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THE  INTERNATIONAL 

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

COMPRISING  MARCH,  APRIL, 
MAY  AND  JUNE,  1915 
NUMBERS  217,  218,  219,  220 


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NEW    YORK    OFFICES    OF    THE     INTER- 
NATIONAL   STUDIO 
JOHN  LANE  COMPANY,    116-120  WEST  32d  ST. 

MCMXV 


KJ 


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SUBJECTS,   AUTHORS   AND   GENERAL   INFORMATION 


PAGE 

Abney,  Sir  William S^i,  58 

Academic  Theatre,  Carnegie  Institute,  Pitts- 
burgh.    By  Samuel  Howe.     Three  Illus  .    xcvi 

Adam,  P.  W 59 

Adams,  Chris 140 

J.  Ottis cxxix,  cx.xx 

Wayman cxxx 

Air>',  R.  E.,  R.  O.  I.,  Anna.     One  Illus.  .      .        52 
Airy's   Drawings  of    Fruit,  Flowers,  and  Fo- 
liage,  Anna.     Six  Illus 189 

Aitken,  Robert xxvi,  Ixviii 

Alexander,  John  W 71,  cxxii 

Alison,  David 59,  60 

Allan,  Robert  W 270 

Allen,  Jr.,  Frank  P.     Three  Illus.         .   cv,  cviii,  ex 
Allied  Artists  of  America:  Second  Annual  Ex- 
hibition     xiii 

Allied  Artists  of  .America.    Three  Illus.      .         cxxvi 

Aman,  Jean 217 

American    Version    of    an    English    Type    of 
Architecture.      By     C.    Matlack    Price. 

Seven  Illus liii 

Amida,  see  Nyorai 148 

Apperley,  Wynne 281 

Architectural  League  of   New  York.     By  J. 

William  Fosdick.     Four  Illus.  .      .    xxiii 

Arkhipoff ,  A 212 

Arms,  Jessie.     One  Illus.     .  .     xxxvii,  xxxviii 

Art  of  Maynard  Dixon.     By  Hill  Tolerton. 

Four  Illus xcii 

Art  Patron  and  Master  Painter.     By  W.  H. 

de  B.  Nelson.     Four  Illus Ixi 

Art  School  Notes.  Twenty-one  Illus.  7.?.  148.217.206 

Austen,  A.  R.  E.,  Winifred 181 

One  Illus.         .       .      187 


Baer,  Herbert cxxxni 

Baertsoen,  Albert 44.  266,  269 

Baes,  Firmin 46 

Bagge  Collection  at  the  Ehrich  Galleries,  Halvor, 

cxviii 

Baisen,  Hirai 7,5 

Ball,  Caroline  Peddle cxxxvi 

'■      Maude 289 

"      Thomas  Watson xxv 

"      Wilfred 181 

Bancroft,  Milton xxv 

Barnard,  Elinor xxxii 

Bamhorn.  Clement  J .     By  Ernest  Bruce  Has- 

well.     Six  Illus xliii 

Barye,  Antoine 209 

Baskett,  C.  H 181 

Bastien,  Alfred 48 

Baus,  S.  P.     One  Illus cxxx 

Beach,  Chester xxvi 

Beagley,  Elsie.     One  Illus 221 

Beal,  Giflford.     Two  Illus.   .      .      .   iii,  viii,  67,  Ixxi 

Beatty,  J.  W 211 

Beauley,  W.  J Ixxvi 

Beaux,  Cecilia.     One  Illus.     viii,  cxxii,  cxxiv,  cxxxi 

Beecher,  William  Gordon xxvi 

Beikwa,  Yamaoka.     One  Illus.       ...       72,  73 

Bejot,  Mon 181 

Belcher,  Hilda xxxii 

Belgian    Artists    in    England.     By     Dr.    P. 

Buschmann.     Twenty-one  Illus.  .      .     43.  260 

Bell,  Robert  Anning 279 

Bellows,  George  .      .      68,  xxxiv,  Ixxii,  cxxii,  cxxxi 

Benda,  W.  T xxv 

Benedict  Medal c 

Benson,  Frank  W v 

Berg,  Charles  I xxiv 

Bemier,  Geo 4^ 

Bernstein,  Theresa.     One  Illus.      .  Ixvii,  Ixxv,  xcix 

Bertieri,  Pilade I39,  14" 

Bertrand,  Jeanne.     One  Illus cxxiv 

Belts,  Louis f'8,  Ixxiv 


Bicknell Ixxvi 

Bigelow,  Alma xxxvii 

Birch,    R.    W.    S.,    S.    J.    Lamorna.     Water- 
Colours  and  Oil  Paintings  by.     Eleven 

Illus i6q,  279 

Bitter,  Karl xxvi 

Blanche,  J.  E.     One  Illus 217,232 

Blashfield,  Edwin  H xxiv 

Blieck,  Maurice 48,  267 

Bliss.  Elizabeth  Sturtevant xcix 

Blumenschein,  Mary  Greene     ....         Ixxvi 

Bone,  Muirhead 197 

Bonnano,  Alexander xxv 

Bonner,  John 107 

Borie,  Adolph viii 

Boronda,  Lester  D xxxii,  Ixxvi 

Bosatsu,  Kwanzeon 148 

Boudin,  Eugene 241 

Boudry,  Robert.     One  Illus 43,  48 

Bowdoin,  Harriet xcix 

Braecke,  P 266 

Brangwyn,  A.  R.  A.,  Frank.    One  Illus.  xxv,  58,  199 

Brannan.  Sophie  M xcix 

Brinton,  Christian: 

Henrik  Lund  of  Norway.     Five  Illus.       Ixxxvii 
The  San  Diego  and  San  Francisco  Exposi- 
tions.    Six  Illus cv 

Brown,  Bolton xxxiii 

Brownell,  R.  C.  A.,  Franklin.     One  Illus.    205,  211 

Brueghel,  Peter 43 

Brunner,  Arnold  W.     Two  Illus.    .      .      cxvii,  cxix 

Brush,  George  de  Forest 68 

Bryant,  Maude xcix 

"Buccaneer"  Room,  Carlyle  Club,  Piccadilly       49 

Bundy,  J.  E cxxx 

Burnett,  C.  Ross 281 

Burnham,  Roger  Noble xxvi 

Burroughs,  Mrs.  Bryson xxxiv 

Edith  xxxiii,  cxxxiii,  cxxxv 

Burrows,  Walter  F 138 

Buschmann,  Dr.  P.     Belgian  Artists  in  Eng- 
land.    Twenty-one  Illus 43,  260 

Biittner.  A.     One  Illus 219 

Buzan.  Kimura 73 


C.\DELL,  F.  C.  B.     One  Illus 58 

Cadenhead,  James 59 

Calder,  Ralph  M xxv 

Cameron,  D.  Y 58,  197,  279 

Campana,  Pedro  (Peter  de  Kempeneer)    .      .        43 
Candee,  Helen  Churchill.     The  Sculpture  of 

Rudulph  Evans.     Four  Illus.  .       Ixxxiv 

Canned,  E 48 

Carles,  Arthur  B.     One  Illus v,  viii 

Carlsen,  Emil lix.  xcix 

Caro-Delvaille,  Henry 217 

Carpenter,  Fred  G viii 

Carrere  &  Hastings xxiii 

Cassatt,  Mary.     Two  Illus.    vii.  viii,  71,  cxxi,  cxxii 

Cassiers,  H 269 

Castello,  Eugene.     Philadelphia  Art  Club  Ex- 
hibition.    Four  Illus Iviii 

Cauchie,  Paul 48 

Celos,  Julien 48.  269 

Chanler,  Robert xxv 

Charlton,  E.  W '81 

Charmaison.  Raymond  .      .      .  -17 

Chase,  William  M iv.  OM.  Uiu.  cxxii 

Choun,  Yamazaki  .      .      .    '  .  7.i 

Church,  F.  S.     One  Illus.     Index        ...  3 

Ciardi.  Emma 236 

City  College  Stadium.     By  John  H.   Finley. 

Three  Illus cxvii 

Claes,  Alb 267 

'       Ed.  J 260 

Clarke ^8'* 

Claus.  Emile.     One  Illus 44.  26S.  2^6 


P.\GE 

Clay  Industries  at  the  Newark  Museum   .      .    xviii 

Clifford,  H.  C 281 

Cluysenaer,  Andre 267 

M.  L 46 

Cockroft,  E.  V xcix 

Cole,  A.  P Ixxvi 

Coltet,  Charles 217 

Conder,  Charles 197 

Connard,  Philip.     One  Illus.     .      58.  ij8.  235.237 

Cooper,  Colin  Campbell xxxii 

Corbett,  Gail  Sherman cxxxv 

Corot 58.  20Q 

Cotton,  William 71 

Courtens 266 

Coutts,  Herbert 281 

Cox,  Kenyon cxxii 

Craig,  Gordon 197 

Crane  Anna xcix 

Bruce 67 

Walter xcix.  278 

Crapper,  Edith  B.     One  Illus 221 

Crawford,  Mr.  and  Mrs cxxxi 

Crisp,  Arthur x,xv,  l.xx\n,  210.  212 

Crowley,  Herbert cxxxiii 

Cursitor,  Stanley 60 

Curtis,  Elizabeth xcix 

Cushint;,  Howard  Gardiner.     One  Illus.      vi,  cxxxi 


Dagnur,  Mile.     Two  Illus. 
Dahler,  Jerauld    .... 
Warren    .      .      .      . 
Dangerfield,  Elliott  . 


.  .  .  60 
,  xxvi 
.    xxvi 

...       68 

Danse,  Auguste  . 44. 46 

Louise 41 

Marie       , 44 

Danse- Destree,  Mme 26Q 

d'Ascenzo,  Nicola xxv 

Dauchez,  Andre 217 

Daumier,  Honore.     One  Illus 83 

Davey,  Randall         68.  lxx\-i 

Davies,  Arthur  B.  .   Ixviii.  cxxii.  cxxiii.  cx.xxiv 

Davis  Collection.  The  Edmund.    By   T.  Martin 

Wood.    Thirteen  Illus 79 

Davis  Collection.  The  Edmund.     By  T.  Mar- 
tin Wood.     Fifteen  Illus 339 

Davis,  Mary 236 

Dawson,  William 181 

de  Bruycker.  Jules 269 

de  Camp,  Joseph Iviii.  lix.  lx>-ii 

de  Champaigne.  PhiUipe 43 

de  Clerck,  Oscar 48 

Decorative    Still-Life    Paintings.     By    Sibyl 

Meugens.     Seven  Illus 130 

de  Francisci,  .Anthony.     One  Illus.  .   cxxv 

de  Kay,  Charles.     What     Tale     Docs     This 

Tapestr>-  Tell.' Jvii 

de  Korte,  Maurice 4* 

de  Lact,  Alois 4* 

de  Lalaing,  Comte  Jacques.     One  Illus.   .  a?>4.  268 
de  la  Montagne   .  ...       48 

de  Liszld,  P.  A.  .      .     aS7 

Delaunois.  .\\U<s\ *69 

Delstanche.  Albert »6o 

Berthc 4* 

Delville.  Jean  ...     J67 

de  Smct.  Leon  .      .        48 

De  Tahy.  J.     One  Illu< Uv 

Dethy,  M 48 

de  Vigne.  Paul.     One  Illus 260 

de  Vrceso,  Godcfroid »66 

Dewing «"v 

de  Winnc.  L 2*2 

Diefenbach,  Karl   Wilhclm.     By  EuLihr  Os- 

gooA  (irover.     Ten  Illus.  Ixiv 

Dillcns,  Julien      ....  2tM 

Dodd,  Franiis 14".  ««T 

D.xlge,  W.  de  Loft  .vich        ...  xxiv 

Donnay,  Augusto  267 


Index 


Dougherty v 

Douglas,  Andrew 140 

James 60 

Doulton i.|o 

Dubois.  Georges 317 

Paul.     One  Illus 366 

Duff.  J.  R.  K iSi 

Dufour.  Camille 317 

Dulac,  Eilniunil 341 

Du  Moml,  Frank  Vincent xxiv 

Dujxm.  Jozu*.     One  Illus 47.  48.  2M1 

Dyson,  Will ji 


Gouwelors,  Jan 46 

Goyn,  Francisco.     One  Illus.     .  107,  3o8 

Grior,  E.  Wyly 312 

Grimes,  Frances xxvi 

Groll.  Albert  L.     One  Illus.  .      .   Ixxiv,  cxxiii 

Grossman,  E.  B Ixxv 

Grover,  Eulalic  Osgood.     Karl  Wilhclm  Die- 

fenbach.     Ten  Illus Ixiv 

Gruppe,  Charles  P lix 

Gustafson,  Stina xxvi,  cxxxvi 

Guthrie,  Sir  James 58 

Gyokudo,   Kawai 73 


Eakins.  Thomas  W 68,  cxxii 

Eaton,  Charles  Warren Ixxv 

Edelinck,  Gerard I,{ 

Edgerly,  Mira ,  xxxii 

Emmet.  Lydia  Field viii,  Ixxv 

English   Artist's   Impressions  of   New  York. 

By  William  Monk,  R.  E.     Twelve  Illus.     347 

Ensor,  James 360.  387 

Evans,  Rudulph Ixxi 

Fabry.  Emilc 267 

Fairbanks.  Frank  P.     One  Illus xxv 

F.mtin-Latour 200 

Farley.  Richard  Blossom 67 

Famdon,  Walter 71 

Famham,  Sally  James cxxxvi 

Faulkner,  Barry- xxv 

Fenton.  Beatrice cxxxi 

Ferris.  Gladys.     One  Illus cxxv 

Field,  Hamilton  Easter cxxxiv 

Fildcs.  Sir  Luke ijS 

Finley,  John  H.     The  City  College  Stadium. 

Three  Illus cxvii 

Fiske,  Gertrude viii 

Fletcher,  Hanslip 140 

Ford,  J.  A 60 

Forsyth,  William cxxix 

Fosdick.  J.  William.    Architectural  League  of 

New  York.     Four  Illus.     .  .       xxiii,  xxv 

Foster,  Ben.     One  Illus 68.  7i,cxxiv 

Fox-Pitt,  Douglas.     Two  Illus.       .      .      .       56,  57 
Fragonards  of  Grasse.     By  D.  Croal  Thom- 
son.    Frontispiece  and  Nine  Illus.  155 

Frazer,  Laura  Gardin cxxxv 

Frazicr.  Kenneth xxxiv 

Frederic,  L^on 46,  266,  260 

Freedlander,  Arthur cxxxv 

Freemantle,  S.  E.    One  Illus 22,5 

French xxvi 

Fnends  of  Young  Artists.     Four  Illus.  cxxiv 

Frieseke,  F.  C 68,  cxxiv 

Frischmuth,  Harriet  W        ....  xcix,  cxxxvi 

Fry,  Sherry  E xxvi 

Fuller,  George xxxii 

Funk,  Willhelm 68 

Furse,  C.  W 197 

Fyson,  Bessie.    One  Illus 220 

Gainsborough,  Thomas.     One  Illus.  80 

Galland,  P.  V.     Three  Illus.     .      .       xlviii,  xlix,  li 

(larber,  Daniel viii,  71 

Gaskcll,  R.  E.,  Percival.     One  Illus.    140,  181,  184 
Gaskin,  Drawings  of  Arthur  J.     By  Joseph  E. 

Southall.     Eight  Illus 25 

Gekko,  Ogata 7.; 

Gcnth,  Lillian.     One  Illus Ixxviii 

Gibb,  Robert S'j 

Gilchrist,  W.  W lix 

Gilsoul,  Victor.     One  Illus 267 

Glackens.  W iii,  cxxii,  cxxxiv 

Goldbcck,  Walter  Dean xcix 

Goldingcr.  C 214 

Goldthwaite,  Anne    .      .■ xcix 

Golubkina.  Anna.     Two  Illus.        .  140,  14s 

Goo<lhue,  Bertram  G.     One  Illus.  .  xxiii,  cix 

Gore,  W.  Crampton 389 

Gould,  A.  Camithers 281 


IlAniiRO,  Nakagawa.     Two  Illus.       .      .  276 

llackman.  A.  L.     One  Illus 220 

IlaKemans,  Maurice 46 

Ilagen,  Lucy  T xxxiv 

Hakutei,  Ishii.     One  Illus 274 

Hale.  Philip  L.      One  Illus ix 

Halkett (8 

Hall,  Jessie.     One  Illus 200 

Oliver 140,  181 

Hamesse,  A 260 

Hammershoi 58 

Haiikey,  W.  Lee 140,  181 

Hannon,  Theo 46 

Harada,  Prof.  Jiro.     The  Modern  Develop- 
ment of  Oil  Painting  in  Japan.     Thirteen 

Illus 270 

Hardie,  Martin 181 

Harris,  Lawren.     One  Illus 206,  211 

William  Laurel xxv 

Harrison,  Alexander lix 

Birge 67,  lix 

S.  C 288 

Hart,  George cxxxiv 

Hartley,  Alfred,    Painter    and     Etcher.     By 

A.  G.  Folliott  Stokes.     Eighteen  Illus.    .        90 

Hartrick,  A.  S 279 

Haskell,  Ernest cxxxiii 

Hassall,  John 281 

Hassam,  Childe.     One  Illus.     .      .      .    xxv.  70,  71 
Hassclriis,  Mile.  Else.     One  Illus.        ...        60 
Haswell,   Ernest   Bruce.     Clement   J.    Barn- 
horn.     Six  Illus xliii 

Hata,  see  Shokichi 7,5 

Hawkesley,  D.  W 281 

Hawthorne,  Charles  W 71 

Hay,  Hamilton 140 

Hayter,  Sir  George 140 

Heaton,  Clement xxv 

Help  Young  Artistsl xlvii 

Henri,  Robert viii,  68 

Herain,  Jean 48 

Herald,  J.  W 59 

Herman,  Duddingstone 60 

Hester,  Christine Ixxv 

Hewlitt  &  Basing xxiii 

Hildebrandt,  H.  L.     One  Illus.       .      .  Ixxvi.  ci 

Hinton,  Charles  Louis Ixxi 

Hirafuku,  see  Hyakuho 73 

Hirai,  see  Baisen 73 

Hiroshi,  Yoshida.     Two  Illus 271,  272 

Hiroshigc,  Ichiryusai Ixvii 

History  of  Hiroshigc.     Two  Illus.        .      .      .    xxxi 

Hoeber.  Arthur Ixxv,  ex 

Hoffmann,  Malvina  .      .      .      Ixviii,  cxxxiii,  cx.xxvi 

Hogarth,  William.     One  Illus 84 

Ilokkai,  Takashima '     .      .      .        73 

Holroyd,  Sir  Charles 181 

1  lomc  Spirit.     By  Henry  Blackman  Sell.     Ten 

Illus xxxvii 

Homci,  Yoshida 73 

Hone,  Nathaniel 288 

Hopkins,  Edna  Boies cxxxiii 

Hopkinson,  Charles viii 

Hoppner,  Lawrence 138 

Hori,  I.  E.     One  Illus cxxxv 

Howe,  Samuel.     Academic  Theatre,  Carnegie 

Institute,  Pittsburgh.     Three  Illus.    .      .    xcvi 


PAGE 

Huhhell.  Charles  E xxv,  Ixxvi 

Hunt.  R.  S.  W.,  Tom 203 

Hunter,  Mason 60 

Huygelen,  Fraiis.     One  Illus 46,  266 

Hyakuho,  Hirafuku 73 

Hyatt,  Anna  Vaughn cxxxvi 

Ikeda,  see  Yuhachi 73 

Ikka,  Tajima 73 

Indiana  Artists  at  the  John  Ilerron  Institute. 

Three  Illus cxxix 

Interpretation    Not    Imitation.     By    Henry 

Blackman  Sell.     Seven  Illus.  .      .      .  Ixxix 

Ison,  W.     One  Illus 220 

Jackson,  A.  Y.     One  Illus 209,211 

Jacquet,  C 269 

James,  Francis 279 

R.  E.,  Hon.  Walter  J.     One  Illus.   181,  183 

Janssens,  Jozcf 46 

JeflTery,  Marcel 268 

Johansen cxxxi 

John,  Augustus 287 

Jones,  Francis  C.     One  Illus Ixxvi 

Just 43 

Kanovitch,  a Ixxvi 

Kavanaugh,  J.  M 288 

Kawai,  see  Gyokudo 73 

Keating,  John 288 

Keigaku,  Nishii 73 

Keigetsu,  Kikuchi 73 

Matsubayashi 73 

Keller,  Marie vi 

Kelly,  Gerald  F 138.  287,  288 

Kempeneer,  Peter  de.     (Pedro  Campana)      .       43 
Khnopff,  Fernand.     One  Illus.        ...     46,  263 

Kiichi,  Soma.     One  Illus 273 

Kikuchi,  see  Keigetsu 73 

Kimura.  see  Buzan 73 

King,  Paul lix,  Ixxiii 

Kitamura,  see  Shikai 73 

Knight,  Charles  R xxvi 

Laura 279 

Knowles,  W xxiv 

Knox,  James Ixxiii 

Kogan,  Tobari 73 

Kogyo.  Terazaki 73 

Komuro.  see  Suin 73 

Konti,  Isadore.     One  Illus xxvi 

Korbel,  Mario xcix 

Korovin,  Konstantin 65 

Kosaka,  see  Shiden 73 

Koun,  Takamura.     One  Illus 71,  73 

Koyl,  George  S xxvi 

Koyu,  Tsuji 73 

Kramer,  Bonnie cxxxvi 

Kroll,  Albert.     One  Illus Ixxii 

Leon.     Two  Illus.  Iviii,  lix,  cxxii 

Krymoff,  N 212 

Kuhn cxxxiv 

Kunisuke,  Hashimoto.     One  Illus.       .      .      .     277 

Kwannon,  Nyoirin 148 

Kwanzeon.  see  Bosatsu 148 

Laerman's,  Eugene 266,  269 

Laessle,  Albert.     One  Illus vi 

La  Farge xxxii 

La  Farge  &  Morris xxiii 

Lagae.  Jules.     One  Illus 264 

Lambeaux,  Jef 264 

Lambert,  Gertrude 71,  136 

Lambotte,  Paul 44 

Lancaster,  Percy 181 

Langaskens,  Maurice 46 

Langdale,  Stella.     Three  Illus.  136,  137,  138 

Langhorne,  Catherine Ixxvi 

Lathrop xcix 

Lavery,  A.  R.  A.,  John  .  .  xxxiii,  5S,  287,  288 


Ind 


ex 


PAGE 

Lawson.  Ernest 71 

Lay  Figure: 

On  the  Treatment  of  Memorial  Sculpture  .  76 
On  Museums  of  Modem  Decorative  Art  .  152 
On  the  Value  of  Elimination        ....      226 

On  the  Official  Portrait 300 

Lay.  Mina xxv 

Lee.  Sydney 181 

Leech 288 

Le  Mayeur,  Jean 48 

Lemmers.  Georges 46 

Le  Sidaner 217 

Lever,  Hayley.     One  lUus.        .       vi,  65,  lx.\v.  cxxii 

Le\-itt,  Joel  J Ixxv 

Lewis,  John  Frederick.     What  Tale  Does  This 

Tapestrj-  Tell?     Six  Illus xix 

Lewis,  Josephine xcix 

Lie,  Jonas 71,  Ixxiii,  cxxi,  cxxii 

Linde,  A  Distinguished  Artist:     Ossip  L.     By 

W.  H.  de  B.  Nelson.     Six  Illus.    .         xiv,  Ixvi 

Lindenberg,  Harry xxiii 

Lindin,  Carl  Eric Ixxiii,  Ixxv 

Lindner,  Moffatt 281 

Link,  Lillian Ixviii 

Linton,  Sir  James 281 

Lion,  Flora 287 

Living   American   Etchers:     An   Experiment 

in  Philadelphia cxvi 

Llewellyn 138 

Longman,  Mis? xxvi 

Lucas,  A.  P Ixxv 

Luks cxxiv 

Lumsden,   A.   R.   E.,   Ernest   S.     One   Illus. 

