. 
Fifty  Caricatures.  By  Max  Beerhohm.  (Lon- 
don :  \\'illiam  Heinemann.)  bs.  net.  —  The 
majority  of  these  caricatures  have  appeared,  if  we 
mistake  not,  at  the  recent  exhibition  of  this  artist's 
work,  but  even  though  the  volume  may  not  contain 
anything  that  is  absolutely  new  all  the  admirers  of 
Mr.  Beerbohm's  amazingly  witty  drawings  must 
feel  grateful  to  the  publisher  for  thus  collecting  so 
many  in  this  amusing  volume.  There  are  many 
caricaturists  of  various  kinds,  but  there  is  no  one 
who  adds  to  the  gifts  of  literary  .satire  and  keen 
and  penetrating  observation  such  a  jjower  of 
entirely  satisfying  artistic  expression.  However, 
Mr.  lieerbohni  stands  in  no  need  of  eulogy  for 
either  his  admirable  draughtsmanship  or  for  the 
brilliance  of  his  equally  clever  titles  to  the  carica- 
tures. 'I'o  i)ick  out  any  particular  drawings  for 
mention  is  difficult  as  all  are  so  excellent,  but  in 
the  one  of  Mr.  Masefield  we  have  a  caricature  of 
the  poet  and  of  a  certain  pha.se  of  his  art  most 
neatly  expressed  in  a  ])arody  of  three  lines  of 
\\'ordsworth,  and  in  Mr.  Joseph  J^ennell  thinking  oj 
the  ohfun,  and  the  delightful  Halfour  frieze  or  Mr. 
Roger  Fry  in  a  su|)er-post-imi)re.ssionistic  vein  Mr. 
Bcerhohm's  rapier  thrusts  are  swift  and  unerring. 


Reviews  and  Notices 


Provincial  Russia.  Painted  by  F.  De  Haenen. 
Described  by  Hugh  Stewart.  (London  :  A.  and 
C.  Black.)  7^.  6(/.  net. — This  is  a  companion  volume 
to  the  two  on  St.  Petersburg  and  Moscow  respec- 
tively which  belong  to  the  same  series  of  topo- 
graphical books  issued  by  Messrs.  Black.  It  is  of 
course  obvious  that  a  volume  of  considerably  less 
than  two  hundred  pages  of  fairly  large  type  letter- 
press can  give  no  more  than  a  bird's  eye  view  of  so 
vast  a  region  as  that  which  is  here  dealt  with — the 
whole  of  European  Russia  minus  the  two  capitals, 
but  so  far  as  it  goes  it  is  admirably  done  ;  we  note, 
however,  several  compositors'  errors  which  have 
escaped  observation,  as  Tchond  for  Tckoiid,  Door 
for  Dvor,  Tartan  for  Tartar  (Tatar  is  better), 
intelligentia  for  intelligentsia^  Zlafousk  for  Zlatoust, 
Oiupan  for  zhupan,  and  some  others.  There  are 
sixteen  coloured  illustrations  and  about  the  same 
number  in  black  and  white,  all  of  a  realistic 
character  in  harmony  with  the  purpose  of  the  book. 

Autumn  and  Winter.  By  \\.  Beach  Thomas 
and  A.  K.  Collet.  (London  :  T.  C.  and  E.  C. 
Jack.)  lo.f.  dd. — In  these  fascinating  pages  the 
authors  have  collected  a  bountiful  harvest  of  nature 
lore  regarding  animal  and  plant  life  in  the  British 
Islands  during  the  autumn  and  winter  months  of 
the  year.  The  book  is  cast  somewhat  in  the  form 
of  a  nature  calendar  or  diary  of  the  months  from 
September  to  February,  and  is  illustrated  by 
numerous  admirable  drawings  in  the  text  by  Mr. 
Allen  Seaby.  The  volume  further  contains  twelve 
colour-plates  after  pictures  by  the  late  Sir  Alfred 
East — four  magnificent  examples  of  whose  beautiful 
landscape  work  are  reproduced — Harry  Becker, 
C.  W.  Furse,  Buxton  Knight,  and  Haldane  Macfall. 
From  its  general  title  "  The  English  Year,"  we 
surmise  that  a  companion  volume  on  Spring  and 
Summer  is  to  follow,  and  we  look  forward  with 
interest  to  seeing  such  a  work  from  the  pen  of 
these  devoted  students  of  Nature. 

The  Near  East — Dalmatia,  Greece,  Constanti- 
nople. By  Robert  Hichen.  Illustrated  by 
Jules GuKRiN.  (London:  HodderandStoughton.) 
255-.  net. — The  thick  paper  on  which  this  book  is 
printed — almost  thick  enough  to  be  called  card- 
board— is  a  drawback  to  what  is  in  other  respects 
a  very  enjoyable  volume.  Greece — and  more 
particularly  Athens  with  its  surroundings — accounts 
for  more  than  half  the  volume,  and  of  the  rest 
Conistajntinople  has  about  two  pages  to  one  of 
Dalmatia — a  very  interesting  country,  worthy  of 
being  better  known,  where  a  Slav  race  has  long 
flourished  side  by  side  with  a  Latin  race  and  where 
traces  abound  of  other  races  belonging  to  neither  of 


i 


these  types.  By  way  of  illustration  the  volume 
contains,  in  addition  to  numerous  photograjjhic 
views,  a  series  of  coloured  plates  after  paintings  by 
Jules  Guerin,  an  artist  with  a  remarkable  feeling 
for  colour  and  therefore  the  right  man  for  recording 
the  sumptuous  chromatic  effects  which  these  regions 
explored  by  Mr.  Hichen  yield. 

Alt-WestfaUn.  By  Engelbert  freiuerr  von 
Kerckerinck  zur  Borg  and  Richard  Ki.apheck. 
(Stuttgart  :  Verlag  Julius  Hoffmann.)  30  marks. 
— The  value  of  such  a  work  as  the  present  one  lies 
in  the  fact  that  it  reveals  to  us  the  architecture  of 
a  country  which  till  now  has  been  neglected  by 
writers  on  this  subject.  This  is  probably  due  to  the 
fact  that  Westphalia  is  generally  regarded  as  a  manu- 
facturing region,  but  this  book  should  effectively 
dispel  this  illusion.  It  deals  in  a  comprehensive  and 
scholarly  manner  with  architectural  development 
from  the  Renaissance  to  modern  times,  while  the 
illustrations,  which  number  more  than  400,  and 
are  all  exceedingly  good,  reveal  to  us  many  delight- 
ful relics  from  Miinster,  the  old  v\'alled  capital  of 
"Westphalia,  where  numerous  fine  mansions  and 
other  buildings  dating  from  past  centuries  are  still 
in  existence.  With  its  many  castles,  such  as 
Nordkirchen,  Saffenberg,  Miinster,  \Verwelsburg,  to 
mention  but  a  few  of  them,  Westphalia  offers  a  good 
sKetching-ground  for  the  artist,  for  besides  its  ancient 
buildings  it  can  boast  of  some  delightful  scenery, 
and,  moreover,  it  is  practically  a  terra  incognita 
among  artists. 

Tlu  Art  oj  Silhouette.  By  Desmond  Coke. 
(London  :  Martin  Seeker.)  loj'.  bd.  net. — Mr. 
Desmond  Coke  has  not  set  out  to  write  a  history 
of  silhouette  ;  for  that,  as  he  says  in  his  preface, 
has  already  been  done  in  Mrs.  Nevill  Jackson's 
admirable  work.  He  leaves  himself  free  to  gossip 
interestingly  and,  despite  the  fact  that  he  once  heard 
silhouettes  described  as  "them  funeral  things," 
amusingly  as  well,  about  these  once  so  fashionable 
productions.  Mr.  Desmond  Coke  is  gifted  evidently 
with  the  true  collector's  spirit  and  has  no  incon- 
siderable knowledge  of  the  art  of  silhouette  as  it 
was  practised  in  its  various  forms,  and  his  book 
affords  interesting  reading.  There  are  a  number 
of  niuslrations  of  different  examples  included  in  the 
volume,  which  has  as  end  paper  a  charming 
coaching  scene  in  silhouette  by  Maxwell  Ayrton. 

In  Powder  and  Crinoline.  Old  Fairy  Tales  re- 
told by  Sir  Arthur  Quii.ler-Couch.  Illustrated 
by  Kav  Nielsen.  (London:  HodderandStough- 
ton.) 15J.  net.:  edition  dc  luxe,  42J.  net. — 
Readers  of  this  magazine  have  quite  recently  had 
an   opportunity  of  appraising  the  (juality  of   Mr. 

247 


Rei'iews  (Uid  Xotices 


Kay  Nielsen's  genius  as  a  book  illustrator,  and  it 
is  therefore  scarcely  necessary  for  us  to  say  any- 
thing here  on  that  point.  His  contribution  to  this 
ver)'  attractive  gift-book  consists  of  four  and  twenty 
plates  in  colour,  all  mounted  on  grey  paper,  besides 
numerous  decorative  embellishments  in  the  shape 
of  chapter  headings,  tailpieces,  iVc,  and  it  also 
appears  that  the  book  itself  was  the  outcome  of  a 
suggestion  of  his.  The  book  contains  seven 
stories,  and,  as  implied  by  the  title-page,  none  of 
them  are  new,  but  they  are  probably  most  of  them 
unfamiliar  to  the  majority  of  English  readers. 
"  iMinon-Minette,"  "  Felicia,"  and  "  The  Twelve 
1  )ancing  Princesses "  are  from  French  sources ; 
"  Rosanie  "  is  derived  from  Andrew  Icing's  "  Red 
Fairy  Book.'  These  four  represent  the  age  of 
"  Powder."  Some  difficulty  was  found  in  getting 
suitable  stories  appropriate  to  "  Crinoline  "  days, 
but  the  three  stories  which  do  service  in  that  con- 
nection make  delightful  reading.  The  last  of 
them,  "The  Czarina's  Violet,"  purports  to  record 
an  actual  occurrence  in  which  Prince  Bismarck 
played  a  part,  but  the  romantic  note  in  the  incident 
has  been  adroitly  turned  to  account. 

Princess  Badoura.  A  tale  from  the  Arabian 
Nights  retold  by  Laurence  Hor.sMAN.  Illus- 
trated by  Edmund  Dui.ac.  (London :  Hodder 
and  Stoughton.)  \qs.  M.  net. — At  this  time  of  year 
we  genuinely  look  forward  to  the  production  which 
is  to  represent  the  genius  of  Mr.  Dulac  in  the 
season's  publications.  In  the  province  of  coloured 
book  illustration  at  the  present  lime  there  is  hardly 
any  one  who  possesses  his  refinement  of  conception 
and  execution.  Mr.  Dulac  seems  to  bear  in  mind 
always  the  final  result,  which  will  include  the 
surface  of  the  paper  on  which  his  work  is  printed. 
While  some  artists  make  a  grievance  of  the 
polished  surface,  he  makes  the  most  of  it  to  attain 
a  certain  effect,  as  of  coloured  porcelain,  wliich 
assists  the  Oriental  character  of  his  tale  ;  aiid  he 
never  disregards  the  claim  for  exquisite  finish  which 
every  one  who  enjoys  book  illustration  and  em- 
bellishment find  themselves  making  as  essential  to 
the  condition  under  which  such  art  must  be  studied. 
In  such  an  illustration  as  Camaralzaman  finds  the 
Talisman  the  artist  attains  to  a  high  achievement 
of  colour  pattern.  In  all  the  designs  there  is 
evidence  of  his  own  pleasure  in  making  tJiem.  We 
can  think  of  no  work  that  has  recently  passed 
through  our  liands  that  we  would  recommend 
before  this  one  to  those  who  wish  to  introduce  liie 
rising  generation  to  one  of  the  great  stories  of  the 
Arabian  Nights  in  all  the  glamour  which  pertains  tt) 
these  tales  of  the  l^ast. 
348 


Motlur  Goose.    Illustrated  by  Arthur  Rackham. 

(London:  Heineniann.)  hs.  net. — This  book  of 
old  Nursery  Rhymes  with  its  fascinating  and 
really  artistic  cover  in  imitation  of  a  "sampler," 
its  convenient  size  and  bold  type  is  in  every  respect 
an  ideal  one  for  the  nursery.  Whether  Mr. 
Rackham  is  the  ideal  illustrator  for  such  books  is 
a  question  which  the  denizens  of  the  nursery  are 
perhaps  the  most  competent  to  decide,  but  froni 
the  standpoint  of  the  grown-up  he  certainly  appears 
here  at  his  best.  On  occasions  he  has  been  apt  to 
spoil  a  beautiful  drawing  by  the  attempt  to  combine 
opaque  masses  of  black  ink  with  transparent 
colours,  but  when  using  his  pen  merely  for  purposes 
of  outline,  as  he  docs  fortunately  in  most  of  the 
instances  in  this  book,  no  one  is  happier  than  Mr. 
Rackham  :  his  drawing  is  impeccable,  his  invention 
inexhaustible,  and  a  true  sympathy  with  child-life 
and  nature  breathes  throughout  his  work. 

Quality  Street.  A  Comedy  in  four  Acts  by 
J.  M.  Barrie.  Illustrated  by  Hugh  Thomson. 
(London  ;  Hodder  and  Stoughton).  155.  net, 
edition  de  luxe  42^-.  net. — "Quality  Street"  was 
produced  ten  years  ago  and,  as  every  one  knows,  the 
plot  is  laid  in  the  stirring  times  of  the  Napoleon 
\\'ars,  when  the  destiny  of  many  an  indivitlual  was 
settled  by  the  recruiting  sergeant.  It  would  have 
been  difficult  to  find  a  better  illustrator  than  Mr. 
Hugh  Thomson  to  supply  the  pictorial  accompani- 
ment to  the  text  of  such  a  play.  His  sympathies 
are  evidently  with  pre-\'ictorian  periods  ajid  the 
drawings  he  contributes  to  this  volume  show  that 
he  has  entered  fully  into  the  spirit  of  the  play  and 
has  thoroughly  familiarised  himself  with  the 
characteristics  of  the  Ceorgian  era.  The  jjlates  in 
colour  number  more  than  a  score,  and  in  addition 
there  are  numerous  drawings  in  line  only.  They 
are  all  very  charming,  the  former  especially,  the 
artist's  discreet  use  of  colour  in  conjunction  with 
graceful  line-work  giving  them  a  special  ajjpro- 
priateness  as  book- illustrations. 

The  Ha/</>y  Prinee,  and  other  Tales.  By  Oscar 
Wu.DE.  Illustrated  by  Charles  Robinson,  {\j3n- 
don  :  Duckworth  and  Co.)  1 2S.  6d.  net. — To  illus- 
trate appro[)riately  these  beautiful  allegories  written, 
we  believe,  early  in  the  author's  literary  career,  an 
artist  of  delicate  fiincy  is  called  for  and  in  Mr. 
Charles  Robinson  wc  have  the  very  man  for  the 
task.  The  drawings  he  has  made  for  this  edition 
are  excellent,  but  in  his  colour  work,  beautiful 
though  it  is  and  much  as  we  admire  it,  we  do  not 
feel  that  lie  has  quite  "fiiund  himself"  It  is  in 
the  numerous  little  drawings  and  decorations 
in    pure   line   that    adorn   the    text-pages    that    the 


Reviews  and  Notices 


artist  is  at  his  very  best  and  liis  work  of  this  kind  is 
always  instinct  with  a  simplicity,  a  grace  and  charm 
that  is  peculiarly  characteristic  of  his  art. 

The  Wind  in  the  JVillmvs.  By  Kenneth 
Grahame.  Illustrated  by  Paul  Branso.m.  (Lon- 
don :  Methuen  and  Co.)  75.  6d.  net. — We  count 
ourselves  among  the  warmest  admirers  of  Mr. 
Orahame's  charming  books  and  this  perhaps  makes 
one  especially  critical  of  any  illustrations  to  them. 
The  pictures  here  reproduced  are  we  presume 
intended  to  form  the  special  interest  of  this  new 
edition  of  "  The  Wind  in  the  Willows,"  but  we  are 
sorry  to  say  we  find  them  somewhat  disappointing. 
Mr.  Bransom  is  certainly  a  clever  artist  and  his 
drawings  are  not  without  charm,  but  in  illustrating 
this  book  he  seems  somehow  to  have  failed.  The 
author  tells  the  story  of  some  obviously  "fairy 
tale  "  animals,  but  in  depicting  the  various  characters 
with  so  much  fidelit)-  to  nature  and  with  a  disregard 
for  all  human  characteristics  and  other  appur- 
tenances so  minutely  and  quaintly  described  by  the 
author,  the  artist  seems  to  us  to  have  entirely 
missed  the  spirit  of  this  delightful  romance. 

Piedmont.  By  Estella  Canziani  and  Eleanox/r 
RoHDE.  (London;  Chatto and \\'indus.)  2U-.net. — 
Some  few  years  ago  we  had  the  pleasure  of  noticing 
Miss  Canziani's  extremely  interesting  volume 
dealing  with  the  costumes,  traditions  and  songs  of 
Savoy,  and  now  in  the  companion  volume  before 
us  she  and  her  collaborator  give  an  equally  interest- 
ing,account  of  their,  experiences  and  investigations 
in  Piedmont,  a  region  no  less  rich  in  legendary 
lore  and  still  to  a  large  extent  faithful  to  its 
ancient  traditions  and  usages.  The  narrative  is 
obviously  the  result  of  intimate  personal  acquaint- 
ance with  the  people  and  places  described  and  is 
told  in  fascinatingly  simple  language  wholly  free 
from  affectation.  The  student  of  folk-music  in 
particular  will  feel  indebted  to  Miss  Canziani  for 
transcribing  the  words  and  music  of  many  of  the 
songs  of  the  Piedmontese  peasants  and  for  several 
examples  of  their  dance-music.  The  pictorial 
accompaniment  to  the  letterpress  consists  of  fifty 
illustrations  in  colour  besides  numerous  line  draw- 
ings by  Miss  Canziani  and  they  supplement  the 
text  admirably  by  their  veracious  portrayal  of  peasant 
types  and  local  scenery. 

A  Sea  Anthology.  Selected  and  illustrated  by 
Alfred  Rawlings.  (London:  Gay  and  Hancock.) 
3 J.  6d.  cloth  :  6.f.  leather. — A  small  book  of  dainty 
water-colour  sea-pieces  reproduced  as  accompani- 
ment to  a  selection  of  poems  and  prose  passages 
from  great  sources.  The  cover  is  of  dark  green 
cloth  with  extremely  attractive  gold  embellishment. 


Among  the  daintiest  books  for  the  nursery  that 
have  come  under  our  notice  this  season  are  the 
Litt/c  Rhyme  Books  published  by  Augener  Ltd. 
each  containing  a  selection  of  favourite  rhymes 
accompanied  by  charming  illustrations  in  colour  by 
H.  ^\'illebeck  Le  Mair,  a  young  lady  with  a  remark- 
able talent  for  decorative  composition.  There  are 
four  of  these  little  books,  which  are  priced  at  i,y.  net 
each,  and  all  are  very  tast.efully  got  up. 


Messrs.  Yamanaka  and  Co.,  the  well-knovv'n 
importers  of  Japanese  and  Chinese  works  of  art, 
are  showing  during  the  present  month  in  their 
London  galleries  at  127  New  Bond  Street,  an  ex- 
tremely interesting  collection  of  Chinese  bronze 
statuettes.  

We  have  received  from  the  Duchess  of  Suther- 
land's Cripples'  Guild  a  beautifully  illustrated 
brochure  showing  numerous  examples  of  the  silver 
and  silver-plated  articles  of  domestic  use  and 
ornament  produced  in  the  workshops  started  by 
the  Duchess  fourteen  years  ago  at  Trentham, 
Staffordshire,  for  the  training  of  helpless  cripples 
as  craftsmen.  The  articles  produced,  which  are 
all  hand-wrought,  are  on  sale  at  the  Guild's  London 
showrooms,  13  and  14  New  Bond  Street. 


Messrs.  L.  and  C.  Hardtmuth,  of  Kingsway,  the 
European  agents  for  the  famous  Waterman  Foun- 
tain Pens  and  Koh-i-Noor  Pencils,  which  they  offer 
in  many  attractive  styles  and  shapes  suitable  for 
presentation,  are  introducing  two  simple  but  useful 
devices  for  hanging  pictures  and  other  purposes. 
One  is  the  Moore  Push-Pin,  which  has  a  solid 
transparent  glass  head  and  a  thin  but  strong  steel 
point  which  can  be  pushed  into  wood  and  plaster 
without  the  use  of  a  hammer  and  does  not  injure 
the  wall,  the  head  forming  a  firm  and  invisible 
support  for  small  pictures.  The  other  appliance 
is  the  Push-Less  Hanger,  consisting  of  a  brass 
suspender  held  by  a  special  nail  inserted  slantwise  ; 
it  is  made  in  two  sizes — one  for  pictures  up  to 
10  lbs.  in  weight,  the  other  for  anything  up  to 
100  lbs.  

In  the  Poster  competition  recently  organised  by 
the  Three  Arts  Club  over  one  hundred  and  twenty 
designs  were  received,  apd  the  prize  of  ;^io  was 
awarded  to  1).  M.  Hazlett,  of  Bournemouth,  a 
design  by  Archibald  Wells  being  also  selected  for 
the  Club's  Arabian  Nights'  Ball.  There  will 
probably  be  another  competition  next  month,  with 
first  and  second  prizes. 

249 


The  Lay  Figure 


T 


HE    LAY    FIGURE:     ON    COT- 
TAGE  ARCHITECTURE. 


"  WiiA  1  a  lot  of  talk  there  is  just  now  about 
the  housing  of  the  rural  population,"  said  tiie  Man 
with  the  Red  Tie.  "  It  seems  to  have  become  of 
late  one  of  the  most  absorbing  questions  of  the 
mf)ment.'' 

"Oh  yes,  but  only  as  a  matter  of  politics,"  replied 
the  Architect.  "  It  is  not  a  question,  I  am  afraid, 
in  which  people  with  artistic  inclinations  are  taking 
much  interest." 

"  I  am  not  so  sure  about  that,"  broke  in  the  Art 
Critic.  "A  great  many  people  arc  much  concerned 
about  rural  housing  from  the  picturesque  stand- 
point, and  they  are  troubling  a  good  deal  about 
what  they  regard  as  the  serious  degeneration  in 
rustic  architecture.  It  is,  I  think,  becoming  a 
question  of  real  importance  to  every  one  who  is 
anxious  to  preserve  the  more  attractive  features  of 
this  and,  indeed,  all  other  countries." 

"  Then  you  would  agree  with  me,  I  expect,  that 
the  character  and  charm  of  rustic  architecture  are 
disappearing  rapidly?"  asked  the  Architect.  "I 
feel  it  strongly  myself,  but  I  was  beginning  to  be 
seriously  afraid  that  every  one  else  was  absolutely 
indifferent." 

"  Do  you  imagine  that  no  one  but  you  has  any 
sense  or  power  of  observation  ?  "  laughed  the  Man 
with  the  Red  Tie.  "  The  tendency  to  exalt  a  very 
stupid  type  of  utilitarianism  into  a  sort  of  fetish  and 
to  treat  all  idea  of  the  picturesque  as  if  it  were  an 
actual  impropriety  seems  to  me  to  be  one  of  the 
worst  difficulties  one  has  to  face  in  all  discussions  of 
the  rural  housing  problem." 

"  And  it  is  a  difficulty  that  is  likely  to  become 
more  acute  in  the  future,"  agreed  the  Critic.  "  I 
quite  admit  that  the  picturesque  cottage  is  dying 
out ;  the  last  nail,  I  fear,  will  be  driven  into  its 
coffin  when  the  Government,  as  seems  likely,  starts 
cottage  building  all  over  the  country." 

"  But  don't  you  think  the  Ciovernment  will  give 
architects  a  chance  ?  "  asked  the  Architect.  "  It 
might  do  something  to  revive  the  earlier  picturesque 
type." 

"  It  is  much  more  likely  to  ado|)t  a  kind  of  sealed 
pattern  and  to  stick  up  a  quite  unattractive  regula- 
tion building  in  every  district,"  scoffed  the  Man 
with  the  Red  Tie.  "  I  do  not  hope  much  from 
any  official  department." 

"  Yes,   that    is  likely  enough,"  said   the   Critic, 
"especially  as  a  good  deal  of  the  trouble  we  are 
talking  about  has  arisen  from  the  rigorous  imposi- 
tion of  local  by-laws  authorised  b)  Acts  of  Parlia- 
250 


nient.  The  sealed  pattern  is  undoubtedly  a  danger 
because  it  will  take  no  account  of  local  conditions 
and  will  allow  of  no  variation  to  suit  particular 
exigencies.  Half  the  charm  of  the  old-time  cottage 
was  its  automatic  adajjtation  to  local  conditions  ; 
it  fitted  naturally  and  happily  into  its  surroundings 
and  became  as  a  matter  of  course  part  of  the 
landscape." 

