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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
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247
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84
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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
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'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
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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.
:v^..-v^4''^ ^
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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
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\)
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
< Ul
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
78
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■ — ■ ^^
K o
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.
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" EKINDl'RC.ll FHOM SAI.ISltl'KV CKAi.s'
104
IIY K. .M. SVNC.K
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POPLARS AND STREAM, LINGOSTIERE "
(UNFINISHED). BY E. M. SYNGE
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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
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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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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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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
«*-
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' 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
>S8
I
I
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
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'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.
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galUiit And. xxnnsinwe ,
Ccmelii And d&xr.
Ov.\\\ cLujs s\vAi hML r^oxx .
suvrt: Axi.\s sl-uU-frld ijini.,
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"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
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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
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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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Craig-y-Parc, Soutli IFales
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
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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
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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
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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.
*
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i^ V
#
'^^
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?
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^^'
^^"^-^^
**'=^^'-
'^
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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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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
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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:
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w
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H
O 00
PQ 00
oo
H <
< w
Pi o
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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>
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O^iiiA cduxi XX. p4r cUKrtum qvu.
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tT.-ulidi5ti piinupibiu Mccuiotitm
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AGIOSOTHt-()S
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AGlOSArR^DATOb
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€ilo .iiitc tc pr.icui. in u'^timvu
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ct .\cctOi.:«-:':->M-:-:-:-;-:-:-:«:';'<-i-i<
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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)
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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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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^
> ^
[%•
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
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IIV tlASTO.N L.\ TOL'CHK
( PhihuMphia W'aler-Colour Exhibilion)
'THE BATHERS." BY
E. RENE MENARD
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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
International studio
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