140,  181,  185 
Lund,  A.  R.  E..  Niels  M.     One  Illus.        .   181.  182 
of    Norway,    Henrik.      By    Christian 

Brinton.     Five  Illus Ixvi,  Ixxxvii 

Lungren,  F Ixxvi 

Lunt,  Wilmot.     One  Illus 218 

Lynen,  Amed6e 46,  269 

Andre 48 

M.ACDON.ALD,  J.  E.  H 211 

Mackenzie,  A.  R.  E.,  Hamilton.     One  Illus. 

iSi,  186 
Mackie,  Charles 60 

Peter 60 

MacKnight,  Dodge xxxiii 

MacRae,  Elmer cxxxiv 

Maginnis  &  Walsh xxiv 

Maignon,  Albert.     One  Illus lii 

Malyutin.  S.     One  Illus 212 

Manet 58 

Manigault cxxii 

Manship,  Paul xxvi 

Marcette,  Alexander 46.  266,  269 

Marks,  Montagu cxxii 

Marsh,  Clare 289 

Martin,  Henri 217 

Homer xxxii 

Martinet,  Marjorie  D.     One  Illus.  .    cxxx 

Matsubayashi,  see  Keigetsu 73 

Maufra,  Maxime 217 

McCormick,  H cxxx 

McEvoy,  Ambrose 287 

McKenzie.  Dr.  R.  Tait xxxiii 

McKim,  Mead  &  White xxii 

M'Namee,  Dorothy cii 

McNeil,  Alec.     One  Illus 204 

McNicol,  Helen 281 

McTaggart.  W aS,  209 

Melchers,  Gari.     One  Illus 69 

Meelery,  X 266 

Merckaert,  Jules 46 

Mertens,  Charles 46.  266,  267 

Metcalf.  Willard 71.  cxxiv 

Meugens,  Sibyl.     Decorative  Still-Life  Paint- 
ings.    Seven  Illus 130 

Meunier,  J.  B 4^ 

Constantin.     One  Illus.  .  .     46,  261 


P.\GE 

Meunier,  M.  H 46 

Michaux,  John 269 

Millet,  J.  F.     One  Illus 206 

Minne,  George 266 

Mitsukuni,  Sato 73 

Modem  Development  of  Oil  Painting  in  Japan. 

By  Prof.  Jiro  Harada.  Thirteen  Illus.  .  270 
"Modem"    Murals.     By    Mary    J..  Quinn. 

One  Illus XXX 

Moisset,  Martha 217 

Molarsk>-,  Morris vi 

Monet,  Claude 209,  217 

Monk,  R.  E..  William.     An  English  Artist's 

Impressions    of     New    York.     Thirteen 

Illus 181,  188,  247 

Monticelli 209 

Montigny,  Jenny 48,  269 

Monturiol,  Pascual Ixv 

Moore,  Sturge 197 

Moorepark,  Carton Ixviii 

Moorkeus,  Louis 48 

Mora,  F.  Luis.     One  Illus cxxviii 

Moreau,  Gustav.     One  Illus 1 

Morrice,  James 236 

Morris.  Paul.     One  Illus. cxxxiii 

Morton,  Christina.     One  Illus.       .      .      .       cx.xvii 

Helen cxxxvi 

Muirhead,  D 138 

John 281 

MuUer,  Olga  Popoff xcix 

Munnock.  John.     One  Illus 59,  60 

Murphy  &  Dana .    xxiv 

J.  Francis xcix 

Murray,  Samuel.     One  Illus \\n 

Xaito,  see  Shin 73 

Nelson,  W.  H.  de  B: 

Philadelphia's  Hundred  and  Tenth  Annual. 

Nine  Illus iii 

A  Distinguished  Artist:     Ossip  L.  Linde. 

Six  Illus xiv 

Art  Patron  and  Art  Master Ixi 

The  Spring  Academy.     Eight  Illus.  Ixxi 

The  Passing  Show.     Seven  Illus.  cxxi 

Nestor 44 

"New    Loggan"    Drawings    of    Oxford    and 
Florence.     By  Edmund  H.  New.     Eight 

Illus 17 

New,  Edmund  H.     "New  Loggan."     Draw- 
ings   of    Oxford    and    Florence.     Eight 

Illus 17 

Newcombe,     A.     E.     Some     East     Anglian 

Sketches.     Six  Illus 124 

Newell,  G.  Glenn l.xxvi,  cxxvi 

Newton,  Francis xxv 

Nicholson,  William S8 

Nisbet,  R.  B 60,  lxx\-i 

Nishii,  see  Keigaku 73 

Noble,  Robert 60 

Norton,  Elizabeth cxxxvi 

Nuytters,  Joseph  Pierre xxxiv 

Nyoirin,  see  Kwaunon 148 

Nyorai,  Amida 148 

Yakushi 148 

Oberteuffer,  George viii 

O'Brien,  P.  R.  H.A.,Dcrmod.    One  Illus.     287.288 

Ochtman :«cix 

Ogata,  see  Gekko 73 

Olinsky,  Ivan  G.     One  Illus.     .  Ixxvi.  cxxxiv 

Olsson,  Julius       ...  ...      140 

Opsomer,  Isidore  ...     369 

Orpen,  R.  C .      .      .      28Q 

A.     R.     A..     William.     One     Illus. 

107.  23«.  241.  288 
Osier.  A.  R.  I.  B.  A..  Francis.     Three  Illus. 

284.  JSS.  286 
Osuis.  Benedict 'viii 


PAGE 

Packer nvi 

Paddock,  Josephine jv 

Pages,  Jules jj- 

Palmer,  Hombostle  &  Jones     .  xiiii 

H.  S 211 

Parfitt,  T.  W.     One  Illus 219 

Paris,  W.  Francklyn.     The  Resuscitation  of  a 
Dead  Art :     Gobelins  of  To-dav.       Five 

Illus .      .  xiviii 

Parker,  Lawton   ...  .      .       67 

Parrish,  Mrs '.     xxv 

Parshall,  Dewitt 71 

Parsons,  R.  A.  Alfred 279 

J.W 60 

Pascin.     One  Illus miii 

Passing   Show.     By   W.    H.   de    B.    Nelson. 

Seven  Illus cxxi 

Pasternak,  L.     One  Illus 63,  65.  212 

Paterson,  James 58 

Paulus,  Pierre 267 

Peabody.     Wilson  &  Brown xxiv 

Pearson,  J.  T iii 

Perrj',  Hinton xxvi 

Peterson,  Jane bc^Ti.  xcix 

Philadelphia      Art      Club      Exhibition.     By 

Eugene  Castello.     Four  Illus.  .    hriii 

Philadelphia's  Hundred  and  Tenth  Annual. 

By  W.  H.  de  B.  Nelson.     Nine  Illus.      .        iii 

Phillips,  Bert  G xxv.  138 

J.  Campbell 67 

Philpot.  Glyn 138 

Pilichowski,  Leopold.     Two  Illus.        281,  282.  283 

Pilkington 140 

Plastic  Club,  Philadelphia  and  Peabody  In- 
stitute, Baltimore.     Two  Illus.    .      .      .    cxxx 
Piatt,  Alethea  Hill    .....  Ixvi 

Chas.  A xxii 

Portielje,  Gerard       ....  48 

Portrait  Painters.     One  Ulus cxxxi.  cxxxi 

Potter,  Frank  H.     One  Illus 234.  241 

Powell,  Alfred  H 13S 

Louisa .      .      13S 

Prendergast cxxxiv 

Price,  C.  Matlack.     An  .\merican  Version  of 
an  English  T>T>e  of  .Architecture.     Seven 

Illus Iii 

Prince  Li's  Collection.     Six  Illus.    .       146,  147.  I4< 

Prinet,  R 21: 

Prj'de,  James.     One  Illus 23; 

Purser       ...  .      .      .      .     2&I 

Puttemans.  Aug.  .      .      .     48,  26( 

QuARTi,  Eugene.     Ten  Illus 289.  29< 

Quinn:     Sculptor.    Edmond    T.     By    Albert 

Sterner.     Seven  Illus : 

Quinn,  James I4< 

Marj-   J.     "Modem"    Murals.     One 

Illus «: 

Rackham,  .Arthur 271 

Raditz,  Lazar l"i 

Raebum S' 

Ramon.  .^.     One  Illus cxxi 

Ramsay,  Allan a» 

R.inken,  W.  B.  E 138.  281.  28 

Read,  E.  Joseph "«'' 

Recent    Designs   in    Domestic   Architecture. 

Four  Illus " 

RcdfiiUl.  Edwani  W.    One  Illus.  v.  vii.  67,  Ux.  Ixxi 

Riid.  Rolwrt XX 

Roiffil.  C cxx 

Resuscitation   of  a    Dead   Art:    Gobelins  of 
To-day.     By  W.  Franckl>-n  Paris.    Five 

Illus xlvi 

Reuterdahl,  Henry.     One  Illus.      ...       64.  «> 
Rewcr.  Johanna  M.     One  Illus.  aa 

Reynolds,  Sir  Joshua.     One  Illu-  T 

Rioharxls,  A.  R.  E..  Fred.     One  llius.  l8 

Rickctts.  Charies.     One  Illu.* «9T.  « 

Ri.ldcll,  James     .  » 


hid 


ex 


PAGE 

Rifai.  A.     One  Illus ajj 

Rintoul,  Mary  M.     One  Illus 322 

Rilsthfl.  William.     One  Illus.  .      .  vi,  7i,lix 

RittfiilHTK.  Honry  H.     Dm-  Illus.  Iviii.  1.x 

RiilHTts.  Alice  Muniforil viii 

RolxTtson.  Percy 181 

Robinson.  Albert  H.     One  Illus jii 

RiHlin.  AuKuste.     Three  Illus.       107.  2.\2.  2^i.  i.\.\ 
Roll.  Alfred  Philippe.     By  Paul  Vitry.     Five 

Illus cxi 

Rombaux.  EKi<le 366 

Ronalilson,  Martine 60 

Ronner.  Alice.     One  Illus 48,  a66 

Roose.  Aage.     Four  Illus.    .      .  a  15,  216,  317 

Rose.  Davul  T 281 

Rosen.  Charles Ixxiii 

Rosenthal.  Alln-rt.     Three  Illus.     .      .     65.  66.  cxx 

Rosier.  Jean  0 48 

Rossetli.  D.  Ci.     One  Illus 92 

Rothenstein 107 

Rousseau.  Victor.     One  Illus.   .               .\(\,  262.  287 
Royal   Society   of    Painter-Etchers   and    En- 
gravers.    Eight  Illus 181 

Rubens 43 

Rushbui^'.  Henry 140 

Ryder.  Albert  P cxxii 

Chauneey Ixxvi 

Ryland.  Robert  K xxv 

Sachs.  Joseph 71 

St.  Paul  Institute xci 

Samuel.  Ch 266 

San    Diego  and   San   Francisco   Expositions. 

By  Christian  Brinton.     Six  Illus.  cv 

Sargent.  John  R S4.  68.  279 

Sato,  see  Mitsukuni 73 

Scarpitta Ixvi 

Schofield,  W.  E Ixxiii 

Schuler,  Hans xxvi 

Scofield V 

Scott.  William  Edward cxxx 

Scudder.  Janet xcix,  cxxxv 

Sculpture    of    Rudulph    Evans.      By    Helen 

Churchill  Candee.     Four  Illus.     .  Ixxxiv 

Sears.  Taber xxv 

Seiji.  Kato.     One  Illus 277 

Seiun.  Sekino.     One  Illus 71.73 

Sekino.  see  Seiun 73 

Sell.  Henr>'  Blackman: 

The  Home  Spirit.     Ten  Illus.  .  xxxvii 

Interpretation  Not  Imitation.    Seven  Illus.  Ixxix 

Seyffert.  L.  G 71,  Iviii 

Shannon.  A.  R.  .\..  Charles.     Two  Illus. 

197,  229.  236 

Sharp.  Dorothea 281 

Shaw,  Byam 279 

Julia  A Ixxvi 

Shee 138 

Shepherd,  F.  H.  S 138 

Sheppard.  R.  H.  A.,  Oliver.     One  Illus.    .   288,  289 

Shiden,  Kosaka 73 

Shikai,  Kitamura 73 

Shin,  Naito 73 

Shinkai,  see  Taketaro 73 

Shoen,  Uyemura 73 

Shokichi,  Hata 73 

Kobayashi.     One  Illus 273 

Short,  Sir  Frank 181 

Shrady xxvi 

Shuta,  Nagatochi.     One  Illus 27S 

Sickcrt,  Walter.     One  Illus.  236,  241,  287 

Simmons,  Edward xxv 

SimiJSfjn,  Charles  W 281 

Sims.  Charles 279 

Singer,  W.  H Ixxvi 

Sisley.  Alfred.     One  Illus 207,  209 

Sleator.  lames.     One  Illus 288 

Sloan cxxii 

Smart,  D.  1 181 

Smcers.  F '      .      .      .      .      269 


PACE 

Smith,  n.  Murray 281 

F.  Hopkinson xxiii 

dranville Ixxv 

Hamilton  T.     Harold  Stabler.  Worker 
in  Metals  and  Enamels.     Fifteen  Illus.    .        34 

Snell.  H.  B Ixxv,  xcix 

Siiow-Ciibbs.  R.     Four  Illus.     .  279,  280,  281 

Solon.  Leon  V xxv 

Some  East  Anglian  Sketches.  By  A.  E.  New- 
combe.     Six  Illus 124 

Somerville,  Howard 287 

Sopcr.  George.     One  Illus xxxiv 

Southall.  Joseph  E.     The  Drawings  of  Arthur 

J.  Gaskin.     Eight  Illus 25 

Sparhawk-Jones,  Elizabeth cxxx 

Speicher,  Eugene.     One  Illus.  .     Ixxiv,  Ixxvi.  cxxxi 
Spencer.  Edward.     Three  Illus.  .      .   197,  108 

Spranger,  Bartholomew 43 

Spring  Academy.      By  W.   H.  de  B.   Nelson. 

Eight  Illus Ixxi 

Squire.  Harold 138 

Stabler,  Harold.  Worker  in  Metals  and 
Enamels.  By  Il.iniilton  T.  Smith.  Fif- 
teen Illus 34 

Stahr,  F.  C xxvi 

Stark,  Otto.     Two  Illus Ixvi,  cxxix 

Steele,  T.  C.     One  Illus cxxix 

Steinback,  Gustavo xxiv 

Sterne,  Maurice.     One  Illus.  Ixv,  Ixvi,  Ixviii,  cxxxiv 
Sterner.  Albert.     Edmond  T.  Quinn:     Sculp- 
tor.    Eight  Illus X,  xxxii,  cxxxiii 

Steuart,  R.  Easton 60 

Stevens,  Alfred.     One  Illus 87,  I97 

Stobbaerts.  Jan 46,  266 

Stoddard,  Alice  Kent iv,  cxxx 

Stokes,  A.  G.  Folliott.  Alfred  Hartley,  Paint- 
er and  Etcher.     Eighteen  Illus.    ...        90 

Strang,  Ian I07 

R.  A.,  William 5i,  287 

Strawbridge,  Anne  W.     One  Illus.       .    cxxx,  cxxxi 

Struys,  Alexander 46 

Studio  Talk.     Ninety-three  Illus.   48,  134,  197,  278 
Sturbelle,  Camilla.     Two  Illus.  .       46,  47 

Sturgis,  Clipston xxiii 

Suin,  Komuro.     One  Illus 72,  73 

Summers,  Mrs.  N.  Munro 138 

Suttemians,  Justus 43 

Symons,  Gardner.     One  Illus.  .   Ixxiii,  Ixxvii.  cxxiv 
Swan,  A.  M 279 

Tack,  Augustus  Vincent xxxii 

Taikan,  Yokoyama 73 

Tajima,  see  Ikka 73 

Takamura,  see  Koun 73 

Takashima.  see  Hokkai 73 

Takcshiro,  Kanokogi.     Two  Illus.        .      .   270,  272 

Taketaro,  Shinkai 73 

Tallcmans,  Jules 46 

Tannahill.  Mary  H xcxi 

Tarbull,  Edmund  C 68 

Tarbet,  Henderson 60 

Taylor,  Howson 140 

The  Paintings  of  Leonard  Campbell. 

Thirteen  Illus 3 

Terazaki,  see  Kogyo 73 

Terrizzi,  Anthony xxvi 

Thayer,  Abbott  H 71 

Harriet  Barnes xxxiv 

Thomas,  Henri 46 

Thompson,  F.  K 68 

Thomson,  C.  L.  Colyn 138 

D.  Croat.     Fragonards  of   Grasse. 

Frontispiece  and  Nine  Illus.                  .      .  155 

Thorpe,  Hall 281 

Thrasher,  Harry  D xxvi 

Titz,  Louis 46 

Tobari,  see  Kogan 73 

Tolerton,  Hill.     The  Art  of  Maynard  Dixon. 

Four  Illus xcii 

Toraji,  Iskikawa.     One  Illus 275 


I'AC.E 

Tracy  ami  Swart wout,  Architects.     One  Illus.  xxiii 

Tricot,  Blanche 48 

Trowbridge  &  Livingston xxiii 

Truth  an<l  Personality  in  Art.     By  Raymond 

Wyer xxvii 

Tsuji,  see  Koyu 73 

Turner,  Helen  M 67 

Tushingham,  S 181 

Unkai,  Yonehara 73 

Uyemura,  sec  Shoen 73 

Uytterschaut,  V 269 

Valiant,  Louis xxv 

van  de  Woestyne,  Gustave.    One  Illus.     .      .44,47 

van  den  Eeden.  U 48 

van  der  Loo,  Martin.     One  Illus.  .      .     45,  48,  269 

van  der  Meulen,  Adam 43 

van  der  Stappcn,  Charles.     One  Illus.       .  262 

van  der  Wcy<len,  Roger 43 

Van  Dyck 43.  I97 

van  Eyck,  Jan 43 

Van  Laer,  A.  T Ixxv! 

van  Holder,  F 269 

van  Opstal.  Gerard 43 

van  Roy,  Dolf 269 

van  Rysselberghe,  Th 269,  287 

Velasquez 197 

Verbrugge,  H 48 

Verhaegen,  Fernand 269 

Verhacren,  Alfred 46,  267 

Verhuyden,  Fr 48 

Vieth,  Carl.     One  Illus c 

Vincjotte,  Thomas.     One  Illus 264 

VinogradofT,  Sergi 65.  212 

Vitry,     Paul.     Alfred     Philippe    Roll.     Five 

Illus cxi 

Vloors,  Emile.     One  Illus 266,  269 

Volk,  Douglas.     One  Illus Ixxiii 

Vonnoh,  Robert.     One  Illus.     .      .     71,  xcix,  cxxxi 

Voysey,  C.  F.  A.     Six  Illus 50 

Vreeland,  Frances  W xxv 

Wagemans,  Maurice 267,  269 

Walker,  Edward 281 

Walter,  Martha.     One  Illus.     .      .      .  iv,  viii.  xcix 

Warner.  Everett  L Ixxiii,  Ixxv 

Water-Colours  and  Oil  Paintings.     By  S.  J. 