"  Ah,  those  bylaws  !  "  sighed  the  Architect.  "  I 
was  hoping  thai  under  an  intelligently  planned 
Government  scheme  they  might  be  made  less 
unreasonable,  or  at  all  events  a  little  more  elastic. 
They  are  undoubtedly,  as  a  consequence  of  their 
want  of  adaptability,  the  cause  of  many  of  the  evils 
which  we  are  deploring." 

"  And  they  will  probably  be  made  more  rigorous 
and  more  inelastic  if  a  very  vigorous  attempt  is  not 
promptly  made  to  stir  up  public  opinion  to  realise 
how  much  has  been  already  lost  and  how  much 
more  is  going  to  be  lost  in  the  near  future,"  de- 
clared the  Critic.  "  The  tendency  here,  and  in 
other  countries  too,  is  to  do  things  more  and  more 
by  rule,  to  become  steadily  more  commonplace  and 
stereotyped,  and  to  allow  always  less  scope  for  the 
display  of  individual  taste." 

"  I  suppose,  after  all,  these  much  abused  by- 
laws have  done  some  good  in  practical  ways," 
suggested  the  Man  with  the  Red  Tie. 

"  Some  good,  no  doubt,"  admitt-ed  the  Architect ; 
"  but  their  purpose  is  so  absolutely  utilitarian  that 
they  have  stood  sadly  in  the  way  of  artistic  progress. 
They  have  killed  the  old  thatched  cottage  with 
its  mud  walls  which  was  both  comfortable  and 
picturesijue,  and  they  have  brought  into  existence 
a  cheaply  built  brick  box  which  is  not  really 
weather-proof  or  pleasant  to  live  in  and  which  is 
certiiinly  appallingly  ugly.  Thpy  ha\e  created  a 
uniform  type  of  building  which  in  no  part  of  the 
country  assorts  in  the  least  with  the  landscape,  and 
which  is  too  stereotyped  in  its  plan  to  be  decently 
ada])table  to  the  needs  of  different  kinds  of  tenants. 
Really,  it  is  a  question  which  I  find  extremely 
difficult  to  answer,  whether  the  various  building 
regulations  by  which  we  are  so  hea\ily  weighted 
have  not  done  in  practical  matters  as  much  harm 
as  they  have  in  xsthetics." 

"  And  the  pity  of  it  is  that  all  this  harm  has 
been  done  unnecessarily,"  said  the  Critic.  "A 
picturesijue  cottage  which  is  comfortable  to  live  in 
would  appeal  to  the  countryman — who  is  not 
wanting  in  taste — far  more  than  the  brick  ho\ 
which  is  now  forced  upon  him.  Why  should  he 
not  have  what  he  wants  ?  " 

The  I-av  Figi'rk, 


A  Romanticist  Painter :  W.  Russell  Flint 


A 


ROMANTICIST    PAINTER: 
RUSSELL  FLINT. 


W. 


Among  the  many  faculties  with  which  an 
artist  should  be  endowed  few  can  be  accounted  as 
of  more  importance  than  the  power  to  invest  his 
work  with  a  consistent  and  significant  atmosphere. 
This  atmosphere  should  be  the  expression  of  his 
own  personal  taste  and  conviction,  of  that  selective 
instinct  which  guides  him  in  the  choice  and  treat- 
ment of  his  material,  and  of  that  capacity  for 
realising  his  impressions  which  is  necessary  to 
enable  him  to  make  intelligible  toother  people  the 
attitude  which  he  adopts  in  the  practice  of  his  art. 
If  he  cannot  convey  to  others  the  sentiment  by 
which  he  is  inspired,  his  production  must  always 
remain  unconvincing ;  it  will  be  unpersuasive  be- 
cause it  will  not  suggest  that  the  artist  himself  has 
arrived  at  any  definite  conclusion  about  the  aim 
and  purpose  of  his  effort. 

There  is,  however,  a  very'real  difference  between 
the  creation  of  an  atmosphere  and  the  adoption  of 
a  convention.  The  one  is  a  reflection  of  the  artist's 
strength,  the  other  of  his  weakness,  because  the 
atmosphere  comes  from  the  domination  of  intel- 
lectual and  temperamental  qualities,  while  the  con- 


vention is  merely  an  evasion  of  thought  and  a 
substitution  of  mechanical  mannerisms  for  inde- 
pendent and  original  activity.  When  the  artist 
lapses  into  a  convention  he  has  ceased  to  use  his 
intelligence,  he  has  lost  the  faculty  of  observation, 
he  has  become  simply  a  machine  which  turns  out  a 
sort  of  stock  art  pattern — a  lifeless  and  soulless 
piece  of  mechanism  incapable  of  any  variation  of 
movement  and  wanting  in  all  power  of  adaptation. 
But  if  in  his  practice  he  is  influenced  by  his 
temperament  and  if  he  uses  his  intelligence  to  dis- 
cover what  is  the  direction  in  which  the  best  results 
are  possible  to  him,  his  work  will  never  become 
conventional,  and  yet  it  will  bear  indisputably  the 
stamp  of  his  personality.  The  finer  artist  he  is, 
the  more  personal  it  will  be,  and  the  more  definite 
in  its  assertion  of  the  impressions  he  has  received 
and  of  the  conclusions  at  which  he  has  arrived.  It 
is  only  the  man  of  strong  character  and  with  the 
clearest  belief  in  himself  who  can  surround  the 
whole  of  his  production  with  the  atmosphere  of 
himself,  and  can  make  it  always  consistently  express 
his  intentions  ;  it  is  only  the  artist  with  the  firmest 
convictions  who  can  take  up  any  type  of  material 
and  so  shape  and  adapt  it  that,  without  any 
perversion   of  natural    realiiies,    it    will    illustrate 


'CONVERSATION  " 

LI.  No.  204. — February  1914 


WATER-COLOUR    BV    \\.    KISSEI.L   FLINT 


A  Romanticist  Painter :  JV.  Russell  Flint 


adequately  his  jesthetic  creed.  By  the  way  in 
which  he  can  assert  himself  in  his  work  the  degree 
of  his  capacity  is  measured  ;  the  more  plainly  he 
proves  it  to  be  his,  and  his  alone,  the  more  evident 
is  his  right  to  be  counted  as  a  master  of  his  craft. 

It  is  because  the  work  of  Mr.  Russell  Flint 
satisfies  these  conditions  to  an  unusual  extent  that 
he  has  a  special  claim  upon  the  attention  of  all 
serious  students  of  modern  art.  He  is  very 
definitely  a  painter  with  a  temperament,  an  artist 
who  looks  at  nature  in  a  manner  that  is  quite  his 
own,  and  whose  personal  taste  is  amply  apparent  in 
every  phase  of  his  production.  But,  at  the  same 
time,  he  does  not  allow  this  display  of  his  personal 
preferences  to  degenerate  into  a  mannerism  or  to 
become  simply  a  stereotyped  trick  which  saves  him 
from  the  exertion  of  thinking  out  new  ways  of 
expressing  himself.  He  keeps  his  mind  alive  to 
fresh  suggestions  and  allows  the  fullest  scope  to  his 
receptivity ;  all  that  he  does  with  the  suggestions 
he  receives  is  to  bring  them  into  agreement  with 
the  artistic  convictions  by  which  he  is  guided  and 
to  clothe  them  with  the  sentiment  that  seems  to 
him  to  be  appropriate. 

When  this  sentiment  is  analysed  it  is  seen  to  be 


a  kind  of  delicate  romanticism  :  there  is  in  every- 
thing  that  Mr.  Russell  Flint  produces  a  romantic 
atmosphere  which  makes  itself  felt  quite  as  much 
in  the  way  he  treats  his  material  as  in  his  choice 
of  subject.  His  love  of  romance  leads  him  often 
into  the  selection  of  motives  from  the  life  of  past 
ages  when  people  behaved  picturesquely  and  veiled 
the  commonplaces  of  existence  with  sumptuous 
pageantry  ;  but  it  colours  quite  as  obviously  his 
vi  ew  of  the  modem  world.  It  enables  him  to 
r  ealise  scenes  from  the  age  of  chivalry  with  all  the 
charm  and  pictorial  persuasiveness  that  must — as 
w  e  like  to  think — have  distinguished  them  ;  but  it 
helps  him,  also,  to  prove  that  there  are  romantic 
possibilities  even  in  the  life  of  our  own  times,  and 
that  the  artist  who  is  keen  to  recognise  these 
possibilities  need  not  revert  to  the  past  to  find 
scope  for  his  fancy. 

For  instance,  if  such  picturesque  inventions  as 
his  well-conceived  fantasies,  The  Huntresses  and 
the  Knight,  The  Interruption,  and  The  Mock  Europa, 
are  compared  with  an  evident  subject  from  modern 
life,  like  Conversation,  or  with  a  scene  like  Bathers 
on  a  Mediterranean  Beach,  which  might  belong  to 
any  period,  the  fact  that  the  atmosphere  with  which 


'  THE    MOCK    KUKOI'A 

«S4 


WAIKRCOIOUR    HV    W.     RUSSRl.l,    HINT 


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A  Ro7nanticist  Painter :  PV.  Rtissell  Flint 


they  are  invested  conies  from  the  artist  and  not 
from  the  material  he  has  selected  can  be  fully 
appreciated.  His  fantasies  are  convincing  because 
he  shows  in  them  a  regard  for  facts  which  relate 
quite  as  much  to  the  present  as  the  past,  his 
records  of  modern  realities  are  significant  because 
he  has  seized  upon  the  opportunities  they  afford 
him  to  invest  facts  with  that  charm  of  abstract 
beauty  which  is  the  foundation  of  true  romance. 
But  whether  he  is  re-creating  or  recording  it  is 
always  the  romantic  outlook  upon  which  his  mind 
is  fixed,  and  it  is  always  his  mind  that  directs  and 
controls  the  working  of  his  hand. 

It  is  the  same  in  his  landscapes  ;  he  never  is 
satisfied  to  present  a  truth  in  a  commonplace  way. 
A  serious  student  of  nature  he  assuredly  is — a 
shrewd  observer  who  dissects  and  analyses  with 
consummate  care.  But  to  the  power  of  analysis 
he  adds  a  remarkable  capacity  for  reconstruction, 
and  his  dissection  enables  him  to  eliminate  with 
certainty  what  is  unnecessary  and  to  build  up  with 
what  remains  a  record  of  nature  that  is  true  enough 
in  its  general  character,  and  yet  is  one  that  reflects 
indisputably  his  aesthetic  instinct  and  his  personal 
taste.      His  Autumn's  Fading  Glory  is  typical  of 


his  methods  in  landscape  painting  ;  a  subject  that, 
might  easily  have  become  too  literal  if  treated  by 
an  artist  deficient  in  the  poetic  sense,  it  has  been 
made  by  Mr.  Russell  Flint  the  means  of  conveying 
a  singularly  clear  impression  not  only  of  the  spirit 
of  nature  but  also  of  her  tragic  intensity. 

This  one  picture,  indeed,  sums  up  nearly  all  the 
qualities  which  make  his  work  in  landscape  so 
interesting  and  so  satisfying.  He  has  grasped  in 
it  just  what  was  requisite  to  explain  his  motive  and 
to  tell  his  story,  and  to  the  main  idea  he  has  with 
admirable  judgment  subordinated  all  those  minor 
details  which  would,  if  they  had  been  obtruded^ 
have  obscured  the  meaning  of  the  subject.  So, 
too,  in  others  like  the  Amalfi,  the  Capri :  Afternoon 
Sunlight,  and  the  Marina  Grande,  Sorrento,  he  has 
avoided  that  temptation  to  set  down  too  much 
which  always  lies  in  wait  for  the  painters  who  have 
not  learned  how  to  disregard  trivialities  and  who 
do  not  perceive  what  a  weakening  of  the  first 
impression  must  result  from  an  attempt  to  include 
in  their  record  all  that  nature  puts  before  them. 
In  all  these  paintings  he  has  allowed  a  singularly 
clear  perception  of  the  way  in  which  the  end  he 
desired  could   be  attained  to    govern   the  whole 


Atmi/mn  ••'»-'  '-ff'iftt- ! 


"the  interruption' 


WATER-COLOUR    BY   W.    RUSSELL   FLINT 

257 


A  Romanticist  Painter :  IV.  Riissell  Flint 


progress  of  his  work  from  its  first  inception  to  its 
final  completion.  He  has  started  with  a  definite  pur- 
pose in  view  and  to  the  working  out  of  this  purpose 
he  has  devoted  the  whole  of  his  attention — ignoring 
with  commendable  discretion  everything  that  would 
not  bring  him  directly  to  the  right  conclusion. 

It  is  not  unreasonable  to  assume  that  Mr.  Rus.sell 
Flint's  unusual  acuteness  of  artistic  judgment  is 
due,  partly  at  all  events,  to  the  nature  of  his  early 
upbringing,  and  that  the  rapidity  of  his  mental 
development  resulted  directly  from  the  associations 
of  his  youth.  He  was  born  in  Edinburgh,  in  1880, 
and  his  father,  F.  Wighton  Flint,  was  an  artist  of 
exceptional  technical  ability  and  endowed  with  a 
keen  appreciation  of  the  charm  and  character  of 
Highland  scenery.  With  .such  a  home  influence  it 
is  (juite  intelligible  that  the  lad  not  only  learned 
the  practical  side  of  painting  thoroughly  but 
acquired  also  habits  of  observation  and  reflection 
which  have  been  of  in- 
finite value  to  him  in  later 
life :  upon  the  judicious 
training  he  received  during 
his  earliest  years  from  a 
man  of  great  ca|)acit)>'  and 
wide  experience  he  was 
able  to  build  up  the  con- 
fident and  intelligent  ac- 
complishment which 
makes  him  now  such  a 
prominent  figure  in  the 
art  of  our  time. 

His  first  professional 
experience  was  gained  at 
Edinburgh  as  a  com- 
mercial designer  and  litho- 
grapher for  a  local  printing 
firm,  but  while  he  was 
engaged  on  this  work  he 
spent  his  evenings  in  study 
at  the  Fdinburgh  School 
of  Art.  In  1900  he 
migrated  to  London, 
where  for  eighteen  months 
he  was  eni])loyed  as  an 
illustrator  for  a  medical 
publishing  house — doing 
things  that  it  can  well  be 
imagined  were  not  par- 
ticularly pleasing  to  a  man 
with  jwetic  aspirations — 
but  after  a  while  he  found 
a  more  congenial  occupa- 
tion, and  in  1904  com- 
258 


menced  a  four  years'  engagement  on  the  regular 
staff  of  the  "Illustrated  London  News."  Since 
then  he  has  been  increasingly  busy  as  an  illus- 
trator and  has  worked  for  a  large  number  of  journals 
and  magazines,  but  latterly  he  has  divided  his 
time  fairly  equally  between  illustrative  work  in 
colour  and  picture  painting.  He  is  a  member  of  the 
Royal  Scottish  Water  Colour  Society,  the  Royal 
Institute  of  Oil  Painters,  the  Art  Workers'  Guild, 
and  other  societies  ;  he  has  gained  a  silver  medal 
at  the  Salon  for  his  water-colour  illustrations  to  the 
"  Morte  d'Arthur,"  and  he  has  pictures  in  the  col- 
lections of  the  King  of  Italy,  and  the  Italian  city  of 
Udine,  and  in  the  Liverpool  and  Cardiff  Galleries, 
so  that  he  may  fairly  claim  to  have  secured  a  larger 
measure  of  recognition  than  usually  comes  to  an 
artist  of  his  age. 

Some  consideration  must  be  given  to  his  technical 
methods   because,    naturally  enough,    the  way    in 


WATEK-COLOUR    ILLUSTRATION   TO  CHAUCBR's   CANTERBURY  TALKS 

BV    W.    RUSSELL    KUNT 


A  Romanticist  Painter :  IV.  Russell  Flint 


t  . 


■..» 


'1> 


"  AMALFI  ' 


WATER-COLOUR     BY    W.    RUSSELL   FLINT 


"CArRI:    AFTERNOON    SUNLIGHT" 


WATF.R-COLOUR    BY    \V.    RUSSELL   FLINT 
261 


I 


A  Romanticist  Painter :  IV.  Russell  Flint 


which  he  works  helps  very  greatly  to  make  in- 
telligible the  purpose  and  intention  of  his  art.  He 
is  a  particularly  accomplished  craftsman  and  in 
water-colour  painting  especially  he  has  a  certainty 
of  method  that  makes  the  solution  of  even  the 
most  difficult  of  technical  problems  a  matter  of 
comparative  ease.  It  is  here  that  the  effects  of  his 
admirable  early  training  can  be  plainly  recognised. 
It  is  characteristic  of  Mr.  Russell  Flint's  water- 
colour  work  that  though  the  methods  he  uses  are 
comparatively  complex  he  is  able  to  achieve  in  the 
final  result  an  air  of  spontaneity  and  fresh  direct- 
ness that  is  entirely  satisfying.  He  really  builds 
up  his  picture  gradually  by  alternately  laying  in 
broad  and  well-defined  washes  and  scrubbing  down 
what  he  has  laid  in  so  as  to  bring  it  into  a  proper 
condition  for  the  next  stage  of  development.  At 
the  last  he  puts  in  crisply  and  with  clean  decision 
sharp  touches  of  colour  which  define  the  facts  to 
which  he  wishes  to  give  prominence,  and  these 
touches  bring  together  the  whole  design  and  make 
it  live.  Of  course  this  method  demands  a  very 
clear  conviction  from  the  outset  and  a  conviction, 
too,  that  must  be  kept  unaltered  through  all  the 
stages  by  which  the  picture  is  evolved  ;  but  then 
this  power  of  visualising  and   retaining    his    first 


impression  is  one  that  he  has  cultivated  so  well 
that  there  is  little  danger  of  his  going  astray. 

What  he  is  likely  to  do  in  the  near  future  is  an 
interesting  subject  for  speculation  ;  to  an  artist 
whose  age  is  only  thirty-three,  and  whose  work  is 
already  of  such  unquestionable  excellence,  almost 
any  degree  of  achievement  would  seem  to  be 
possible.  Naturally,  much  depends  upon  the  view 
he  takes  of  his  professional  responsibilities,  but  in 
that  matter  he  has  proved  himself  to  be  too 
sincerely  in  earnest  for  any  apprehension  to  be  felt 
that  he  will  relax  his  effort.  He  is  now  taking 
pains  to  enlarge  his  outlook  and  to  gain  new  ex- 
periences— he  has,  for  e.xample,  just  spent  nine 
months  in  a  tour  through  Italy  and  Sicily,  visiting 
a  number  of  places  and  making  a  great  variety  of 
sketches.  But  so  far  there  is  no  sign  that  he  feels 
any  inclination  to  modify  that  view  of  life  and 
nature  which  has  hitherto  coloured  so  pleasantly 
the  whole  of  his  production.  A  romanticist  he  is 
by  instinct  and  association,  and  a  romanticist  it  is 
to  be  hoped  he  will  remain  to  the  end,  because 
after  all  there  is  nothing  like  romance  to  give  a 
seductive  atmosphere  to  an  artist's  work  and  to 
keep  him  out  of  those  pitfalls  which  beset  the  path 
of  the  mere  materialist.  A.  L.  B.'^ldrv. 


'a  fountain  at  frascaii 
26j 


iiii 

WATEKCOIOUR    BY    \V.    Rl'.SSKl.I.    FLINT 


"AUTUMN'S    FADING    GLORY."     from  A 

WATER-COLOUR   DRAWING   BY   W.    RUSSELL    FLINT. 


Some  Examples  of  Modern  English  fewellery 


S 


OME   EXAMPLES    OF    MODERN 
ENGLISH  JEWELLERY. 


Of  the  various  forms  in  which  the  sesthetic 
sense  manifests  itself  that  of  personal  adornment 
is  without  doubt  at  once  the  most  primitive  and 
the  most  universal.  Abundant  evidence  in  support 
of  this  assertion  is  forthcoming  in  the  records  of 
exploration  in  Africa,  Asia,  and  America,  and  in  the 
narratives  of  travellers  in  every  part  of  the  world 
amongst  all  types  of  mankind.  The  articles  which 
the  savage  uses  for  this  purpose  may  be  very  far 
removed  from  what  we  understand  as  jewellery, 
but,  simple  as  they  may  be,  they  have  the  same 
fascination  for  him  as  the  precious  jewels  worn  by 
noble  and  wealthy  ladies  in  civilised  countries ; 
they  may  be  nothing  more  than  coloured  glass  beads, 
but  as  we  know  from  travellers  who  can  speak  with 
authority  on  this  point,  they  are  a  real  joy  to  the 
unsophisticated  heart  of  the  child  of  nature — they 
are  in  fact  his  jewels — and  let  us  not  forget  the 
meaning  of  the  word,  for  does  not  "  jewel "  like 
its  French  cognate  joyau  come  from  the  Italian 
gioja  and  the  Latin  gaudium,  meaning  joy  ?  And 
then  what  an  immense  part  these  "joy"  things 
play  in  modern  civilised  life  !     If  we  look  around 


us  we  shall  find  the  custom  of  wearing  some  orna. 
ment  or  other  almost  universal ;  from  the  lowest 
to  the  highest,  very  few  will  he  found  who  are 
absolutely  devoid  of  some  article  which  falls 
within  the  category  of  jewellery  in  its  broadest 
signification. 

To  cater  for  this  perennial  and  ubiquitous  re- 
quirement of  humanity  a  whole  army  of  workers  is 
employed  in  various  of  the  great  cities  of  Europe 
where  the  manufacture  of  jewellery  is  carried  on  as 
a   highly  organised  branch   of  industry — London 


SILVER    PEXDANT    SET    WITH     BLISTER    PEARLS,    GREEN 
AGATE   AND  TURQUOISE.       BY   FRANCES   RAMSAY 


SILVER   CROSS   WITH   GOLD   SPIRALS  SET  WITH  CABOCHON 

AMETHYSTS    AND    FINE     BLISTER     PEARLS.      BY     VIOLET 

RAMSAY 


and  Birmingham  in  England  and  Paris  and 
Vienna  on  the  Continent  still  remain  the  principal 
sources  of  the  bulk  of  the  jewellery  which  finds  its 
way  to  myriads  of  shops  in  all  quarters  of  the 
globe  and  thence  to  the  millions  who  purchase  and 
wear  it.  And  in  this  industry  like  most  others 
the  tendency  towards  specialisation  has  been 
growing,  and  as  may  be  readily  surmised  the  use 
of  machinery  and  mechanical  appliances  of  various 
kinds  is  extensive,  especially  of  course  for  the 
production  of  the  cheaper  grades.    In  the  workshops 

265 


Sofne  Examples  of  Modcr/i  Eiig/is/i  Jcivcllcry 


GOLD   NECKLACE  SET   WITH    AQUAMARINES   AND  SPINEL    RIBY 

BY   C.    M. 


of  the  output  of  the  com- 
mercial workshop  is,  the  con- 
ditions under  which  it  is 
jjroduced  deprive  it  of  the 
individuahty  possessed  by  the 
article  that  is  wrought  by 
hand,  and  indeed  a  truly 
artistic  production  can  as  a 
rule  only  ensue  where  de- 
signer and  craftsman  are  one 
and  the  same  person,  cog- 
nisant as  designer  with  the 
possibilities  and  limitations  of 
the  raw  material  out  of  which 
the  object  is  to  be  fashioned, 
and  as  craftsman  fully 
equipped  with  the  technical 
skill  enabling  him  to  carry 
out  the  design  with  a  freedom 
and  spontaneity  which  will 
result  in  the  absence  of  all  that 


and  factories  where  it  is 
produced  on  a  large  scale 
there  is  a  sharp  differen- 
tiation between  designer 
and  craftsman  :  the  former 
is  rarely  anything  more 
than  a  draughtsman  who 
makes  drawings  to  be 
carried  out  by  artisans, 
while  among  the  latter 
there  is  a  considerable 
division  of  labour,  one 
doing  a  special  kind  of 
work  in  which  he  is  par- 
ticularly skilful,  while 
another  devotes  his  whole 
attention  to  some  other 
process  in  which  he 
excels. 