Lamorna  Birch.  R.  W.  S.     Eleven  Illus.      169 

Waterson,  David 140 

Watson,  C.  J 140 

Harry 279 

Watt,  Fiddes 138 

Watts,  George  Frederic 197 

Waugh,  Frederick vi.  Ixxi 

Weinman,  A.  A.     One  Illus.  xxv,  xxvi 

Weir,  J.  Alden 67,  xcix,  cxxii 

Welch,  H.  A.     One  Illus 223 

Werleman,  Carl 46 

West,  J.  Walter 140 

Weyrich,  Joseph  L viii 

What   Tale    Does   This   Tapestry   Tell?     By 

John  Frederick  Lewis.     Six  Illus.  xix 

What   Tale    Does   This   Tapestry   Tell?     By 

Charles  de  Kay Ivii 

Wheeler,  Clifton  A cxxx 

Whistler,   James   McNeill.     Two  Illus.     58,  88,  91 

Whitney,  Gertrude  V cxxxv 

Mrs.  Harry  Payne xcix 

Wiegand,  Gustavo Ixxiii 

Wiles,  Irving.     One  Illus.  iv,  Ixxv,  cxxxi,  cxxxii 

Wildman,  William  A.     One  Illus.  .  S4.  SS.  281 

Wilkinson 140 

Willett.  Annie  Lee xxv 

William xxv 

Williamson,  Ada  C cxxx 

A.  Maynard.     One  Illus.  Ixxi 

Wingato,  J.  Lawson s8 

Winter,  Ezra xxvi 

Wissaert,  Paul.     One  Illus 47.  266 


Ind 


ex 


PAGE 

Wood,  T.  Martin.     The  Edmund  Davis  Col- 
lection.    Twenty-eight  lUus.  .      .      .     79,  229 

Woodbury,  Charles  H 67 

Woolard,  Dorothy 140 

Wouters,  Rik 266 

Wright,  Alice  Morgan Ixviii 

Frank  Lloyd Ixxix 

John.     Two  Illus 53.  54 

L cxxxiii 


PAGE 

Wyant xxxii 

Wyer.  Raymond.     Truth  and  Personality  in 

-•^rt :  xxvii 

Y.\KusHi,  see  Xyorai 148 

Yamaoka,  see  Beikwa 73 

Yamazaki,  see  Choun 73 

Yarrow.  William  H.  K Iviii 

Yasinksy,  A 214 


PAGE 

Yates,  Cullen Ixivi 

Yeats,  Jack 289 

Yokoyama,  see  Taikan 73 

Yonehara,  see  Unkai 73 

Yoshida,  see  Homei 73 

Yuhachi,  Ikeda 73 

Yuon,  Konstaatin.     Two  Illus 23 

Zakharoff.  Fedor.     One  Illus 214 


Index 
COLOUR   INSERTS 


y.  R.  E..  R.  O.  I..  Amiii.  "  May-Flower. " 
A  Colouitxl  Repnxluction  of  the  Water- 
Colour  DrawioK ''J' 

y.  R.  E..  R.  O.  I..  Anna.  "  Wiir-Timc. " 
A  Colouretl  Reproduction  of  the  Water- 
Colour  Ur.iwinK \i)S 

ch.  R.  W.  S..  S.  J.  Lamoma.  "  The  View. " 
A  Coloured  Reproduction  of  the  Oil 
Painting 171 

L-h.  R.  W.  S..  S.  J.  Lamorna.  "A  Scotch 
Landscape."  A  Coloured  Reproduction 
of  the  Water-Colour  Painting  170 

idm.  Eujji'ne.  "La  PUijje. "  A  Colourcil 
Reproduction  of  the  Oil  PaintinK  J4.S 

iwn.  Helen  Paxton.  "Portrait  of  Mrs. 
Arthur. "  A  Coloured  RepriKluclion  of 
the  Water- Colour  Drawintj  .'01 

•ot.  J.  B.  C.  "Study  from  the  Nude. "  .V 
Tinteil  Reproduction  of  the  Painting  04 

gonard.  J.  W.  "L'Abandon. "  A  Tinted 
Reproduction  of  the  Oil  Painting  Ixx 

gonard.  J.  H.  "La  Poursaite. "  .\ 
Tintctl  Reproduction  of  the  Oil  Painting     157 

gonard.  J.  H.  "L'Escalade."  or  "Le 
Rendez-vous. "  A  Tinted  Reproduction 
of  the  Oil  Painting I5'> 

gonard,  J.  H.  "Les  Souvenirs."  A 
Tinted  Reproduction  of  the  Oil  Paintinn     10 1 

gonard.  J.  H.  "L'.\mant  Couronnc. " 
A  Tinted  Reproduction  of  the  Oil  Paint- 
ing       lOj 

gonard.  J.  H.  "L" Amour  Poursuivante 
une  Colombe  "  "  L'Amour  en  Sentineile." 


P.\GE 

Tinted  Reproductions  of  Two  Oil  Paint- 
ings     i6.| 

Fragonard,  J.  H.  "Le  Triomphc  de 
L'.-Vinour."  \  Tinted  Reproduction  of 
the  Oil  Painting 165 

Fragonard.  J.  H.  "L'Amour  Vainqueur." 
"L'Amourfolie."  Tinted  Reproductions 
of  Two  Oil  Paintings 165 

Gainsborough,  R.  A..  Thomas.  "Miss 
Indiana  ('Di')  Talbot."  A  Tinte<l  Re- 
production of  the  Painting      ....        81 

Oaskin.    Arthur    J.     "Joscelyne. "     A    Col- 

ouretl  Reproduction  of  the  Drawing  27 

Gaskin,  Arthur  .[.  "  Margaret."     A  Coloured 

Reproduction  of  the   Drawing      ...        ,}i 

Hartley,  R.  B.  A..  R.  E..  .\lfrcd.  "St.  Ives 
Fishing  Boats."  A  Tinted  Reproduc- 
tion of  the  Aquatint q8 

Hartley.  R.  B.  A.,  R.  E.,  Alfred.  "St.  Ives 
Harbour."  A  Tinted  Reproduction  of 
the   Etching loi 

Hartley.  R.  B.  A..  R.  E.,  Alfred.  "The 
Bridge. "  A  Tinted  Reproduction  of  the 
Aquatint 105 

Hartley,  R.  B.  A.,  R.  E.,  Alfred.  "Monte 
Grappa,  North  Italy. "  A  Tinted  Re- 
production of  the  Aquatint     ....      loy 

Hartley.  R.  B.  A.,  R.  E.,  Alfred.  "The 
Glade."  A  Coloured  Reproduction  of 
the  Aquatint lij 

Meugens,  Sibyl.  "The  Green  Jar,"  "Shad- 
ows. "  Coloured  Reproductions  of  Two 
Oil  Paintings 131 


PAGE 

Monk,  R.  E.,  William.  "New  York  from 
the  Sound."  A  Coloured  Reproduction 
of  the  Waler-Colour  Painting      .      .  j.'ji 

Noakowski,  Stanislaw.  "Russian  Peasant 
Architecture.  "  Tinted  Reproduction.s  of 
Tw(j  Charcoal  Sketches      ....    142-143 

Rembrandt.     "Sar.kia    At    Her    Toilet."     A 

Tinted  Reproduction  of  the  Pamting  85 

Reynolds,  P.  R.  A..  Sir  Joshua.  "Henry, 
Twelfth  Earl  of  Suffolk."  A  Coloured 
Reproduction  of  the  Oil  Painting     .        xxxvi 

Stabler,   Harold.     Cloisonn6    Enamel    Panels 

and  Pendants 41 

Stevens,      Alfred.     "Absence."     A      Tinted 

Reproduction  of  the  Painting        ...        89 

Taylor,  Leonard  Campbell.  "Chess."  A 
Coloured  Reproduction  of  the  Oii  Paint- 
ing        ii 

Taylor,  Leonard  Campbell.  "The  Canal." 
A  Coloured  Reproduction  of  the  Oil 
Paintini? 11 

V^tndyck,  Sir  Anthony.  "Queen  Henrietta 
Maria."  A  Coloured  Reproduction  of 
the  Oil  Painting civ 

Vinogradoff,  Sergi.     A  Coloured  Reproduction 

of  a  Russian  War  Fund  Poster       ...        61 

Watts.  R.  A.,  G.  F.  "The  Creation  of  Eve.  " 
A  Coloured  Reproduction  of  the  Oil 
Painting 238 

Watts,    R.    A.,   G.    F.     "Denunciation."     A 

Coloured  Reproduction  of  the  Oil  Painting     239 

Whistler,  James  McNeill.     "At  the  Piano." 

A  Coloured  Reproduction  of  the  Painting       95 


BOOKS   REVIEWED 


P.-VGE 

isf  s  Sketch  Book  Series,  The.     Published 

by  Messrs.  A.  and  C.  Black,  London  224 

sian   Portfolio  of  Lithographs.     Bv   Mr. 

Anthony  R.   Barker 75 

Tiini,  and  other  Studies  in  the  History  of 

Art.  By  Richard  Norton  ....  224 
aim,"  The.  Magazine  of  Edinburgh  Col- 
lege of  Art 299 

xicsc   Pottery  and   Porcelain.     By   R.   L. 

Hobson 298 

:oration  in  England,  from   1660  to   1770. 

By  Francis  Lcnygon 150 

lications   and    Patron   Saints   of    English 

Churches.     By  Francis  Bond,   M.A.  299 

.Nittis.   Giuseppe:     L'Nomo    e    I'Artista. 

By  Vittorio  Pica 299 

hing;     A  Practical  Treatise.     By  Earl  H. 

Rea^l 75 

niturc  in  England  from  1660  to  1760.    By 

Francis  Lcnygon 223 

■man    Culture-  the    Contribution    of    the 

Germans  to  Knowledge,  Literature,  Art, 


and  Life.  Edited  by  Professor  W.  P. 
Paterson 

German  Masters  of  Art.  By  Helen  A.  Dickin- 
son (May)  

Glory  of  Belgium.  The.  Illustrations  in 
Colour  by  W.  L.  Bruckman   .... 

Heroes,  The.  By  Charles  Kingslcy.  Illus- 
trated in  Colour  by  Mr.  W.  Russell  Flint 

History  of  Painting  in  Italy,  A.  By  J.  A. 
Crowe  and  G.  B.  Cavalcaselle 

Home  Interiors.  A  Practical  Work  on  Colour, 
Decoration  and  Furnishing.  By  R. 
Goulburn  Lovell,  A.  R.  I.,  B.  A.,  M.  S.  A. 

"  Kultur  Cartoons. "     By  Will  Dyson 

Le  Livre  d  'Or  des  Peintrcs  Exposants 

Michael  Angclo.     By  W.  R.  Valentincr  (May) 

Morse.  Samuel  F.  B.:  His  Letters  and  Jour- 
nals. Edited  and  supplemented  by  his 
son,  Edward  Lind  Morse   .  . 

Mystery  of  the  Oriental  Rug.  By  Dr.  G. 
Griffin  Lewis 

Our   Philadelphia.     Described   by   Elizabeth 


iSi 

22s 

4 


PAGE 

Robins  Pennell 73 

Photograms  of  the  Year.     Collected  by  Mr. 

Mortimer 299 

"Poster"  Stamps.     Designed  by  Mr.  Frank 

Brangwyn,  A.   R.  A.  and   Mr.  Edmund 

Dulac 75 

Pottery:  for  Artists,  Craftsmen  and  Teachers. 

By  George  J.  Cox.  A.  R.  C.  A.  ...  75 
Rambles  Around  Old  Boston.     By  Edwin  M. 

Bacon,    with    Drawings    by    Lester    G 

Hornby 4 

Renaissance,  The.     By  Count  Gobineau    .  i.so 

Southern   India.     Painted   by  Lady   Lawley 

Described  by  Mrs.  F.  E  Penny  ...  74 
Tapestry  Wearing  in  England  from  the  Rarli 

est    Times  to   the  end   of  the    XVlIl'h 

Century,     By  W   G.  Thompson    .  223 

Third  Annual  Volume  ot  thf  Walp  <le  Society. 

Edited  by  Mr    A    I.  Fmher«  .      .  225 

Year's   Art.   The      Brought    uo   to   date   by 

Mr.  A.  C    R.  Carter iSi 


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INTERNATIONAL 
•  STUDIO 


VOL.  LV.     No.  217 


Copyright,  1915,  by  John  Lane  Company 


MARCH.  1915 


P 


HILADELPHIA'S   HUNDRED   AND 
TENTH  ANNU.AL 
BY  W.  H.  DE  B.  NELSON 


Until  the  end  of  this  month  visitors 
to  Penn's  ancient  city  can  see  some  four  hundred 
paintings  and  two  hundred  pieces  of  statuary 
attractively  arranged  about  the  rotunda,  tran- 
septs and  galleries  of  the  Academy.  Philadelphia 
makes  no  attempt  to  conceal  a  very  proper  pride 
in  possessing  the  oldest  art  institute  and  the  oldest 
art  traditions  in  America,  and,  consequently,  every 
effort  is  made  to  ensure  a  successful  yearly  achieve- 
ment by  the  display  of  all  that  is  best.  Though 
we  willingly  acclaim  a  great  show  of  art,  yet  the 
most  cursory  or  complete  tour  of  the  all  too 
numerous  galleries  only  confirms  the  opinion  that 
Mr.  John  Trask's  tireless  pursuit  of  important 
canvases  for  the  Panama  Exposition  has  left  a 
smaller  field  of  selection.  This  and  the  fact  that 
owing  to  the  war  so  few  Americans  abroad  have 


been  able  to  send  their  usual  contributions.  Look 
about  as  we  may,  we  fail  to  see  the  usual  salon 
pieces — big  figure-work,  big  marines,  interiors, 
animal  paintings  and  great  genre  canvases.  On 
all  sides  are  50  by  40  or  40  by  30  landscapes,  most 
of  which  are  old  friends  that  have  been  seen  in 
New  York,  Washington  and  elsewhere,  along  with 
a  quantity  of  portraits,  only  a  few  of  which  are  of 
striking  quality.  It  is  not  to  be  inferred  that  the 
exhibition  is  not  exceedingly  interesting.  The 
American  artist  yields  to  nobody  in  landscape 
painting  optically  observed,  and  here  we  have  the 
key-note  of  the  exhibition.  The  \dsitor  who  goes 
with  a  fresh  eye,  to  whom  all  the  pictures  are  hith- 
erto unknown  quantities,  can  assuredly  come 
away  rejoicing.  Why  must  we  Ic-^go  animal  sub- 
jects? True,  W.  Glackcns  <  ives  us  a  vermilion 
dog  by  the  seashore,  J.  T.  Pearson  has  a  hindquar- 
ter  view  of  a  farm  horse,  not  to  mention  a  large, 
defunct-looking  rooster  and  some  ill-nourished 
cattle  wending  their  way  despondently  across  a 


PICNIC    PARTY 


RY   tilHi^RD    KKAL 
III 


Pliil(uiclf>liia\s  1 1  itjuh-cci  ami  l\iif/i  .1  miital 

o^  if       n       i       \     i\    \      \ 


j  I   Jl   i   i  ''  i 


If  - «)  e- 


ENGLISH    NURSE 


BV    MARTHA    WALTER 


culvert.  Carton  Moorepark  is  a  great  animal 
painter — greater,  probably,  than  any  American 
painter  of  to-day — but  one  looks  in  vain  for  a 
Moorepark  to  gladden  a  palate  somewhat  jaded  by 
a  surfeit  of  landscape  and  portrait.  Toujour s  per- 
drix  should  be  an  absent  note  at  an  e.xhibition,  but 
as  long  as  names  are  regarded  apart  from  paint- 
ings there  -will  of  necessity  be  a  long  list  of  recipe 
painters — painters  oi  rechauffes,  for  whom  a  tender 
spot  lingers  in  the  hearts  of  the  jury,  and  a  ten- 
der place  "on  the  line."  We  see  the  same  subject 
painted  with  the  same  palette  continually;  some- 
times a  tree  may  be  lopped  or  a  crow  added;  it  may 
be  that  a  path  may  be  rendered  more  tortuous  or 
even  a  solid  rock  shifted  a  foot  or  two  from  its 
previous  site  in  the  canvas.  One  well-known  art- 
ist varies  his  subject  only  by  the  size  of  his  sky  or 
by  the  length  of  his  purple  shadows.  And  yet 
these  ubiquitous  pictures  gaze  at  us  serenely,  with 
a/y  siiis  fy  rcste  complacency  that  is  positively 
bafiling.  No  wonder  an  observant  young  lady 
from  California,  in  looking  round  an  e.xhibition — 
in  New  York,  not  in  Philadelphia — remarked,  as 


she  shrugged  a  pair  of  graceful  shoulders,  "sac- 
charine futility!" 

The  remarkable  contribution  of  W.  M.  Chase, 
entitled  Portrait:  Mrs.  Eldridge  R.  Johnson,  has 
painter-like  quality  in  a  most  marked  degree.  It 
has  all  the  dash  and  spirit  of  work  by  a  young  man 
with  the  experience  and  restraint  of  a  veteran. 
Textures  are  handled  in  a  skilful  manner.  Tones 
and  harmonies  are  an  incessant  joy,  while  the 
masses  are  grouped  and  held  as  only  a  great  master 
could  conceive.  That  splurge  of  light  upon  the 
screen  haunts  the  memory!  Some  fault  of  con- 
struction shows  the  sitter  to  be  not  properly  seated 
in  the  chair;  in  all  other  respects  this  portrait  is 
a  masterpiece  and  shows  W.  M.  Chase  at  his  very 
best.  Irving  R.  Wiles  has  a  sketchy  but  excellent 
canvas,  called  Latighing  Girl,  while  Alice  Stoddard 
is  represented  by  a  blue-eyed,  blue-shirted  young- 
ster with  a  nice  shock  of  hair  of  the  type  best 
know'n  as  "  carrots  " — to  hold  the  mirror  to  nature 
or  to  offset  the  shirt.  Quien  sabe^ — it  is  some- 
what Henriesque,  full  of  merit,  simply  and  solidly 
painted,  and  the  hands  well  studied.     Josephine 


PJiiladcIpJiids  Hundred  and  Tenth  Annual 


AN    ACTRESS    AS    CLEOPATRA 


nV    AKTHl  K    It.    lARLES 


Paddock  is  fresh  and  entertaining  as  usual,  but  for 
unfathomable  causes  has  been  skied.  E.  W. 
Redfield  has  four  splendid  canvases,  while  Dough- 
ert\'  and  Scofield  are  content  with  one  apiece, 
excellent  in  their  way,  but  not  of  their  biggest 
and  best. 

Why  such  a  picture  as  i8~^  should  be  singled  out 


for  distinction  as  against,  for  instance,  a  neigh- 
bouring canvas  by  Frank  W.  Benson,  The  Seam- 
stress, is  one  of  those  riddles  of  the  universe  which 
the  most  seasoned  gallery-goer  fails  to  solve. 
i8yj  represents  a  girl  in  unsightly  Victorian  cos- 
tume of  a  vivid  and  copix'ry  green,  balancing  her 
finger-tips  upon  a  shiny  tal)le,  surrounded  by  an 

V 


riiiliidclpliia^  I Iniiihni  aiui  liiif/i  .liniKal 


Sl'IRKA    AM)    MNi.i.i      nAlu.iA^  W\     li 

arm-chair,  jewel  casket,  parasol,  v 
statuette,  trinket  cupboard,  etc., etc. 
meticuU)usly  arranged  and 
painted  with  all  the  aban- 
don of  miniature  painting! 
Quo  vadinitis/ 

Marie  Keller  is  a  strong 
portrait  painter  of  the 
Munich  School  tyi)e.  Her 
picture  of  Emily  Dohme 
shows  an  engaging  little 
maid  with  Gretchen  locks, 
in  a  pastoral  background, 
very  entertainingly  paint- 
ed, both  in  colour  and 
design.  William  Ritschel 
gives  us  a  splendid  pano- 
rama of  rock-bound  sea 
with  the  advance  of  the 
evening  tide,  also  a  morn- 
ing seascape,  both  from 
Carmcl,  California.  The 
latter  is  the  bigger  idea, 
but  loses  much  of  its  sun-     hii.lv 


light  by  its  very  purple  neighbours. 
I'Vederick  Waugh  proves  once  more 
his  eminent  jjosition  as  a  great  ma- 
vA|^        ^■■y  rine  painter  witli  his    picture.   The 

"■  Head  Sea,  where  .\tlantic  rollers  are 
n■n)^•ing  onward  with  the  relentless- 
nessof  fate;  you  feel  the  weight  and 
depth  of  the  water  and  look  below 
the  surface.  .\  little  painting  by 
Morris  Molarsky  is  a  delightful 
Spanish  subject,  showing  a  young 
woman  in  a  doorway  in  expectant 
attitude.  Draughtsmanship,  colour 
and  design  combine  to  rescue  a  con- 
\entional  subject  from  neglect, and 
to  convert  it  into  one  of  the  important 
pictures  of  the  exhibition.  Hayley 
Lever  is  entering  into  his  kingdom 
at  last,  and  making  a  very  trium- 
phant entry,  too.  The  Carnegie 
medal  which  fell  to  him  in  New  York 
this  winter  is  the  thin  edge  of  the 
wedge.  His  St.  Ives  canvases  are 
brimful  of  style,  good  colour  and 
vitality.  Sometimes  in  his  horror 
of  prettiness  he  is  apt  to  be  a  little 
brutal  and  negligent  in  construction, 
ase,  Chinese  but  time  will  give  him  the  right  balance  and,  after 
Evervthing      all,  we  prefer  Goya  to  Guido  Reni.     An  excellent 


\\\iH)    uARUINER    CUSHING 


ItV    Al.UKKT   LAESSLE 


VI 


SNOWSTORM 


BV    EDWARD    W.    REDFIELD 


MOTHER    AND   CHILD 


nv  M  \K\   r\^-\Tr 


riiihuh'lpliiii  s  //itj/i/rci/  (uu/  Toitli  .Imiiial 


canvas  loant-d  by  Dr.  \\  i)()tl\vai\i,  rcpn-scntinj^  the 
artist's  wife,  Mrs.  Gcorm*  Sautor.  silhouetted  in 
shadow  asjainst  the  studio  door.  The  other  figure, 
by  the  way.  i>;  Mrs.  Richard  (lalsworthy. 

C'eeiHa  Beaux  shows  a  large  caiu'as  which  would 
be  interesting  alone  lor  the  fact  that  it  ])ortra>s 
Mr.  Lewis,  the  president  of  the  .\cadeniy.  and  his 
young  son.  Besides  being  an  entertaining  faniil\- 
chronicle,  the  picture  is  a  line  composition,  the 
light  aTid  shade  nicel\-  balanced.     The  pose  of  Mr. 


rORTK Air;    DK.  J.\Mi;>  TVsON 


BV  S.\.MUEL  MLRKAV 


Lewis,  who  stands  beside  his  seated  son,  is  rather 
too  "  stiff  and  starch."  A  better  elTecl  might  ha\e 
been  obtained  by  a  less  military  j)osture.  .\dolphe 
Borie  has  two  portraits,  one  a  half-length  jwrtrait 
of  Paul  P.  Cret,  the  llesh-tones  carrying  well 
against  a  very  dark  background.  Fred  G.  Car- 
penter's The  Convalescent  is  a  capital  painting,  but 
loses  much  from  its  inartistic  frame. 


\'ery  delicate  in  colour  and  delightful  in  its  de- 
sign of  the  repeated  circle  is  a  little  group  of  ref- 
ugees at  a  landing  stage,  by  Joseph  L.  Weyrich. 
It  is  unconventional  and  entertaining  to  a  degree. 

(litTord  Deal's  decorative  picnic  painting  is  an 
excellent  note  to  the  exhibition,  which  is  so  defi- 
cient this  year  in  such  compositions.  The  frieze  of 
figures  is  a  joyous  rendering  of  white-clad  women 
and  children,  with  an  olTset  of  black  coats  to  jx'r- 
fect  the  harmon\-.  The  picture  is  full  of  life,  rich 
colour  and  almosi)here,  and  would  make  a  fine 
mural  decoration.  A  clever  young  artist  who 
compels  attention  is  Arthur  B.  Carles,  who  has  a 
([uartette  of  forceful  paintings  to  his  credit.  His 
( Icopatra  is  a  fine  rendering  without  accessories  of 
the  sensuous  East.  Curtain  and  jewels  give  all 
the  local  colour  requisite  to  compose  the  portrait. 
The  treatment  of  the  arms  and  hands  shows  Carles 
to  be  original  and  individual.  His  nude  attracts 
attention  by  its  good  draughtsmanship,  but  he  has 
painted  dead  (lesh — ^some  days  dead.  Mother  and 
Child,  by  Mary  Cassatt,  is  one  of  the  very  best 
numbers  on  view.  Robert  Henri  shows  three 
studies  from  his  recent  trip  to  California,  of  which 
bis  Sylvester,  a  negro  boy,  is  the  best;  the  colour  is 
luscious  and  the  head  marvellously  constructed. 
linglish  Xurse,  by  Martha  Walter,  is  an  excellent 
picture,  in  her  bold  and  breezy  style,  and  certainly 
deser\es  to  be  in  the  best  gallery. 

Ciertrude  Fiske  presents  an  excellent  design  in 
figure  work  called  JoKs  Tears;  it  is  luminous  in 
the  extreme,  while  the  beads  make  stunning  little 
dark  dashes  of  colour  against  the  figure  of  the  girl 
in  light  raiment.  George  Oberteuffer  has  a  good 
painting  of  Notre  Dame,  the  scale  being  well  felt. 
Charles  Hopkinson  well  deserved  his  medal,  with 
his  winter-clad  maid  against  a  snowy  background. 
His  textures  are  well  explained  in  terms  of  paint. 
Lydia  Field  Emmet  is  less  successful  with  a  little 
lad\-  named  Patricia,  who,  regard  her  as  you  will, 
is  tumbling  down;  the  picture,  too,  is  out  of 
scale,  which  might  also  be  said  of  Alice  Mumford 
Roberts'  unsportsmanlike-looking  Polo  Player. 
There  is  nothing  in  this  young  man  to  suggest 
Meadowbrook  or  Hurlingham,  but  rather  a  youth 
unaccustomed  to  riding,  but  fond  of  fancy  dress 
and  not  afraid  to  hire  a  costume.  The  Morning 
Mist,  by  Daniel  Garber,  is  the  best  of  many  good 
paintings  from  his  hand  that  we  have  seen  and 
admired  from  time  to  time.  Want  of  space  un- 
fortun;itely  j^recludes  mention  of  many  good 
ofTerin^s  both  in  the  flat  and  in  the  round. 


i 


PORTRAIT: 
liV  PHI  LI  I' 


LA  DONNA   MI-VELATA 
L.   IIALi: 


r.ihiioiid  /'.  Oiiiiiii :  Sculptor 


A    BA'^-RfaiEF 


BY   EDMOND   T.    QUINN 


E 


"^  D.MONl)  r.  nilNX:  SCULPTOR 
HV  ALBHRT  STKkXER 


In  this  age  of  (|iiickly  changing  fads 
and  fashions.  Art  has  not  been  left  by 
the  wayside.  Constantly,  during  the  last  decade, 
there  have  apjjeared  clicjues  of  men  forming 
and  developing  ephemeral  cults  or  movements. 
These  traxellers. 
weary  of  the  long 
and  toilsome  march 
along  the  high-roads 
of  art,  very  often 
find  more  immefliate 
gains,  and  sometimes 
morepublicity,  along 
the  dim  by-paths, 
performing  some 
stunt  or  other  whose 
main  aim  shall  be  to 
cpatcr  the  public. 

The  fewest  are 
still  willing  to  march 
on  f  a  i  t  h  f  u  1 1 \ —  if 
slow  ly  I 

The  psychologi  r 
basis  of  almost  ever\ 
great  work  of  art  ha> 
been  the  frank  en 
visagement  and  un- 
affected treatment 
of  some  simple  sub- 
ject    matter — mate- 


rial that  has  been  used  from  time  immemorial — 
bounded  only  by  the  natural  personality,  intelli- 
gence and  craftsmanship  of  the  artist. 

It  is  only  from  this  standpoint  and  only  by 
such  treatment  that  any  legitimate  originality 
may  be  even  hoped  for — -and  surely  predestined 
to  failure  is  that  work  of  art  which  is  gone 
ujKjn  with  a  straining  after  something  new. 

Consciousness  and 
unconsciousness  are 
closely  linked  in 
every  process  and 
stage  of  a  work  of 
art.  Andto-da>',in 
\iew  of  the  \"ast 
amount  of  art  that 
has  become  ours 
through  the  means 
of  modern  reproduc- 
tion,  it  requires 
superhuman  honesty 
to  remain  personal 
and  unaffected  in 
an>-  performance. 

Mr.  Kdmond  T. 
(^)uinn's  work  is,  he- 
sides  all  its  other 
c|ualitics,  eminently 
unaffected.  It  is  this 
attribute  of  his  work 
-this  lack  of  strain- 
ing and  the  power 
HV  KDMoNi)  T.  oriNN        of  being    subjective 


PORTRAIT  OF  ALLAN   POLLOCK 
BY  LDMOM)  T.  yUINN 


luhiiouii  7\  Oidini :  Sculptoy 


CATHERINE,  DAUGHTER   OF 
PHILLIP    RICHARDSON,  ARCHITECT 


BY    EDMONI)    T. 
QUINN 


rather  than  objecti\"e  in  the  carrying  out  of 
it — that  earned  for  him  the  honour  of  being 
given  in  competition  with  seven  other  sculptors 
the  Booth  Memorial  Statue,  to  be  placed  in  Gram- 
ercy  Park  by  the  Players  Clulx  In  the  small 
model  he  presented  are  embodied  the  grace,  ten- 
derness, earnestness  and  refined  passion  of  the 
great  actor  represented.  There  is  an  intense  yet 
quiet  reserve  in  the  pose — a  hesitance  pictorially 
well  realized,  which  was  perhaps  indicative  of  the 
man  Booth  in  life,  as  of  the  player  in  the  immortal 
part  of  Hamlet. 

Quinn's  well-known  bust  of  Edgar  Allan  Poe  is  a 
complete, \ital  rendition  of  the  fantastic  poet, and 
has,  like  the  Booth  figure,  modelled  into  it  the 
pathetic  sadness  and  Weltschmcrz  which  were 
the  actuating  motive  of  the  poet's  work  and  being. 
There  is  a  convincing  veracity  in  this  head,  the 
more  remarkable  when  one  realizes  that  a  few  poor 
photographs  were  the  only  facts  upon  which  Mr. 
Quinn  could  depend. 

Great  picturesqueness  has  been  attained  in  the 
bust  of  Allan  Pollock,  the  actor,  despite  the  con- 
vention of  modern  coat  and  waistcoat,  and  the 
slight  lean  forward  and  droop  of  the  fine  head  is 
intimately  characteristic  of  the  young  actor. 

In  his  undraped  figures  there  is  again  the  enig- 
matic tendency,  which,  beyond  the  craftsman, 
suggests  the  poet — the  artist  with  sympathy;  and, 
although  in  all  his  work  Mr.  Quinn  follows  the  tra- 
ditional [)ath,  we  find  a  very  personal  note  in  the 


primal,  untortured  gestures  and  the  relaxed  droop 
ol"  (he  figure.  This  is  very  apparent  in  the  nude 
lure  sliown,  which  is  \er\-  beautifully  modelled  and 
ri'l)k'te  with  rhythm. 

In  tlie  bust  of  Mr.  I'rancis  Wilson  all  the  alert, 
intelligent,  inherent  humour  of  that  well-known 
actor  has  been  used  admirably  as  a  motive  for  a 
striking  character  study. 

Kssentially  concerned  with  the  human  note,  Mr. 
(^)uinn  naturally  finds  much  of  his  subject  matter 
in  portraiture,  and  the  straightforwardness  and 
simplicity  both  in  conception  and  execution  can- 
not fail  to  strike  one  in  this  important  side  of  his 
work. 

It  is  perhaps  most  difiicult  to  write  intelligently 
of  something  that  is  so  essentially  for  the  eye  as 
sculpture — so  that  the  reproductions  must  be  more 
el()(|uent  than  these  words — more  especially  is  it 


BY    EDMONU    T.    (JL'INN 


Edmond  T.  Oidnn :  Sculptor 


difficult  to  make  any  generalisations  about  Mr. 
Quinn's  work.  He  has  gone  on  developing  the 
technique  of  his  craft  with  conscientiousness,  and 
we  find  each  successi\e  piece  of  work  from  his  hand 
bearing  the  results  of  that  study.  There  is  no 
doubt  that  he  can  and  will  go  on  in  his  artistic 
development,  for  he  is  still  a  young  man. 

Mr.  Quinn  is  an  American  of  Irish  parentage. 
He  studied  at  the  Philadelphia  Academy  of  Fine 
Arts  under  Thomas  Eakins,  and  in  France  with 
the  sculptor  Ingalbert.  Among  the  many  com- 
missions which  have  been  entrusted  to  Mr.  Quinn 
may  be  mentioned: 

John  Howard,  portrait  statue,  WiUiamsport,  Pa. 

Reliefs  on  battle  monument  at  King's  Moun- 
tain, S.  C. 

Statue  of  Zoroaster,  Brooklyn  Institute. 

Swanstrom  Memorial,  Borough  Hall,  BrookKm. 

Decorations  on  Pittsburg  Athletic  Club. 

Busts  of  Edwin  Markham,  Francis  Wilson, 
Albert  Sterner,  Miss  Donez  Halstead  and  C.  H. 
Chavant. 


PORTRAIT    1)1 
FRAN'CIS    WILSO.N 


liV    1  DM'  >M) 
(JLINN 


WINNING    MODEL    OF    EDWIN    BOOTH  BV    EDMOND    T. 

IN    THE    PLAYERS   CLIB    (N.   Y.)  QUINN 

COMPETITION 


ALLIED  ARTISTS  OF  AMERICA 

Arr.\xgements  have  been  made  to  hold 
its  Second  Annual  Exhibition  at  the  .American 
Fine  .A.rts  Society,  215  West  Fifty-seventh  Street, 
New  York  City,  on  or  about  May  i. 

Recently  there  has  been  much  discussion  on  the 
subject  of  public  e.xhibition.  Those  institutions 
who  send  forth  a  general  invitation  to  contribute 
work  to  their  annuals,  subject  to  jury,  and  spe- 
ciall>  invite  so  many  exempted  works  that  only  a 
few  of  those  submitted  can  be  accepted,  have  been 
verv  generally  condemned.  Then  there  is  the 
group  idea,  which  method  has  many  advocates. 

The  .Mlied  .\rtists  of  America,  being  a  young 
organization  with  no  traditions,  proposes  to  ex- 
periment in  the  hope  of  determining  what  will 
ensure  the  best  and  most  rejiresentative  exhibi- 
tion. 

Last  year  the  new  Society  made  its  first  appear- 
ance at  the  Municipal  Gallery  in  Irving  Place. 

XIII 


()ss//>  /..  Liiuic 


ExhthiUJ  /'(jrn  Satiiii,  iijii 
VENETIAN    MARKET 


BV    OSSIP    L.    l.INDE 


A 


DTSTTXGUISHED     ARTIST:    OSSIP 
L.  ITXDE 
in   W  .  H.  DE  B.  NELSON 


DiSTiNGUisHKD  must  Hol  for  a  mo- 
ment be  confounded  with  famous.  Only  time  can 
confer  that  attribute,  and  even  then  its  verdicts 
are  constantly  upset.  Artists  who  have  long 
mouldered  in  unwept  graves  are  suddenly  discov- 
ered and  acclaimed,  while  reputations  that  have 
outlived  generations,  nay,  centuries,  all  at  once  lie 
withered  and  blasted  in  the  dust  of  the  public's 
scorn.  But  whilst  the  Goddess  of  Fame  is  sounding 
true  or  false  notes  from  a  golden  trumpet,  we  can 
I)ermit  ourselves  to  apply  the  term  distinguished 
in  a  case  where  distinction  is  the  very  envelope  of 
the  man  and  permeates  his  paintings,  just  as 
surely  as  it  is  discernible  in  his  appearance,  speech, 
clothes  and  slightest  action.  Distinction  and  an 
inherent  love  of  Ijeauty  are  his  ideals,  and  one 
recognizes  them  in  every  canvas  that  he  paints. 

XIV 


.\(h-isedly  we  ha\'e  called  him  a  distinguished  art- 
ist and  not  a  distinguished  painter.  Painting  hap- 
pens to  be  the  jjarticular  form  in  which  he  ex- 
presses himself,  but  it  is  merely  a  phase  of  his 
nature  which  he  chances  to  have  selected  for  pub- 
licity, just  as  a  man  may  ha\c  hundreds  of  books 
reposing  on  his  shelves  and  but  one  volume  spread 
oi)en  upon  the  table.  To  such  an  artist  an\-  limits 
of  achievement  in  adding  to  the  beauty  of  life 
would  l)e  an  absurdity.  To  plan  a  garden  land- 
scape, model  a  figure  of  Justice,  concei\e  a  sum- 
mer frock  or  construct  a  set  of  ixory  chessmen 
would  be  accounted  merely  problems  requirirg 
more  or  less  thought — they  would  jiresent  no  difii- 
culties  beyond  the  actual  labour  employed. 

Born  in  Russia,  but  for  many  yearsa  naturalized 
.\merican,  Linde  could  draw  and  model  at  an  age 
when  most  children  are  wrestling  with  their  multi- 
plication tables.  His  earliest  recollections  go  back 
to  the  time  when  he  painted  panoramas  of  the 
Russo-TurKish  War.     These  were  committed  to 


Owned  by  Arl  Museum,  Oakland,  California 
MENDING   THE    NETS 


BV    OSSIP   L.    I.INDE 


Owned  by  Mnrlin  .4.  Ryerson,  Esq. 
AT   THE   OLD   BRIDGE,   BRUGES 


UV    O^Sir   I..   LINDE 


c)ss/y)  /,.  ijiidc 


PASSING   CLOl  I>-     (  i)\\1£CTICLT) 


BY   OSSIP   L.    LIXDE 


long  strips  of  paper  attached  tt)  reels,  so  that  they 
could  be  wound  and  unwound  to  an  appreciative 
band  of  youngsters  with  a  mild  passion  for  art  and 
a  predilection  for  military  buttons  which  passed  as 
currency,  every  button  having  a  specially  graded 
value.  Thus,  a  plain  button  would  have  to  line 
up  with  at  least  five  others  before  it  attained  to 
the  exchange  value  of  a  button  stamped  with  an 
eagle.  While  the  lad  was  amassing  a  fortune  in 
buttons  by  the  sale  of  panoramas  and  statuettes 
of  soldiers  and  peasants  hacked  out  of  soft 
stone,  the  day  was  not  so  far  distant  that 
he  would  be  climbing  the  broad  stairs  leading 
neither  to  fame  nor  fortune,  but  to  the  re- 
ception at  the  Elysee  which  the  President 
of  France  accords  at  stated  intervals  to  those 
who  have  distinguished  themselves  in  the  arts  and 
sciences.     But  we  are  anticipating. 

Generations  of  culture  but  a  lack  of  worldly 
goods  were  young  Linde's  lot,  and  he  soon  realized 
the  necessity  of  breaking  from  the  ])leasant bonds 
of  idealism  and  entering  upon  a  commercial  life 
best  fitted  to  i)repare  him  for  the  only  career  possi- 
ble— the  career  of  an  artist.  Lithography  in  a 
Russian  house  and  then  in  Chicago  claimed  seven- 
teen years  oLhis  life,  but  never  weaned  him  from 
his  fixed  resolve  to  be  an  artist.  The  moment  that 
he  could  shake  off  his  shackles  Linde  hastened  to 


Paris,  where  he  studied  incessantly,  the  while 
wandering  about  Europe,  drawing,  studying  and 
haunting  the  galleries.  The  first  time  he  used 
colour  was  at  Bruges.  A  fellow-student  felt  en- 
cumbered by  his  oil  box  and  threatened  to  cast  it 
tt)  the  winds  or  sell  it  to  a  Jew.  To  save  such  a 
catastrophe  Linde  i)roduced  the  requisite  number 
of  francs,  and  sat  boldly  in  the  market-place  be- 
fore a  big  canvas.  This  was  in  igo2  and,  strange 
to  relate,  his  very  first  essay  in  oils  was  accepted, 
well  hung,  and  for  eight  consecutive  years  the 
same  consideration  was  shown  to  every  canvas 
submitted  to  the  Salon,  only  that  on  one  occasion, 
in  1910,  he  received  the  gold  medal,  thus  causing 
him  to  climl)  the  Elysee  stairs  as  already  men- 
tioned. 

This  young  artist,  for  he  is  still  young,  may 
rightly  be  called  the  eulogist  of  Bruges  and  of 
Venice,  for  these  ancient  cities  have  reacted  upon 
him  with  such  persuasive  force  that  he  seems  to 
tell  their  tale  and  weave  their  glamour  into  every 
bridge,  stone  or  cottage  that  he  depicts.  His 
colour  is  luscious  but  restrained,  his  technique  free 
and  unfatigued.     If  his  painting  ever  presents 


A  CHARCOAL  AND  TEMPERA  SKETCH 


BY  OSSIP  L.  LINDE 


C)ss//>  L.  Limit' 


dirtkultios,  it  is  nc\er  botrayod  in  the  working; 
scumbling  and  scrapinj^.loadingandunloadinf^. are 
processes  thai  noxcr  Dhtriido.  His  h)\c  and  rev- 
erence for  the  \'enetians  and  tlie  Ohl  Masters  gen- 
erally is  very  apparent  in  his  \vt)rk.;  it  makes  a 
happ\  link  with  his  thoroughly  modern  outlot)k. 
It  is  the  perfect  balance  between  these  ideals 
which  lends  an  unusual  charm  to  subjects  which  in 
most  hands  become  imitative  or  hackneyed. 
Added  to  gem-like  quality  of  colour,  his  shadows 
are  luminous,  his  figures  well  drawn  and  modelled, 
his  houses  solidl\-  painted. 

Doubly  ennobled,  both  ])\-  birth  and  bv  art, 
Linde  wooed  and  won  a  Canadian  lady,  daughter 
of  Margaret  Care\-,  a  direct  descendant  of  Mar- 
garet RojxT,  who  became  the  wife  of  that 
famous  Englishman,  Sir  Thomas  More.  In  his 
self-planned  home  at  VV'estport,  Connecticut, 
surrounded  by  beautiful  objects  of  art  collected 
during  many  years  in  Europe,  they  live  a  truly 
artistic  and  harmonious  life,  to  which  a  little 
boy  and  girl  contribute  largely.  From  such 
sources  one  has  a  right  to  expect  and  demand 
good  art. 

Bruges  and  Venice  rank  high  among  "over- 
painted"  cities.  Linde,  however,  expresses  them 
in  his  own  individual  manner. 


c 


LAY  INDUSTRIES  AT  THE  NEW- 
ARK MUSEUM 


An  exhibition  of  the  clay  indus- 
tries of  New  Jersey  is  now  being 
gathered  by  the  Newark  Museum  Association. 
It  opened  in  February  for  six  weeks.  For 
undertaking  this  prodigious  task  too  much  praise 
cannot  be  lavished  upon  all  concerned. 

It  is  the  most  ambitious  work  the  Association 
has  yet  undertaken — -ambitious  in  extent,  for  it 
shows  in  outline  the  whole  range  of  the  clay 
industries,  and  ambitious  also  because  it  is,  as  far 
as  can  be  learned,  the  first  of  its  kind  undertaken 
by  a  museum. 

"  We  are  going  to  take  up  an  Industry  and  make 
an  Art  Exhibition  of  it,"  explained  one  of  the 
Museum  officials.  "  A  museum  can  so  house,  dis- 
play and  explain  an  industry  as  to  lend  to  it  a 
certain  dignity  and  bring  it  all  within  the  held  of 
art.  And  every  industry  is,  after  all,  an  art  in 
practice,  an  art  applied. 

"  In  Germany  the  Werkbund,  a  union  of  artists, 
artisans  and  sellers  of  goods,  has  done  a  similar 


thing  in  a  small  way  for  years.  It  has  brought 
together  the  significant  products  of  an  industry  or 
craft — such  as  wall-paper  making,  textile  weax'ing 
and  iron  working  grouped  it  ai)oul  a  central  idea, 
and  full\-  and  carefull\-  labelled  it.  The  resulting 
exhibit  is  sent  in  turn  to  many  cities  in  which  the 
particular  industry  it  exploits  is  fully  represented. 

"If  our  New  Jersey  Clay  Industries  ExhilMtion 
is  as  successful  as  it  now  promises  to  be  wt  believe 
that  other  cities  will  wish  to  have  the  opportunity 
to  borrow  and  disphi}-  it  Ix'fore  it  is  distributed. 
We  also  believe  that  success  in  this  new  line  of 
museum  activity  will  make  it  easy  to  treat  other 
industries — some  local  to  Newark,  some  State- 
wide— in  a  similar  manner." 