In  this  article,  however, 
we  are  not  concerned  with 
jewellery  produced  under 
conditions  such  as  these. 
It  will,  we  think,  be  gene- 
rallyconceded  that  in  every 
branch  of  craftsman.ship  it 
In  the  personal  and  indi 
vidual  note  tliat  consti- 
tutes its  particular  appeal, 
and  this  is  especially  lh( 
case  with  jewellery.  Tech- 
nically excellent  as  much 
266 


SILVER    VINE   LEAK   CLASP   SET   WITH    LAPIS    LAZILI  BY    VIOLET    RAMSAY 

(  The  propt-r(y  of  Mrs.  Kiissetl  Barrington ) 


r.uLli    ANU   MLVKR   NEl  KI.ACE  SET    Willi    IlIAMONIi.s   ANI>   I'BKIDOTn 

IIY    VIOLET    RAMSAY 
(  The  froperly  of  Mrs.  Tta  'I) 


Some  Examples  of  Modern  English  Jewellery 


a  most  precarious  and  uncertain  one.  Still  we  think 
it  undeniable  that  the  public  demand  for  work  of 
this    kind    has  increased  of  late   years — in   large 


SILVER    I'ENDANT 


BY    C.    M.    KIRKMAN 


is  rigid  and  stereotyped  and  to  introduce  those  little 
variations  however  minute  which  lend  a  peculiar 
charm  to  the  creations  of  the  true  artist-craftsman.  It 
is  remarkable,  too,  what  beautiful  work  can  be  pro- 
duced even  where  the  craftsman  has  at  his  command 
comparatively  simple  tools  and  ap- 
pliances but  possesses  an  instinctive 
feeling  for  what  is  becoming  and  the 
requisite  skill  to  put  his  ideas  into 
shape,  as  for  instance,  the  native 
working  jeweller  of  Hindustan,  who 
travels  from  place  to  place  in  much 
the  same  way  as  itinerant  tinkers  do 
in  this  country,  carrying  with  him  a 
small  equipment  of  implements  and 
executing  orders  at  the  houses  of 
his  patrons,  or  again  the  peasants 
of  Italy  of  whose  beautiful  work- 
manship numerous  examples  were 
given  in  a  recent  Special  Number 
of  The  Studio. 

As  compared  with  the  enormous 
output  of  the  factories  which  supply 
the  stores  and  shops  of  our  towns 
the  production  of  hand-wrought 
jewellery  by  independent  workers 
such  as  that  which  is  shown  in  the 
illustrations  to  this  article,  has  not 
up  to  the  present  time  assumed  any 
considerable  proportions ;  according 
to  Mr.  Rathbone,  who  touches  on 
the  economic  aspect  of  the  craft  in 
an  essay  prefixed  to  the  Catalogue 
of  the  British  Arts  and  Crafts 
Section  at  the  recent  Ghent  Inter- 
national Exhibition,  the  market  for 
the  produce  of  the  artist-craftsman  is 


"THE  ANGEL  OF  JUSTICE    :    OXIDISED 

SILVER    BUCKLE    SET    WITH    YELLOW 

FIRE   OPAL.      BY    R.    C.    PRICE 


"'^^i                            '.";                           ^/".^  .^1 

^.                        '• 

^^  -^ife'- 

-    ^;,  X              y- 

if 

I 

\ 

^v^m-^       ' 

^Hl> 

■| 

> 

V 

B 

GOLD    I'ENDANT    SET    WITH    OI'AI.S    AND    SAI'J'IIIRES. 


BY  KATE  M.  EADIE 
267 


Sotne  Examples  of  Modem  English  Jewellery 


GOLD   PENDANT  SET  WITH    PEARLS  A.\D   BLl'K 
AND  PINK  TOURMALINES.     BY  KATE  M.   EADIE 


measure,  no  doubt,  because  of  the 
improvement  in  the  quality  of  the 
work  executed  by  independent 
craftsmen  and  craftswomen,  whose 
numbers  have  considerably  in- 
creased in  recent  years  owing  to  the 
better  facilities  now  provided  for 
acquiring  an  understanding  of  the 
technical  methods  incidental  to  the 
fabrication  of  jewellery  and  other 
ornaments  of  a  similar  character 
and  purpose.  A  few  years  ago  it 
was  almost  impossible  for  any  one 
outside  the  trade  to  get  the  neces- 
sary workshop  practice,  and  as  a 
result  the  efforts  of  those  who 
essayed  to  produce  jewellery  in  the 
absence  of  this  training  often  had 
an  unmistakably  amateurish  ap- 
pearance ;  but  in  recent  years  the 
institution  of  workshops  with  expert 
instructors  at  many  of  the  art 
schools  in  the  principal  towns  has 
enabled  outsiders  to  adopt  this 
fascinating  craft.  And  in  view  of 
the  facilities  thus  afforded  it  is  of 
course  not  at  all  surprising  that  a 
268 


craft  demanding  such 
manual  deftness  as  fine 
jewellery  should  have  at- 
tracted numerous  workers 
of  the  gentler  sex,  who  to 
judge  by  the  exhibits  at 
the  arts  and  crafts  exhi- 
bitions held  from  time  to 
time,  now  appear  to  form 
the  majority  among  those 
engaged  in  the  production 
of  jewelled   ornaments  as 

an  artistic  craft.  A  significant  result  of  this  extension  of 
feminine  activity  is  referred  to  by  Mr.  F.  H.  Newbery, 
the  able  director  of  the  Glasgow  School  of  Art,  in  a  fore- 
word contributed  by  him  to  Mr.  Wylie  Davidson's  excellent 
handbook  on  "  Educational  Metalcraft"  Now  that  the 
artist-craftsman  has  been  joined  by  the  artist-craftswoman, 


BELT  CLASP  SET   WITH    LAllS 
LAZULI.       BY    KATE   M.    EAIUK. 


* 

,.#"^ 

#;. 

i^         V 

# 

'^^ 

♦« 

i 
> 

? 

SILVER    PENDANT     AND    NECKLACE    SET   WITH     PEARL    BLISTERS,   OPA1.S 
AND   RUBIES.       BY    KATK    M.    EADIK 


Some  Examples  of  Modern  English  Jewellery 


"  the  two  have,"  he  remarks, 
"  proved  such  strong  com- 
petitors to  the  trade  houses 
for  the  custom  of  the  public, 
that  the  manufacturer  has 
been  compelled,  oftentimes 
in  spite  of  himself,  to  cater 
for  the  new  conditions  of 
demand,  a  demand  that  has 
been  brought  about  by  giving 
to  the  artisan  and  to  the 
general  public  alike,  an  edu- 
cation in  art  and  some  in- 
struction in  the  possibilities  of  design  as  applied  to  material." 
At  the  last  exhibition  of  the  Arts  and  Crafts  Society  in 


BROOCH  IN  OXIDISED  SILVER 
DESIGNED  ON  THE  PINK  SET 
CARBUNCLE.        BY   R.    C.    PRICE 


I 


SILVER     NECKLACE    AND    PENDANT    SET     WITH     PEARL     BLISTERS    AND 
TURQUOISE.      BY    KATE   M.    EADIF 


GOLD    PENDANT    SET    WITH    OPALS 

BY   R.    C.    PRICE 
(Presented  to  Mrs.  Pethick  Lawrence  by 
her  mother  and  four  sisters) 


London,  and  again  at  the  Inter- 
national Exhibition  held  at  Ghent 
during  the  past  summer  and  autumn, 
the  display  of  jewellery  produced  by 
British  artist  craftsmen  and  crafts- 
women  revealed  a  high  standard  of 
attainment.  The  collection  at 
Ghent  in  particular  was  especially 
remarkable,  and  Mr.  Rathbone  is 
justified  in  characterising  some  of 
the  exhibits  as  not  unworthy  to 
rank  with  the  best  craftwork  of  any 
age.  The  pity  is,  as  he  says,  that 
though  such  periodical  exhibitions 
are  helpful  in  bringing  these  pro- 
ductions to  the  notice  of  the  public 
they  are  altogether  inadequate  to 
attract  that  sustained  encouragement 
which  is  so  essential  to  the  con- 
tinued prosperity  of  the  craft.  The 
pages  of  The   Studio   have,  how- 

269 


Some  Examples  of  Modern  English  Je'u.'eUery 


^a>c^ 


BRACELET  SET  WITH  AMETHYSTS,   AND   NECKLACE  SET  WITH    Tl'R(>UOISE  MATRIX 
BY   MARGARET  J.    AWIIKY 


craftsmanship  they  also 
possess  that  manipulative 
skill  wliich  comes  from  long 
and  conscientious  practice. 
The  particulars  accom- 
panying the  illustrations 
make  further  comment 
unnecessary.  It  will  be 
noticed, of  course,  that  some 
prominent  workers  in  this 
field  of  activity  are  not  re- 
presented—  Mr.  and  Mrs. 
Gaskin,  for  instance.  Their 
work,  however,  is  to  be  the 
subject  of  a  special  notice  in 
the  near  future,  and  the 
work  of  others  from  whom 
no  material  was  available 

ever,  alwa)-s  been  open  to  good  craftsmanship  of     when  this  article  was  prepared  will  also  be  dealt 

all  kinds,  and  in  now  giving  a  small  selection  of      with  when  an  opportunity  arises. 

recent  work  by  artists  whose 

productions  are  familiar  to 

exhibition  visitors  we  hope 

we  are  doing  something  to 

advance  a  cause  which    is 

thoroughly    deserving  of 

public  support.     We   only 

regret  that  the  limitations 

of  photographic  rei)roduc- 

tion  de])rive  these  examples 

of  so  much  of  the  charm 

derived  from  their  harmony 

of  colour  and  the  play  of 

light  on  the  metal  and  the 

varied  kinds  of  precious 

and    semi-precious    stones 

employed  in  the  ornaments 

illustrated.      Inadequate, 

however,   as   the   ordinary 

halftone  process  of  repro- 
duction is  for  displaying  all 

the  qualities  of  such  work, 

the    illustrations    serve    to 

show   clearly  enough    that 

in  the  matter  of  design  the 

artists  represented  are  not 

lacking  in  inventivenessand 

a  stnse  of  that  decorative 

fitness  which  is  so  essential 

to  the  creator  of  jiersonal 

ornaments:  and  the  details, 

moreover,  are  shown  with 

sufficient  clearness  to  prove 

ihat    in    regard    to    actual 
270 


SILVER    BROOCHES - 


TWO  SET   WITH    TfRnl'OISE   MATRIX,  ONE  SET  WITH    ROUGH 
EMERALDS.       BY    MARGARET   I.    AWDRY 


^ 


2-^^5^^' 


^^"^-^^ 


**'=^^'- 


'^ 


l« 


SILVER    NECKLACE    SET    WITH     CABOCHON    TOPAZES    AND    MEXICAN    OPALS,     THE 
HANGING   TKEIOII.S   SET    WITH    SMALL   AMETHYSTS.  BY    MARGAKKf    I.    AWDRY 


Some  Examples  of  Modern  English  Jewellery 


SILVER    NECKLET   AND    PENDANT    SET    WITH     A     CEYLON    STONE,    CHRYSOl'RASES 
AND   WHITE   AQUAMARINES.      BY    BERNARD   CUZNER 


PENDANT  SET  WITH 
CRYSTALS  AND  GARNET 
BY  CHARLES  H.   HUCHES 


SILVER    MINIATURE    FRAME 

ENAMELLED    FOLIAGE     SET 

WITH    PEARLS.       BY    MABEL 

E.    BENDALL 


ENAMELLED   GOLD   PENDANT  WITH    FOUR 

PEARLS,     WREATH    A.MD    BIRD    REPOUSSfe 

BY   S.    MADELEINE    MARTINEAU 


SILVER    BRACELET   SET    WITH    PEARLS,    AGATES   AND   GARNET 


BY    MABEL    E.    BENDALL 


GOLD   BRACELET  SET   WITH    OPALS 


BY    MABEL    I:.    BENDALL 
271 


Souie  Examples  of  Moaerii  English  Jewellery 


SILVER  PENDANT  SET  WITH  MOONSTONES 
AND    OLIVINES.      BY    DORA   BROOKE- 
CLARKE 


■THE   HOLY   ORAIL 

PENDANT   BY  J.    H.     M.    AND   N.    BONNOR 


SILVER    NECKLACE   SET   WITH    MOONSTONES   AND 
SAPI'MIRES.       BY    BERNARD   CUZNER 

272 


SILVER    PENDANT    SET   WITH     CARBUNCLES,     DARK 

BLISTER  PEARL,  OBSiniAN,  AMETHYSTS  AND  TOPAZ. 

BY    EDITH    STEWART 


An  American  Marine  Painter :  F.  J.  Waugh 


A 


N  AMERICAN  MARINE  PAINTER: 
FREDERICK  J.  WAUGH.  BY 
A.  SEATON   SCHMIDT. 


Theodore  Child  once  said :  "Puvis  de  Chavannes 
is  a  thinker  who  paints,  Cazin  may  be  described  as 
a  painter  who  thinks."  The  latter  description  can 
be  apphed  to  Frederick  Waugh,  who  is  not  only  a 
painter  of  exceptional  merit,  but  a  translator  and 
interpreter  of  nature. 

Born  in  1863,  he  became  an  artist  by  inheritance, 
his  father  being  at  that  time  one  of  our  most  noted 
portrait-painters,  while  his  mother  was  a  miniaturist 
of  much  talent.  As  a  youth  he  was  shy  and 
sensitive,  a  dreamer  of  dreams  and  a  seer  of 
visions ;  few  of  his  young  comrades  could  appre- 
ciate his  ambitions,  while  his  elders  considered  a 
boy  hopeless  who  disliked  school  and  preferred 
to  roam  the  woods,  to  study  nature  at  first  hand 
rather  than  from  books.     At  that  time  there  was 


little  promise  of  the  mature  artist.  To  quote  his 
own  words  :  "  As  a  boy  I  preferred  natural  history 
and  mechanics,  but  especially  the  'out  of  dcors' 
which  I  loved  above  all  things.  I  was  a  regular 
boy's  boy,  and  did  not  come  into  the  region  of  art 
nor  assimilate  its  atmosphere  until  I  was  about 
nineteen.  I  had  been  very  much  indulged  as  a 
youngster,  being  allowed  to  have  pretty  much  my 
own  way,  and  I  fear  that. I  caused  my  fond  family 
a  good  deal  of  anxiety,  as  I  had  a  bad  habit  of 
absenting  myself  in  the  woods  for  hours  at  a  timei 
and  returning  with  pockets  and  cap  filled  with 
snakes.  I  loved  fishing,  boating,  tramping,  and  all 
kinds  of  boyish  adventure." 

At  the  age  of  nineteen  he  entered  the  Philadelphia 
Academy  of  Fine  Arts,  where  he  met  Eugenie  Barn 
an  artist  of  much  promise.  She  at  once  recognised 
his  ability  and  encouraged  him  in  his  work,  and 
when,  later,  she  became  his  wife  and  realised  more 
perfectly  his  great  gifts,  she  gladly  renounced  her 


"afternoon    in    harbour   cove,    GLOUCESTER,    MASSACHUSETTS' 


BY    1-REDERICK  J.    WAUGH 


I 


An  American  Marine  Painter :  F.  J.   J  J 'a  ugh 


own  painting  that  she  might  aid  in  his  development 
by  relieving  him  of  every  possible  material  care. 
Always  his  best  critic,  his  highest  inspiration,  much 
that  he  has  accomijlished  is  owing  to  her  unselfish 
devotion. 

In  those  early  days  our  schools  and  museums 
could  not  offer  the  opportunities  of  Europe,  and 
after  two  years  in  the  Philadelphia  Academy  he 
went  abroad  to  travel  and  study  the  old  masters. 
Later,  he  settled  down  for  serious  work  in  the 
Academic  Julian  under  Bouguereau  and  I^febvre. 
At  the  end  of  three  months  he  happened  to  join  a 
sketching  party  for  a  week's  holiday  at  Gray 
(in  Brittany).  There  he  met  the  two  Harrisons, 
John  Laver)',  Anshutz,  and  other  strong  painters. 
They  all  advised  him  not  to  return  to  Julian's  and, 
in  fact,  to  cut  loose  from  schools  altogether  and 
work  by  himself,  with  nature  alone  for  his  guide. 
Following  their  advice  he  remained  in  Gray  until 
recalled  to  America  by  the  death  of  his  father. 

He  now  decided  to  settle  in   Philadelphia  and 


devote  himself  entirely  to  portrait-painting.  His 
success  was  almost  phenomenal,  and  he  was  soon 
surrounded  by  a  brilliant  clientele. 

But  the  "outdoors"  was  ever  calling,  and  shortly 
after  his  marriage  in  1892  he  renounced  his  portrait 
work  and  went  to  live  on  the  Island  of  Sark  in  the 
English  Channel,  under  whose  charm  he  had  fallen 
during  a  summer  holiday.  Sark  is  one  of  the 
most  isolated,  most  rugged  of  the  Channel  Islands  ; 
her  great  cliffs  rise  hundreds  of  feet  from  the  sea, 
and  against  this  wall  of  rock  the  wa\-es  beat  and 
break,  the  fierce  winds  that  sweep  down  from  the 
north  often  lashing  them  to  such  fury  that  for  weeks 
no  boat  can  approach  the  island. 

Mr.  W'augh  had  always  passionately  loved  the 
sea.  Cut  off  from  the  outside  world  he  here  begaii 
that  profound  study  of  the  colour  and  form  of 
waves,  of  the  great  laws  that  control  the  waters, 
which  has  enabled  him  to  give  us  those  magnificent 
marines  that  have  made  him  famous. 

His  early  taste  for  mechanics  now  came  to  his 


'  rilE   OREAI     liEEl' 

274 


( Otv lud by  Ml.  Adolfhus  Lewishon,  \cw  )'orl:  City) 


BY    hREIlKKlCK  ;.    WAlC.ll 


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Pi  > 
O  ^ 


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II 


An  American  Marine  Painter :  F.  J.   Jl'aiigli 


assistance.  He  constructed  an  iron  easel  that  he 
could  clamp  to  the  rocks  and  an  immense  iron  box 
that  could  not  be  blown  away  and  in  which  he  kept 
his  canvases,  pigments,  and  other  needful  materials. 
Thus  equipped,  he  spent  long  months  patiently 
studying  every  mood  of  the  changing  waters ; 
watching,  painting,  day  by  day  and  hour  by  hour, 
until  he  knew  them  all  by  heart  :  knew  just  how 
the  sea  would  lie  smooth  and  still  to  the  far 
horizon,  with  of)alescent  sunset  clouds  mirrored  on 
its  shining  surface,  the  quiet  waves  breaking  gently 
against  the  rocky  cliffs,  until  a  faint  wind  would  stir 
the  glistening  waters  :  then  the  turquoise  tints  would 
tremble  and  break  into  spray  with  all  the  hues  of 
the  rainbow,  the  wind  would  rise,  would  plough 
great  furrows  in  its  green  depths,  would  howl  and 
shriek  and  pound  the  sea  against  the  jagged  coast, 
while  the  artist  above,  intoxicated  with  its  furious 
grandeur,  dashed  the  spray  from  his  eyes  and 
painted  madly  on,  until  the  darkness  of  night  closed 
out  the  glorious  vision  and  only  the  booming  of 
the  breaking  waters  told  him  of  the  storm  beneath. 


On  this  desolate  island  his  daughter  was  bom, 
and  the  artist  now  frequently  deserted  the  wild 
coast  to  work  nearer  home.  He  built  a  studio  in 
the  apple  orchard  surrounding  their  sheltered 
cottage,  from  which  he  could  see  and  continue  to 
study  the  power  and  majesty  of  the  ocean. 

From  Sark  he  moved  to  Cornwall,  just  outside 
St.  Ives,  the  birthplace  of  his  son.  Two  years 
later  family  cares  induced  him  to  accept  the  position 
of  war  artist  on  the  London  weekly  illustrated 
journal,  "The  Graphic."  With  his  never-failing 
enthusiasm  he  threw  himself  heart  and  soul  into 
this  new  work,  making  the  most  life-like  and 
accurate  drawings  of  the  stirring  events  of  the  Boer 
War.  He  studied  minutely  the  uniforms  and 
accoutrements  of  each  British  regiment,  and  these 
years  of  careful  yet  rapid  drawing  count  for  much  in 
his  development.  Instead  of  limiting  his  power,  this 
rendering  of  detail  greatly  increased  his  knowledge 
of  the  human  form,  while  the  rapidity  of  handling 
which  he  acquired  has  proved  invaluable  in  painting 
out  of  doors  where  the  lights  change  so  quickly. 


'  LITTI  K    riAKBOlK,    IIAIIKV    IMAMi,    MAINK 


BY    FRKnKRKK   .1.    WAUGII 


276 


An  Atnericaii  Marine  Painter :  F.  J.   Waugli 


"FRESH    MORNING   BREEZE' 


BY    FREDERICK   J.     VVAUGH 


During  the  five  years  that  he  held  this  position  he 
never  failed  to  send  a  marine  or  landscape  to  the 
Royal  Academy,  where  his  pictures  were  invariably 
sold  before  the  close  of  the  exhibition.  At  this 
time  he  was  elected  a  member  of  the  Bristol 
Academy  (now  called  the  Royal  West  of  England 
Academy). 

After  fifteen  years  of  absence  from  his  own 
country  he  decided  to  take  up  his  permanent 
residence  in  America,  and  it  was  on  his  home 
voyage  that  I  first  had  the  pleasure  of  meeting  him. 

My  curiosity  had  been  excited  during  a  tremen- 
dous storm  by  seeing  a  tall,  slender  man  lashed  to 
the  mast,  painting  steadily  on,  despite  the  blinding 
spray  and  wild  lurching  of  the  vessel.  The  storm 
lasted  three  days,  yet  he  only  forsook  his  post  when 
the  bugle  sounded  for  dinner.  Completely  drenched, 
he  would  dash  down  to  his  cabin,  and  half  an  hour 
later  quietly  take  his  place  in  the  dining  saloon. 

Artists  who  sketch  the  sea  attract  little  attention 
on  board  ship,  but  a  man  who  paints  eight  hours  a 
day  and  makes  no  parade  of  it,  is  always  interesting, 
and  I  was  much  pleased  when  we  were  introduced. 


The  boat  was  a  slow  one,  and  we  were  able  to  spend 
many  evenings  on  deck  discussing  our  favourite 
artists  and  schools  of  painting.  I  learned  much  of  the 
sterling  character  of  the  man,  his  broad  grasp  of  life 
and  his  deep  appreciation  of  everything  beautiful, 
whether  in  music,  literature,  or  art.  What  attracted 
me  most  strongly  was  his  devotion  to  his  wife  and 
children,  his  desire  to  help  and  to  make  happy  all 
with  whom  he  was  brought  in  contact. 

Soon  after  landing  he  exhibited  some  of  his 
marines  in  New  York  and  Philadelphia,  where  they 
attracted  universal  attention.  To  those  who  had 
known  him  only  as  a  i)ortraitist  they  came  as  a 
revelation  of  his  genius,  and  he  was  at  once  placed 
among  our  great  painters  of  the  .sea.  Yet  it  was 
his  masterly  treatment  of  the  human  figure  that  won 
for  him  the  Clark  prize  in  the  New  York  Academy 
three  or  four  years  ago. 

The  picture  of  The  Buccaneers  was  suggested  by 
a  costume  party  at  the  Salamagundi  Club,  where 
the  exquisite  colour  effects  of  old  armour  and  pirate 
costumes  appealed  powerfully  to  Waugh's  imagina- 
tion.    This  picture  .shows  the  influence  of  his  care- 

277 


An  American  Marine  Painter :  J^\  J.   U^aug/i 


'THE    CULCANEEKS 


BY    FREDERICK  J.    WALGH 


ful  work  as  illustrator  for  the  London  "Graphic." 
Yet,  though  the  details  are  marvellously  painted, 
they  are  wisely  subordinated  to  the  jiirates  them- 
selves— while  the  majestic  waves  lose  nothing  of 
their  power  by  the  juxtaposition  of  so  many  figures. 
The  entire  composition  is  handled  in  a  daringly 
successful  manner  and  reveals  the  singular  versatility 
of  this  artist,  who  insists  that  the  sea  attracts  him 
no  more  strongly  than  landscape  or  the  human 
form.  "I  adore  nature, and  wherever  I  lind  beauty 
I  wish  to  reproduce  it."  Happily,  he  possesses  tiie 
vision  of  a  poet  and  can  pierce  beneath  the  con- 
ventionalities to  the  beauty  that  underlies  all  life. 

The  old  fish-wharves  of  Gloucester  have  been 
painted  by  every  American  artist,  but  rarely  wiiii 
the  simplicity  and  dignity  which  lend  such  signifi- 
cance to  Mr.  Waugh's  interpretation  of  these  time- 
worn  subjects.  Absolutely  true  to  life,  they  are  in 
no  sense  photographic  reproductions.  If  his  pic- 
tures sometimes  lack  atmosphere  this  criticism  can- 
not be  made  of  his  Gloucester  pictures,  which  seem 
bathed  in  lliat  mysterious  ether  that  softens  and 
makes  lovely  the  homeliest  outdoor  subject.  In  spile 
of  the  interest  attaching  to  the  picturesque  boats 
and  wharves,  we  feel  that  it  is  the  water  itself  which 
278 


is  his  chief  attraction :  the  incoming  sea  whose 
singing  is  ever  in  his  ears,  whose  ebb  and  flow 
make  the  joy  and  sorrow  of  the  men  and  women 
•living  in  the  old  fishing  town  of  Cape  Ann.  Under 
whatever  aspect  be  paints  the  sea  his  genius  has 
power  to  communicate  to  us  something  of  its  brood- 
ing mystery,  of  making  us  share  with  him  the  glory 
and  the  wonder  of  the  great  waters. 