The  clay  industries  were  chcscn  for  this  exhibi- 
tion partly  because  of  New  Jersey's  prominence  in 
these  manufactures  (she  is  second  in  the  value  of 
her  pottery  products  in  the  Union,  their  total  going 
up  toward  the  twenty-million  mark  in  late  years) 
and  partly  because  the  clay  and  brick  industries 
are  so  scattered  from  the  north  to  the  extreme 
south  end  of  the  State  that  through  them  a  wide 
interest  can  ])e  attracted  to  the  museum's  educa- 
tional-commercial efforts. 

Manufacturers  of  brick,  hollow  tile,  drain  pipe, 
sanitary  and  electrical  wares,  as  well  as  the  makers 
of  architectural  terra-cotta,  fine  and  common 
china,  tiles  and  decorative  pottery,  have  signified 
their  interest  in  the  exhibit,  and  their  willingness 
to  help  to  make  it  a  success. 

The  co-operation  of  the  women's  clubs  of  the 
State  has  been  secured  to  assist  in  bringing  to- 
gether an  historical  section  of  the  exhibition,  to 
include  pottery  and  porcelain  made  in  New  Jersey 
before  1876.  To  aid  in  collecting  these  historical 
pieces  intelligently,  the  Museum  Association  is 
sending  to  all  clubs  and  manv  individuals  through- 
out the  State  a  pamphlet  containing  Dr.  E.  A. 
Barber's  discussion  of  the  work  of  New  Jersey 
kilns  up  to  1876,  as  it  occurs  in  his  book,  "  Pottery 
and  Porcelain  of  the  United  States,"  with  illustra- 
tions of  the  marks  of  potters.  All  the  pieces  col- 
lected in  Newark  will  be  authenticated  by  Dr. 
Barber,  who  is  conceded  to  be  the  leading  author- 
ity on  American  pottery. 

This  is  the  first  effort  made  within  the  State 
to  bring  together  a  collection  of  ])()ttery  and 
china  of  local  making,  and  the  Museum  Associa- 
tion hopes  that  it  may  be  the  beginning  of  a  keen 
and  helpful  local  interest  in  the  work  of  former 
])otters,  as  well  as  those  of  to-day. 


IVhat  Talc  docs  this  Tapestry  Tell? 


W 


HAT    TALE     DOES    THIS 

TAPESTRY  TELL? 

BY    JOHN    FREDERICK 

LEWIS 


Editor's  Note: — A  friendly  controversy  has  been  raised 
betiveen  Mr.  Le'U'is,  President  of  the  Pennsylvania  Acad- 
emy, on  the  one  side  and  Mr.  Charles  de  Kay  on  the  other 
as  to  the  description  of  a  piece  of  tapestry,  reproduction  of 
-which  appeared  in  our  January  number  of  last  year.  We 
regret  that  space  has  only  permitted  us  to  reproduce  a  few 
of  the  illustrations  Mr.  Lewis  kindly  provided  in  support 
of  his  argument. 

It  is  a  source  of  gratification  to  me  that  I  am 
not  alone  in  concluding  that  the  tapestry  which 
you  published  in  your  January,  1914,  number 
represents  King  Da\-id  and  Bath-sheba,  the  wife 
of  Uriah  the  Hittite.  Mr.  de  Kay  so  admits 
and  there  is  strength  in  numbers.  In  fact,  I  do 
not  well  see  how  any  one  accjuainted  with  the 
history  of  medias^•al  art  could  reach  any  other 
conclusion,  and  I  fancy  that  he  must  be  quite  alone 
in  his  fantastic  theory  that  the  tapestry  has  some 
romantic  meaning  and  not  that  which  is  plainly 
woven  upon  its  face. 

The  reason  that  almost  all  mediaeval  pictures  are 
religious  is  not  due  to  Mr.  de  Kay's  novel  but  mis- 
taken idea  that  churches  were  more  substantial 
than  castles  and  that  pictures  preserved  in  the 
former,  therefore,  outlasted  those  in  the  latter,  but 
simply  because  religion  was  the  ruling  spirit  of  the 
times  and  devotion  was  its  chief  expression. 

There  is  nothing  unusual  in  the  fact  that  the 
artist  weaver  has  dressed  his  figures  ''after  the 


AN    A.N.\LNC1A1U)N        1 5TH    CKNTIKV 


French  fashions  of  the  fifteenth  century."  The 
mediaeval  artist  usually  ga\-e  his  pictures  contem- 
porary settings.  The  clothing,  the  armour  and  the 
houses  are  those  the  artist  saw  and  knew,  and 
every  student  of  the  middle  ages  finds  in  this  fact 
the  chief  charm  of  mediaeval  work.  As  Mrs. 
Jamieson  puts  it  in  her  ''Sacred  and  Legendary 
Art": 

''Our  ancestors  were  not  particular  in  drawing 
that  strong  line  of  demarcation  between  the  classi- 
cal, Jewish  and  Christian  periods  of  history  that 
we  do.  They  saw  only  Christendom  everywhere. 
They  regarded  the  past  only  in  relation  to  Chris- 
tianity. Their  work  is  not  really  an  anachronism, 
because  their  aim  is  not  to  paint  history  but 
religion  with  the  spirit  of  devotion  in  a  language 
the  public  coidd  read.''' 

Here,  for  example,  is  an  Annunciation  by  a 
Dutch  artist  of  the  fifteenth  century.  It  is  a 
capital  letter  O  taken  from  a  choral  or  psalter. 
The  scene  is  laid  in  a  typical  room  of  the  time, 
with  contemporary  furniture  and  accessories. 

This  illustration  and  others  I  shall  cite  are  from 
my  own  modest  library,  beyond  whose  walls  I 
have  not  even  investigated. 

Mr.  de  Kay  complains  "that  there  is  not  one 
symbol  to  suggest  Palestine  or  the  Jews."  He  is 
mistaken  in  this,  because  the  architecture  of  the 
fountain,  with  its  slender  columns  and  canop>-  or 
dome  are  evidently  an  effort  to  suggest  the  Orient, 
but  even  if  there  were  in  the  tapestry  no  Oriental 
suggestion,  such  absence  would  confirm  rather 
than  disprove  my  conclusion,  because  the  mediae- 
val artist  rarely  adopted  any  but 
local  and  contemporary  surround- 
ings. I  do  not  mean  that  a  diligent 
search  might  not  discover  Scriptural 
subjects  depicted  by  mediaeval  artists 
who  have  added  suggestions  of  the 
Orient,  but  I  do  assert  that  such  ex- 
amples form  but  an  insignificant  per- 
centage of  the  total  mediicval  work 
remaining. 

Here  is  a  Laminlalion  of  David, 
from  a  manuscript  book  of  Latin 
praters  in  the  Soanean  Library. 
The  artist  has  represented  the  cham- 
ber of  a  person  of  quaUty  of  the  fif- 
teenth century.  The  bed.  with  its 
ample  hangings,  the  chamlelier,  the 
faldstool,  the  draperied  table,  the 
basin  and  ewer,  and  even  the  nails 
on   the   door  and    the    curtains  at 

XIX 


iriiat  Talc  docs  this  Tapestry  'Tell  ^ 


n.Wll)    PLAVlNt;    THK    TINTINNAIU MM 

the  window  were  contemporary  with  the  artist. 

Here  we  have  David  Playing  the  Tintinnabulum. 
This  is  from  a  French  Book  of  Hours  of  the  late 
fourteenth  century,  and  shows  David  behind  a 
Gothic  screen,  seated  upon  a  Gothic  stool,  placing 
a  Gothic  musical  instrument. 

\g,innj)ai'ici  Kneeling  in  Prayer  is  the  work  of 
an  Italian  artist  of  the  school  of  Giulio  Clovio, 
found  in  a  Book  of  Hours  written  on  parchment, 
with  the  calendar  in  French.  An  inscription  at 
the  end  of  the  book  says  that  it  was  written  in  the 
Noble  House  and  Abbey  of  Saint  Armand  in  the 
year  of  grace  1537,  at  the  request  of  Maistre 
Frangois  du  Guelin.  It  was  probably  for  a  mem- 
ber of  the  Orleans  family,  as  the  Orleans  arms 
occur  at  the  foot  of  many  pages.  The  artist  has 
represented  Da\id  in  the  clothing  of  the  time,  and 
has  shown  us  a  portrait  of  the  noble  patron  for 
whom  the  book  was  written. 

Nor  is  it  any  argument  against  the  undoubted 
meaning  of  the  tapestry  that  the  artist  does  not 
depict  the  Orient  alone.  That  "  there  is  no  turban 
to  be  seen"  and  hence  no  David,  as  Mr.  de  Kav 
urges,  is  really  quite  amusing. 

The  mediaeval  artists  represented  David  as  a 
king,  and  the  king  the  public  then  knew  wore  a 
crown  (not  a  turban)  and  ermine,  and  hence 
David  was  so  represented,  though  it  can  safely  be 
assumed  that  he  never  really  wore  ermine  and  that 
in  the  hot  climate  of  Palestine  no  person  else  did, 
nor  probably  ever  heard  of  the  beast. 

Consider  David  Being  OJfered  the  Crown.  He  is 
shown  with  ermine  and  with  a  crown  on  his  head, 
although  the  youth  is  kneeling  to  ojfer  a  crown  to 


him,  and  though  David,  when  the  otTer  was  made, 
had  ne\er  worn  one.  In  the  same  scene  is  shown 
tlie  youth  being  e.xecuted  for  his  temerity.  This 
is  from  a  Latin  Bible  (Royal  Manuscript  in  the 
British  Museum,  I,  E  o),  written  and  illuminated 
in  the  early  j)art  of  the  fifteenth  century. 

Here  is  David  Playing  upon  the  Harp,  with 
crown  and  ermine  as  usual,  painted  by  an  Italian 
artist  the  early  part  of  the  fifteenth  century.  It  is 
a  capital  letter  B  taken  from  a  missal  or  psalter. 

We  have  David  Praying,  from  a  Book  of  Hours, 
"Ad  Usum  Gallicanum,"  written  in  bold  Gothic 
and  illuminated  by  a  French  artist  the  early  part 
of  the  fifteenth  century.  Note  the  P>ench  archi- 
tecture of  the  room  and  the  diamond  panes  of 
glass  in  the  windows. 

The  crown,  not  the  turban,  was  so  essential  to 
the  picture  of  David  that  here  is  a  Norman  artist 
who  in  the  latter  part  of  the  fourteenth  century 
has  shown  us  David  doing  some  bathing  on  his 
own  account.  He  wears  the  crown  while  in  the 
wa/er,  and  the  harp,  which  is  left  on  the  bank,  made 
sure  that  the  mediaeval  reader  would  not  mistake. 


DAVin    KNKKMNC.    IN    PRAYER 


What  Tale  does  fJiis  Tapestry  Tell  ? 


That  the  figures  shown  in  the  tapestry  are 
clothed  is  due  to  the  fact  that  probably  every 
figure  is  intended  as  a  portrait.  They  are  given 
the  clothes  they  wear — not  turbans — and  there  is 
no  authority  in  the  Bible  for  imagining  that  Bath- 
sheba  was  naked  when  David  saw  her.  The 
Bible  says:  "He  saw  a  woman  washing  herself." 
The  mediaeval  artists  sometimes  represented  Bath- 
sheba  naked  and  sometimes  clothed.  The  subject 
was  frequently  represented;  and  I  believe  in  a 
great  many,  if  not  in  the  majority  of  instances,  she 
was  shown  partly  clothed;  and  this  is  so  in  early 
manuscript  books  of  devotion  and  especially  in  the 
first  printed  Books  of  Hours  and  printed  Bibles. 
For  example,  in  Martin  Luther's  Bible,  as  pub- 
lished by  Hans  Lufft  (1557),  Bath-sheba  is  seen 
fully  clothed,  by  the  side  of  a  brook,  washing  her 
jeet.     A  Norman  castle  is  in  the  background. 

In  Queen  Mary's  Psalter  (Royal  Manuscript 
2  B  VH)  Bath-sheba  is  clothed,  while  David  is  in 
an  English  castle  of  the  late  thirteenth  century  I 

The  artist  who  designed  the  tapestry  which  is 
the  subject  of  this  article,  clothed  Bath-sheba 
because  of  the  manifest  impropriety  of  exhibiting 
a  naked  portrait. 

Mr.  de  Kay  points  out  that  there  are  "no  sol- 
diers "  shown  in  the  tapestry  and  that  the  crowned 
figure  is  not  David.     Well,  I  can  only  say  that. 


Ml^' 


l.\mi:mati()n  ui    david 


DAVID    PLAYING    ON    THE    HARP 


according  to  the  Bible,  David  at  the  lime  had 
"sent  Joab"  and  the  soldiers  to  battle,  while  he 
"tarried  still  at  Jerusalem."  Da\'id  needed  no 
soldiers  to  help  him  watch  a  woman  wash  herself. 
Mr.de Kay  points  out  that  David  has  no  "harp." 
He  needed  none  while  engaged  in  the  occupation 
represented.  He  probably  wanted  to  see  rather 
than  be  seen  or  heard.  He  was  not  serenading 
Bath-sheba  but  watching  her  wash.  The  mediaeval 
artist  often  showed  David  with  a  harp,  it  is  true, 
but  this  was  because  David  was  ecclesiastically 
most  noted  for  "praising  the  Lord  with  psalms." 
When  the  artist  represented  him  in  other  occupa- 
tions, in  battle,  for  instance,  the  harp  was  left  out, 
and  it  is  hardly  to  be  e.xpected  that  the  artist 
would  draw  David  with  a  harp  while  watching  a 
woman  wash. 

There  is,  for  example,  David  Praying,  German 
work  of  the  late  fifteenth  century.  He  has  the 
crown  and  ermine  but  no  harp.  The  reason  he  is 
so  represented  is  because  he  is  praying,  not  singing. 

There  is  also  David  Praying,  the  work  oi  a 
French  artist  of  the  early  fifteenth  century,  taken 
from  a  dainty  little  Book  of  Hours  formerly 
belonging  to  Queen  Joanna,  the  daughter  of 
Charles  the  Bad,  and  who  first  married  the  Duke 
of  Brittany  and  afterward  Henr\-  I\'  of  England. 
Note  in  the  background  the  building  in  the 
French  style  of  the  fifteenth  centurx".  There  is  no 
harp,  because  David  is  praying. 

Mr.de Kay  further  points  out  that  it  tlie  tapes- 
try represented  David  and  Bath-sheba.  the  king 
"would  ha\e  been  iin  the  roof  oi  his  palace,  as  the 
Bible  says."  I  cannot  well  understand  how  he 
can  advance  this  argument,  liecause  rare,  indeed. 


ll'Jiat  Talc  (/ors  this  rapcstry  TcII  .^ 


KROM    A    HOOK    OK    HOIRS 

must  be  the  picture  of  David  and  Bath-sheba 
which  shows  the  king  on  the  roof.  The  mediaeval 
artist  had  never  seen  the  roof  of  an  Oriental  house, 
flat. parapetted  and  the  resort  of  the  household"in 
eventide,"  which  was  the  hour  when  David  saw 
Bath-sheba.  Mediaeval  (European)  roofs  were 
steep  ami  impossible  to  walk  upon,  and  hence  the 
mediaeval  artist  almost  invariably  shows  David 
looking  out  of  an  upper  window  or  out  of  a  porch 
or  l)alcony.  In  the  background  of  the  tapestry 
there  is  shown,  interestingly  enough,  the  roof  of  a 
mediaeval  house,  and  it  may  be  taken  as  some 
expression  by  the  artist  as  to  why  it  was  impossi- 
ble for  him  to  represent  David  walking  upon  a 
roof.  The  roof  is  shown  between  the  canopy  of 
the  fountain  and  the  column  of  the  porch  that 
David  is  on.  A  t\pical  mediaeval  housetop  may  be 
seen  in  Diirer's  well-known  print  of  the  Prodigal 
among  the  Swine.  In  fact,  I  have  seen  many  pic- 
tures of  David  and  Bath-sheba,  but  I  do  not  recall 
any  wherein  the  artist  has  put  David  upon  the 
roof  of  a  mediae\al  house. 

Here  is  an  interesting  illustration  from  a  Book 
of  Hours,  written  and  illuminated  in  Normandy 
by  a  French  artist  of  the  early  fifteenth  centur\-. 
It  shows  David  looking  out  of  a  balcony  at  liath- 
sheba  washing  herself.  Upon  the  opposite  i)age  is 
David  Singing  a  Song  of  Lamentation.  Note 
the  Norman  castle  which  David  lives  in  and  the 
Norman  bathtub  which  Bath-sheba  is  using, 
the  Norman  clothing  of  her  attendants,  and  e\en 
her  Norman  shoes. 


The  design  of  this  David 
and  Bath-sheba  is  followed 
in  many  of  the  Books  of 
Hours  printed  in  Paris  be- 
fore and  after  1500.  For 
e.\am])le,  1  cite  a  Book  of 
Ht)urs  printed  In-  Simon 
Vostre  in  Paris  in  1498. 
Da\'id  is  looking  out  of  the 
window  of  a  Gothic  build- 
ing— not  from  the  rooj.  In  a 
Book  of  Hours  i)rinted  by 
Kerver  in  Paris  in  1514-, 
David  is  k)()king  out  of  the 
windowof  a  fifteenth-century 
castle — not  from  the  roof. 

In  the  taj)estry  the  scene 
is  laid  "at  eventide."  Bath- 
sheba  is  washing.  There  are 
two  attendants  with  towels 
— not  very  romantic  articles. 
Da\id  wears  a  crown,  is 
clothed  with  ermine  and  holds  a  sceptre.  He  is 
leering  at  Bath-sheba  with  manifest  desire.  The 
old  lady  to  his  right  seems  to  have  noticed  his 
actions  and  is  shown  as  if  dissuading  him  from  sin. 
He  has  sent  his  messenger,  who  is  in  the  act  of 
speaking  to  Bath-sheba,  and  finally  David  is 
shown  in  the  conventional  way  adopted  by  the 
mediaeval  artist,  and  which  has  descended  to  our 
own  times  in  the  king  of  hearts  of  the  euchre 
pack. 

Almost  all  Scriptural  characters  were  given 
conventional  portraits  in  the  middle  ages.  They 
had  been  represented  by  artists  conventionally  for 
generations,  and  upon  this  convention  the  Church 
set  her  ai)i)roval,  and  seldom  indeed,  therefore,  do 
we  find  an  artist  hardy  enough  to  break  away 
from  David's  well-known  portrait.  Here  is  the 
face  of  Da\'id  shown  in  the  conx'entional  way  by  a 
French  artist  of  the  late  fourteenth  century.  It  is 
from  a  "Life  of  the  Virgin,"  written  and  illu- 
minated upon  vellum. 

There  is  David  Singing  a  Song  of  Penitence,  from 
a  Book  of  Hours  written  in  Normandy  in  the  late 
fifteenth  century,  being  Manuscript  131  of  the 
Fitzwilliam  Museum,  as  catalogued  by  James  in 
1805. 

Look  now  upon  all  of  the  other  representations  of 
David,  as  gi\en  above,  and  it  will  be  seen  at  once 
that  the  crowned  and  ermined  figure  in  the  tapes- 
try is  the  conventional  David  that  we  find 
everywhere  in  mediaeval  pictures.  It  is  David 
himself. 


The  Archifccfitral  League  of  New  York 


GEORGE    WASHINGTON   MEMORIAL    AUDITORIUM 


T 


HE  ARCHITECTURAL  LEAGUE  OF 
NEW  YORK 
BY  J.  WILLIAM  FOSDICK 


This  is  the  one  vital  exhibition  of  the 
year  covering  practically  the  whole  field  of 
artistic  expression  as  related  to  architecture. 

In  scanning  the  Vanderbilt  Gallery,  which  is 
devoted  to  architecture,  one  is  inclined  to  conclude 
that  the  public  has  demanded  even  here  a  "pic- 
ture show."  Plans,  elevations  and  details  seem  to 
have  been  superseded  by  photographs,  very  artis- 
tic perspectives  and  models.  These  photographs 
stimulate  in  the  layman  a  desire  to  possess  just 
such  architecture,  hence  the  architects,  who  are 
also  men  of  business,  have  thought  wisely. 

A  glance  at  the  central  exhibits  of  the  four  walls 
demonstrates  that  the  classic  spirit  still  dominates 
our  great  public  monuments;  and  why  not,  when 
we  remember  a  municipal  building  in  Munich 
and  a  few  other  untrammelled  expressions  of 
"new  architecture"  scattered  over  Europe. 

A  public  monument  must  stand  fore^•er,  hence 
our  architects  are  wise  in  adopting  the  big,  simple 
forms  supplied  by  an  age  of  perfect  poise,  propor- 
tion and  restraint. 

The  place  of  honour  in  the  Vanderbilt  Gallery 
is  occupied  by  an  elaborate  perspecti\-e  rendering, 
by  Messrs.  Tracy  &  Swartw^out,  of  the  George 
Washington  Memorial  Auditorium,  to  be  erected 
in  Washington,  D.  C.  With  its  imposing  col- 
umned facade  concealing  an  auditorium  co\ering 
some  38,500  square  feet,  it  will  form  a  worthy 
monument  to  the  "father  of  his  country." 

Another  classic  memorial  is  the  amphitheatre 
to  be  erected  at  Arlington,  Va.,  from  the  designs 
of  Messrs.  Carrere  &  Hastings,  while  a  third  is 


ARCHITECTS,   MESSRS.    TRACV    &    SWARTWOUT 

seen  in  the  Monumental  Art  Museum  which  has 
been,  created  by  Messrs.  McKim,  Mead  &  White 
for  the  city  of  Minneapolis. 

Photographs  are  shown  of  the  Morgan  memo- 
rial by  Messrs.  La  Farge  &  Morris,  and  of  the  new 
Wall  Street  offices  of  J.  P.  Morgan  &  Co.  by 
Trowbridge  &  Livingston. 