Charles  Curran  says,  in  writing  of  Waugh's 
marines  :  "  One  of  the  most  obvious  facts  in  con- 
nection with  his  techniijue  is  that  there  is  a  definite, 
well-understood  jiurpose  in  every  touch.  He  has 
grasped  the  entire  effect  .  .  .  and  with  bold  strokes 
swept  it  in  with  a  freedom  only  equalled  by  the  sea 
itself.  .  .  .  This  rare  skill  is  the  result  of  a  dexterity 
born  of  long  experience."  This  fact  Mr.  Waugh  him- 
self reiterated  in  a  talk  which  he  gave  to  students. 
"  I  spend  part  of  each  year  studying  the  sea.  I 
both  paint  it  and  watch  it  carefully,  and  the  latter 
method  of  studying  I  am  sure  is  invaluable.  In 
that  way  I  fix  certain  forms  clearly  in  my  memory 
and  learn  the  why  and  how  of  the  grand  old  ocean. 
Acquire  the  habit  of  constant  observation  .  .  .  get 
at  the  heart  of  things.  ...  If  you  really  love 
Nature  she  will  love  you  and  teach  you." 


SIX   ORIGINAL    ETCHINGS 
BY  WALTER  ZEISING 


(The  artist  whose  etchings  are  here  reproduced  is  a  native  of  Saxony  and  was  born  in  iSy6.  After 
studying  drawing  and  painting  in  the  Academies  at  Leipzig,  Munich  and  Dresden  lie  entered  the  atelier 
oj  Gotthard  Kuehl,  under  whose  influence  he  devoted  himself  to  graphic  art.  He  took  up  etching  about 
ten  years  ago,  cuqtiiring  the  technique  by  self-study,  and  his  plates  now  number  more  than  a  hundred. 
In  igoi  he  won  a  travelling  studentship  which  enabled  him  to  spend  four  years  in  Paris,  where  he 
executed  numerous  plates.  The  six  etchings  which  we  illustrate  are  reproduced  by  permission  of  the 
Emil  Richter  Hofkunsthandlung,  Dresden. ) 


"HAMBURG;    workmen's   STEAMERS   RETURNING' 


liV    WALTER   ZEISING 
279 


jiJDKNIIOF,   DRKSDKN  " 
BY  WALTER   ZKISING 


V/K/K  >._     >■■'  V^V' 


"  HERRLICHKEIT,   HAMBURG" 
BY  WALTER  ZEISING 


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The  Island  of  the  Sirens 


T 


HE  ISLAND  OV   THE  SIRENS. 
BY  FRANK  HYDE. 


A  long  procession  files  in  slow  array. 

Aloft  a  silver  image  gleams  like  fire. 

Borne  shoulder-high  amid  a  white-robed  choir 

The  patron  Saint  moves  on  his  festal  way. 

E.   B. 

C.APRi  —  what  a  magic  word  !  How  can  I 
describe  that  almost  idyllic  time,  when  on  landing 
from  the  old  barca  di  Scoppa,  "  whose  hold  was 
laden  like  the  Argosies  of  old,  with  fruit,  grain, 
and  wine,"  I  was  handed  by  one  of  a  bevy  of 
dark-eyed  beauties  a  bunch  of  Narcissi,  emblem  of 
welcome  to  the  "  Island  of  the  Sirens." 

It  was  the  Festa  di  Coralina.  The  coral  boats 
with  their  quaintly  carved  prows,  gaudily  painted 
and  gilded,  were  drawn  up  on  the  Marina ;  each 
boat  garlanded  with  roses,  and  a  bunch  of  ginestra 
tied  to  the  mast.  The  old  marinari  with  their 
wives  and  pretty  daughters  awaited  the  procession 
of  priests,  who  were  to  give  their  benediction  to 
the  little  flotilla  of  coral  boats,  about  to  face  the 
dangers  of  a  long  journey  to  the  African  Coast. 

What    a    scene  ! — the   old-lime   costumes,    the 


slowly  moving  procession  of  richly  robed  priests 
winding  through  the  kneeling  figures  of  the  sailors  ; 
the  glorious  sun  shining  on  the  flower-decked 
prows  ;  the  clouds  of  incense  ;  the  solemn  chanting 
of  that  white-robed  choir. 

Leighton,  Waterhouse,  Poynter,  John  Sargent, 
and  a  legion  of  painters  have  found  the  charm  of 
Capri  irresistible ;  brilliant  Prix  de  Rome  men 
came  here  as  a  matter,  of  tradition  to  paint  their 
pictures  ;  Chartran,  Doucet,  Sain,  Detaille,  painted 
some  of  their  finest  works  in  Capri. 

It  was  at  one  of  the  charmingly  picturesque 
houses  of  the  co?itadi>ii  that  Sargent  and  I  once 
stayed,  Pagano's  being  then  full.  We  break- 
fasted every  morning  under  a  vine-covered 
pergola,  where  we  could  pick  the  grapes  as  we 
wanted  them.  The  table,  covered  with  a  clean 
white  cloth  of  coarse  homespun,  and  laden  with 
Capri  delicacies,  was  flecked  with  patches  of  sun- 
light that  filtered  in  through  the  leaves  above  ;  the 
sweet  scent  of  orange-blossom  filled  the  air,  and 
now  and  again  a  tantalising  aroma  would  reach  us 
of  the  delicious  coffee  being  roasted  by  the  pretty 
waiting-girl  in  the  garden  below.  Then,  again,  an 
evening  scene  comes  back  to  me — the  Tarantellas 


.MAKIN.-^    l.KA.Mlh,    CAPRI 


FROM    A    HHOTOGRAPH 


285 


The  Island  of  the  Sirens 


on  the  flat  roof  of  the  house,  and  I  well  remember 
with  what  delight  we  watched  the  effect  of  the 
graceful  figures,  silhouetted  against  the  fading 
twilight,  and,  for  a  background,  Vesuvius  with  his 
dark  purple  mantle  and  crown  of  fire. 

In  those  days  we  found  no  difficulty  whatever  in 
procuring  splendid  types  as  models.  Especially 
was  this  so  at  Ana  Capri,  where  the  girls  still  re- 
tained the  Oriental  colouring  and  Saracenic  features, 
legacies  iiandcd  down  from  the  time  when  that  old 
Moorish  pirate,  Barbarossa,  made  his  raids  upon 
the  island  and  carried  off  the  women.  Here  on 
Monte  Solaro  this  old  brigand  built  his  castle,  and 
its  ruins  still  remain.  At  my  studio  in  the  monastery 
of  Santa  Teresa,  Sargent  painted  one  of  these 
magnificent  tyjjes,  a  girl  named  Rosina,  and  sub- 
sequently made  me  a  present  of  it. 

There  were  no  shops  in  those  days,  nor  roads. 
Ana  Capri  was  only  reached  by  means  of  those 
famous  steps  that  have  so  often  been  painted. 
There  were  only  two  or  three  hotels  in  the  island  ; 
Pagano's,  where  the  artists  congregated,  still  bears 
evidence  on  its  walls  in  the  form  of  sketches 
of  the  many  eminent  men  who  have  at  one  time 
and  another  made  a  sojourn    there.     I   must  not 


-ROOM    AT    PACAXO  S    WITH    WALLS    DECORATED 
WITH   SKETCHES    BY    FAMOUS   ARTISTS 


LITTLE  TOBACCO  SHOP   UNDER   THE   MOORISH 
ARCHES,    (  APRIJ     h. 

286 


omit  Scoppa's  Cafe,  the  resort  of  the  English 
artists  :  also  the  tobacco  shop,  hidden  away  under 
the  Moorish  arches  round  the  corner  of  the  Piazza. 
As  to  the  fruit,  vegetables,  and  fish,  it  was  spread 
out  in  large  flat  baskets,  spau)ii(,  on  the  broad 
ascending  steps  of  the  ancient  church.  These 
steps  were  our  meeting-place,  where  we  discussed 
affairs  of  State,  heard  the  latest  scandal  and 
arranged  those  impromptu  picnics  and  dinners 
which  were  among  the  island's  greatest  charms. 
And  how  delightful  it  used  to  be  in  the  early 
morning  before  the  he;it  of  the  day  made  itself  felt  to 
wander  over  the  mountain,  climbing  over  boulders 
under  whose  shady  recesses  grow  bunches  of  mauve 
cyclamen,  maiden-hair  fern,  and  bee-orchid.  Flowers 
abound  everywhere,  masses  of  yellow  ginestra 
making  a  conspicuous  feature  in  the  landscape. 
Try  and  imagine  the  scene  as  you  rest  awhile 
after  your  climb — the  glorious  sun  rising  from  an 
opal  sea,  the  whir  of  the  cicala  amongst  the  olive 
trees,  the  drowsy  hum  of  the  large  blue-black  bees, 
the  Hashing  emerald  of  the  little  li/^rds  lying 
basking  on  the  large  cactus  leaves,  their  throbbing 
sides  and  mischievous  dark,  beady  eyes.  From  the 
summit  of  Solaro,  facing  the  (julf  of  .Salerno,  you 
look  down  a  sheer  precipice  of  nearly  two  thousand 
feet  into  a  turquoise  and  emerald  sea,  and  if  you 


The  Island  of  the  Sirens 


MONTE   SOLARO,     CArRI,    SHOWING     EARBAROSSA  S    CASTLE    ON   THE   SUMMIT   2000 
FEET  ABOVE  THE   SEA 


are  an  artist  you  grow  crazy  with  the  longing  to 
paint  it,  and  when  you  try  it  is  only  to  realise  what 
a  hopeless  task  it  is  to  attempt  to  reproduce  those 
tender  peacock  blues  and  greens,  and  the  liquid 
gold  of  those  reflections  from  the  sunburnt  rocks. 

One  of  the  most  picturesque  and  at  the  same 
time  impressive  sights  of  Capri  is  the  Feast  of  the 
Patron  Saint  of  the  town,  San  Costanzo,  with  its 
long  winding  procession  of  Fratelli  and  Figlie  di 
Maria,  the  men  wearing  their  white  robes  and 
silver  medals,  the  young 
girls  their  white  dresses  and 
light  blue  veils,  all  carrying 
lighted  candles.  Picture 
to  yourself  the  rich  colour- 
ing of  the  priests'  robes,  the 
clouds  of  sweet-smelling 
incense,  the  banners,  the 
exploding  fireworks.  The 
procession  advances  ;  high 
on  the  shoulders  of  the 
white-robed  Fratelli  is 
borne  the  silver  image  of 
their  Saint,  whose  breast  is 
aflame  with  precious 
stones;  the  canopy  of 
crimson  and  gold  is 
almost  buried  beneath  the 
shower  of  golden  gimstra 
and  rose  leaves  thrown 
from  the  roofs  as  the 
chanting     procession 


threads  its  way  betweep 
the  domed  houses  of  the 
old  town.  One's  gaze  is 
attracted  to  the  peasant 
girls  in  their  old-time 
costumes  ;  their  wonderful 
classical  faces,  their  rich 
nut-brown  colouring  and 
•  l)lue-black  hair,  done  up 
in  braids  adorned  with 
sprigs  of  flowering  myrtle, 
or  enveloped  in  sunfaded, 
yellow  handkerchiefs. 
How  we  revelled  in  this 
blaze  of  colour  ! 

In  those  days  the  artists 
married  these  Capri  girls, 
and  no  wonder !  They 
made  excellent  wives,  for 
bear  in  mind  it  was  a 
homely,  simple  life  the 
artists  led,  and  these  dark- 
eyed  beauties  were  irresistibly  fascinating  in  their 
native  simplicity.  They  loved  to  pose  for  us,  never 
forgetting  to  ask  us  to  their  marriage  feasts  and 
christenings  ;  in  return  we  gave  Tarantellas  in  our 
studios,  inviting  the  girls  and  their  young  men,  the 
old  folk  lending  their  aid  with  tambourine  and 
corogoro,  a  very  primitive  musical  instrument. 
There  was  plenty  of  Capri  wine  too — huge  piretti 
— with  sweets  and  cakes  for  the  little  nut-brown, 
bare-legged  kiddies. 


PROCESSION   OF  THE    FIGLIE   DI    MARIA,    CAPRI 


287 


A  House  ill  a  Jl^ood 


On  your  way  to  the  Piccola  Marina  you  pass  old 
Spadaro's  hut  :  he  is  out  there  busy  drying  his 
nets.  This  old  fellow  was  both  fisherman  and 
model.  Then  on  to  the  Piccola  Fortina,  an  old 
disused  fort.  Here  an  artist  friend  of  mine  liyed ; 
there  was  only  one  large  habitable  room,  which  he 
had  fitted  up  in  the  quaintest  fashion  as  a  studio. 
A  wild,  roving  sort  of  fellow  this  artist,  he  wore 
sailor's  dress  and  walked  about  like  the  natives, 
barefooted.  The  vaulted  ceiling  of  this  cave-like 
dwelling  was  utilised  by  him  for  hanging  up  his 
nets,  and  in  a  dark  recess  burnt  a  tiny  lamp  in  front 
of  a  figure  of  the  ^'irgin.  Our  friend  married  old 
Spadaro's  daughter,  and  here  in  this  Crusoe-like 
dwelling,  surrounded  by  his  monkeys  and  parrots, 
he  lived  and  painted  his  pictures. 

So  great  are  the  changes  that  have  taken  place 
on  the  island  since  the  days  of  which  I  write,  one 
could  almost  exclaim  with  the  poet : 

Great  Pan  is  dead  ?     Ah  no!  he  lives.     'Tis  we 
Blind  with  the  scales  of  centuries  o;i  our  eyes, 
Have  lost  belief  and  thus  the  power  to  see 

E.   B. 

No  I  Great  Pan  is  not  dead.  He  lives,  lives  for 
those  who  still  can  hear  his  whispered  music 
amongst   the   reeds   from    which    he   fa.shions  his 


CAI'RI    GIRLS    IN    TIIEIK   OI.D-TIME  lOSTfME 

pipes,  for  the  sweet  song  of  the  Siren  never  ceases 
to  lure  the  artist  and  poet  to  the  beautiful  Island  of 
Capri.  Frank   Hvdk  (Capri). 


A 


HOUSE  IN  A  WOOD. 
BAILLIE  SCOTT. 


BY  M.  H. 


Tilt  OLI)    I  lilltK.MAN    AMI   .MuUlil.,    M'AIlARO 


In  the  design  of  country  houses  nothing 
is  perhaps  so  important  as  the  nice  relation  of  the 
building  to  its  natural  surroundings.  Much  of  the 
charm  of  old  hou.ses  lies  precisely  in  this  quality. 

The  old  cottages  and  farm-houses  of  England, 
apart  from  their  intrinsic  beauties,  delight  us  with 
their  fitness  to  their  place  in  the  world.  They  are 
illuminating  comnicntaries  and  marginal  notes  on 
the  essential  attributes  of  the  particular  domain 
they  adorn.  To  appreciate  the  true  inwardness  of 
Sussex  it  is  not  enough  to  wander  over  the  South 
I  )owns.  There  must  be  the  village  nestling  in  a 
hollow  of  the  hills  to  summari.se  and  complete  the 
impression  of  ilieir  character.  Nor  would  the 
barren  tiplantls  of  the  Cotswojds  suffice  us  without 
the  austere  beauty  of  their  pearly-grey  buildings. 
And  so  through  the  length  and  breadth  of  the  land 
we  shall  fintl  that  the  old  buildings  are  always  modi- 
fied in  many  subtle  ami  beatililul  way.s,  so  that  they 
seem  to  explain  to  us  ami  to  make  articulate  the 
dumb  appeal  of  the  country-side. 


'         288 


A  House  in  a  IVood 


In  modern  times  we  have  changed  and  are  still 
engaged  in  changing  all  that.  From  the  office  of 
the  modern  architect,  plans  of  country  dwellings 
are  sent  far  afield,  too  often  without  discrimination 
as  to  local  qualities  ;  and  the  little  artistic  villa  of  the 
garden  suburb  with  all  its  pretty  cleverness  of 
design  has  invaded  and  disfigured  the  most  sacred 
solitudes — poisoning  all  the  wells  of  beauty  with  its 
presence,  and  reducing  all  the  varied  and  ever- 
changing  beauties  of  the  country  to  the  level  of  a 
cheap  and  vulgar  Cockney's  paradise. 

That  is  the  remorseless  and  continuous  process 
which  is  going  on.  The  world  seems  to  have 
become  blind  to  beauty  and  art,  except  when  it  is 
properly  defined  and  labelled  as  such  in  picture 
galleries  and  museums  ;  and  to  protest  against  the 
destruction  of  all  that  is  most  precious  to  those 
who  have  eyes  to  see,  is  to  speak  as  the  voice  of 
one  crying  in  the  wilderness,  a  wilderness  of  utili- 
tarians, who  seem  to  imagine  a  house  can  merely 
serve  material  needs  instead  of  being  a  medium  for 
the  highest  e.xpression  of  the  ideals  of  the  soul. 

I  know  of  no  form  of  art  so  powerful  in  its 
appeal  or  so  insistent  in  its  continuous  influences 
as  this  forgotten  and  discredited  building  art  ;  and 
I  cannot  believe  that  I  am  alone  in  this  or 
peculiarly  susceptible  to  the  influences  of  buildings. 


Pictures  may  enthral  us  as  we  look  at  them,  but 
they  require  a  special  effort  of  the  mind.  They  do 
not  meet  us  half-way.  But  a  building  wrought  in 
the  old  ways  surrounds  and  envelops  us  in  an 
atmosphere  of  its  own.  It  is  almost  human  in  its 
appeal  and  breathes  out  penetrating  influences 
which  it  is  impossible  to  evade  or  forget. 

Consider  the  old  village  church  as  yet  un- 
desecrated  by  the  restorer's  hand.  There  are 
surely  many  who  are  capable  of  feeling  the  sweet 
influences  of  its  cool  dim  silences.  The  reverence 
and  piety  with  which  its  stones  were  laid  are  there 
built  into  the  very  walls,  and  like  a  continuous 
music  speak  into  our  souls.  Just  as  the  "  record  " 
of  the  gramophone  scored  with  apparently  meaning- 
less lines — a  dead  material  thing — comes  to  life 
under  the  needle-point  and  gives  us  the  living 
tones  of  some  long  dead  voice,  so  these  buildings 
reveal  to  the  sensitive  mind  all  those  thoughts  and 
aspirations  of  their  natures  which  lie  too  deep  for 
words. 

And  then  if  we  consider  the  other  side  of  the 
picture,  what  shall  ba  said  of  the  influences  of 
the  modern  artistic  villa.  It  also  speaks — but  the 
tale  it  has  to  tell  is  a  hateful  one.  It  speaks  to 
us  only  of  base  material  things,  and  of  all  the 
insincerities  and  conventionalities  of  villadom.      In 


A    HOUSE    IN    A   WOOD  :    SOUTH-EAST   CORNER 


M.    H.    BAII.ME   SCOTT,    ARCHITECT 
289 


A  House  ill  a  Jl^wd 


GROUND   PLAN   OK   A    HOISE    IN    A   WOOD 


M.    H.    BAILl.IE   SCOTT,    ARCHITECT 


its  more  ambitious  developments  it  is  frivolous, 
vain  and  pretentious,  and,  on  a  smaller  scale,  mean 
and  sordid. 

It  is  the  modern  practice  to  ignore  absolutely 
the  spiritual  appeal  of  the  home.  When  we  speak 
of  "improved  housing"  we  think  of  baths,  drainage 
and  bay  windows,  and  we  approve  rightly  of  garden 
spaces.  But  not  in  this  way  will  buildings  be 
realised  to  satisfy  the  soul.  No  clever  planning, 
no  contrivance,  nor  impish  ingenuity  will  give  us 
again  what  we  have  lost.  Like  children,  we  must 
again  begin  to  delight  in  work  for  its  own  sake. 
Work  must  become  play  again,  done  with  all  the 
joy  and  delight  we  now  reserve  for  games  alone. 

In  the  old  days  men  thought  nobly  of  the  house, 
and  the  builders'  art  which 
found  expression  there, 
produced  often  by  the 
simplest  means  a  little 
world — a  cosmos  in  minia- 
ture —  which  seemed  to 
possess  all  the  noble 
qualities  of  the  world  of 
nature.  Compared  to 
the.se  old  houses,  the 
modern  dwelling  is  often 
little  more  than  a  glorified 
pigs'  trough,  satisfying 
nothing  but  material 
needs  and  so  little  in  har- 
mony with  nature  that  its 
presence  is  an  inevitable 
blot  on  the  land.scape. 
It  has,  indeed,  become  a 
disfigurement  to  scenery, 
and  we  are  apt  to  forget 
that  buildings  properly 
conceived  and  con- 
structed are  capable  of 
giving  just  that  human 
interest  to  a  scene  which 
290 


the  imagination   seems   to 
demand. 

In  the  accompanying 
illustrations  of  a  small  house 
recently  built  in  a  wood,  an 
attempt  has  been  made  to 
show  that  materials  may  be 
chosen  which  are  not  in- 
harmonious with  natural 
colouring,  and  that  in  the 
use  of  half-timber  work,  the 
lines  of  the  trunks  and 
branches  of  the  tree  may  be 
echoed  in  the  building.  A  suggestion  is  also  given 
of  the  car[)et  of  leaves  which  surrounds  the  house 
adorned  in  due  season  by  drifts  of  bluebells,  prim- 
roses, and  other  wild  flowers  that  may  be  naturalised 
there.  The  background  which  the  varied  tones  of 
the  leaves  afford  is  a  fine  setting  for  flowers.  The 
spring  flowers  are  followed  by  a  riot  of  foxgloves, 
and  later  the  autumn  provides  a  new  carpet  of 
brilliant  and  variegated  colour.  All  this  natural 
beauty  is  not  to  be  too  lightly  set  aside  in  favour  of 
geranium  beds  and  gravel  paths,  and  it  has  the 
advantage  that  in  a  house  occupied  perhaps  for 
only  part  of  the  year,  no  grooming  and  cHpptTig 
are  required.  The  gardener  has  here  for  once 
taken    nature    into    partnershi])   and    when    he    is 


A    HOUSE   IN    A   WOOD  : 


KIKEPLACE    IN   CHILDREN  S    ROOM 

M.    II.    RAILLIE   SCOTT,    ARCHITECT 


^^^^H!^^ 


r  y 


W 


A  HOUSE  IN  A  WOOD:  ENTRANCE 
FRONT  AND  LIVING  ROOM. 
M.  H.  BAILLIE  SCOTT,  ARCHITECT. 


Sketching  Notes  iii   Tunis  and  Gates 


absent  she  continues  and  develops  his  scheme  for 
him. 

In  the  building  of  such  a  house  as  this  it  is  im- 
portant that  the  rigid  lines  and  smooth  surfaces  of 
modern  work  should  give  way  to  earlier  methods,  so 
that  the  characteristic  and  varied  textures  and 
colourings  which  are  found  in  the  woodland  should 
also  find  their  expression  in  the  house  too.  Built  in 
this  way  a  house  begins  to  take  the  air  of  a  natural 
product,  and  though  in  due  time  it  may  be  partly 
clad  with  creepers,  it  stands  in  no  need  of  palliation. 

In  the  sketches  of  the  interior  illustrated  some 
suggestion  is  given  of  the  general  treatment  of  the 
rooms  where  oak  and  plaster  and  the  expression  of 
structure  replace  superficial  decoration.  The  plan 
of  the  house  was  devised  to  meet  special  require- 
ments, comprising  a  suite  of  rooms  for  children. 

In  the  furnishing  of  the  house  no  attempt  is 
made  to  realise  the  characteristics  of  any  special 
period  or  to  revive  the  fashions  of  the  past. 
A  study  of  past  styles  will  reveal  the  fact  that  whilst 
the  salient  characteristics  of  each  period  are  transi- 
tory, the  essential  qualities  of  proportion  and  work- 
manship are  quite  outside  the  domain  of  fashion 
and  are  right   for  all   time.     It    seems    then    the 


business  of  the  modern  designer  to  sift  the  grain 
from  the  chaff  and,  holding  fast  that  which  is  good, 
to  reproduce  the  principles  and  methods  of  work- 
manship of  the  old  builders  rather  than  the  par- 
ticular forms  which  characterised  each  period. 


s 


KETCHIXG  NOTES  IN  TUNIS 
AND  GABES.  BY  W.  HOLLAND 
LUPTON. 


For  a  painter  who  would  see  the  East  with  all 
its  exuberance  of  life,  brilliant  colour,  and  sunshine, 
the  land  of  Tunis  has  probably  no  equal.  From 
the  photographs  by  Mr.  Lehnert  here  reproduced 
some  idea  may  be  gathered  of  the  great  variety  of 
interest  for  the  artist  that  is  to  be  found  there,  and 
especially  in  South  Tunisia.  It  has  other  advantages 
too.  In  couiparison  with  Egypt  it  is  much  easier 
of  access,  being  no  more  than  about  twenty-eight 
hours  from  Marseilles,  and  also  easily  accessible 
from  Italy.  The  semi-tropical  vegetation  and  the 
varied  scenery  of  mountains,  lakes,  and  desert  com- 
pare favourably  with  Egypt.  Then  Tunis  is  not 
Europeanised  like  Algiers,  and  is  more  settled  and 
a  good  deal  safer  than  Morocco. 


IN    TllK    IlESEKT,    TUNIS 


FROM    A    PHOTOGRAPH    BY   MR.    I.EHNERT,    TUNIS 


Sketcliin^  Notes  in   Tunis  nmi  Gabes 


The  town  of  Tunis,  where  the  visitor  lands, 
contains  an  embarrassing  wealth  of  paintable  sub- 
jects. The  street  scenes  are  busy  pictures  of 
Oriental  life,  and  every  corner  with  its  native  types 
clamours  for  a  sketch.  There  is  every  opportunity 
of  working  out  of  doors  in  winter,  as  it  is  nearly 
always  fine,  and  the  brilliant  sunshine  of  the  early 
mornings  affords  ideal  conditions  for  sketching. 

A  walk  through  the  sotiks,  the  covered-in  nati\e 
bazaars,  all  composed  of  narrow  alleys,  and  cover- 
ing acres  and  acres  of  ground,  will  be  a  revelation 
of  Oriental  life  in  its  primitive  simplicity.  The 
craftsman  works  at  his  trade,  squatting  in  his  little 
den  of  a  shop,  and  turns  out  strangely  beautiful 
ware  in  leather,  embroidery,  and  jewellery.  Here 
is  the  favourite  resort  of  artists,  who  delight  in  the 
Oriental  picturesquencss  of  the  scene,  but  the 
distraction  of  the  noisy  pojiulace  and  the  diffused 
glow  of  sunlight  on  whitewashed  wails  and  columns, 
with  bright  .spots  of  sunlight  on  the  ground,  coming 
through  crevices  in  the  roof,  make  it  no  easy 
matter  to  sketch. 

The  variety  of  native  types  is  astonishing. 
Everywhere  one  encounters  Arabs,  Berbers,  Moors, 
Bedouins,  Jews  and  many  another  race,  all  dressed 


in  flowing  robes  of  brilliant  colour.  The  negroes, 
too,  are  interesting,  and  of  many  different  hues 
ranging  from  browny  black  to  a  slaty  blue.  Then 
the  fair-haired  Berber,  who  re])resents  the  old 
aboriginal  population  of  the  Barbary  States,  is 
still  the  predominant  type  to-day  in  North  Africa. 
Oftentimes,  however,  the  race  is  intermixed  with 
dreek  or  Roman,  and  this  accounts  for  many  of 
the  very  beautiful  classic  types  that  one  sees. 

The  women  of  the  country  are  scarcely  seen  at 
all  in  the  town,  and  the  few  that  venture  out  of 
doors  are  closely  veiled,  so  that  except  as  studies 
in  drapery  they  do  not  interest  the  artist.  'I'he 
men,  too,  object  to  being  drawn  or  painted.  Of 
course  in  a  street  scene  small  figures  are  easily 
put  in  from  passers-by  or  from  memory,  hut  the 
native  has  a  marked  aversion  to  being  sketched  or 
having  his  portrait  taken.  There  is  one  class, 
however,  that  is  a  boon  to  the  artist — the  Bedouins, 
women  and  girls.  They  will  pose  for  a  few  pence 
and  some  are  extremely  graceful,  making  excellent 
models.  A  French  artist.  Monsieur  Pinchart,  who 
has  a  studio  in  Tunis,  sends  some  charming  pictures 
of  them  to  the  Paris  Salon  every  year.  For  outdoor 
sketching  the  artist  accustomed  to  northern  climes 


A    I.ANK    IN    TMK.llAM.S    "\-    i.AllKs 
294 


I'HOTQ    LKHNEKT 


( Fholo  Lehiiat) 


A   STREET   IN  GABES 


CO 

Z 

D 

H 

H 

!lo 

Q 


m 
m 

O 

u 
< 


^ 

■f: 
-■-¥■ 

w 

X  ' 
H 

O  00 

PQ  00 

oo 

H  < 

<  w 

Pi  o 

<  Q 


Sketch i/ig  Auifrs  in    'f/n/is  a)ui  Gabcs 


will  find  his  palette  needs  revision,  and  that  the 
lightest  and  hrigiUcst  colours,  such  as  the  cadmiums 
and  cobalts,  white,  garance,  iS:c.,  can  be  almost  ex- 
clusively used.  Nature's  subtone  is  here  not  a  dull 
grey,  but  rather  a  warm  light  fawn. 

Quite  close  to  Tunis  town  are  tiic  ruins  of 
ancient  Carthage.  Here  the  scenery  is  of  sur- 
passing loveliness,  with  the  blue  sea  and  distant 
mountains,  and  the  Arab  villages  of  Sidi  Uou  Said 
on  a  hill.  But  it  is  .sound  advice  to  the  artist  to 
tell  him  not  to  linger  too  long  in  Tunis  and  its  sur- 
roundings, but  to  proceed  soon  to  the  south. 
Tunisia  is  a  land  of  imposing  mountains  of  that 
tawny  African  brown  which  the  sunburnt  earth  takes 
on,  of  shallow  lakes  reflecting  wonderful  skies,  and 
in  the  south,  of  the  desert,  the  Sahara,  unpeopled 
save  by  a  chance  caravan  of  camels  and  drivers 
straggling  alone  in  the  solitude.  And  in  the  middle 
of  the  desert  are  oase.s,  which 
are  the  best  thing  Tunis  can 
offer  to  the  artist.  In  all  there 
are  about  half  a  dozen  of 
these,  and  the  artist  .should 
choose  between  Tozeur .  and 
Gabes.  To/.eur  lies  in  the 
desert,  but  Gabes  is  an 
anomaly,  an  oasis  near  the 
sea.  If  he  chooses  Gabes  he 
will  not  be  disappointed.  It 
is  a  fairyland  of  tro])ical 
gardens  intersected  by 
country  lanes  and  streams, 
and  of  walled  villages  built  up 
of  Roman  ruins.  There  are 
camels  and  palm  trees,  with 
a  native  Berber  population 
unchanged  in  dress,  ways, 
and  habitssince  Roman  times. 
Here  is  the  perfect  south,  the 
northerner's  dream  realised. 

In  the  villages  are  little 
market-places  where  camels 
kneel  patiently  waiting,  and 
where  pedlars  go  round  hawk- 
ing a  i)alm  wine  wliich  must 
on  no  account  be  tasted,  as 
it  is  a  deadly  brew.  Just 
outside  the  walled  villages 
is  the  oasis  [jroper,  where 
the  African  soil  that  only 
needs  moisture  is  astonish- 
ingly fertile.  The  palm  tree 
is  the  staple,  but  there  are  also 
pomegranates,  banana  jilants, 
298 


orange  and  Union  trees,  with  hedges  of  mud  and 
cactus.  In  the  country  surrounding  Gabe.s,  too, 
many  interesting  excursions  may  be  made.  Here 
are  the  matmata,  where  tiie  natives  live  in  caves, 
and  Djerba,  too,  tlu'  "Lotus  Isle"  of  the  ancient 
Greeks. 

Mr.  Lehnert's  excellent  photographs  will  give 
some  idea  of  the  types  to  be  met.  A  thorough 
artist,  he  has  devoted  years  to  the  making  of  a 
splendid  collection  illustrating  the  country  and  its 
])eople.  In  Tunisia  especially  the  photographer 
has  advantages  over  the  painter.  He  can  snapshot 
(juickly,  and  has  not  to  put  up  so  long  with  the 
discomforts  of  fierce  sunlight  and  dust.  But 
whether  as  photographer  or  painter  the  artist  will 
not  regret  his  visit  to  this  country,  "  where  caravans 
move  on  in  the  shade  of  palm  trees  and  winter  all 
in  bloom  outvies  the  springtime  of  other  lands." 


A     IIKIIOCIN     MOIHl 


1  Mill. 1    1  r.llM'.KT 


Sketching  Notes  in   Ttuiis  and  Gates 


AN    ARAB    CAKE,    AXU    1- LOWEK-SELLBkS. 


PHOTOS   LBHNERT 
299 


The  New  EiiglisJi  Art  Club 


T 


HE    NEW    ENGLISH     ART 
CLUB. 


When,  in  April  1886,  the  first  exhibition 
of  the  New  English  Art  Club  was  opened  at  the 
Marlborough  Gallery,  53  Pall  Mall,  it  may  be 
questioned  whether  any  of  the  artists  who  were 
concerned  in  the  venture  realised  that  they  were 
commencing  an  in:iportant  chapter  in  the  history 
of  British  art.  Indeed,  at  the  outset  the  Club 
was  nearly  wrecked  by  the  inability  of  some  of  the 
men  who  belonged  to  it  to  appreciate  the  nature  of 
the  responsibility  they  had  undertaken  or  to  per- 
ceive what  was  the  policy  which  they  ought  to 
follow.  But  these  preliminary  difficulties  were 
soon  overcome  and  the  society,  once  securely 
established,  became  a  real  power  in  the  art  world. 
It  occupies  to-day  a  position  of  great  authority  :  it 
has  a  large  following,  and  it  exercises  a  dominating 
influence  over  certain  tendencies  and  developments 
of  the  art  of  this  country. 

What  brought  the  New  English  Art  Club  into 
existence  was  the  conviction,  strongly  held  by  the 
younger  artists  a  quarter  of  a  century  or  so  ago,  that 
they  were  denied  by  the  then  existing  art  societies 
adequate  opportunities  for   the    public   display  of 


work  which  was  not  strictly  in  accord  with  the 
accepted  conventions  of  the  moment.  These ' 
younger  artists  were  anxious  to  make  a  direct  appeal 
for  popular  attention  and  it  seemed  to  them  that 
the  best  way  to  do  this  would  be  by  means  of  an 
association  which  would  be  free  from  the  restric- 
tions of  officialism  and  which  would  encourage 
independence  of  effort.  So  in  the  first  exhibition 
there  was  a  rather  remarkable  gathering  together  of 
paintings  which  represented  nearly  all  the  newest 
schools  of  practice — a  collection  which  covered  the 
widest  possible  ground  and  proved  what  a  number 
of  coming  men  there  were  who  had  the  fullest 
right  to  consideration. 

A  list  of  the  names  of  the  exhibitors  in  this  exhi- 
bition includes,  indeed,  a  surprisingly  large  propor- 
tion of  those  which  are  to-day  inscribed  upon 
the  membership  rolls  of  the  older  art  societies — 
such  names,  for  instance,  as  Solomon  J.  Solomon, 
J.  J.  Shannon,  F.  Bramley,  G.  Clausen,  A.  Hacker, 
J.  S.  Sargent,  A.  Parsons,  Stanhope  Forbes,  H.  S. 
Take,  T.  C.  Gotch,  H.  La  Thangue,  R.  \V.  Allan, 
S.  Melton  Fisher,  Edward  Stott,  W.  Logsdail, 
James  Clark,  T.  B.  Kennington,  with  others  like  P. 
W.  Steer  and  Fred.  Brown,  which  are  still  on  the 
New  English  Art  Club  list.     Others  equally  notable 


"  DRWS  ardwuwy" 


BY   C.    ir.    COLLINS    BAKER 


The  Neic  English  ^Irt  Club 


appeared  in  the  catalogues  of  tJie  succeeding  exhi- 
bitions, J.  Aumonier,  Francis  Bate,  F.  Brangwyn, 
Alfred  East,  Mark  Fiiher,  A.  Hartley,  J.  L.  Henry, 
W.  Llewellyn,  A.  D.  Peppercorn,  Leon  Little, 
Adrian  Stokes  and  Mrs.  Stokes,  Leslie  Thomson, 
W.  L.  Wyllie,  and  T-  I-avery,  in  1887  :  Whistler,  W. 
Sickert,  B.  Sickert,  C.  H.  Shannon,  Frank  Short, 
J.  Buxton  Knight,  F.  E.  James,  and  R.  Anning 
Bell,  in  1888;  Moffat  Lindner  in  1889;  and  in 
1890,  James  Guthrie,  William  Stott  of  Oldham,  and 
Albert  Moore. 

As  the  New  English  Art  Club  began  so  it  has 
continued  ;  it  has  brought  forward  a  large  propor- 
tion of  the  best  artists  of  our  time,  has  helped  them 
to  make  their  reputations,  and  has  passed  them  on 
to  strengthen  and  vitalise  other  societies.  In  course 
of  years,  perhaps,  it  has  lost  a  little  of  its  earlier 
catholicity  and  has  to  some  extent  narrowed  its 
scope — in  the  sense  that  it  does  not,  as  it  did 
originally,  view  all  schools  of  practice  with  equal 
tolerance.  But  it  adheres  consistently  to  its  policy 
of  encouraging  the  young 
and  unknown  artist,  and  it 
gives  to  the  men  with  whose 
aims  it  is  in  sympathy,  most 
helpful  chances  of  proving 
what  they  have  in  them.  For 
what  it  has  done  in  the  past 
British  art  owes  it  a  real 
debt  of  gratitude  ;  for  what 
it  is  doing  now,  a  large 
number  of  budding  painters 
have  every  reason  to  be 
thankful,  for  they  are  being 
assisted  by  it  to  take  what- 
ever position  in  the  world 
their  own  capacities  entitle 
them  to  claim.  No  other 
society  works  on  the  same 
lines  and  no  other  can  be 
said  to  have  made  so  few 
departures  from  the  general 
programme  of  operations 
which  it  mapped  out  at  the 
commencement  of  its  career. 

And  now  the  Club  has 
reached  its  fiftieth  exhibition, 
an  event  in  its  history  which 
deserves  to  be  recorded. 
For  the  first  five  years  of  its 
existence  it  held  only  one 
exhibition  annually,  but  in 
1891  it  started  a  winter  show 
in  addition  to  its  summer 
302 


one,  and  it  has  adhered  to  this  custom  ever  since — 
and  it  has  certainly  never  failed  to  secure  sufficient 
support  both  from  artists  and  the  public  to  keep  up 
excellently  the  quality  of  the  exhibitions  for  which 
it  has  been  responsible.  The  collection  it  is  pre- 
senting now  in  the  galleries  of  the  Royal  Society  of 
British  Artists  is  a  typical  one,  not  altered  at  all  in 
character  with  the  idea  of  celebrating  a  special 
occasion,  and  it  is  well  up  to  the  average  of  those 
which  the  Club  has  organised  in  recent  years. 
There  is  much  in  it  that  is  of  great  importance,  a 
certain  amount  that  is  interesting  without  being 
quite  convincing,  and  some  work,  perhaps,  that 
need  not  have  been  included  :  but  as  a  whole  the 
gathering  does  credit  to  the  Club  and  thoroughly 
justifies  the  position  it  has  taken  up. 

One  of  the  best  things  in  the  show  is  Mr.  W 
Orpen's  allegorical  picture,  Solving  the  Seed,  a 
decorative  composition  admirable  in  its  originality, 
its  charm  of  treatment,  and  its  technical  power  ; 
but  of  not  less   interest  are    Mr.    T.    W.    Steer's 


\ 


l^M  ' 


iA4> 


'SAN   GIMIGNANO 


HV  JOSEl'lI    K.    SOl'TIIAt.I. 


The  New  English  Art  Club 


1 


««!lW**i^ 


,^ 


'THE   BERNESE  OBERLAND  " 


\vatp;k-colour  by  c.  m.  gere 


delightful  atmospheric   studies,    Sunset,   and    The  soundly  characterised  For/rait  of  Professor  Jarnes 

Break-water,  Mr.  W.  W.  Russell's  finely  designed  Ward,   Mr.  H.   A.   Budd's   vigorous  composition, 

landscape,  The  Dorset  Coast,  and  excellently  under-  Holiday  Makers,  and  Mr.   Collins   Baker's  Dnvs 

stood  figure  painting,  Lamplight,  Mr.  A.  McEvoy's  Ard-ivdwy,  all  of  which  can  be  counted  as  features 


I 


'CIMA   TOSA  ' 


WATER-COLOLIi    BY    C.    M.    GERE 


T/ic  Nc7o  English  Art  Club 


of  the  exhibition.  Notably  important,  again,  are 
the  portrait  study,  Robin,  by  Mr.  A.  E.  John,  Mr. 
J.  E.  Southall's  San  Gemignano  and  Ponte  Vecchio, 
Mr.  C.  M.  Gere's  delicately  precise  landscapes,  A 
Tyrol  Village  and  Pastures  at  Bossico,  Mr.  Mark 
Fisher's  Sheep  on  the  Roadside  and  An  Essex 
Homestead,  Miss  A.  Fanner's  Early  Morning, 
Cafieto'wn,  Mr.  Francis  Dodd's  decorative  picture. 
The  Mother  and  The  Green  Hill,  Dentdale,  by 
Mr.  C.  J.  Holmes. 

In  the  rooms  devoted  to  water-colours  and  draw- 
ings there  is  much,  besides,  to  arrest  attention. 
The  masterly  water-colours  by  Mr.  A.  W.  Rich — 
especially  The  Lock,  Riikmansworth  and  Near 
Shardeloes  Park — Mr.  F.  E.  James,  and  Mr.  W.  W. 
Russell  :  the  exquisite  tinted  drawings,  The  Bather, 
The  Edge  of  the  Cliff  and  After  Bathing  by  Mr. 
Orpen,  the  brilliant  pastels  by  Mr.  H.  Tonks,  and 
the  powerful  black-and-white  drawing.  Head  of  an 
Architect,  by  Mr.  \.  E.  John  are  all  most  memor- 
able, and  there  are  others  like  Mr.  Gere's  Cima 
Tosa  and  Bernese  Oberland,  Mr.  L.  Pissarro's  Rye 


from  the  Harbour  and  WincJulsea  from  Cadboro' 
Hill,  Mr.  A.  Rothenstein's  Ronda,  Miss  H.  R. 
Lock's  Shipping:  Rye,  and  the  cartoons  for  wall 
decorations  by  Mrs.  Sargant  Florence,  which  are 
thoroughly  acceptable  as  examples  of  well  directed 
effort.  There  is  plenty  of  variety  in  the  collection, 
variety  both  of  outlook  and  accomplishment  :  and 
to  a  very  large  proportion  of  the  contributors  there 
cannot  be  denied  the  sincerest  commendation  for 
the  independence  and  seriousness  of  their  effort. 
They  show  that  they  are  fully  in  sympathy  with  the 
traditions  of  the  New  English  Art  Club  and  are 
quite  as  anxious  to  make  its  fiftieth  exhibition  dis- 
tinguished, as  the  founders  of  the  society  were  to 
give  authority  and  significance  to  its  first  show. 


The  Trustees  of  the  Canadian  National  Gallery 
at  Ottawa  have  purchased  Mr.  Arnesby  Brown's 
landscape,  ///  Suffolk,  which  was  exhibited  at  the 
Royal  Academy  last  summer  and  subsequently  at 
Manchester.  This  beautiful  picture  was  repro- 
duced in  our  issue  of  June  last. 


"WINCHBLSEA    FROM    CADIlOKo'    lUI.I. 


WATKR-COLOOR    BY    l.UCIEN    I'lSSARRO 


Studio-Talk 


"  EARLY   MORNINX.,    CAPE   TOWN  ' 


(New  English  Art  Cliih,  see  p.  304) 


IIY   ALICE   KANNER 


STUDIO-TALK. 

From   Our  Own   Correspondents. 

ION  DON. — At  a  general  assembly  of  the  Royal 
Academy  of  Arts,  held  on  November  19, 
Mr.  Alfred  Edward  Briscoe  Drury,  A.R.A., 
-^  was  elected  a  Royal  Academician,  and 
Mr.  H.  Hughes-Stanton  was  made  an  Associate. 
A  few  days  previously  the  Academy  lost  one  of  its 
architect  members  by  the  death  of  Mr.  John 
Belcher.  The  retirement  of  Sir  Ernest  Waterlow, 
R.A.,  from  the  office  of  President  of  the  Royal 
Society  of  Painters  in  Water  Colour  was  notified 
early  last  month,  when  Mr.  Alfred  Parsons,  R.A., 
who  has  been  associated  with  the  Society  since 
1899,  was  elected  to  fill  his  place.  In  the  same 
week  Mr.  Frank  Brangwyn,  A.R.A.  was  elected  to 
fill  the  post  of  President  of  the  Royal  Society  of 
British  Artists  made  vacant  by  the  death  of  Sir 
Alfred  East. 

The  second  National  Loan  Exhibition  now 
being  held  at  the  Grosvenor  Gallery,  and  entitled 
"  Woman  and  Child  in  Art,"  will  devote  its  profits 
to  the  purchase  of  works  by  contemporary  British 
artists  for  the  nation.     As  Mr.  Robert  Ross  writes 


in  the  preface  to  the  catalogue,  this  will  go  far  to 
bridge  that  quite  imaginary  gulf  that  is  supposed  to 
separate  the  tradition  of  the  dead  from  the  tradition 
of  the  living.  The  exhibition  is  not  without 
romantic  features,  notably  in  this  respect  being  the 
large  painting  b}'  Isaac  Oliver  (usually  known  by 
his  art  in  miniature)  brought  from  a  castle  in 
Glamorgan,  where  it  has  remained  practically  un- 
known. It  is  an  English  work  which  many  feel 
should  some  day  be  in  our  National  Gallery.  The 
Portrait  of  a  Lady  b\'  Hogarth  is  another  work  of 
interest  brought  to  light,  and  the  portrait  of  Mary 
Bruce,  Duchess  of  Richmo/id,  the  most  natural  of 
all  Gainsborough's  full-length  pictures,  rivals  present- 
da)  impressionism  in  its  effect  of  brilliant  lighting. 
The  Elizabeth  Valois  by  Antonio  Moro :  The 
Children  of  Lord  Melbourne  by  Reynolds ;  Alary 
Gainsboroui:;h  b}-  Gainsborough  ;  the  Andrea  del 
Sarto  ;  the  Luini ;  the  Raphael — one  of  the  two 
famous  paintings  of  the  Madonna  and  Child  in  the 
I  )esborough  Collection ;  Titian's  Madonna  and 
Child,  lent  by  Lady  Mond  and  destined  to  pass  by 
her  will  to  the  National  Gallery ;  Pieter  de  Hooch's 
The  Golf  Players,  so  curiously  anticipatory  of 
modern  methods  ;  a  Frans  Hals  ;  works  of  Sir  Peter 
Lely,  and   works   of  the  Frencli  school  from    the 

305 


studio-  Talk 


eighteenth  century  to  Ingres  the  master-draughts- 
man, are  among  the  riches  of  the  exhibition;  finally 
Degas,  disciple  of  Ingres,  provides  a  link  with  the 
present  day  and  with  the  moderns  whose  interests 
the  exhibition  is  organised  to  ser\'e.  Opportunity  for 
studying  the  practice  of  the  old  masters  is  afforded 
in  one  or  two  most  interesting  unfinished  canvases, 
notably  Gainsborough's  Mary  Gainsborough  ;  and 
consolation  may  perhaps  be  derived  by  some  artist 
of  to-day  from  the  fact  that  the  picture  of  Lord 
Melbourne's  children,  now  accepted  as  one  of  the 
greatest  of  Reynolds's  works,  was  returned  by  the 
noble  who  commissioned  it  because  it  failed  to 
satisfy  him,  and  was  bought  from  the  executors  of 
the  painter  for  the  collection  of  Earl  Cowper,  in 
which  it  remained. 

We  give  on  this  page  illustrations  of  some  nursery 
tiles  from  a  series  designed  by  that  versatile  artist, 
Mr.  John  Hassall,  for  Mr.  Hugh  Walford,  of  Bir- 
mingham. The  motifs  are,  as  will  be  seen,  derived 
from  our  old  nursery  rhymes. 


An  air  of  invigorating  freshness  pervaded  the 
little  Twenty-One  Gallery  in  the  Adelphi,  hard  by 
the  Strand,  when  the  landscape  work  of  Mr.  I). 
Atherton  Smith  was  shown  there  during  the  early 
days  of  dull  November.  Though  a  resident  of 
Paris  for  some  years,  where  one  gets  a  glimpse  of 
his  work  from  time  to  time  in  thevarious  exhibitions, 
Mr.  Smith  is  a  Glasgow  artist,  but  his  art  reveals  no 
trace  of  his  early  associations  with  that  grey  city. 
In  its  excellent  frame-setting  and  individual 
execution  each  of  his  thirty  odd  canvases  shown 
appealed  by  its  spontaneous  vitality  and  light,  and 
of  especial  charm  were  the  Landscape,  S'lvitzerland, 
The  Beach,  and  The  White  Yacht,  all  three  un- 
commonly attractive  on  account  of  their  simplicity 
of  composition  and  colour.  Among  his  larger 
exhibits,  his  breezy  yw/r  de  Mistral  a.nd  Corner  oj 
the  Market-place,  with  its  clean  sparkling  paint  and 
movement,  were  particularly  notable.  Not  the 
least  attractive  amongst  the  smaller  works  were  the 
two  sketches  we  reproduce  in  colour,  A  Glimpse  of 
the  Adriatic  Lido,  and  Vue  de  Beg-meil  Finistere. 