The  Dominican  Fathers  desired  a  structure  suit- 
able for  their  monastic  work,  which  Bertram 
Goodhue  has  realized  in  his  admirable  designs  for 
the  Church  of  St.  Vincent  Ferrer,  to  be  built  at 
Lexington  Avenue  and  Fifty-third  Street. 

Messrs.  Trowbridge  &  Livingston  exhibit  de- 
signs for  the  memorial  building  to  women  of  the 
Civil  War  which  will  be  erected  in  Washington, 
and  Mr.  Clipston  Sturgis  a  chaste,  well-adapted 
memorial  tablet  for  the  Boston  Common. 

From  the  atelier  of  Palmer,  Hornbostle  &  Jones 
is  .sent  an  elaborate  rendering  of  the  Wilmington 
Public  Buildings.  There  are  photographs  of 
Grosvenor  Atterbury's  excellent  restorations  at 
the  New  York  City  Hall,  as  well  as  a  unicjue 
country  residence  and  a  group  of  the  Sage  Foun- 
dation buildings  at  Forest  Hills. 

Beautiful  and  con\incing  photographs  are 
shown  of  numerous  country  homes.  We  note  par- 
ticularly one  designed  by  Mr.  Charles  A.  Piatt  for 
William  Fahnestock,  Esq.,  and  Harry  Lindcberg's 
country  home  for  Mr.  Patterson. 

A  huge  decoration  somewhat  in  the  spirit  of  the 
wall  papers  of  a  century  ago  is  exhibited  by 
]\Iessrs.  Hewlitt  &  Basing,  architects.  Bv  a  sys- 
tem of  stencilling  these  decorations  may  be  repro- 
duced indefinitely. 

The  record  of  F.  Hopkinstm  Smith's  recent 
visit  to  England  and  the  Continent  is  shown  in  a 
dozen  of  his  charcoal  sketches. 


riic  .  I rchitccfiiral  Lciii^iic  oj  Xc-d'  )'ork 


Clunks  I.  Hcrj^  c.\hil;itsan  olahoratc  model  of  a 
lar':;^  toiintr\-  residence  designed  for  Mrs.  II.  11. 
Seaxer.  Other  models  of  residences  in  process  of 
construction  are  slK)\vn  by  Messrs.  Peabcdv.  Wil- 
son  ^;  Hrv)\vn,  W.  Knowles  and  Gustave  Stein- 
hack.  Suggestixe  of  the  manner  in  which  our 
architects  are  creating  i(k'als  in  foreign  climates 
are  the  grou])  of  buildings  by  Messrs.  Murphy  & 
Dana  for  Vale-in-China  and  St.  Paul's  College  in 
Tokio.  Japan.  The  most  imjjortant  educational 
building  for  New  \'ork  City  in  the  League  Ex- 
hibition is  the  Regis  High  School,  luiilt  l)y  the 
Boston  architects.  Maginnis  &  Walsh. 


ties  in  his  i)anels,  which  were  done  from  start 
to   tinish   by   the   artist's  own   hand. 

The  studies  of  various  painters  for  the  great 
(k'corations  now  in  place  at  the  Panama  Exposi- 
tion form  the  chief  interest  of  the  South  Gallery. 
The  modus  operandi  in  the  creation  of  great 
mural  paintings  is  rarely  the  same  with  our  mas- 
ters of  decoration.  There  are  those  whose  pre- 
liminary studies  are  carefully  elaborated  works  of 
Ihemsehes.  There  are  others,  however,  whose 
methods  are  more  direct,  whose  first  compositions 
are  mere  impressions  which  give  ])ut  a  hint  of 
what  is  to  follow;  hence  the  injustice  of  drawing 


DLCUKAllON    I  UK    IIU.    .-^OLTHERN    AD.MlNI.STR.VnON    BUILDING 


BY   FR.\NK    P.    FAIRB.\NKS 


It  is  regrettable  that  photographs  onlv  are 
shown  of  the  mural  decorations  recentlv  placed  by 
Edwin  H.  Blashfield  in  the  Morss  Mansion  at 
Boston,  for  they  represent  the  culmination  of  a 
type  of  mural  painting  in  America — a  phase  of 
painting  calling  for  a  refined  subtle  sense  of  line 
and  t\"pes,  with  a  beautiful  harmonious  color 
arrangement.  This  school  of  mural  painting 
draws  much  insjjiration  from  the  masters  of 
Lombardy,  whose  work,  if  less  robust  than  that  of 
the  Colossus  of  the  Sistine,  possesses  a  charm  of 
sentiment  and  color  quite  its  own.  Carried 
out  with  types  and  methods  wholly  his  own, 
Mr.  Blashfield  shows  these  same  dcsiral)le  r|uali- 


conclusionsas  to  the  relative  excellenceof  the  com- 
pleted decorations  from  these  more  or  less  tenta- 
tive sketches. 

W.  de  Leftwich  Dodge  has  created  his  chief 
work  in  a  masterful  way.  In  these  elaborate  com- 
positions he  has  shown  more  than  ever  before  a 
commendable  restraint  in  the  use  of  his  great 
decorative  masses,  thus  giving  necessary  poise  to 
such  titanic  compositions. 

In  quite  a  different  vein,  Frank  Vincent  Du 
Mond's  panels  are  equally  interesting.  The  his- 
tory and  allegory  of  the  West  is  carried  out  with  a 
fine  appreciation  of  line  and  broad  massing,  with 
the  sensitive  imaginative  quality  which  character- 


The  Architectttral  League  of  New  York 


izes  this  painter's  work.  We  feel  quite  sure  that 
they  are  in  keeping  with  their  environment,  the 
first  point  to  be  scored  in  a  mural  decoration. 

Milton  Bancroft  exhibits  a  series  of  carefully 
composed  studies  for  the  Court  of  the  Seasons, 
while  Childe  Hassam  shows  a  colourful  sketch  for 
one  of  a  series  of  lunettes  now  in  place.  Edward 
Simmons'  preliminary  study  is  too  tentative  for 
a  just  criticism,  and  Robert  Reid  shows  a 
series  of  panels  for  a  dome  which  are  somewhat 
involved  in  design  but  very  beautiful  in  colour. 

The  east  wall  of  this  gallery  is  dominated  by  a 
pentaptych  of  painted  panels  on  wood  by  J.  Wil- 
liam Fosdick,  illustrative  of  the  life  of  Joan  of  Arc. 

Robert  Chanler  exhibits  a  large  panel  executed 
in  his  own  process  of  lacquer  work.  A  very  hand- 
some section  of  wall  decoration  is  that  of  Barry 
Faulkner,  who  has  called  into  use  oriental  meth- 
ods of  massing  colour  and  gold  with  the  intimate 
sense  of  the  true  craftsman.  Thomas  Watson 
Ball  shows  an  admirable  set  of  mediaeval  panels 
for  a  baptismal  font. 

W.  T.  Benda's  sections  of  a  frieze,  The  Oriental 
Dance  and  The  Modern  Dance,  while  excellent 
drawings  of  themseh'es,  are  possibly  more  illustra- 
tive than  decorative.  A  mediaeval  choristers 
triptych  by  Taber  Sears  is  tonally  beautiful,  tine 
in  spirit  and  good  in  composition. 

Frances  W.  Vreeland  exhibits  a  study  of  wall 
decorations  for  the  Washington  High  School,  and 
Bert  G.  Phillips  a  lunette.  Hospitality,  a  thor- 
oughly decorative  arrangement  of  Indian  life. 

Ralph  M.  Calder  exhibits  the  elaborately  deco- 
orative  loggia  of  the  art  gallery-  in  the  home  of 
Mr.  Thomas  F.  Ryan,  and  Hugo  Ballin  a 
sketch  for  an  end  wall  in  a  church  vestry. 

Leon  V.  Solon's  study  for  a  faience  wall  is  as 
consistently  worked  out  in  the  spirit  of  the  primi- 
tives as  are  Alexander  Bonnano's  fine  ceiling 
studies  in  that  of  Tiepolo. 

Designs  for  wall  decorations  by  Mina  Lay  ex- 
hibit a  thorough  knowledge  of  the  restrictions  de- 
manded by  this  method  of  design.  Frank  P.  Fair- 
banks' large  decoration  for  the  Southern  Adminis- 
tration Building  shows  negro  cotton  gatherers  in 
the  field  surrounded  by  great  masses  of  cotton 
bales. 

A  decorative  panel  of  inlaid  woods  by  Frank 
Brangwyn  is  characteristically  vigorous  in  compo- 
sition. Francis  Newton  exhibits  a  series  of  deco- 
rations for  the  residence  of  J.  D.  Rockefeller,  Jr. 
For  the  decoration  of  a  summer  home  nothing 


A  FOUNTAIN  DESIGN 


liV  A.   A.   WEINMAN 


could  be  more  charming  than  Arthur  Crisp's  over- 
mantel panel,  with  its  refined  play  of  colour. 

William  Laurel  Harris  has  demonstrated  his 
facility  of  expression  with  \-arious  mediums  in  his 
decorative  panels  and  frames. 

Nicola  d'Ascenzo  is  represented  by  several 
studies  for  stained  glass,  while  admirable  decora- 
tive designs,  also  for  glass,  are  shown  by  William 
Willett,  Annie  Lee  Willett  and  Mrs.  Parrish. 

New  Canaan,  Connecticut,  is  to  have  a  well- 
composed  decoration  by  Charles  K.  Hubbell. 
Leon  V.  Solon's  ecclesiastical  decorations  in 
faience  must  be  mentioned,  as  well  as  Clement 
Heaton's  designs  for  Uw  windows  to  be  placed  in 
a  Swiss  church.  Robert  K.  Ryland  exhibits  a 
design  for  an  over-mantel,  entitled,  The  Xymph  of 
the  Pool.  Louis  \"aliant's  jxmel  oi  well-balanced 
vine  and  child  forms  is  essentially  decorative. 

When  an  average  easel  painter  gazes  at  the 
colossal  projects  evolved  by  the  students  of  the 
.American  .Vcademy  of  Rome,  he  sometimes  won- 
ders if  his  own  field  of  effort  is  not  a  narrow  one. 

These  almost  limitless  projects,  wherein  archi- 
tecture, sculpture  and  painting  go  hand  in  hand. 

XXV 


riic  .  I rcliitcctiiral  I.cao^iic  of  Xct,'  York 


sht)\v  the  iVark'ss  enthusiasm  of  VDUth,  aiul  hitt-r 
on  the  restrictions  which  commercial  life,  societx 
and  economics  at  lar^e  hand  out  unstintinj^ly  to 
these  youths  will  not  prevent  many  of  them  join- 
ing the  ranks  of  American  immortals. 

The  gallery  of  the  National  Sculpture  Societ>  is 
devoted  to  the  Academy  of  Rome.  .\  "second 
year"  prol)lcm.  viz.,  .1  //(///  of  Fame  for  America, 
is  shown.  The  students  collaborating  are  George 
S.  Koyl.  architect;  Harry  I).  Thrasher,  sculptor, 
and  Ezra  Winter,  painter. 

F.  C.  Stahr.  a  l.a/arus  scholarship  student, 
sends  a  huge  toile  which  he  calls  M iiioaii  Poetry. 
It  is  archaic  Greek,  almost  Egyptian  in  spirit,  car- 
ried out  with  the  care  of  the  archicologist  as  to 
costumes  and  accessories,  yet  thoroughly  decora- 
tive withal. 

With  the  exception  of  Mr.  Shrady's  mounted 
soldier,  a  fragment  of  the  Grant  Monument,  and 
Mr.  French's  great  group.  The  Genius  of  Creation, 
which  are  placed  in  the  Vandcrbilt  Galler\-,  the 
middle  gallery  holds  practically  the  entire  sculp- 
ture exhibit,  which  is  admirablv  disposed. 

Robert  Aitken's  Fountain  of  the  Earth  Court, 
for  which  he  was  awarded  the  gold  medal,  has  the 
centre;  Mr.  Weinman's  Fountain  of  the  Court  of 
Honour, dud  Miss  Longman's  Fountain  of  Ceres, ior 
the  Court  of  Four  Seasons,  are  all  destined  for  the 
Panama  Exposition. 

For  the  garden  of  the  Rockefeller  estate,  Karl 
Bitter  has  e.xecuted  a  lithe,  nude  girl,  struggling 
with  a  group  of  geese,  while  Chester  Beach  exhibits 


a  niche  fountain  for  the  Herbert  Pratt  estate. 
.Ml".  Packer's  Chief  Justice  Ruffin  is  virile  and 
con\incing  as  a  portrait,  although  it  cannot  be 
classed  as  architectural  sculpture.  Miss  Long- 
man's ability'  as  a  versatile  craftswoman  is  shown 
in  her  elaborate  .Xllison  monument. 

Frances  Grimes  has  e.xecuted  a  panel  in  relief 
for  the  Washington  Irving  High  School,  and  Miss 
Gustafson  exhibits  a  Celtic  memorial  cross  of 
unusually  good  composition.  Other  successful 
works  in  this  room  are  Roger  Noble  Burnham's 
jnmels  for  the  Forsyth  Dental  Infirmary  and 
Charles  R.  Knight's  Charging. 

Paul  Manship's  four  panels,  The  FAements, 
reveal  a  successful  rendering  of  abstract  symbol- 
ism in  decorative  sculpture,  tinged  with  a  strong 
liking  for  the  oriental  methods  of  conventionaliza- 
tion and  design. 

Hinton  Perry  shows  a  figure  for  a  fountain, 
as  also  does  Sherry  E.  Fry,  the  latter  a  memorial 
to  a  Civil  War  hero.  Onthewestwall  of  thisgallery 
are  grouped  the  models  for  the  Annual  Competi- 
tion of  Allied  Architecture,  Sculpture  and  Paint- 
ing. This  competition  is  perhaps  more  commend- 
able than  any  other  activity  of  the  League,  as  it 
not  only  offers  an  incentive  to  its  younger  mem- 
bers, but  really  demonstrates  the  Society's  raison 
d'etre — that  of  linking  together  the  three  arts.  The 
prize  for  this  competition  was  awarded  to  Jerauld 
Dahler,  Warren  Dahler  and  Anthony  Terrizzi. 
The  Avery  Prize  was  awarded  to  Messrs.  Hans 
Schuler  and  W^illiam  Gordon  Beecher. 


DKT.MI.    OK     IHK    COI.I  MN    OK     I'RCJORESS    AT     IHK    i'.WAMA    KXI'OSITION 
XXVI 


BY    ISADORli    KONTI 


Truth  and  Personality  in  Art 


T 


RUTH    AND    PERSONALITY    IN 
ART 
BY  RAYMOND  WYER 

Director  of  Hackley  Gallery 


That  all  vital  human  expression,  whether 
in  art  or  in  the  construction  of  society,  is 
affected  and  regulated  by  a  multitude  of  circum- 
stances of  the  past  and  present,  and  that  it  obeys 
the  spirit  of  the  age,  is  realized  by  only  a  small 
minority  of  people.  The  majority  either  deliber- 
ately blind  themselves  to  the  inwardness  of  things 
or  else  they  have  not  the  power  of  penetration. 
Of  the  true  meaning  of  the  simplest  objects  they 
have  little  understanding.  Life  to  them  is  divided 
into  isolated  facts. 

In  all  the  circumstances  of  life  they  see  no  sig- 
nificance or  relationship  between  human  expres- 
sion and  that  ever-changing  trend  of  human 
thought  which  results  from  the  continual  adjust- 
ment of  life  to  scientific  discovery  and  apphcation; 
if  they  do,  it  leaves  no  permanent  effect  upon  the 
character  of  the  individual.  The  majority  are 
usually  incapable  of  grasping,  at  its  inception,  the 
meaning  of  a  new  idea  either  in  the  form  of  a  work 
of  art  or  of  social  and  pohtical  reform.  This  is  the 
cause  of  the  almost  insurmountable  difficulties 
which  beset  the  path  of  the  innovator  and 
reformer. 

Yet  it  seems  almost  a  contradiction  to  assert 
that  human  expression  caters  to  the  spirit  of  an 
age^n  other  words,  supplies  a  demand — and  then 
to  say  that  when  it  is  evolved  those  who  formulate 
the  demand  are  incapable  of  grasping  its  signifi- 
cance. The  reason  is  that  with  the  great  masses 
of  people  the  demand  for  modernity  or  novelty  is 
not  a  demand  for  a  specific  thing,  but  is  an  indica- 
tion of  general  unrest  and  a  desire  for  something 
new.  This  desire  for  novelty  does  not  necessarily 
or  usually  imply  a  contemporary  mind,  but  rather 
a  mind  seeking  a  new  sensation,  and  while  this 
condition  of  the  individual  is  to  be  deplored,  yet, 
speaking  collectively,  it  is  a  force  working  for 
spiritual  progress. 

This  force  brings  out  of  the  masses  a  few  who 
are  more  vital  and  have  greater  power  of  penetra- 
tion than  the  rest.  It  is  to  these  few  we  look  for 
an  expression  of  that  for  which  the  masses  arc 
groping;  but  the  new  and  amorphous  idea,  when 
concretely  presented  by  them  is,  as  I  have  already 
said,  persistently  rejected,  because  the  ideas  of  the 
majority  are  tangibly  and  permanently  based  on 


famiUar  facts  of  the  past.  They  revel  in  a  "brick- 
and-mortar"  hterahsm. 

Many  critics  agree  in  condemning  the  writings 
of  Marcus  Aurelius  and  Thomas  a  Kempis,  believ- 
ing that,  as  they  were  chsciples  of  stoicism  and 
monasticism,  two  human  characteristics  which  are 
practically  dead,  their  works  are  worthless. 
These  critics  forget  that  the  philosophic  spirit  of 
the  Greek  is  also  no  longer  a  truth  in  modern  life, 
and  has  not  been  since  before  the  time  of  Alexan- 
der. Yet  who  would  say  that  Greek  art  is  dead? 
Greek  art  is  alive  to-day  because  it  was  a  vital  ex- 
pression of  an  existing  condition  and  of  a  nation's 
ideal;  and  this  applies  equally  to  the  classic  writers 
whose  works  have  lived  through  the  ages,  and  to 
all  human  expression  which  was  true,  sincere,  and 
vital  at  the  time  it  was  created. 

A  spirit  which  no  longer  exists  cannot  inspire 
vital  art.  It  is,  however,  capable  of  bringing  de- 
light to  those  who  are  sensitive  to  the  subtle  quali- 
ties and  significances  of  vital  forms  of  human 
expression.  Our  dehght  in  the  contemplation  of 
early  Greek  art  shows  aesthetic  enhghtenment,  but 
we  are  to  be  condemned  if  we  attempt  to  infuse 
into  our  own  art  or  thought  the  spirit  of  the  early 
Greeks.  Therefore,  apart  from  the  enjoyment 
which  contemplation  of  the  old  masters  gives  us", 
the  only  reason  we  should  have  for  studying  the 
art  of  the  past  in  relation  to  our  own — if  we  have 
any,  which  I  doubt,  for  the  art  of  a  master  is 
spontaneous  and  not  based  on  calculation — is  to 
find  out  what  gave  it  the  living  quality  that  has 
made  it  persist  through  the  centuries,  in  order 
that  we  may  apply  the  same  principles  to  our  own 
creative  work. 

The  wonderful  breadth  in  a  painting  by  Mem- 
line  is  significant.  We  will  take  his  beautiful  St. 
Giles  and  St.  Jerome  or  iiny  other  of  the  paintings 
of  the  altar-piece  in  the  Cathedral  in  Liibeck. 
They  are  like  all  of  his  work,  highly  finishcti 
and  full  of  detail.  The  reason  tlu\-  ha\o  this 
breadth  in  spite  of  the  minute  iletail  is  be- 
cause Memlinc  was  a  man  with  a  broad  \i- 
sion — a  man  in  tunc  with  the  imagination  of 
his  (lav.  He  empUned  a  moans  of  oxpres- 
>ion  in  relati()n  to  the  imagination  in  Bruges  in 
the  fifteenth  century  which  was  not  so  highly 
keyed  as  it  is  to-ilay.  If  Memlinc  had  lived  to-day 
he  would  paint   with  the  lireailth   of  a  Manet. 

In  modern  times,  when  an  ;irtist  has  painted 
with  this  regard  for  detail  in  his  matured  work,  the 
result  has  been  trivial;  for  a  man  oi  broad  vision 


Tnttli  iij/if  rcrsoualifv  in  .  1  rt 


to-day  would  not  attempt  to  express  his  idea  in  a 
way  so  hopelessly  out  of  tune  with  the  modern 
spirit.  Ihsen  would  not  write  the  lenj^thy  descrip- 
tive matter  to  he  found  in  Scott's  novels.  Only 
mediocre  writers  would  (V^i  this  to-day. 

.\s  there  are  those  who  are  nmre  drawn  to  the 
art  of  the  past  than  to  the  present,  so  there  are 
many  wlu>  prefer  the  wi^rks  of  the  laiiier  writers  to 
the  writini;s  of  contemporary  men.  Many  favour 
the  pnxluctions  of  the  past  throuj^h  familiaritx' 
and  because  of  an  inal)ilit\'  to  grasp  the  meaning 
and  value  of  a  new  idea,  (lenerallx  speaking,  it  is 
easier  for  most  people  to  li\  e  in  the  spirit  of  a  past 
epoch  1)\  contemplating  some  human  expression 
of  that  time  than  it  is  for  then\  to  attune  their 
imagination  to  the  spirit  of  the  present  or  future. 

.\lthough  I  shall  not  speak  much  of  the  techni- 
cal side  of  art,  I  may  say  that  personality  greatly 
enters  into  technique.  An  artist  of  mean  percep- 
tion may  paint  broadly  because  it  is  the  fashion — 
that  is.  place  upon  the  Ciinvas  broad  masses  of  pig- 
ment suggesting  some  natural  form,  yet  the  result 
conveys  no  breadth  of  feeling  or  significance;  in 
fact,  it  remains  just  paint.  Another  artist  im- 
bues a  similar  mass  of  pigment  with  meaning  and 
bigness  without  apparent  difference  in  treatment. 