The  Dowdeswell  Galleries  have  been  exhibiting  The  pictures  and  sketches  in  the  Near  and  Far 
humorous  and  other  drawings  by  Vera  Willoughby.  East  by  Mr.  H.  S.  Hopwood,  shown  in  a  recent 
This  artist  has  very  un- 
usual power  as  a  designer, 
and  an  intense,  if  not 
always  pleasant,  imagina- 
tion; an  inexhaustible 
fund  of  invention  comes 
to  her  aid  in  handling  her 
humorous  designs,  but  the 
element  of  humour  seems 
less  spontaneous  than  that 
of  fancy.  Her  decorative 
skill,  however,  is  such 
that  it  places  her  work  on 
a  high  plane  in  the  field 
of  illustration. 


The  lithographs  by 
Mons.  A.  Belleroche  at 
the  same  galleries  were 
delightful  in  the  province 
of  portraiture,  for  the 
touch  of  the  artist  is  most 
sympathetic  and  skilful  ; 
it  is  only  in  the  "subject- 
picture  "  that  he  falls 
away,  failing  to  maintain 
the  same  reticence 
and  directness  of  treat 
ment. 
306 


-/ 

% 

-^ 

->y;  7^-'> 

UbDio.Ns    hoK    NUK.^hKY     I  lLh.9 


l>li.siOMil*    UV  JUH.N    II ASSAM,    K.i. 


■'■«*'*« 


'•>^>, 


^^M 


■■A  GLIMPSE  OF  THE  ADRIATIC.  LIDO.'  and 
"VUE  DE  BEG-MEIL,  FINISTERE." 
OIL  SKETCHES  BY   D.  ATHERTON    SMITH. 


studio-  Talk 


PORTION    OF    FRIEZE   ROUND   THE 


'ARMADA       ROOM  AT  THE   IMPERIAL   HOTEI,,  SOUTHAMPTON    ROW,   DESIGNED  AND 
EXECUTED   BY    NORMAN   S.    CARR 


exhibition  at  the  Fine  Art  Society's  galleries, 
represented  this  well-known  member  of  the  Old 
Water-Colour  Society  as  a  painter  in  oils.  The 
chief  charm  of  the  small  panels  of  which  the 
exhibition  was  composed  lay  with  colour  and  with 
the  pleasant  spontaneous  style  which  the  painter 
has  taught  his  admirers  to  expect  in  the  slighter 
medium  at  the  Water-Colour  Society's  exhibitions. 


^\'e  reproduce  one  panel  of  a  scheme  of  decora- 
tion carried  out  by  Mr.  Norman  S.  Carr  in  the 
"Armada"  room,  which  is  one  of  the  features  of 
the  new  extension  to  the  Imperial  Hotel,  Russell 
Square.  The  frieze,  which  is  fifty-four  inches  high 
and  is  executed  in  oils,  consists  of  pictures  of  the 
old-time  Spanish  galleons,  gay  with  bright  pennons 
and  pompous  with  their  bellying  sails,  and  is 
a  decorative  achievement  upon  which  the  artist 
may  be  congratulated.  The  largest  panel  shows 
the  Invincible  Armada  advancing  in  the  famous 
half-moon  formation,  while  the  others,  among  them 
the  one  we  reproduce,  show  the  rival  fleets  hotly 
engaged.  Though  working  in  a  style  familiar 
through  the  productions  of  Mr.  Morton  Nance  and 
the  late  Mr.  W.  J.  Neatby,  a  number  of  whose 
decorations  are  to  be  seen  in  the  original  wing  of 
the  Imperial  Hotel,  Mr.  Carr  has  an  individuality 
of  his  own  and,  as  one  who  takes  a  keen  interest  in 
yachting  and  sailing,  has  brought  to  this  task  an 
expert  knowledge  of  the  subject.  Mr.  Carr  did  not 
undergo  any  art  school  training,  but  was  intimately 
associated  with  Mr.  Neatby  for  about  twelve  years. 
While  working  at  the  Royal  Doulton  Potteries  Mr. 
Carr  executed  decorative  panels  in  ceramics  and 


a  variety  ot  tile  work.  He  has  also  illustrated  a 
number  of  nautical  books  and  articles  in  yachting 
papers.  Three  decorations  more  are  in  the  Hall  of 
the  Imperial  Hotel  and  he  is  engaged  upon  two 
others.  He  has  just  completed  a  large  panel  of 
The  "  Victory  "  at  Trafalgar,  twenty  feet  long,  for  a 
building  at  Portsmouth. 


The  Fine  Art  Society  have  been  holding  an 
exhibition  of  the  photographs  taken  by  Mr.  Herbert 
G.  Pouting  with  Captain  Scott's  Antarctic  Ex- 
pedition. It  is  perhaps  in  photography  so  matter- 
of-fact  that  the  virtue  of  the  camera  as  an  artistic 
medium  most  reveals  itself.  A  large  part  of  what 
is  beautiful  in  art  rests  with  the  revelation  of  what 
is  beautiful  in  nature.  This  was  shown  in  the 
delicate — almost  photographic — reahsm  of  Dutch 
art.  And  one  can  well  believe  that  Van  de  Velde 
would  have  delighted  in  such  a  photograph  as  Mr. 
Ponting's  The  Terra  Nova  Icebound  in  the  Pack, 
in  which,  if  we  did  not  know  that  the  rhythmic  folds 
of  the  sails  and  the  graceful  lines  of  the  rigged  ship 
were  not  emphasised,  we  might  well  believe  them 
to  be  so,  and  by  an  artist  cunning  in  the  emphasis 
of  the  salient  features  of  his  composition. 


The  examples  of  lettering  which  we  reproduce 
were  culled  from  an  unusually  interesting  and 
instructive  exhibition  held  at  the  South  London 
Art  Gallery  in  Peckham  Road  thrcjughout  the 
month  of  October  and  early  part  of  November. 
The  purpose  of  the  exhibition,  in  the  organisation 
of  which  Mr.  Percy  J.  Smith,  lecturer  in  lettering 
and  allied  subjects  at  the  Camberwell  School  of 

309 


SfiK^io-  Talk 


V 


GU ,, 


BORLSSLAE  REGIS  EIUJiv^UE. 
RE CTORI  Ar\cS'  I FICO 


AUCrORlWt  UGli,  UN'IVER.- 
UTTERAFUE 
CUILElSlAI 


51TATIS  i 


ERAPJE  fWPERia.^ 


'  ^ 


PSEMBACH 

1  .TftnU  JMJ.W  nAw  ^U^ai  a*44«  MfiMMVF*"' 


It  kankipirnMi  ^  » 


tVKTOWS  PHllQSOmiAE  ET.WlUNl 

u6ER.Auu\(  NiACisny 


kMfW  Jk  rnK.''  rri.^  \mIm 


DOCTOR    UIPI.OMA   (UNFlMSIIELi).       WRITTEN   AM)   II.I.l  MINATEL)   BY    Hl'GO   MEYER 
(Exhibition  of  Lettering,  South  London  Art  Gallery) 


Institute,  while  a  no  less 
interesting  group  of 
printed  books  came  from 
Germany  and  Austria 
and  represented  some  of 
the  best  work  now  being 
done  in  the  province  of 
Buchkunst,  of  particular 
note  being  the  produc- 
tions of  various  publishing 
houses  and  type-foun- 
dries which  have  availed 
themselves  of  the  services 
of  i)rominent  artists  for 
the  designing  of  type  and 
book  decorations.  In 
connection  with  these 
German  exhibits  it  was 
interesting  to  note  the 
increasing  use  of  roman 
type,  the  superiority  of 
which,  and  more  par- 
ticularly the  "lower- 
case"   forms,   for   the 


I 


Arts  and  Crafts,  took  a 
leading  part,  was  to  show- 
examples  of  good  lettering 
rightly  used,  and  if  excep- 
tion might  be  taken  to 
certain  of  the  exhibits,  as 
not  answering  to  this  con- 
dition, the  aim  of  the  pro- 
moters was  realised  in  the 
bulk  of  the  five  hundred 
odd  items  gathered  to- 
gether from  many  sources. 
Numerous  examples  of 
written  texts,  both  with 
and  without  the  addition 
ol  illumination  or  other 
decorative  devices  were 
shown,  but  in  conformity 
with  the  object  the 
organisers  had  in  view  a 
large  projxjrtion  of  the  ex- 
hibits consisted  of  early 
and  modern  printed  books, 
title-pages  and  other  ex- 
amples of  general  printing, 
an  important  contingent 
of  these  being  lent  for  the 
occasion  by  the  governors 
of  the  St.  Bride  I'"oundation 
3'o 


^0  1^.  idfipROP^:  Rie:  i> 


U'v^iiocoatTist-wi  tc'rcs^Knulc 
mUu.QiuA  cdiixi  Ci  dt  Urra.Xs 
<^\pCt:  pArnsti  crib.\  tn  !^\uuxl  tu* 

•  'vliitn«uAolk^s.\-t.aLhdir! 
IktaiH  IJwIuK'.uuwcitcOHr. 
X*:^ypt«n6  Kvlvci^rnsi-  ld\duJ^.-.-:. 

O^iiiA  cduxi  XX.  p4r  cUKrtum  qvu. 
diAjinu  .\i^ais,  a  mAiw^  tiKwl 
tccrtntrocULM  tcmUiTAm  satxs 
tvoAm  p.\r.\<.tiCruccm5.UvAt(mt./ 
'^ '  «ii  \  Fi  1  K  ;■  \v,u-  l(h  air,-ia  l.\J»r.';-; 
Ich  re  I  v-1  \rwtir  vl v- OTa  I  \i  w  cl  .\r.  ;* 

'  uiduUrAdcKu.fxccntUi'i.ct' 
won  fica'  Ccio  qiiixUm  pUM\t.\\itc 
wxtAmmcAm  Sf'^cu>fi5'5-mi.\tT\ 
ct  til  Ma.i  c&  miKx  rumi*-  Anv\ 
i.x.  Accto  nAJtxgiic  sinni  mon^ 

CXafrt:  ct  UinccA  pcifor ASti 
laif-  SaLvAtCTi  tua>x-:«-;*:-:' 

go  ixopccr  t«  flA^clUw  Ac  - 

f\yUuT\  aim  p*\m»xk<iuti5  suii* 
tuim'^iy!'   ^imtraJulisti 

•  'U  V  -lL\f"C  ti.u-".< 

IvhVi.i       -  ^N-acndii. -■•■:: 

'  fl|c  eduYiCc  dcAt9ypCQd(Tnct5t* 
fYuVviotu  in  nutc  aibrum<t  tu<«w 
tT.-ulidi5ti  piinupibiu  Mccuiotitm 

'  'u-h-i'li.!'"  ivh\o  Vi\ :  k.'-f'  . 


AGIOSOTHt-()S 

.4aosiscM\'aos 

AGlOSArR^DATOb 

eL6isoPKms 


CIO  .irxXs  tc  .Apcnii  nuK  u  tu 
af<i\uKi  Lm\cc.a  UMiu  ii\ciuT\ 
€ilo  .iiitc  tc  pr.icui.  in  u'^timvu 
nubi^  a  tunACduvisti.idprr 
toriuin FUati  >i<::<-::t-:-:n'.f< 
ZiuruiJ,:  •  ,':^•l.'^■Vc.i,«a 

XbWWl  ,,.s 

tllUllIll'' 

atitnv  cccutL5ti..\l.\(*c-a  AAf,el 
lu  lego  U  l»Ot.l\l  .VJIU  i.\Ultt* 

dt  p&tv  tt  tu  nK  poCvfti  f tUc- 
ct  .\cctOi.:«-:':->M-:-:-:-;-:-:-:«:';'<-i-i< 


CIO  provXti  U  Cli.«v\i\.vioriuu 
ivao  p<rtii>n :  <t  tu  ptrms5t*ti 
.u  vti  \Aii\i  CAixU  nuum.u^o  vicdi 
UbL  9CCfCntm  rc^Alc ;  <t  tu  cU  diA 


text  tu  n\c  su5(«<i-uu<ti.  in  fu- 


Ubulo 


(  HFlUGfRCOT'C 
!>HLIIlC.ERSrM;klk'l) 
'  >HCILlGF,l^niN:t  > 


nccc  ♦An<tAn\  rcM.irpC4tu''iv:n\ 

tXUVn  lALulAllUUtCt  ^lOnfiCA  — 

nui»:€CU  c>\LmpTCVCcr  Ujtminwt 
nit  ^uidiiui^  in  itni  \v  t  »c  rruindfi 


TIIK    •'  IMPROPERIA  "   (RF.rROACHKs).       LATIN    AND   UKRMAN    TEXT    WRinEN    IN 

BLACK,    RKI>  AND  (;OLI)   BY    F.    ALBKRS,    DUSSELPORF  ;    WOOPCl'T    HV   SAME 

( E.\hihi/ton  oj  LeUfrittg^  South  lj>ndon  Art  Gallery) 


1^  3  ^ 


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O  H 


a  w 
<  z 


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-   ■_   j;   .-  fc  ^il  1.  ■£'  2   o  -J2: 
.-  :.  ^  -  5  ::  .i  c  '^  ■I-  c  -'  ■.  —  ^  uj 


'o  z 


—  ^  c 


=   ?  :3  2   3  S  "§-  =   5 "  ^'  S  i  S.  •-  H  ^ 
^  -?    r:    -    =    =  .2    -    ■.-.    i'    V    ■::    t:    P    ^    ?•    u 


fel 


'J     L-     ^  J 

^  b  ;^ 

>■   OS 


O  S 


HI 


u 


a  — 
<  >• 

o  « 


•J  Q 
O  Id 

Q  -J 


LU    '-^   UJ  ^ 

-  •=  I  ^  ?  X  [<  ;^ 

^  -t  =  -^  -^  it'  '-^  '/v 


5h 


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Studio-Talk 


mo^^iixo  i5t>*t 


B^R 


^_  !So/lR 

f\x^A  cwQ.  kli-.-u-  ijli  roi'iiu'! 
>(.*Iricl  ruav  tl^ciT  be  no 

o*    <UlicijIfnirout  to  5Ca 

JC->ut  sttch  a  ride  eis  mcn'lng' 

seems  asleep. 

Ooo  fell  TOT  sotuui  or  foaiiz. 

UJoen  trua.t  w^^xh  cirew  Tron^ 

cnxt  t)  le  bou.i2ellc6S  dec  \p 

Oumis  aojain  konie. 


Tennyson's  "crossing  the  bar."    written  and  illuminated  by  lottie 

BRA>iTON    HICKS 
( E-xhibilion  of  Lette)-ing,  Soiijh  London  Art  Gallery) 


general  purposes  of  life  was  Bemonstrated  beyond 

question   by   the  exhibition  as   a   whole.     .\   few 

examples  of  Greek  typography  were  included,  but 

we  observed  no  specimens 

of    printing    from  Russia 

and  other  Slav  countries 

where  the  Cyrillic  alphabet 

or  a  modification  of  it  is 

in  use,  though  here,  too,  a 

movement    has   been    on 

foot    during   recent   years 

for    effecting    a    much 

needed    improvement 

Lettering   plays    such    an 

immense  part  in  our  lives 

that  one  cannot  but  hope 

that  this  exhibition  at  the 

South  London  Art  Gallery 

— said  to  be  the   first   of 

the  kind  ever  held  in  Great 

Britain — will  be   followed 

by  others  in  due  course. 


the  open  air,  and  it  is  the 
Malvern  country  that  has 
provided  him  with  the 
subjects  of  most  of  his 
important  pictures.  This 
constant  work  direct  with 
Nature,  although  serving 
to  accumulate  a  wealth 
of  accurate  observation, 
would  have  tended,  per- 
haps, to  the  prejudice  of 
the  best  artistic  results 
had  it  not  been  for  a 
corrective  coming  from 
the  contemporary  school 
of  decorative  landscape 
work.  It  is,  perhaps,  to 
the  personal  and  artistic 
influence  of  the  late  Sir 
Alfred  East  that  one 
may  trace  the  more  con- 
sciously decorative  feel- 
ing that  has  marked 
much  of  his  later  work, 
and  the  eight  years  he 
spent  at  the,  Worcester  Royal  Porcelain  ^Vorks  as 
decorative  artist,  after  leaving  school,  may  also 
count  for  something  in  this  direction.     In  1895-6 


__  Ixoo  :b€1iii 

fLnA.  .iftiT  tliat  tlic  ciirli! 
,*1[ncl  may  tlici'c  be  no  sarlnese 
of  rare\\>Gll 
Mj|«n  .leinbark; 

XTor  tlio  li-onjoiit  tlxls  bou.me 

,        or  Ounc  ai;djrr l^ice 

<On«  nood  mav.bcar  mc  rar 

,I^lio|.ie  to  sec  myJP  ilot  rac* 

ti.-'  face 

Millicnlbaw  crossed  the  bar 


?THaiHAST 
BHN  OUR 

FROMONE 
GENERMON 

TO  ANOTHER, 

l^t-K'f>  llu-  nuiint.iiiu  u.'<mbnHUiht — 

hinh  01  c\'cr  till-  cirtli  xwX  llw  itxtrld. 

liif re  mjiic :  thou  .irt  Ooci  fKnn  ever"* 

Lixtirw^..»iul  iiuiriil  (iitFuxtt  frut. 
"jhtiii-  lumcst  1TI.IM  U»  dextpwction'.v 

(^un  tluHt  ».>i]C3(    VoTMc  .it44m.i|i<KU 

mi  of  tnft* 
por  A  du'usAnt.i  ncii?  m  iHij  5u^  «« 

but  Asncstcn.i.»i[  .«cinst  iKu  is  pMtu 

Aixntch  in  Ow  iiiv;M  . 
^soon  -u  thou  s»:.iUfiYst  tlicrn  tha{' 


rth'T   '"'•  >'>thcv^V.»iMi^.l  UMUI 


rinioc  a»i»sunic  .»uiii 


llhL|if: 


r.ahKvl 


urr:  inil.irc.ihuiii.it  thi|  i 
uidii^ivxtiott . 

■TTu>uh.i>"t  set  otu'niiai-liv».lsM(Trr- 
lhcc;.>»t»-l**i'*'''*-T^  .-.insui  lhi-liv»lit 
of  tlui  COi u^lcn.i iicf . 

pOT'iuhciilluHi  .u"t  ,uh;i-i[.»II  ^'ui  tlup 
ire  i^oiic;  u'C  bnii",*  oiirL|i*»t"S  to  iii 
eruT.-wit  tucTt  itilrlluit  is  loUH  . 

"Jhc  Jaua  0+  oiif.»i^'  Jn-  threescore  - 
ucirs^iul  tCTiMiiJ  ihousih  moibc 
jojtroiis;  th  it  thai  ivnic  lotoursa'rc 
iic*ns;  iict  lA  thdi>tiYHi,;;lfi  tlinilnit 
Litvxti  .iiul  attmnu;  >o.tOOii  i>.i»ctii 


, ,.... 


it  Aiittii.  uul  ii't*  .uv  i.^n>«.' 
Put  u4ui  rt-^.iii^clh  itu-  p.ni'o" 


•flliu 


lu-  p.' 

UTjth  ;  toi  o'Cii  tjim-.ittct  .i>.i  riv»n 
it^rrth.iois  tIu|iiiii'lctsiiiT. 
^oic.iji  it»  to  lutnihri  fill  ilu|»-tlul 


Mr.  Harry  W .  Adams, 
R.B.A.,  ^belongs  to  the 
"  open  air  "  school  in  more 
than  the  technical  sense. 
For  almost  twenty  years 
he  has  practically  lived  in 


:.      WRITTKN    BY    MAHKL  SMITH,    GILDED   BY   ORAILY    HEWITT, 
ILLUMINATED    BY    LOUISE   l.ESSOKE 
( Exhihition  of  I.cllcrini;^  South  London  Art  Gallery) 


o  == 


<   g 

,.,  y. 

=:  < 


studio-  Talk 


he  went  to  Paris  and  worked  at  Julian's,  the  latter 
year  seeing  his  first  picture  on  the  line  at  the  Royal 
Academy.      Four    years    later    his    snow-picture, 

Winters  Skep,  was  purchased  under  the  terms  of 
the  Chantrey  Bequest,  and  is  now  in  the  Tate 
Gallery.  It  is  somewhat  similar  in  method  to  the 
one  here  produced.  The  Valley  Sentinels,  which 
was  exhibited  on  the  line  at  the  Royal  Academy. 
This  picture  is  particularly  characteristic,  as  it  was 
as  a  snow  painter  that  Mr.  Adams  first  achieved 
distinction,  and  he  has  since  followed  up  these 
themes  in  a  lengthy  study  in  Switzerland.  Another 
picture,  markedly  typical  of  the  qualities  which 
characterise  the  artist's  work,  is  one  purchased  by 
the  Worcester  Corporation  for  their  Art  Gallery, 

Winter  in  the  Malvern  Hills. 


Mr.  George  Sheringham's  recent  exhibition,  at 
the  Ryder  Gallery,  of  a  series  of  panels  painted  on 
silk,  based  on  motives  from  "  The  Mabinogion," 
showed  decisively  how  his  remarkable  decorative 
capacities  are  developing  and  maturing.  In  these 
examples  there  had  been  added  to  the  dainty 
exquisiteness    of  design   by   which    his    work   has 


always  been  distinguished,  a  largeness  of  feeling 
and  a  breadth  of  effect  which  must  be  accounted  to 
have  widened  very  appreciably  the  scope  of  his  art. 
He  showed  in  them,  too,  higher  qualities  of 
imagination  than  he  has  ever  displayed  before  and 
an  even  surer  grasp  of  great  decorative  essentials. 
In  the  fans  and  smaller  decorative  paintings  which 
he  exhibited  with  these  panels  the  same  enlarging 
of  his  outlook  and  development  of  his  powers  of 
expression  were  apparent  :  from  the  first  he  has 
ranked  as  an  artist  of  exceptional  gifts,  but 
year  by  year  he  is  making  more  sure  his  position 
among  the  most  accomplished  of  the  painters  who 
have  devoted  themselves  to  the  working  out  of 
subtle  problems  of  design  and  to  the  imaginative 
treatment  of  decoration. 

PARIS. — Gouache,  that  admirable  medium 
which  the  eighteenth  -  century  masters 
carried  to  so  high  a  degree  of  perfection, 
seems  to  have  been  greatly  neglected  by 
contemporary  artists.  Many,  it  is  true,  work  in 
gouache,  but  very  few  there  are  who  appreciate  all 
the   resources    of  this    wonderful    technique.     M. 


■  LE  chevrier"  (gouache) 


ItV    R.    GIROUST 

3'5 


studio-  Tall; 


Giroust,  two  of  whose  superbly  executed  drawings  in 
body-colour  we  reproduce,  has  made  a  patient 
study  of  the  art  of  gouache,  and  arrived  at  com- 
plete comprehension  of  all  the  finesses  of  the 
medium.  In  his  hands  it  is  not,  as  with  so  many 
artists,  a  kind  of  haphazard  style  producing  this  or 
that  unexpected  effect ;  it  is  a  metier  mastered 
with  care  and  carried  to  perfection. 


To  his  impeccable  technique  Giroust  adds  most 
individual  gifts  of  execution  and  composition. 
His  landscapes  are  as  dexterous  as  those  of  the 
eighteenth  century,  but  at  the  same  time  they  are 
resolutely  modern  in  feeling  ;  and  .some  indeed  are 
instinct  with  an  exquisite  charm.  In  Le  Chevrier, 
recently  purchased  by  the  State,  the  artist  dei)icts  a 
mountainous  landscape  with  a  sky  treated  in  a 
masterly  fashion,  in  which  all  the  values  compose 
themselves  into  an  infinitely  seductive  vision.  The 
work  entitled  Les  Cygnes  was  exhibited  recently  at 
Marcel  Bernheim's  galleries.  The  transparent 
waters,  the  old  ruined  bridge  and  the  silhouette  of 
a  castle  form  a  delicious  ensemble. 


An  interesting  and  picturesque  Breton  artist,  M. 
Mathurin  Meheut,  has  been   showing   recently  at 


the  Musee  des  Arts  Decoratifs  a  whole  series  of 
sketches,  water-colours  and  drawings,  all  inspired 
by  the  fauna  and  flora  of  the  ocean.  This  series 
of  very  important  and  very  varied  works  demon- 
strated above  all  what  a  fertile  field  of  inspiration 
is  available  to  the  artist  decorator  in  the  sea  with 
its  infinite  variety  of  natural  forms.  The  vigorous 
drawings  in  black  and  white  and  the  brilliantly 
coloured  water-colours  showed  us  that  we  have  in 
M.  Mathurin  Meheut  not  only  an  artist  of  very 
personal  talent  but  also  a  savant  who,  while  depict- 
ing with  most  scientific  accuracy  these  curious 
forms  of  organic  life,  has  been  able  to  discover  in 
them  entirely  novel  decorative  motifs. 


M.  Chabanian  is  also  a  painter  of  the  sea,  and 
he  excels  in  rendering  its  varied  aspects  at  different 
hours  of  the  day  ;  he  delights  at  times  to  animate 
his  sands  and  his  waves  with  the  figures  of  lively 
little  folk  who,  under  Ostend  skies,  intrt)duce  a 
joyous  note  of  colour  into  the  grey  waves.  A  whole 
series  of  still-life  pieces  admirably  rendered  in 
schemes  of  delicate  tonality  added  still  further  to 
the  charm  of  a  recent  exhibition  of  M.  Chabanian's 
work  ill  the  lue  I.a  Boetie. 


'LES   CVCNKS"   (COIIACHE) 
316 


IIV    K.    (;1R01'S1 


Jl 


Studio-  Talk 


'MOOR   LANDSCAPE 


BY   KARL    HAIDER 


Quite  different  is  the  ideal  of  M.  Charles  Jouas, 
that  fine  and  conscientious  artist  who  invited  us  to 
nspect  at  Chaine  and  Simonson's  Galleries  the 
fruits  of  several  years  assiduous  labour.  Cathedrals 
such  as  Notre  Dame  and  the  old  corners  of  Paris 
— these  are  the  themes  that  enchant  this  devoted 
worker.  Since  the  opening  of  his  exhibition  the 
Musee  Carnavalet  has  acquired  some  of  his  beauti- 
ful water-colours  in  which  the  artist  has  evoked  the 
strangest  and  quaintest  aspects  of  Old  Paris.  Besides 
these  he  has  depicted  the  infinitely  varied  and 
poetic  aspects  of  the  parks  of  Versailles,  of  the 
Cathedral  of  Chartres,  of  that  of  Rouen,  and  finally 
of  the  Abbaye  du  Mont  S.  Michel.  This  exhibition, 
the  result  of  twenty  years'  persistent  work  will 
suffice  to  make  the  work  of  this  finished  artist 
known  and  appreciated  by  the  general  public  and 
to  set  the  seal  upon  a  talent  so  different  from  that 
of  the  majority  of  his  contemporaries. 

At  the  Georges  Petit  Galleries  recently  there  was 
held  the  tenth  Salon  de  la  Gravure  Originale  en 
Couleurs,  where  one  found,  as  usual,  the  names  of 
those  who  founded  this  society  and  have  contributed 
to  its   prosperity.     The  most  celebrated  of  these 


names  is  that  of  J.  F.  Raffaelli  who  prefaces  gladly 
the  catalogue  of  this  exhibition  with  a  review  of  the 
progress  made  not  only  by  the  artists  but  also  in 
the  education  of  public  taste.  "  From  an  inquiry 
made  among  the  publishers  we  learn,"  so  writes 
M.  Raffaelli,  "that  during  this  period  often  years 
the  sale  of  these  prints  has  passed  the  gratifying 
figure  of  four  millions."  MM.  Henri  Jourdain, 
Pierre  Labrouche,  Luigini,  Henri  Meunier  and 
Ulmann  were  in  evidence  as  usual  with  those 
delightful  landscapes  we  are  familiar  with.  Mons. 
Raffaelli  himself  only  showed  three  little  views  of  a 
country  village,  but  all  bore  the  stamp  of  his 
characteristic  mastery.  The  old-time  landscapes  of 
Gaston  de  Latenay  with  their  intense  poesy  called 
to  mind  those  most  rare  sanguines  of  the  great 
artists  of  the  eighteenth  century.  H.  F. 

BERLIN. — The  exhibition  of  the  late  Karl 
Haider'.s  works  at  the  Schulte  galleries 
was  referred  to  in  my  notes  last  month, 
and  it  remains  to  supplement  the  brief 
remarks  then  made  by  some  examples  of  his  work 
as  a  [jortrait  and  ligure  painter  and  as  a  landscapist, 
in  botli  of  which  capacities  he  worthily  upheld  the 

317 


LADY   WITH   A   ROSE 
BY   KARL   HAIDER 


studio-  Talk 


old  German  traditions.  The  deceased  painter  was 
born  in  1846  at  Munich,  and  remained  attached  to 
the  Bavarian  capital  throughout  his  life.  Two  years 
ago  he  received  from  the  Prince  Regent  the  St. 
Michael  Order  of  Merit  of  the  Fourth  Class. 


The  members  of  the  Berlin  Secession  who  have 
remained  loyal  to  the  last  president,  Paul  Cassirer, 
filled  all  the  rooms  of  the  Secession  building  with  an 
Autumn  exhibition.  Former  leader.s  of  the  society 
such  as  Liebermann,  Corinth  and  Slevogt  withdrew 
from  the  jury,  and  their  places  were  filled  by 
younger  men  such  as  Beckmann,  Brockhusen, 
Pechstein,  Rosier  and  Kolbe,  with  Wolfgang 
Gurlitt  as  business  manager.  The  character  of  the 
exhibits  showed  the  encouragement  of  technical 
experiments,  so  that  seekers  after  all  sorts  of  ex- 
pres.sion  were  presented  to  publicity,  and  thus 
rather  too  many  raw  dishes  were  served.  Even 
the  large  fresco  designs  by 
Edward  Munch  which 
filled  the  central  hall,  failed 
to  convince  of  a  mature 
art  and  laid  bare  in  ex- 
tensive frames  poverty  of 
invention  and  thinness  of 
colour.  Picasso  was  to 
be  studied  in  various  de- 
partures from  his  own 
tenets  ;  deep-felt  social  in- 
stincts and  dreamy  moods 
were  visualised  in  a  high 
style  of  draughtsmanship, 
but  the  total  impression  of 
this  artistic  personality 
remained  one  of  dis.saiis- 
faction  owing  to  its  Gon- 
tradictoriness.  \V.  Rosler's 
tendency  towards  expres- 
sive simplification  h.i.s  not 
yet  led  this  landscapist  to 
satisfactory  results,  but  the 
same  endeavour  assisted 
Moritz  Melzer  to  the 
achievement  of  strong 
fresco  effects  in  his  re- 
ligious subjects.  Erbsloh 
again  attained  dignity  of 
form  and  colour  in  his 
statuesque  female  nudes, 
and  Pechstein  showed 
himself  fiercely  energetic. 
The  etcher  Hans  Meid 
proved  interesting  also  as  ski.i'-i'oktkait 


a  painter  by  the  decorative  effectiveness  of  his  work, 
and  Beckmann  and  Hofer  bya  quite  personal  display 
of  colour.  Brockhusen's  ambitions  were  wasted  on 
religious  subjects  and  enormous  still-life  paintings 
which  only  served  to  expose  his  pedantry.  Pleasing 
works  were  shown  by  Fritz  Rhein  and  E.  R.  Weiss, 
while  the  young  painter  Claus  Richter  with  his 
whimsicality  and  precision  of  statement  again 
evoked  astonishment  as  a  direct  descendant  of 
Altdorfer  and  Breughel.  The  triumph  of  the  show 
was  a  powerful  relief  representing  two  nude  riders 
on  horseback  and  a  bull  by  Prof.  Tuaillon,  which 
taught  that  greatness  in  art  can  only  be  attained  by 
humble  submission  to  nature  and  freest  sway  , 
over  it. 


The  Kiinstlerhaus,  which  is  now  placed  under  the 
direction  of  the  well-known  etcher,  Hermann 
Hirzel,     honoured     Martin     Brandenburg    with    a 


BY    KARl.    IIAIHEK 

319 


f 


D 
en  5; 

O  2^ 


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Studio-Talk 


comprehensive  exhibition  in  November.  To  stand 
before  this  painter's  works  almost  seemed  like 
intruding  into  the  privacy  of  a  world-evading  spirit. 
The  sad  aspects  of  life  have  taken  possession  of  his 
soul  and  these,  mingled  with  the  fantastic  visions  of 
a  passionate  dreamer,  have  created  a  strange  and 
quite  personal  art.  Brandenburg  has  laboured 
unceasingly  to  perfect  his  technique,  and  his  work 
testifies  to  his  ability  as  a  draughtsman  as  well  as  a 
colourist.  The  minutest  forms  are  rendered  with 
precision,  and  prismatic  values  help  to  interpret 
suggestive  force  and  mystic  moods.  The  poet 
peoples  nature  with  pantheistic  forms,  for  which  his 
hand  is  sometimes  too  heavy  and  his  taste  too  earth- 
bound.  His  naturalism,  however,  serves  him  well 
when  his  aim  is  simple  landscape  rendition.      J.  J. 


Universal  regret  is  felt  at  the  death  of  Carlos 
Grethe,  who  succumbed  to  an  attack  of  appendicitis 
at  Nieuwport  in  Belgium  on  October  24.  The 
deceased  artist,  who  had  not  yet  reached  his  fiftieth 
year,  was  a  marine  painter  of  exceptional  merit,  and 
his  death,  following  so  soon  on  that  of  Prof.  Hans 
von  Bartels,  who  also  excelled  in  kindred  subjects, 
is  a  serious  loss  to  German  art,  for  though  he  was 
born  in  Uruguay,  by  far  the  greater  part  of  his  life 
from  infancy  onwards  was  passed  in  Germany.  At  the 
age  of  sixteen  he  entered  the  Karlsruhe  Academy, 
which  he  rejoined  subsequently  after  ain  interval  in 
Paris,  and  later  he  became  a  teacher  there,  after- 
wards becoming  a  professor  at  the  Academy  of  Fine 
Arts  in  Stuttgart.  Numerous  works  of  his  have 
been  acquired   by  public  collections,  and  he  was 


f^mnvi  jyujd 


"/-^.^-■^^' 


"in    the    SHU'y.lKl)' 


(See  Biidatiest  Sliidio-'l'all;,  next  page) 


ETCIllNi;    BY   GVUl.A   CONRAD 


Sfinfio-  Talk 


the  recipient  of  many  medals  and  diplomas.  Prof. 
Grethe  was  also  distinguished  as  an  artist  litho- 
grapher of  rare  talent.  An  article  on  his  work  by 
Prof.  Singer  appeared  in  vol.  xxxi  of  this  magazine. 

BUDAPEST.— At  a  recent  exhibition  of 
the  graphic  work  of  Gyula  Conrad 
opportunity  was  given  to  observe  how 
great  an  advance  this  Hungarian  artist  has 
made.  He  is  not  unknown  to  readers  of  The 
SriDio,  for  reproductions  of  his  etchings  have 
from  time  to  time  appeared  in  its  pages,  and  his 
exceptional  talent  as  a  graphic  artist  has  been 
generally  recognised,  the  chief  collections  on  the 
Continent  having  acquired  examples  of  his  work. 
Conrad  is  a  keen  ob.server,  and  an  artist  with  a  fine 
imagination  ;  he  does  not  aim  at  being  prolific  but 


studies  thoughtfully  and  always  endeavours  to  give 
to  the  work!  only  the  verv  best  in  him.  There  is  a 
certain  suggestiveness  in  his  work  which  makes  it 
particularly  attractive,  an  atmospheric  subtlety 
which  combined  with  strength  and  character  makes 
it  both  striking  and  interesting.  Conrad's  art  is 
always  sympathetic,  there  is  the  freshness  of  youth 
in  it,  and  he  expresses  clearly  and  forcibly  that 
which  he  means  to  convey  to  the  observer  ;  there  is 
in  his  utterance  no  trace  of  that  vagueness  which  so 
often  mars  an  otherwise  sympathetic  composition. 

A.  S.   L. 

II. AN. — Two  years  have  elapsed  since 

the  first   exhibition   of  the  Lombard 

"Acquarellisti"  was  held  in  the  rooms 

of  the  .Societa  Permanente  at  Milan. 

Two  of  the  leading  figures  of  that  opening  exhi- 


M 


.^f»  ^^^v^tt. 


'CAPkl 

3" 


ETCIIINt;    nv   CVl'l-A    CONKAIi 


'TWILKiHT  ON   THE   POSILIPO  " 
ETCHING  BY  (iYULA  CONRAD 


studio-  Talk 


bition,  the  President  and  Vice-President — Paolo 
Sala  and  Filippo  Carcano — are  still  to  the  front  in 
the  work  of  the  society,  and  both  are  well  repre- 
sented in  its  third  exhibition  along  with  others  who 
figured  in  those  first  days,  such  as  Hettinelli, 
Beltrame,  Luigi  Rossi,  and  the  indefatigable  secre- 
tary of  the  society,  Ren/.o  Weiss.  The  society 
has,  in  fact,  never  gone  back  from  its  first  opening. 
In  the  year  succeeding  it  showed  to  great  advantage 
in  the  Venice  Exhibition,  as  well  as  in  the  annual 
exhibition  of  the  society  itself  at  Milan  in  the  autumn 
of  191 2.  And  it  is  satisfactory  to  note  that  the 
exhibition  which  opened  on  November  15  last,  in 
the  Palazzo  Cova  at  Milan,  has  in  the  number  of 
exhibits,  the  quality  of  the  work,  and  the  public 
appreciation,  proved  one  of  the  most  successful. 


Before  dealing  with  this  exhibition,  I  tliiiik  it 
right  to  allude  to  the  loss  which  the  society  has 
lately  suflered  in  the  lamented  death  of  Sir  Alfred 
East,  who  was  one  of  its  early  members  and  who 
exhibited  at  the  two  pre\ious  exhibitions.  Sir 
Alfred  took  the  greatest  interest  in  the  progress  of 
the  society,  and  I  know  personally — from  a  letter 


recently  received  from  the  president — how  keenly 
that  interest  and  sympathy  were  appreciated,  so 
that  in  alluding  as  I  have  done  to  his  loss,  I  feel 
sure  I  am  only  echoing  the  expressed  feelings  of 
those  members  of  the  society  who  enjoyed  the 
friendship  and  admired  both  the  art  and  the 
personality  of  their  English  confrere. 


I  have  mentioned  that  in  the  present  exhibition 
Paolo  Sala  and  Filippo  Carcano  still  lead  the  way. 
One  secret  of  Carcano's  art  is  his  mastery  of  atmo- 
sphere— a  quality  which  finds  expression  in  his  sea- 
piece  {Mare)  of  the  present  exhibition  and — though, 
perhaps  to  a  less  extent — in  his  Afler  Tennis  {Dopo 
il  Tennis).  The  president  has  not  forgotten  his 
London  visit,  of  which  his  water-colour  of  the 
Thames,  already  reproduced  in  these  pages,  and  an 
admirable  study  of  the  Strand,  are  souvenirs.  His 
Sit/r  Isola  dci  Pcscatori  is  a  scene,  most  \igorous  in 
design,  from  that  lovely  island  on  Lago  Maggiore 
which  for  many  years  he  made  his  home  :  we  re- 
produce both  this  and  his  admirable  group.  Ji'owcn 
of  A7'i:^non.  Paolo  Sala  in  his  technique  holds 
strictly    to    pure   water-colour,  admitting  none   of 


'ON   THK    fishermen's   island   (I.SOI.A    DEI    I'ESCATORl)" 

( .4sso<iaiione  degli  .injuarellhli,  Milan) 


IIV    T'AOI.O   SAI.A 


( Associazione  dcgli  .la/tiarellisli,  Milan) 


WOMEN   OF  AVIGNON 
BY  PAOLO  SALA 


studio-  Talk 


those  tricks  of  tempera  and  gouache  that  are  coming 
so  largely  into  use  among  painters  in  Italy. 


Admitting  this  point  of  view — absolutely  sound 
in  my  own  opinion — one  must  also  admit  that  an 
element  of  variety  and  attraction  is  imparted  to 
the  present  exhibition  by  those  brilliant  studies 
of  the  shores  of  Bordighera  by  I'ompeo  Mariani, 
who  attains  the  brilliancy  of  his  effects  by  the 
admixture  with  his  water-colours  of  tempera,  pastel^ 
and,  I  believe,  even  crayon.  Another  attraction 
this  year  is  Auguste  Sezanne,  who  sends  from  Venice 
a  delightful  painting  of  the  pigeons  of  St.  Mark 
(Co/om/ii  di  S.  Mano)  :  while  from  Venice  Zezzos 
contributes  two  paintings  of  interest.  Three  artists 
who  have  all  been  firm  adherents  of  the  .society,  are 
well  represented,  Achille  Belirame,  Mario  Bettinelli, 
and  Mascarini  all  showing  work  which  is  progressive. 
Both  Riccardo  and  Guiseppe  Galli  appear  here, 
the  latter  showing  greater  assurance  and  ease  in 
the  medium  than  at  previous  exhibitions ;  and 
among  our  illustrations  is  a  Procession  by  Giovanni 
Greppi.  Emilio  Gola's  landscapes  are  sincere  and 
powerful,  and  Emilio  Borsa  with  his  Four  Seasons, 


Egidio  Riva,  Antonio  Piatti,  Ferrari,  and  Riccardo 
Salvadore  ( Tit<i/igh/  in  Sardinia)  are  well  repre- 
sented. Sig.  Renzo  Weiss's  five  water-colours 
advance  the  position  he  had  already  acquired  as 
an  aquarellist  of  ability  and  promise. 


Two  English  ladies  exhibit  this  year :  Mrs. 
I'rice-King,  who  was  for  many  years  a  resi- 
dent of  Milan,  and  who  has  sent  to  the  Palazzo 
Cova  her  charming  Siionalrice  (\'iolin  Player) : 
and  Mrs.  Averil  Burleigh,  whose  work  is  already 
familiar  to  readers  of  this  magazine,  and  whose 
two  water-colours  there  reproduced.  The  Mer- 
thaiit  and  The  Feast,  have— as  I  hear  from  a 
friend  in  Milan — delighted  the  public  "  from  their 
elegance  of  design,  and  because  they  render 
the  sentiment  of  mediaeval  life  with  such  delicate 
poetry  of  feeling."'  S.   B. 

PH  1 L  A 1 )  E  L  r  H I  A.— Ihe  Eleventh  Annual 
Exhibition  of  Water  Colours,  Black  and 
Whites,    Pastels    and    Drawings   in    any 
medium  under  the  joint  management  of 
the  Pennsyhania    Academy  of  Fine  Arts  and  the 


.\    I-KOCKSSIO.N 
326 


( Associazioiit  dri^i  Aiquaicllhli.  Miiaii ) 


|;V   l.liiVANM    likl.lTI 


(Philadelphia  M'atcr-Colour  E.xhiliiion) 


THE    SWEETMEAT     BAZAAR 
DAMASCUS."  BY  JULES  GUERIX 


iV; 


Studio-Talk 


Philadelphia  Water  Colour  Club,  was  held  in  the 
galleries  of  the  Academy  during  November  and 
the  first  half  of  December.  The  exhibition  was 
larger  than  usual,  there  being  720  works  exposed, 
or  about  125  more  than  on  the  previous  occasion. 
Though  the  standard  of  excellence  was  no  higher, 
there  was  more  variety  in  the  quality  of  the  work 
shown,  and  while  more  latitude  in  the  field  of 
artistic  experiment  was  discernible,  very  little  was 
to  be  seen  in  the  way  of  insurgent  defiance  of  the 
conventionalities.  The  pictures  shown  were  not 
all  painted  by  Americans,  however,  but  this  did  not 
make  the  exhibition  any  the  less  interesting. 


i\  v.orlc  from  the  hand  of  the  lamented  Gaston 
I^  Touche  entitled  The  Disciples  at  Emmaiis  had 
the  position  of  honour  in 
the  largest  room,  a  work 
effective  in  lighting,  subtle 
in  colour-scheme,  and  pos- 
sessing all  the  qualities  we 
expect  to  see  in  his  work. 
This  was  flanked,  as  pen- 
dants, by  two  others  from  the 
.same  source,  viz.  Nativity 
and  Moonlight,  both  charac- 
teristic of  the  master.  M. 
Eniile  Rene  Menard  ex- 
hibited a  beautiful  work 
entitled  The  Bathers,  ap- 
parently another  version  of 
his  painting  with  the  same 
title  shown  in  the  last  I'aris 
Salon  and  very  enticing  in 
the  mysterious  warm  glow 
of  twilight.  M.  Charles 
Cottet  was  represented  by 
twelve  different  works,  in- 
spired mainly  from  the  life 
of  the  Brittany  peasant. 
Particularly  interesting  was 
his  Women  oj  Brittany 
around  a  Bier.  Mr.  Alex- 
ander Robinson  exhibited  a 
group  of  eight  paintings  in 
opa(|ue  colour,  delightful 
as  specimens  of  splendid 
facility,  refined  tonality,  and 
effective  colouring. 


regard  to  tone  and  values,  especially  her  Our  Lady 
of  Joys.  Miss  Alice  Schille  was  represented  by 
eight  water-colours  painted  mostly  in  pure  wash  and 
(juite  free  and  sketchy  in  handling,  typical  examples 
being  Old  Houses  and  The  Garden  of  Night.  Mr. 
David  K.  Milne  also  exhibited  a  group  of  works  in 
pure  water-colour,  as  did  Miss  Anne  Goldthwaiie 
in  figure  subjects,  A  Pink  Ribbon  r.nd  A  W'atl- 
flmi'cr.  Some  very  curious  drawings  of  birds  by 
Mr.  Charles  Emile  Heil  deserve  especial  mention. 
Mr.  Fred  Wagner  showed  a  group  of  very  attractive 
liuic  sketches,  impressions  of  nature  that  were 
quite  comprehensible  and  brilliant  with  colour. 
Mr.  C.  H.  Woodbury  sent  two  very  interesting 
representations  of  the  open  sea,  one  entitled  The 
Tramp  Steamer,  the  other  Tropical  Sea.     A  beauti- 


Miss    Florence     Este 

showed  five  works,  carefully 

thought    out    and    very 

broadly   painted,    with    due 

32S 


nil.    hlM  ll'I.Ks   AT   KMMAl'S 


IIV   tlASTO.N    L.\   TOL'CHK 


( PhihuMphia  W'aler-Colour  Exhibilion) 


'THE  BATHERS."     BY 
E.  RENE   MENARD 


J>. 


Studio-Ta/k 


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(Philadelphia  IVafcr-Co/oiir  E.xhihilion) 


BY   GEORl.K    llAM.inVKI.l, 


fully  poetic  landscape  painted  by  Mr.  \V.  C.  Emerson 
in  gouache  and  entitled  Enchantment  should  be 
especially  mentioned.  Mr.  Colin  Caniijhell  Cooper's 
Court  of  the  Cathedral,  I.isieux,  Mr.  Tuber  Sears's 
Gatetvay  to  York  Cathedra/,  Mr.  Hugh  11. 
Breckenridge's  group  of  six  landscapes,  Mr.  Andrew 
T.  Schwar/.'s  October,  Mr.  Cieo.  Elmer  Brown's 
The  Mill  Wheel,  Miss  Clara  M.  Madeira's  Bird 
House,  Mr.  George  Walter  Dawson's  Yellow 
Harrison  Roses,  are  all  works  that  stood  out  as 
excellent,  each  in  a  different  way  adding  to  the 
interest  of  the  whole  collection. 


The  American  illustrators  were  well  re])resented, 
many  of  them  being  in  the  competition  for  the 
Beck  Prize.  Mrs.  Elizabeth  Shippen  Creen  Elliot, 
Miss  Jessie  Wilcox  Smith,  Mrs.  Charlotte  Harding 
Brown,  Mr.  Thornton  Oakley,  and  Mr.  Jules  Guerin 
exhibited  works  that  had  been  reproduced  for  the 
purpose  of  publication.  Mr.  Joseph  I'ennell  ex- 
hibited a  number  of  works  in  black  and  while, 
noticeable  among  them  being  a  series  of  views  of 
well-known  localities  in  Washington  hitherto  un- 
discovered by  artists. 

Mr.  John  .Singer  Sargent  was  represented  by  a 
capital  portrait  drawing,  name  not  given,  and 
among  three  drawings  by  Miss  Cecilia  Heaux  was 
a  very  spirited  jjortrait  of  Dr.  Hadley  of  Yale.  Miss 
Violet  Oakley  showed  a  series  of  studies  in  red 
chalk  for  the  medallions  of  a  stained-glass  window 
illustrating  Dante's  Divine  Comedy,  for  the  house 
of  Robert  J.  Collier,  also  a  number  of  other  studies 
in  colour  and  in  chalk,  made  in  pre|)aration  for  the 
deccjration  of  the  State  Ca])itol  of  Pennsylvania. 

]•:.  c. 


M 


<  >N'  I'REAL. — Arrangements  have  been 

made  for  a  series  of  excellent  exhibi 

tions  at  the  new  gallery  of  the  Art 

Association  of  Montreal  this  season. 