In  studying  the  art  of  Athens  or  of  the  Renais- 
sance it  is  evident  that  the  quality  which  has  made 
it  enduring  was  evolved  from  a  strict  adherence  to 
living  truth.  Of  course,  much  work  not  inspired 
b\-  life  has  been  produced  throughout  the  ages, 
and  because  the  artist  has  taken  advantage  of  the 
public's  disposition  to  value  only  art  that  is 
reminiscent,  it  has,  in  its  time,  received  wide 
popularity.  A  reversion,  therefore,  to  an  art 
which  never  was  inspired  by  living  conditions  is 
likely  to  produce,  if  possible,  a  more  deciduous  art 
than  that  based  on  the  vital  art  of  a  former  age,  as 
in  the  case  of  that  keen  and  vigorous  classicist, 
Louis  David. 

I  have  endeavoured  to  point  out  how  important 
in  the  moulding  of  art  are  those  elements  and 
phases  of  life  which  make  up  the  spirit  of  an  age. 
The  greatest  of  creators  have  expressed  in  their 
work  the  spirit  of  their  age.  They  have  been 
sensitive,  unconsciously  so,  to  the  conditions 
around  them — political,  religious,  industrial  and 
social — and  while  these  conditions  cannot  alter 
the  artist's  idea  or  the  emotional  side  of  his  work, 
they  do  affect  the  channel  and  methods  of  his  ex- 
pression. Emotions  are  the  same  at  all  times  and 
in  all  parts  of  the  world. 


We  know  how  completely  the  art  of  Athens  ex- 
pressed the  spirit  and  ideals  of  the  early  Greeks, 
and  what  a  perfect  record  it  is  of  the  uninvolvcd 
intellect  o{  the  Athenian.  The  works  of  Titian 
are  ecjually  a  perfect  record  of  a  well-rounded 
people.  In  them  is  retlected  the  loftiness  of  ideals, 
the  spiritual  contentment  and  enlightenment  of 
the  Renaissance.  The  art  of  that  period  suggests 
the  demand  for  true  knowledge  by  a  people  physi- 
cally and  intellectually  able  to  live  lives  of  satis- 
faction to  themselves  and  to  their  country  and 
pt)sterity.  The  great  men  of  this  epoch  were  rich 
in  discrimination  and  comprehension,  and,  bv 
being  true  to  their  own  ideals,  were  constructive; 
for  such  was  their  potency  that  they  not  only  illu- 
mined their  own  time  but  influenced  art  and 
literature  in  the  whole  of  Europe  for  one  hundred 
\ears  and  more. 

Another  element  that  enters  into  a  great  work 
of  art  is  the  natural  tendencies  of  the  artist.  Thev 
may  be  realistic,  idealistic,  symbolistic,  poetical, 
musical,  or  mystical.  These  tendencies,  or  ways 
of  looking  at  life,  incline  the  conception  in  certain 
directions.  The  part  they  play  varies  according 
to  their  power  of  insistence  and  the  degree  of 
virility  in  the  artist's  personality.  This  influence 
of  temperament  is  the  most  important  of  all  dis- 
tinguishing traits  of  great  art,  because  it  gives  that 
personal  color  which  makes  it  easy  to  decide  the 
author  of  a  fine  work  of  art,  whatever  the  subject. 

The  works  of  Goya,  Gainsborough,  and Raeb urn 
are  good  illustrations  of  this  personal  quality.  No 
painter  is  more  individual  than  Goya;  in  the  work 
of  no  other  artist  does  the  temperament  of  the  man 
so  predominate.  There  is  a  distinct  individuality  in 
each  of  his  portraits  and,  more  than  that,  you  feel 
each  person  painted  would  be  well  worth  knowing. 
Thismayhave  beenduetohisgoodfortunein  secur- 
ing only  interesting  people  to  paint,  but  I  am  more 
inclined  to  think  that  it  is  due  to  a  certain  reflec- 
tion of  his  own  interesting  personality ;  for  to  know 
the  life,  character,  and  disposition  of  Goya  is  to 
recognize  these  qualities  in  his  portraits.  Despite 
the  distinct  individuahty  in  each  painting,  the  fact 
that  it  is  a  work  by  Goya  and  not  just  a  portrait  of 
some  one  is  what  insistently  appeals  to  you. 

Goya's  portraits  are  not  only  good  illustrations 
of  the  expression  of  an  artist's  temperament,  but 
his  work  was  an  innovation  of  a  means  of  expres- 
sion subsequently  demanded  by  the  mind  of  the 
nineteenth  century.  He  was  the  most  modern 
and  original  painter  of  his  period.     There  is  a  cer- 


Truth  and  Personality  in  Art 


tain  affinity  in  touch  and  colour  and  unpremedita- 
tion  with  the  works  of  Gainsborough  and  Rae- 
burn,  but  no  one  in  England  up  to  that  time,  ex- 
cept Hogarth,  equals  him  in  originality. 

Hogarth  is  also  a  good  example  of  the  impor- 
tance of  personality  in  art.  He  seems  to  have 
had  a  psychological  interest  in  the  inferior  side  of 
life.  This  is  particularly  e\-idenced  in  his  "  moral- 
ity "  pictures,  but  it  is  also  obvious  in  his  portraits. 
He  naturally  saw  and  painted  the  "kitchen"  side 
of  his  sitters.  The  bearing  of  his  servants  in  the 
National  Gallery  is  no  less  aristocratic  than  of  his 
ladies  of  high  degree.  This  honest  expression  of 
himself,  however,  helps  to  make  him  great. 

Gainsborough,  although  the  opposite  to  Ho- 
garth in  his  outlook  on  life,  shows  in  his  art  an 
equally  strong  personal  point  of  view.  The  in- 
nate refinement  in  Gainsborough  discovered  a 
similar  quality  in  his  subject,  and  so  he  paints 
always  the  well-bred  side  of  his  sitter.  He  uncon- 
sciously infused  into  his  pigment  a  quality  which 
imbued  his  subject  with  the  ver\-  spirit  of  good 
breeding.  Reynolds  depended  more  upon  clothes 
and  other  accessories,  combined  with  a  complete 
knowledge  of  the  art  of  the  past,  to  create  the  man 
of  "quahty"  of  his  day,  and  the  result  at  times 
verged  on  pretentiousness. 

If  we  examine  a  portrait  by  Gainsborough,  there 
is,  in  spite  of  simple  treatment,  an  appreciation  of 
all  detail .  It  is  detail  which  has  been  noted  by  the 
artist  and  given  due  importance.  Every  inch  of 
drapery  is  delightfully ,  e  ven  affectionately ,  painted . 

With  Goya  it  is  quite  different.  There  is  not 
that  sympathetic  treatment  of  detail,  but,  instead, 
a  canvas  which  can  be  clearly  divided  into  so 
many  broad,  uninvolved  masses  of  colour — detail, 
when  necessary,  being  merely  indicated.  Yet  the 
artist's  conception  is  as  adequately  conveyed  as  in 
the  Gainsborough,  and  just  as  appropriately  at- 
tuned, if  not  more  so,  to  the  modern  keen  imagi- 
nation. 

The  art  of  Diaz  is  distinctly  personal.  The 
fact  that  he  had  a  Spanish  father  and  a  French 
mother  was  probably  responsible  in  no  small 
degree  for  his  excitable  and  erratic  tempera- 
ment. We  know  how  different  he  was  from 
his  friend  and  master,  the  austere,  serious- 
minded  Rousseau.  In  spite  of  thg  fact  that 
they  often  worked  side  by  side,  how  opposite  are 
their  points  of  view,  how  different  their  selection 
of  subject,  as  well  as  their  modes  of  treatment. 
Rousseau    feels    onlv    the   grandeur   of    nature. 


Rousseau  had  a  vital  and  dramatic  conception  of 
the  big  side  of  nature,  and  this  is  shown  in  his 
paintings,  which  are  characterized  by  a  draughts- 
manship admirable  and  deliberate,  and  bv  a  real- 
ism sombre  yet  impressive. 

Then  compare  it  with  a  canvas  by  Diaz,  full  of 
sunshine  and  devoid  of  all  the  deUberation  of  a 
painting  by  Rousseau.  Rather  Diaz  is  irresponsi- 
ble, happy-go-lucky,  touches  of  colour  here, 
touches  of  colour  there,  done  without  a  formula, 
yet  each  touch  indispensable,  delightfully  and 
joyously  conveying  an  idea  of  light  filtering 
through  the  foliage,  splashes  of  simshine  intensify- 
ing the  deepening  shadows  of  dense  shrubbers-. 
Comparing  the  detail  in  a  Diaz  to  the  detail  in  a 
Rousseau,  we  see  that  in  the  latter  it  has  a  supreme 
function,  whereas  in  the  former  it  is  there  merelv 
for  its  decorative  value. 

The  art  of  each  reflects  a  different  type  of  mind. 
Diaz  was  susceptible  to  the  influence  of  nature, 
with  which  he  coquetted;  Rousseau  had  convic- 
tions which  were  deeply  settled,  and  with  these 
fixed  ideas  he  sought  that  aspect  of  nature  which 
was  most  in  accord  with  them.  In  a  sense,  Diaz 
was  a  greater  creative  genius,  although  deahng 
with  his  problem  less  profoundly  than  Rousseau. 

In  reviewing  the  various  periods  of  the  world's 
art  with  their  different  points  of  view,  the  effect  of 
industrial  and  scientific  evolution  on  thought  and 
personality  and  its  reaction  again — each  epoch 
producing  its  own  universal  mood  which  we  call 
materialism,  realism,  symbolism,  mysticism,  or 
idealism — there  is  no  other  conclusion  than  that 
a  comprehensive  idealism  must  be  the  art  of  the 
future.  We  must,  however,  become  realists  be- 
fore we  can  become  idealists. 

I  have  referred  to  the  uninvolved  character  of 
the  early  Greek  art,  a  quahty  due  to  the  greater 
simplicity  of  Hfe  in  that  age.  But  a  personal  art 
having  the  quality  of  idealism — a  spiritual,  not  a 
physical  idealism — which  will  be  serene  in  spirit, 
yet  more  comprehensive  than  Greek  art,  will 
evolve  from  the  human  soul,  chastened  and 
strengthened  by  the  unrest  of  a  transitional  age. 
Truth  and  personaUty  will  be  the  foundation  of 
this  art,  but  it  will  be  a  truth  realized  by  an  intel- 
lect similar  to  that  of  the  early  Greek,  yet  more 
comprehensive.  At  present,  the  world  is  socking 
to  adjust  itself  to  the  new  conditions  brought 
about  bv  an  ago  of  discovery  and  invention  ton 
rapid  and  bowildoring  in  its  devoloimiont  for  our 
imagination  to  keep  pace. 


''ModcriT   Murals 


AN    K.XAMI'l.I':    OK    lit  iHM   K\ll\l      \H  KAL    PAINTINC,    THK    WORK    OK    THKKK    ARTISTS 


M 


ODKRX"  MIRALS 
HV  MARY  J.  QUINN 


Till;  musician  in  creating  new 
music,  the  painter  in  creating  mural 
decorations,  have  analogous  problems.  Each 
works  toward  producing  something  which  can  be 
received  only  through  sensory  impression;  it  can 
be  received  directly  only  through  one  sense  organ, 
indirectly  by  variable  transpositions  of  sense 
impressions.  Indirectl\-  a  sound  impression  may 
stimulate  and  produce  an  effect  of  colour;  simi- 
larly, colour  or  line  may  produce  an  effect  of  musi- 
cal \ibration  or  of  tone  values. 

Artistic  creative  work  is  aristocratic;  highly 
selective  in  content  and  composition.  This  status 
of  musical  art  is  more  or  less  accepted  by  the 
average  mind.  There  are  few  who  would  hold 
that  an  orchestral  barn-yard  melody,  reproducing 
sounds  of  poultry  and  cattle,  church  bells  or  the 
whistle  of  the  fire  engine,  is  a  work  of  art  because 
it  reproduces  these  sounds  accurately.  The  com- 
poser is  free  to  create  with  the  elements  of  his  art 
beautiful,  new  or  strange  effects  which  stir  the 
imagination,  producing  pleasure  of  a  high  emo- 
tional nature  and  stimulating  intellectual  activity. 

Nor  is  the  facility  with  which  the  average  person 
understands  and  appreciates  a  musical  composi- 
tion a  criterion  of  his  artistic  accomplishment. 
Who  would  hold  that  because  a  Bccth()^•en  sym- 
phony was  not  wholly  understood  it  was  neces- 
sarily an  artistic  failure?  A  condemnation  of  a 
symphony  because  its  beauty  was  not  revealed  at 
first  hearing  is  a  confession  of  ignorance. 

Compare  the  freedom  of  the  musical  creator 
with  that  of  the  painter.  The  painter,  too,  has 
certain  elements  with  which  to  create  his  art:  line. 


form  and  colour,  to  be  arranged  in  spaces,  with 
rhythm,  balance  and  unity.  The  painter  should 
also  be  free  to  use  these  elements  to  create  effects 
which  will  stimulate  the  imagination  and  produce, 
in  the  words  of  the  psychologist,  the  higher  forms 
of  pleasure. 

But  the  painter  and  draughtsman  of  the  west- 
ern world  have  not  been  free  thus  to  create.  The 
yard-measure  has  been  substituted  for  the  infinite. 
A  limitation  demanding  the  rejjroduction  of  an 
obvious  lightness  perceptible  to  the  common  vision 
has  been  imposed  upon  the  artist,  almost  to  the 
extinction  of  the  imaginative  expression  in  decora- 
tive art.  Added  to  this  restraint  of  literalism  in 
imaginative  conception  is  an  insistence  upon  re- 
cording incidental  effects  of  light  and  shade  values 
in  equal  importance  with  line,  form  and  colour. 

The  consideration  of  actual  representation  of 
light  and  shade  has  ne\-er  been  an  essential  part 
of  a  vigorous  period  of  art.  Instead  it  was  used  as 
a  secondary  and  incidental  expression.  First  ap- 
pearing in  decadent  Greek  art,  its  factitious  im- 
portance has  not  lessened  since  its  part  in  Renais- 
sance decadence. 

Puvis  de  Chavannes,  free  of  these  artistic  stig- 
matisms,  created  decorative  art  of  a  high  order. 
For  the  efforts  of  more  recent  painters  who  have 
the  intellectual  freedom  and  the  vision  to  attempt 
to  create  a  free  and  orderly  decorative  art,  there 
should  only  be  praise. 

The  mural  paintings  recently  exhibited  in  the 
Carroll  Galleries  are  efforts  made  in  the  tradition 
of  the  great' decorati\"e  arts.  These  panels  have 
been  conceived  and  carried  out  as  decorations 
expressed  in  terms  of  pure  design,  and  not  in  the 
terms  of  symbolic  sentimentality  or  pictorial  illus- 
tration of  so  much  contemi^orary  mural  painting. 


History  of  Hiroshige 


Courtesy  Yamanaka  fr'  Co. 

HISTORY  OF  HIROSHIGE 
Ando     Tokutaro,     professionally 
known  as  Hiroshige,  was  born  at  Yedo 
(Tokio)  in  1797. 

About  1806  the  native  officers  from  the  Liu  Kui 
Islands  visited  Yedo;  the  boy,  then  ele\'en  vears 
old,  thinking  their  coififures  and  costumes  curious, 
made  a  skilful  drawing  of  the  procession.  There 
was  about  that  time  a  great  fad  for  Ukiyoye  pic- 
tures, mostly  in  figures,  such  as  actors,  popular 
beauties  and  historic  scenes,  etc.,  which  imbued 
him  with  a  thirst  for  knowledge  of  paintings  and 
of  becoming  more  familiar  with  his  work. 

After  the  boy  lost  his  father  he  intended  to  take 
the  customary  apprenticeship  with  a  master  of  the 
Ukiyoye  school,  and,  consequently,  sent  in  his 
application  to  the  famous  Utagawa  Toyokuni. 
Having  been  refused,  however,  owing  to  Toyo- 
kuni's  studio  being  already  overcrowded,  he  was 
referred  to  Utagawa  Toyohiro,  with  the  same 
result.  After  expressing  his  own  ideas  and  show- 
ing his  eagerness  to  learn,  Toyohiro,  however, 
received  him  as  a  regular  pupil,  and  in  181 2  he  was 
in\-ested  with  the  professional  nam.e  of  Hiroshige. 

During  the  time  he  was  in  the  studio  he  studied 
very  diligently.  Years  later  he  confined  his  paint- 
ing mainly  to  landscape  subjects. 

By  the  death  of  his  master,  Toyohiro,  in  1829, 
a  great  change  took  place  in  his  life  and  work,  and 
after  seventeen  years  of  study  with  Toyohiro,  he 
changed  his  professional  name  to  Ichiyusai  Hiro- 
shige. On  the  usual  ceremony  being  held  by  the 
Tokugawa  Shogun  to  present  ht)rses  to  the  Em- 
peror, he  was  enabled  to  accomi)any  the  officers 
from  Yedo  to  Kioto,  and  while  travelling  with  them 
made  many  sketches  of  beautiful  scenery,  which 
later  on  were  published  as  the  "Fifty-three  Mews 
of  Tokaido." 

He  was  an  intimate  friend  of  Yeisen,  and  the 
famous  set  of  sixtv-nine  views  of  Kiso-Kaido  is 


claimed  by  both  painters.     He  also  specialized  in 
ilower  and  bird  subjects,  fish  life  and  form. 

Hiroshige  died  in  1858  in  his  sixty-third  year,  of 
cholera,  which  swept  all  over  Yedo,  proving  fatal  to 
more  than  thirty  thousand  persons;  and  his  work 
was  then  taken  up  by  one  of  his  pupils,  Ichiyusai 
Shigenobu,  who  married  his  daughter,  and  so 
became  the  second  Hiroshige. 


(  (>iir/i',\v  \  It  »i  till  III;  ti  ^- C  I 


In  the  ii (J //cries 


A-    ^•'^^*jf*^    l^'CA 


%    •■ 


<npany 


THE  ANGEL  OF  DEATH 
A  LITHOGRAPH 


BY  ALBERT  STERXKR 


IN  THE  GALLERIES 
L\  SPiTK  of  the  dogs  of  war  being  loose  on 
all  sides,  art  holds  its  accustomed  court  and 
sway  in  New  York  City  and  elsewhere  in 
America  with  unabated  vigour.  The  principal 
exhibitions  of  late,  such  as  that  of  the  Pennsylva- 
nia Academy,  Philadelphia,  and  the  winter  exhibi- 
tion of  the  New  York.  Academy,  have  been  spe- 
cially noticed.  The  New  York  Arts  Club  held  an 
exhibition  of  members"  work  in  oils,  in  which  a 
beautiful  child  |)ortruit  by  George  Bellows  caused 
more  than  a  mild  sensation  and  showed  clearly  the 
very  important  |)osition  he  has  climbed  toamongst 
the  younger  artists.  He  is  a  very  Kitchener  of 
art.  Following  this  exhibition  came  the  watcr- 
colourists,  with  an  interesting  but  not  vital  exposi- 
tion of  their  prowess  in  that  most  difTicult  medium. 
The  prize-winner,  Winifred  Hunt,  by  Hilda  Bel- 
cher, achieved  a  popular  win,  whilst  contribu- 
tions by  Elinor  Harnarfl  show  her  to  be  a  past 
master  in  her  art.     Most  of  the  exhibit>  transcend 


the  limits  of  water-colour  and  encroach  upon  oil 
techni(iue,  which  rules  them  out  of  consideration. 
Water-colours  must  be  transparent  and  elusive. 

Yanianaka  iv  Co.  are  holding  an  exhibition  of 
rcnuirkal)le  old  Chinese  stone  sculi)tures,  sixth  and 
seventh-century  work,  and  Japanese  figures  of 
Buddha  car\ed  in  wood  of  theTemjicLKamakura 
and  Tokugawa  i)eriods. 

One  of  the  most  interesting  and  important  one- 
man  shows  is  that  of  the  extraordinary  work  of 
Augustus  Vincent  Tack,  in  the  Worch  Galleries, 
467  Fifth  Avenue.  The  November  number  of 
The  International  Studio  discussed  these  pic- 
tures very  fully  in  a  leading  article.  Ver}-  great 
credit  is  due  to  the  splendid  way  in  which  Mr. 
Charnley  has  arranged  the  exhibition,  in  two  cases 
devoting  an  entire  room  to  a  single  painting. 

The  Macbeth  Galleries  are  as  active  as  ever  in 
showing  first-class  work.  Some  very  interesting 
work  from  the  Paris  parks  by  the  young  Califor- 
nian  painter,  Lester  D.  Boronda,  fdled  the  bronze 
room.  He  has  fine  colour  and  a  sharp  nose  for 
essentials.  One  capital  sketch  shows  some  prole- 
tarians dancing, a  horsehair-helmeted  cavalryman 
waltzingwitha  nurse-maid  beneath  the  trees  being 
a  very  good  bit  of  character  work.  He  gets  to  the 
essence  of  Paris. 

Colin  Campbell  Cooper  has  fifteen  Indian  sub- 
jects on  view,  of  varying  interest.  The  biggest 
canvas,  not  in  point  of  measurement,  is  a  Benares 
scene,  where  he  depicts  a  motley  crowd  of  bathers 
and  idlers  dotted  about  the  Ghat,  with  wondrous 
architectural  background.  The  movement  and 
colour  are  well  expressed.  Of  the  architecture  it 
might  be  justly  observed  that  though  immensely 
decorative  and  interesting  in  colour,  it  lacks  in 
most  canvases  stability  and  strength.  You  feel 
that  if  horse  or  man  should  bump  into  a  gateway 
or  palace  the  effect  would  be  like  that  of  the 
trumpet  upon  the  walls  of  Jericho.  In  another 
room  are  some  twenty  canvases  by  deceased 
American  artists,  such  as  George  Fuller,  LaFarge, 
Homer  Martin  and  Wyant.  The  importance  of 
George  Fuller  in  the  annals  of  American  art  was 
sufficiently  proved  recently,  when  a  picture  by  him 
fell  to  the  hammer  for  $10,000. 