In  November,  the  work  of  Mr.  Frederick  I^ssore, 

33° 


a  young  English  sculptor  of  more  than  usual  ability 
and  power,  was  shown,  the  examples  comprising 
forty-eight  portraits  and  figure-subjects  in  marble 
and  terracotta,  and  a  number  of  drawings.  Among 
the  portraits,  the  busts  of  Lord  Strathcona,  Lord 
Mount  Stephen,  Sir  William  Van  Home  and 
Matthew  Maris  have  attracted  chief  attention,  by 
reason  perhaps  of  the  personalities  of  the  originals ; 
nevertheless,  the  artist's  chief  distinction  is  his. 
cjuite  unusual  powers  of  characterisation,  and  his 
remarkable  rendering  of  textures.  Mr.  Lessore 
has  been  commissioned  by  the  Canadian  Pacific 
Railway  Company  to  undertake  a  large  standing 
figure    of    Lord    Mount    Stephen,    which    will    in 


.  *♦' 


I.DKIl    MOl  NT   STEl'llKN 

iiusr  IIV 


KRKIiKRlCK    1  KSSORE 


Art  School  Notes 


"THE   LORD    STRATHCONA   AND    MOUNT    ROYAL.'' 
BY    FREDERICK    LESSOKE 


due  course  be  installed  in  the  terminal  station  at 
Montreal.  H.  M.  L. 

ART  SCHOOL  NOTES. 

EDON.  —  Except  in  sculpture  the  work 
shown  last  month  at  the  Royal  Academy 
prize  distribution  was  disappointing. 
The  honours  in  painting  were  carried 
off  not  by  the  medallists  of  the  year  but  by  Miss 
Williams,  the  winner  of  the  gold  medal  of  191 1, 
whose  work  executed  during  her  travelling  student- 
ship elicited  high  praise  from  the  President.  The 
subject  in  the  competition  decided  last  month  for 
the  gold  medal  and  travelling  studentship  of  ;^2oo 
was  The  Pool  of  Bethesda,  and  it  was  taken  by 
Mr.  G.  L.  Brockhurst  with  a  composition  which, 
though  carefully  worked  out,  displayed  no  great 
qualities  of  painting  and  was  certainly  no  better 
than  two  at  least  of  the  other  illustrations  of  the 
subject.  The  same  subject  was  set  thirty-five 
years  ago,  when  Mr.  H.  H.  \.a.  Thangue,  R.A., 
carried  off  the  medal.  It  is  capable  of  considerable 
diversity  of  treatment,  but  strangely  enough  in  last 
month's  competition  only  one  student  introduced 
the  angel  into  his  picture.     The  prize  for  the  best 


design  for  the  decoration  of  a  portion  of  a  public 
building  brought  forth  a  weak  set  of  drawings,  and 
the  first  award  was  withheld.  The  Turner  medal 
and  prize  of  £^0  for  landscape  were  not  awarded 
and  the  competing  works  for  the  Creswick  prize 
(A  Pebl'ly  Brook)  were  probably  the  poorest  ever 
seen  in  this  competition.  The  prize  painting,  by 
Miss  G.  E.  Bury,  had,  however,  the  virtue  of  being 
a  good  illustration  of  the  subject.  One  of  the  best 
things  shown  among  the  prize  works  was  the 
cartoon  A  Stipplianl  by  Miss  H.  M.  Hechle, 
which  was  well  drawn,  and  expressive  in  spite  of 
the  fact  that  the  face  of  the  suppliant  was  hidden. 
Good  also  were  the  four  drawings  from  the  life  by 
Mr.  V.  N.  Rainbird,  which  had  more  individuality 
than  most  of  the  work  usually  seen  in  Academy 
competitions.  Mr.  Gilbert  Ledward  won  the  gold 
medal  and  travelling  studentship  of  ^"200  for  com- 
position in  sculpture  (  Diana  and  EnJymion)  with  a 
group  that  was  excellent  alike  in  design  and  model- 
ling. Mr.  D.  J.  Chisiiolm  gained  the  gold  medal 
and  travelling  studentship  of  ^200  in  architecture 
with  a  good  design  for  "A  Town  Hall  for  an 
Important  City."  W.  T.  W. 

REVIEVVS  AND  NOTICES. 
Hans  Holbein  the  Younger.  By  .Arthur  B. 
Ch.^mherlain.  (London:  Geo.  Allen  and  Co.) 
2  vols.  £1,  y.  od.  net.— Mr.  Chamberlain  has 
spared  no  pains  to  bring  our  knowledge  of  Holbein 
up  to  date.  His  book  takes  advantage  of  the  many 
revisions  of  judgment  on  the  painter's  work  recently 
made  but  not  incorporated  in  any  standard  work. 
The  connection  between  the  art  of  Velasquez,  of 
Rembrandt,  or  even  of  the  Italian  primitives,  and 
the  ideals  pursued  in  various  schools  of  modern 
painting  is  so  obvious  that  the  research  into  their 
art  and  the  history  of  their  times  has  been  exhaustive, 
but  there  is  no  such  obvious  connection  between 
the  conception  of  art  that  inspired  Holbein  and 
that  which  inspires  art  to-day.  Interest  in  Holbein's 
portraiture  has  never  flagged,  but,  as  far  as  the  wider 
public  are  concerned,  Holbein's  other  masterpieces 
do  not  hold  the  important  jjlace  in  the  imagination 
of  the  Anglo-Saxon  public  which  is  given  to  the 
more  famous  works  of  painters  of  other  European 
schools.  His  penetrating  study  of  character  has 
aroused  modern  enthusiasm,  but  for  all  the  resources 
of  his  powerful  imagination  and  profound  genius 
for  design  Holbein  has  seemed  to  fail  us  on  the 
side  of  mere  emotion,  confusing  dramatic  qualities 
in  composition  with  the  more  mystical  ones  of 
religious  feeling.  Besides  his  extensive  research 
into  the  questions  relating  to  Holbein  attributions 


Reviews  and  Notices 


and  his  thorough  analysis  of  Holbein's  masterpieces 
Mr.  Chamberlain  does  not  overlook  the  history  of 
the  painter's  period.  He  reminds  us  of  the  long 
time  that  Holbein  was  at  work  in  England  before 
he  received  royal  recognition,  a  fact  contrary  to 
the  popular  notion  of  the  discriminating  patron 
which  Henry  VHI  has  been  supposed  to  be.  The 
author  asserts  that  among  the  numerous  portraits 
of  Henry  VHI  to  be  met  with  in  so  many  of  the 
great  houses  of  this  country  as  well  as  in  several 
European  museums,  and  in  almost  all  cases  attri- 
buted to  Holbein,  only  three  can  be  ascribed  to 
him  with  certainty.  The  two  volumes  are  very 
profusely  illustrated. 

Chantilly  in  History  and  Art.  By  Louise  M. 
RicHTER.  (London:  John  Murray.)  2r.f.  net. — 
In  this  well  arranged  and  excellently  written  book 
Mrs.  Richter  has  divided  the  subject  into  two  parts. 
In  the  first  ten  chapters  .she  relates  the  interesting 
and  most  eventful  history  of  the  Chateau  from  its 
earliest  days,  through  its  occupancy  by  the  famous 
Montniorencys,  and  later  its  long  association  with 
the  great  house  of  Conde.  When  at  the  outbreak 
of  the  Revolution  the  Condes  left  France,  Chantilly 
was  devastated  and  used  as  a  prison,  and  finally 
the  Grand  Chateau  was  razed  to  the  ground. 
Under  Napoleon  Chantilly  became  State  property, 
but  at  the  collapse  of  the  Empire  the  family  again 
took  possession  and  the  mansion  was  restored. 
When,  on  the  abdication  of  Louis  Philippe  in  1848, 
the  Due  d'Aumale,  who  then  owned  Chantilly,  left 
France  and  settled  at  Twickenham,  most  of  the  art 
treasures  of  Chantilly  were  transported  thither,  but 
when  the  sentence  of  banishment  was  pronounced 
upon  all  claimants  to  the  throne  of  h'rance,  the 
Duke  replied  by  announcing  his  intention,  long 
premeditated,  of  leaving  Chantilly  with  its  forest, 
parks  and  lakes  and  all  its  art  treasures  to  France. 
Now  as  the  Mus^e  Conde  it  contains  the  great 
store  of  rare  and  beautiful  works  of  art  collected  by 
its  former  owners  and  by  that  distinguished 
collector  the  Due  d'Aumale  in  particular,  and  it  is 
to  a  description  of  these  treasures  that  Mrs.  Richter 
devotes  the  second  half  of  her  book.  Space  does 
not  allow  of  mention  in  detail  of  the  priceless  and 
unique  objects  which  this  magnificent  mu.seuni 
contains.  That  masteri)iece  .)f  I'ol  de  Limbourg 
and  his  brothers,  the  "  'I'res  Riches  Heures  du  Due 
de  Berry,"  the  fine  collection  of  forty  miniatures 
by  Fou(iuet,  xnA  the  superb  portraits  by  Jean  and 
Fran<,ois  Clouet  and  his  followers  may,  however, 
be  just  mentioned  as  some  of  the  gems  of  the 
museum.  We  should  not  refer  to  a  slip  (jn  page 
152,  where  a  work  by  Delaille  is  referred  to  as 
332 


by  Detailleur  were  it  not  that  in  the  index  this 
mistake  is  persisted  in  and  aggravated  by  a 
reference  to  the  Destailleur  album  at  Chantilly 
under  the  .same  misnomer.  With  its  many  ad- 
mirable illustrations  in  collotype  and  half-tone,  its 
bibliography  and  the  copious  and  useful  index,  the 
volume  is  of  great  value  and  absorbing  interest. 

The  Ruhdiydt  of  Omar  Khayyam.  Fitzgerald's 
version,  with  drawings  by  Edmund  J.  Sulliv.\n. 
(London:  Methuen.)  155.  net. — After  the  now 
customary  orgy  of  colour  books,  good,  bad,  and 
indifferent,  which  the  festive  season  calls  forth,  it  is 
not  an  unwelcome  change  to  find  before  us  a 
volume  in  which,  with  a  single  exception,  only  black 
and  white  drawings  appear,  and  especially  where 
the  artist  is  one  whose  draughtsmanship  is  so 
masterly  as  Mr.  Sullivan's.  I  )uring  the  past  few 
years  many  editions  of  Omar  have  appeared  with 
illustrations  in  colour  by  various  European  illus- 
trators, and  some  have  certainly  proved  very 
attractive,  but  for  the  most  part  these  drawings 
have  lacked  any  deeper  significance.  Mr.  Sullivan's 
drawings,  on  the  other  hand,  are  the  fruit  of  a 
serious  and  long-continued  study  of  the  Persian 
poet's  philosophy  of  life  as  interpreted  by  Fitzgerald, 
and  they  impress  one  as  the  work  of  a  thinker  as 
well  as  an  artist.  Apart  from  the  frontispiece, 
there  are  seventy-five  in  all — one  to  each  quatrain, 
and  all,  as  we  gather,  were  executed  several  years 
ago,  but  save  some  half-dozen  or  so  they  now 
appear  for  the  first  time.  "  To  ctideavour,  how- 
ever slightly,  to  sum  u|),  or  to  'throw  light  upon' 
seventy- five  verses  of  no  matter  what  import,  in 
terms  of  drawing,  i.s,''  as  the  artist  remarks  in  his 
"  Epilogia  pro  opere  suo,''  "  obviously  somewhat  of 
a  task,"  and  he  frankly  admits  tiiat  he  has  allowed 
himself  great  licence  in  the  fulfilment  of  it.  He 
has,  in  fact,  made  but  little  attempt  to  introduce 
any  definitely  Oriental  "colour"  into  his  drawings, 
and  some  of  them  are  quite  incongruous  with 
Eastern  life,  notably  those  accompanying  quatrains 
XVI  and  lxxi,  where  what  might  be  the  exterior 
and  interior  of  a  London  tavern  are  figured.  But 
it  is  just  this  licence  which  combined  with  superD 
draughtsmanship  gives  such  unique  interest  to  the 
lira  wings  and  constitutes  them  as  a  whole  a  veri- 
table chef  d\ruvrc. 

Stitches  from  Eastern  Embroideries.  By  Loli.sa 
V.  Pesel.  (Bradford:  Percy  Lund,  Humphries  & 
Co.)  \os.  tid.  net. — In  a  portfolio  published  a  few 
months  ago  by  the  .same  firm,  Miss  Pesel  gave  a 
series  of  diagrams  exhibiting  numerous  varieties  of 
stitchery  found  in  English  embroideries  of  the 
seventeenth  and  eighteenth  centuries  belonging  to 


Reviews  and  Notices 


the  Victoria  and  Albert  Museum.  This  useful 
compendium  is  now  supplemented  by  an  equally 
useful  and  interesting  set  of  diagrams,  prepared 
wiih  great  care  and  contained  in  a  dainty  portfolio, 
showing  the  multifarious  stitches  used  in  em- 
broideries emanating  from  countries  bordering  on 
the  Mediterranean  and  other  regions  of  the  Near 
East  contiguous  thereto,  as  well  as  Persia.  Some 
of  the  stitches  are,  of  course,  akin  to  those  met  with 
in  European  work,  but  there  are  others  which  are 
peculiar  to  the  localities  where  the  embroidery  was 
executed,  such  as  the  "overcast  Bokhara  stitch," 
the  "  Cretan  feather  stitch,"  &c.  Miss  Pesel  has 
rendered  a  real  service  to  needleworkers  by  demon- 
strating so  clearly  the  technique  employed  by  those 
of  other  countries  and  our  own  in  past  times. 

Forty-three  Drauniigs.  By  Al.\st.\ir.  With  a 
note  of  exclamation  by  Robert  Ross.  (London  : 
Lane.)  42^.  net. — Alastair's  art  is  witty,  dainty  and 
fantastic.  The  Beardsley  school  has  acquired 
a  distinct  place  in  the  last  few  years,  but  no  artist 
of  the  school  has  had  quite  so  much  of  the  vitality 
of  the  master  as  Alastair.  There  are  disciples  of 
Beardsley  both  masculine  and  feminine ;  on  the 
feminine  side  probably  Miss  Annie  French  preserves 
the  spirit  of  Beardsley's  conventions  most  success- 
fully, while  among  men  they  seem  safest  with  the 
new-comer  Alastair.  This  artist  perceives,  as  did 
his  master,  that  realism  is  an  essential  of  beauty, 
and  he  works  within  the  limitations  he  has  accepted 
as  if  in  them  he  possessed  the  freedom  of  the 
whole  world,  and  since  exquisiteness  of  craft  is 
always  found  to  be  practised  within  strict  limitations 
we  suffer  no  disappointment  in  looking  for  it  in  this 
volume.  Alastair  again,  like  his  master,  can 
successfully  conceal  from  our  first  glance  the 
sinister  implication  of  some  of  his  designs.  His 
draughtsmanship,  however,  is  much  more  ephemeral 
in  character  than  was  Beardsley's,  and  far  less 
masculine  in  touch,  and  there  is  constant  repetition, 
showing  a  narrow  range,  but  the  vitality  of  the 
work  is  such  that  this  book  of  drawings  is  not  one 
to  be  lightly  pushed  aside. 

Arthur  Rackham's Book  0/ Pictures.  (London  : 
Heinemann.)  15^. — This  book  is  quite  charac- 
teristic of  the  versatility  and  humour  of  its  gifted 
maker.  It  contains  between  forty  and  fifty  of  his 
most  elaborate  tinted  drawings,  and  nothing  that  is 
not  ingenious  and  skilful  to  an  extraordinary  degree. 
Many  of  the  plates  show  the  most  admirable  side 
of  the  artist's  work.  It  is  impossible,  indeed,  to 
imagine  anything  more  delightful  in  illustration 
than  On  the  Beach,  The  Broad  Walk,  Cupid's  Alley, 
Butterflies — the  style  in  them  is  perfect. 


The  Talc  of  Lohengrin.  After  the  drama  of 
Richard  W^agner  by  T.  W.  Rolleston.  Presented 
by  Wii.LV  PociNV.  (London  :  G.  G.  Harrap  and 
Co.)  15.C  net. — The  drawings  decorative  and 
illustrative  made  by  Mr.  Pogany  for  this'  volume 
exhibit  all  the  exuberance  of  fantasy  which  has 
characterised  most  of  the  work  he  has  done.  Save 
for  a  few  illustrations  in  colour  which,  having  been 
reproduced  by  the  colour-block  process,  have  been 
printed  hors  fe.xte  on  white  paper  and  mounted,  the 
entire  contents  are  printed  on  a  thick  grey  paper, 
apparently  by  what  is  known  as  the  "  litho-offset " 
process.  The  drawings  in  colour  which  are  pre- 
sented in  this  way  look  dull  and  somewhat  lifeless 
in  immediate  juxtaposition  with  those  reproduced 
by  the  block  process  ;  but  those  which  are  printed 
in  black  lose  little  if  anything  by  this  method  of 
reproduction. 

£)ress  Design  :  An  account  of  Costume  for 
Artists  and  Dressmakers.  By  T.\lbot  Hughes. 
(London  ;  John  Hogg.)  -js.  6d.  net. — The 
publishers  have  issued  this  volume  in  continuation 
of  their  admirable  aim  of  providing  in  their  "Artistic 
Craft  Series  of  Technical  Handbooks  "  trustworthy 
text-books  of  workshop  practice  and  of  good  design. 
Mr.  Talbot  Hughes,  whose  own  fine  collection  of 
costumes  has  been  recently  acquired  by  the  firm  of 
Harrods  for  presentation  to  the  Victoria  and  Albert 
Museum,  can  write  with  authority  upon  this  fasci- 
nating subject.  His  historical  survey  of  dress  and 
fashions  in  Great  Britain  from  earliest  times  up  to 
the  Victorian  Era,  is  fully  illustrated  by  numbers  of 
line  drawings  made  by  the  author  and  thirty-five 
pages  of  collotype  reproductions  of  photographs  of 
costumes,  shown  for  the  most  part,  as  is  surely  the 
only  really  satisfactory  way,  upon  the  person.  -\ 
number  of  patterns  drawn  to  scale  and  reproduced 
at  the  end  of  the  volume  add  practical  and  technical 
value  to  this  useful  handbook. 

Jl/ore  About  Collecting.  By  Sir  Jame.s  Vox.m.i., 
M.P.  (London:  Stanley  Paul.)  55.  net. — Once 
more  Sir  James  Voxall  has  laid  the  beginner  and 
amateur  in  collecting  under  an  obligation  by  the 
production  of  this  new  book  on  a  subject  about 
which  he  can  write  so  authoritatively.  In  an  easy 
and  somewhat  rambling  style  he  pleasantly  dis- 
cusses almost  all  the  \aried  ramifications  of  the 
curio-hunter's  quest.  Here  is  great  store  of  hints 
for  the  tyro  and  much  that  the  more  e.xperienced 
collector  may  read  with  advantage.  The  volume 
contains  a  number  of  illustrations  which  have, 
however,  only  occasionally  intimate  relation  with 
the  text,  and  the  index  is  hardly  as  comprehensive 
as  it  might  be. 

333 


The  Lay  Figure 


T 


HE    LAY     FIGURE:     ON    THE 
I'ICTORIAL   MOTIVE. 


"Must    a    picture   always    tell    a    story?" 
asked  the  Man  with  the  Red  Tie. 

"  Certainly  not,"  returned  the  Young  Painter. 
"  Story-telling  is  not  by  any  means  the  mission  of 
painting." 

''  But  surely  a  picture  ought  to  have  a  subject," 
objected  the  Art  Critic.  "  It  would  scarcely  be 
entitled  to  count  as  a  work  of  art  if  it  had  not 
some  motive." 

"  Of  course  a  picture  must  have  a  motive,"  cried 
the  \oung  Painter  ;  "  but  motive  is  not  the  same  as 
subject ;  let  us  make  the  right  distinction  between 
them." 

"  A  distinction  without  a  difference  !  "  laughed 
the  Critic.  "The  motive  by  which  the  picture  is 
inspired  is  its  subject,  call  it  what  you  like  :  and 
the  picture  which  has  no  subject  is  not  a  picture  at 
all." 

"  We  will  grant  that,"  agreed  the  Man  with  the 
Red  Tie  ;  "  but  is  it  necessary  that  this  subject 
should  be  a  record  of  something  the  painter  has 
seen  ?  " 

"Certainly  it  is  necessary,"  replied  the  Critic, 
"  a  picture  is  a  record  of  the  impression  made  u[)on 
the  mind  of  the  painter  through  his  vision,  and 
therefore  it  is  a  record  of  something  he  has  seen. 
The  way  in  which  he  presents  his  subject  depends 
upon  the  way  in  which  he  sees  it,  but  unless  he  has 
seen  it  first  he  cannot  present  it  with  any  sort  of 
conviction." 

"  You  are  leaving  out  entirely  the  intellectual 
side  of  art,"  protested  the  Young  Painter.  "  Can- 
not a  painter  think  his  motive  invent  it,  I  mean. 
Must  it  always  be  suggested  t(j  him  ?" 

"  I  thought  you  objected  to  story-telling,"  said 
the  .Man  with  the  Red  Tie.  "  If  a  man  invents  his 
subject  what  is  he  doing  except  telling  a  story,  an 
amusing  little  tale  which  he  has  made  u[)  in  his 
own  mind  ?  " 

"  He  is  doing  nothing  of  the  sort !  "  exclaimed  the 
Young  Painter.  "  He  is  ex[)ressing  an  emotion — 
something  that  he  feels.  It  seems  to  me  to  be 
a  much  greater  thing  to  do  that  than  merely 
to  reproduce  a  visual  impression.  The  man  who 
paints  what  he  sees  is  simjjly  setting  down  a 
commonplace,  something  that  every  one  else  can 
.see  ;  but  the  man  who  paints  his  emotions  gives  us 
a  revelation  of  his  own  mind  and  his  own  tempera- 
ment." 

"  .And  he  gives  us  more  often  than  not  a  picture 
that  is  intelligible  to  no  one  but  himself,"  laughed 
334 


the  Critic.  "  He  tells  a  story  that  seems  to  us  to 
have  no  jwint  because  we  do  not  know  whether  or 
not  he  has  anything  in  his  mind.  What  is  the  use 
of  a  work  of  art  which  is  so  intimate  a  piece  of  self- 
revelation  that  only  the  artist  can  explain  what  it 
means  ?  " 

"  At  any  rate  it  is  more  i)ersonal  and  tempera- 
mental than  any  other  kind  of  art  work  could  ever 
be,"  declared  the  Young  Painter. 

"  ^'ou  can  have  too  much  even  of  a  good  thing," 
jeered  the  Man  with  the  Red  Tie. 

"  Oh  yes,  and  too  much  temperament  is  almost 
worse  than  too  little,"  agreed  the  Critic.  "The 
artist  who  is  unintelligible  is  a  wasted  force  :  he 
may  be  a  Heaven-sent  genius,  but  if  no  one  can 
understand  him  he  is  useless  to  mankind.  Now 
the  man  who  can  see  what  every  one  else  could  see 
if  they  knew  how  to  look  for  it  is,  through  the 
medium  of  his  art,  an  educator  of  vast  possibilities. 
He  teaches  people  not  only  what  to  see  but  how  to 
see  it." 

"  Must  art,  then,  always  be  imitative,  always 
second-hand  in  inspiration,  always  concerned  with 
a  visual  motive?"  asked  the  \'oung  Painter. 

"  .\rt  has  always  been  imitative  ever  since  art 
existed,"  returned  the  Critic;  "anti  a  tradition 
sanctified  by  the  observance  of  thousands  of  years 
is  not  likely  to  be  superseded  now.  It  is  an 
instinct  of  the  human  race  to  demand  that  the 
motive  of  a  picture  should  be  in  one  way  or 
another  the  representation  of  nature  :  it  is  the 
instinct  of  the  artist  to  demand  that  this  repre- 
sentation should  be  as  perfect  and  expressive 
as  possible — in  other  words  that  it  should  reflect 
in  the  most  definite  way  his  temperamental  attitude 
towards  nature.  The  subject  comes  from  nature  : 
the  way  in  which  it  is  treated  is  the  outcome  of 
the  artist's  personality." 

"Then  every  picture  does  tell  a  story,"  said  the 
Man  with  the  Red  Tie. 

"  Undeniably  it  does,  in  the  sense  that  it  tells 
us  how  some  aspect  of  nature  has  impressed  the 
artist  and  how  his  temperament  has  guided  him  in 
the  choice  and  handling  of  his  subject,"  declared 
the  Critic.  "  In  the  choice  of  the  subject  he  shows 
what  is  the  degree  of  his  taste,  in  his  treatment  of  it 
what  is  the  extent  of  his  capacity,  in  the  feeling 
with  which  he  has  investeil  it  what  sort  of  emotion 
it  has  aroused  in  him.  The  picture,  in  fact,  be- 
comes a  work  of  reference  from  which  we  can  learn 
all  that  we  want  to  know  about  him.  The  story  has 
a  vivid  interest  when  the  motive  is  a  worthy  one  and 
the  artist  has  turned  to  the  right  account  the  o])|)or- 
tunities  it  offers  him."  The  Lav  Fi(;lri;. 


N 

1 

16 
V.  51 


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