Mira  Edgerly  exhibited  for  a  few  da\  s  in  the 
handsome  rooms  of  the  Colony  Club  a  collec- 
tion of  her  portraits  on  ivory.  You  must  not  call 
them  miniatures!  Her  clientele  comprises  man\ 
royal  and  serene  highnesses,  besides  dukes  and 
duchesses  and  lesser  fr\'  in  the  form  of  viscount- 


Courtesy  Berlin  Photographic  Company 
A    DRAWING 


BY    PASCIX 


esses  and  countesses.  There  is  an  air  of  distinc- 
tion about  the  work  not  derived  from  the  sitters, 
the  likenesses  are  excellent,  and  great  care  and 
individuality  is  bestowed  upon  the  posing. 

The  Kraushaar  Galleries  have  been  showing  a 
collection  of  Tangier  subjects  by  John  Lavery, 
whose  name  is  sufiftcient  guarantee  for  the  excel- 
lence of  the  canvases.  One  of  the  best  is  a  skating 
scene  in  Switzerland. 

An  exhibition  of  fifty  water-colours  by  Dodge 
MacKnight  was  held  at  Carnegie  Institute,  Pitts- 
burgh, during  February.  It  consisted  of  several 
series  of  landscapes  painted  in  the  tropics,  New- 
foundland, New  England,  Arizona  and  Utah. 

Dr.  R.  Tait  McKenzie  has  just  completed  The 
Boy  Scout,  which  may  be  seen  at  the  Pennsylvania 
Academy.  The  artist  limited  the  edition  to  ten 
copies,  all  of  which  are  disposed  of.  A  reproduc- 
tion of  this  model  will  appear  in  the  next  number. 

The  Arlington  Galleries  recently  gave  a  two- 
man  exhibition,  the  work  of  E.  Joseph  Read  and 
Bolton  Brown.  The  smaller  tropical  paintings 
of  Read's,  especially  of  Panama  fishermen  and 
scenes  about  Nassau  and  Jamaica,  are  rich  in 
colour  and  decorative.  In  regarding  his  Cnlebra 
Cut  and  other  canal  pictures,  we  cannot  help 
recalling  how  much  better  they  have  been  done 
by  Jonas  Lie.  Some  of  the  canvases  by  Bolton 
Brown,  especially  Silent  Night  and  Waning  Winter, 
are  full  of  feeling  and  verv  dclicatelv  handled. 


Group  paintings  in  the  same  gallery,  with  one  or 
two  exceptions,  are  amateurish  records  of  ladies 


Courtesy  lierliti  I'hotv.srathii  Company 


BY    EDITH    W.    lU  RKOl  r.HS 


///  the  Callcrics 


not  suftiCRMillv  \  crsi'd  in  ihcir  art  to  he  justified  in 
exhibiting.  Exceptions  are  Lucy  T.  Hagen,  who 
hail  an  excellent  decoraliitn  entitled /n/cr/c/,  and 
good  Chinese  subjects  by  Harriet  Barnes  Tiia>er. 

In  our  January  issue  we  published  a  full-i)age 
illustration  by  Mr.  Wyeth,  and  unfortunatelx' 
omitted  to  gi\  e  ilue  credit  to  Charles  Scribncr's 
Sons,  by  whose  courtesy  the  cut  was  obtained. 

The  MacDowell  Club  has  just  concluded  an- 
other interesting  group  exhibition,  with  such  art- 
ists as  Bellows,  Davcy,  Speicher,  Hopper  and 
Kroll  on  view.  George  Bellows'  portrait  of  a 
young  girl  has  beautiful  painting  quality,  while 
the  pattern  is  extremely  decorati\e. 

Kenneth  Frazier  has  had  thirteen  canvases, 
\ery  charming  in  colour,  on  \iew  at  Gim])el  & 
Wildenstein's  Galleries. 

Beautiful  pen  work  by  the  Belgian  artist,  Joseph 
Pierre  Nuytters,  has  been  shown  at  Braun  & 
Co.'s  Galleries.  Portraits  and  figure  work,  very 
daintily  and  characteristically  expressed,  mark  his 
special  abilities. 

The  Berlin  Photographic  Company  has  been 
showing  the  interesting  sculpture  of  Mrs.  Bryson 
Burroughs.  Her  work  in  stone  is  particularly 
attractive,  the  medium  lending  itself  well  to  vouth- 


Courlesy  Ktioedler  Galleries 
rORTR.AIT   OF    PERUGINI 


BY    GEORGE    SOPER 


Courtesy  Berlin  Phnloxraphic  C'impaiiy 
MDE  BY    EDITH    W.    rURROlGHS 


ful  figures,  especially  in  the  figure  of  a  young  girl 
aptly  catalogued  as  At  the  Threshold. 

A  very  happy  rendering  in  portraiture  by 
George  Soper  of  Perugini  in  his  inimitable 
character  of  the  Property  Man  in  "The  Yellow- 
Jacket"  was  lately  exhibited  at  the  Knoedler 
Galleries  and  was  much  admired. 

The  Arden  Studios  have  been  organized  and 
are  to  be  conducted  under  the  personal  direction 
of  Mrs.  John  W.  Alexander  and  Miss  Elizabeth 
B.  Averell.  These  studios  are  on  the  tenth  floor 
of  the  Scribner  Building,  599  Fifth  Avenue. 

The  Arden  Gallery  is  particular!}  fortunate 
in  having  secured  for  its  opening  exhibition 
during  the  current  month  the  wonderful  collec- 
tion of  mediaeval  and  Renaissance  art  belonging 
to  Mrs.  Chauncey  J.  Blair,  of  Chicago,  to  which, 
by  the  kind  interest  of  several  collectors,  have 
been  added  some  line  examples  of  Gothic  and 
Renaissance  art  which  complement  and  extend 
its  interest.  Mrs.  Blair's  collection  has  a  world- 
wide rejiutation,  and  is  particularly  rich  in  not- 
aljle  S])ecimens  of  stone,  niarl)le  and  wood 
sculpture. 

Beginning  with  March  12  and  ending  March 
20,  mav  be  seen  a  notable  collection  of  paintings 
by  Ossip  L.  Linde  at  C.  S.  Pietro,  the  noted 
sculptor's  studio,  630  Fifth  .\\enue. 


••  HENRY,  TWELFTH    EARL  OF   SUFFOLK.       from 
THE   PAINTING   BY    SIR   JOSHUA    REYNOLDS,    PR. A. 


INTERNATIONAL 
•  STUDIO 


VOL.lv.     No.  218 


Copyright,  1913   by  John  Lane  Company 


T 


HE  HOME 
SPIRIT 
BY    HENRY 
BLACKMAX 
SELL 


'Pity  the  poor  rich  I'' 
wailed  a  certain  fabulously 
wealthy  young  man  as  he 
gazed  upon  the  marble,  the 
mahogany,  the  walnut,  the 
silk  and  the  onyx  of  his 
new  palatial  residence 
whose  cost  had  travelled 
well  past  the  seventh  fig- 
ure. "I've  lived  in  one 
costly  hotel  after  an- 
other ever  since  I  was 
born,  and  now,  even  after 
spending  a  king's  ransom 
to  get  a  home,  I've  simply 
produced  an  indixndual 
hotel.  WTiat  is  the  use  of 
trving?'' 


BY    JES5IE    .\R.M' 


APRIL,   1915 

And  such  was  the  senti- 
ment of  Mr.  Charles  G. 
Gates  when  he  went  out  to 
inspect  the  buUding  of  the 
interior  of  his  new  Minne- 
apolis home  some  months 
ago.  Decorators  by  the 
dozen  had  come  and  gone. 

"I  want  a  home,"  he 
said,  as  he  dismissed  each 
one.  "  You  are  all  gi\-ing 
me  the  set  decorations  of 
the  hotel." 

At  last  there  came  one 
Lionel  Robertson,  who 
did  not  offer  set  sugges- 
tions for  the  upwards  of 
thirt}-three  rooms  in  the 
house,  but  who  offered  to 
work  with  Mr.  Gates, 
through  a  corps  of  real  art- 
ists, to  develope  the  home 
spirit  toward  which  he  was 
so  earnestlv  striving. 


xx.xvii 


'flic  Home  Spirit 


A    BEDROOM    IN    THE   HOME   OF   CHARLES   G.  GATES,    ESQ.,    MINNEAPOLIS 


"That  "home  spirit '  is  the  key  to 
the  whole  plan,"  says  Mr.  Rt)bert- 
son.  in  talking  of  his  share  in 
the  work.  "In  other  words,  the 
house  was  not  decorated;  a  home 
was  developed.  Wherever  it  was 
possible,  an  artist  was  set  to  work  to 
develope  what  his  artistic  intuition 
told  him  should  be  done. 

"Take  the  case  of  the  dininj;;- 
room.  Miss  Jessie  Arms  was  given 
the  general  plan  of  the  room,  and 
after  several  carefully  detailed  dis- 
cussions she  painted  these  two  pan- 
els to  fit  the  most  prominent  wall 
spaces."  Mr.  Robertson  handed 
the  writer  the  photographs  of  the 
panels  that  appear  in  this  article. 

**I'>om  these  panels,"  he  con- 
tinued, "  which  are  in  unusual  tones 
of  blue,  green,  rose  and  gold,  the 
colour  scheme  of  the  room  has  been 
brought  to  a  unity.  That  is,  the 
panels  have  been  used  as  a   key- 


BV   JESSIE    ARMS 


AXUTIIEK    liEUKUOM,    SHUWINL,    IIU.    DhCDRATlON    KMPLOVKD 


THE   SUN-l'ARl.Ol  K 


llic  I loiJic  spirit 


nolo,  ami  all  the  iK-coration  has  bci'ii  sd  ar- 
ranged thai  they  are  at  once  the  centre  of 
interest  and  yet  so  much  a  harmonious  part  of  the 
L;eneral  plan  that  they  are  nt)t  conspicuous,  but 
lend  themselves  to  enhancing  and  heautif\ing  the 
lite  that  goes  on  within  the  r(K)m.  thus  properly 
fultilling  the  function  of  mural  paintings.  This, 
as  I  have  said  before,  is  the  spirit  of  each  room  in 
the  house,  the  worth-while,  indi\idual  cxjircssion 
of  a  true  artist,  then  from  that  development  of  the 
room  as  a  unity." 

Here  a  natural  ques- 
tion arises.  If  a  group 
of  ten  artists  is  brought 
together  and  each  is 
working  for  individual 
expression  and  from  a 
personal  artistic  view- 
point, would  they  not 
produce  a  haphazard  re- 
sult? Undoubtedly  they 
would  if  the  artists  had 
not  been  chosen  by  some 
one  with  a  very  definite 
idea  of  just  the  kind  of 
workers  which  are  to  be 
grouped  about  him. 

As  you  turn  from  illus- 
tration to  illustration  of 
this  article,  you  get  a 
very  defmite  and  a  very 
ditTerent  personality 
from  each,  and  yet  one 
cannot  but  feel  the  influ- 
ence of  an  over-judgment 
which  has  made  the  unity 
of  the  group  its  own. 

Here  is  the  secret  of 
Mr.  Robertson's  success 
as  a  decorator.  He  allows 
everv  artist  in  his  studio  to  work  as  freelv  and  as 


SHOWING   A    PANIiL   IN    PLACE 


Kiitering  the  spacious  breakfast  porch,  you  lind 
there  a  mood  of  joyousness  that  would  drive  away 
the  most  dismal  of  early  risers'  "grum])s.''  The 
soft  grey  background,  the  draperies  of  just  a  tone 
deeper,  crossed  and  re-crossed  with  bands  of  red, 
with  tiny  roses  sprinkled  in  between  the  narrow 
stripes;  the  graceful  lines  of  furniture  banded 
with  indigo  and  crimson;  the  two  great  palms  be- 
tween the  windows,  and  beside  them  two  large, 
round  bird  cages — in  one  a  German  linnet,  in  the 
other  a  brilliant  yellow- 
canary.  "This room  has 
not  been  decorated,"  you 
say,  "this  room  is  a 
mood.  Some  one  was 
happy  and  this  is  what 
that  happiness  has  given 
us." 

Again,  in  thebedrooms 
we  find  delicate  touches, 
calm  dignity,  preciseness 
or  a  love  of  ease.  Each 
hasits  key-note,  its  mood. 
Perhaps  one  charms  you 
with  its  delicate  thoughts 
in  the  dainty  panels 
where  Burgess  Stafford 
has  given  his  free  spirit 
expression  in  bits  of  flow- 
ering branch;  another, 
perhaps,  gives  you  that 
satisfied  feeling  of  nice- 
iiess  as  your  eye  runs  over 
the  clean  Adam  detail 
and  the  pastel  shades  of 
ivory,  green,  blue  and 
rose;  while  another,  the 
modernized  Louis  XVI 
room,  may  appeal  to  your 
love  of  luxury,  with  soft 


cushions,  silken  panels,  deep,  sensuous  lines,  and 

joyously  as  the  artist  would  if  he  were  absolutely  pearly    colourings.     But    whatever    it    is    that 

independent  of  a  guiding  hand.     Mr.  Robertson  attracts  your  particular  attention,  the  one  great 

has  the  ability  of  picking  artists  who  will  work  in  charm  of  the  whole  idea  is  that  home  spirit,  that 

harmony    with   his   thought    and    the    personal  grouping  of  individual  moods,  that  touch  of  the 

power  of  thought  worth  working  in  harmony  v.  ith.  loving  hand  that  makes  the  humblest  and  crudest 

As  you  wander  through  the  Gates  mansion,  all  attempts  of  the  peasant  housewife  in  her  cottage 

of  this  becomes  more  and  more  apparent,  and  if  beautiful,  and  without  which  the  work  of  the 

you  are  a  lover  of  individual  spirit  and  its  free,  greatest  artist  is  but  clever  draughtsmanship, 

honest  expression,  it  makes  you  glad  to  know  that  Through  that  ineffable  influence  of  individual 

there  are  men  who  can  dev^lope  such  harmony  of  thought  a  spirit  of  home  has  been  breathed  into 

effect  about  themselves.  Mr.  Gates'  million-dollar  structure. 


XL 


r^'i 


•;•'* 


•5? 


SFJ 


'*  til  ^ 


^^ 


«J3 
ij6 


I)KT.MI.S    OF    DF.CORATION    KMPLOVKD 


Clement  J.  Banihomi 


c 


LEMEXT  J.  BARNHORN 
BY  ERNEST  BRUCE  HASWELL 


When  certain  aesthetic  tendencies 
are  in  the  air  there  is  a  sympathy  that 
directs,  and  this  is  more  sure  than  knowledge 
itseh".  In  Cincinnati  these  tendencies  were  at 
work  during  the  last  half  of  the  past  century.  As 
early  as  1868  the  McMicken  School  of  Design 
(now  the  Cincinnati  Art  Academy)  was  estab- 
lished— an  outgrowth  of  the  influence  exerted  by 
the  exhibition  of  the  work  of  Fortuny,  Baldini, 
Madrazo  and  Rico,  of  the  Roman-Spanish  school. 
This  and  the  wide-spread  awakening  that  came 
with  the  Centennial  Exposition  in  Philadelphia 
ga^•e  to  the  newly  established  school  an  impetus 
that  carried  it  forward  until  it  developed  into  an 
institution  internationally  known  because  of  such 
students  as  Frank  Duveneck,  Robert  Blum,  Ken- 
^•on  Cox,  John  Twachtman,  Joseph  de  Camp, 
Bryson  Burroughs,  Edwin  Henry  Potthast,  Solon 
Borglum,  L.  H.  Meakin,  Charles  Henry  Xiehaus 
and  Clement  J.  Barnhorn. 

Environment  was  an  important  factor  in  the 
development  of  Clement  J.  Barnhorn's  art.  From 
the  time  that  his  academic  training  was  completed 
until  the  Cincinnati  Museum  Association  sent  him 
abroad  on  behalf  of  the  Art  Academy  he  was  work- 
ing in  marble  and  wood — a  period  of  eleven  years. 
Laborious  work,  indeed,  but  making  for  crafts- 
manship and  lightened  by  his  association  with 
Henrv  L.  Fry,  as  he  carved  wood  all  day,  and 
Louis  T.  Rebisso,  with  whom  he  studied  at  night. 

While  the  people  of  the  Middle  West  were 
vapidly  adoring  Rodgers  groups  of  china  states- 
men and  Dresden  shepherdesses,  he  was  fast 
developing  craftsmanship  and  more  under  the 
influence  oi  the  English  carver  and  the  old  Italian 


sculptor.  It  was  this  skill  of  execution  that  was 
brought  to  bear  upon  the  Duveneck  Memorial, 
which  he,  with  Frank  Dmeneck,  the  gifted 
painter,  completed  on  the  eve  of  Barnhorn"s  de- 


ILARA    ».\l  R    MI:M(>R1AI. 
I-OINTAIN 


IIY    CLEMKNT 
BARNHORN 


Chuioit  J.  Banihoyii 


LORD    &    TAVI,()R    I'Ol MAIN,    NKW    YORK 


liV    (l.l'MKM     J.    HARNHORN 


parturc  for  Paris.  Then  came  five  years  filled 
with  work  and  hope,  five  years  of  uninterrupted 
study  under  Puech  and  Mercie,  drawing; at  Julien's 
and  six  months  in  Italy.  The  result  was  the 
Magdalene,  a  living  presentation  of  an  oft-repeated 


theme  that  might  easily  have  been  made  either 
picturesque  or  commonplace.  The  recumbent 
figure,  so  expressive  of  anguish  that  even  a  separ- 
ated hand  tells  the  story,  is  the  work  to  which  the 
much  abused  term  "vital"  may  be  aptly  applied. 


Clcniciit  J.  Baruliorn 


MADONNA   FOR   COVINGTON 
CATHEDRAL 


BY   CLEMENT   J. 
BARNHORN 


It  won  an  honourable  mention  at  the  Salon  in  1895 
and  later  a  bronze  medal  at  the  Exposition  in  1900. 
The  initiated,  who  read  between  the  lines,  will 
see  the  years  of  self-denial  in  this  simple  account 
of  facts.  For  Barnhorn's  means  were  barely 
enough  for  the  necessities  of  life.  He  practised 
pitiful  economies,  banished  indulgences  and 
worked  with  undimmed  ambition,  as  many  an 
artist  had  done  before.  But  that  is  another  story. 
What  he  is  and  what  he  has  done  are  the  vital 
questions.  This  we  shall  strive  to  grasp.  Not 
many   sculptors  come  back   from   Paris  having 


achieved  so  much,  and  when  Rebisso  died  the 
pupil  filled  the  place  of  his  old  master  at  the  Cin- 
cinnati Art  Academy.  Here  he  has  taught  ever 
since,  a  teacher  as  capable  of  imparting  his 
knowledge  as  of  demonstrating  his  theory.  He 
may  be  less  of  a  sculptor  than  some,  but  none  have 
surpassed  him  in  ideality  of  aim  and  seriousness 
of  purpose;  a  master  of  technique  that  is  not  con- 
ventional, that  cares  not  for  effect,  his  works  stand 
out  boldly  in  an  age  when  technique  has  ceased  to 
be  a  means  and  has  become  an  end.     It  can  be 


WETTERER 
MEMORIAL 


BY   CLEMENT   J. 
BARNHORN 


( 'Iciuciif  /.  iMinihoni 


truthfully  said  thai  the  inlluoncc  of  the  Italian 
Renaissance  is  more  obser\al)le  in  most  of  his  work 
than  is  thai  of  the  French  masters  with  whom  hi' 
stutUeil.  And  the  classic  spirit  of  these  great  ones 
li\es  again  in  ihe  >i.\ty  or  more  reliefs  and  figures 
recently  displayed  at  the  Cincinnati  Art  Museum. 
They  remind  one  of  Delia  R»)bbia  and  Donatello, 
yet  hold  their  own.  From  them  he  has  learned 
the  effectiveness  of  simplicilwand.  like  Delia  Roh- 
bia,  Barnhorn 
has  made  use  of 
the  glazed  terra- 
cotta. TheA>/- 
phin  and  Boy,  a 
fountain  for  the 
Prince  George 
Hotel  in  Xew 
\'  o  r  k  ;  the 
Holmes  Foun- 
tain in  Cincin- 
nati; a  lunette 
for  the  Sailors' 
Institute  in  Xew 
York;  the  Four 
Seasons  P'oun- 
tain  in  Pitts- 
l)urgh,  and  the 
Lord  &  Taylor 
Fountain  in  New 
York  are  all  of 
Rookwood  fa- 
ience. These 
sculptured  foun- 
tains and  deco- 
rations made  of 
terra -cotta  are 
covered  with  an 
opaque  glaze,  in 
which  the  col- 
ours are  mixed 
as  in  enamel. 
There  is  neither 

that  crudity  nor  sameness  that  is  so  often  found 
in  the  colouring  of  the  sixteenth-century  glazes, 
but  a  variety  of  tone  that  is  a  surprise  and 
delight.  This  method  of  reproduction  should 
prove  of  great  value  to  sculptors  and  decorators 
in  suggesting  the  great  variety  of  uses  to  which 
terra-cotta  may  be  put.  More  economical  than 
either  bronze  or  marble,  it  can  be  used  not  only 
for  architectural  pur[)oses,  but  for  altar-pieces, 
fountains  and  statues.     While  fref[uentl\-  in  deco- 


K.\CFKM.\XN-U.\l  R    lOlNTAIN 
PITTSBURGH 


rations  the  use  of  glazed  low  relief  is  more  elTectixx' 
than  painting,  as  in  the  lunette  for  the  Sailors' 
lii>lituli'.  [hvw  is  no  limit  to  the  \arii't\-  of  colour 
nor  does  this  detract  from  I  he  dignit}'  of  the  sculj)- 
tured  surface.  The  Four  Seasons  Fountain 
reaches  a  height  of  no  less  than  twent\-  feet,  tine  in 
([uality  and  dignity;  it  suggests  Delia  Robbia,  yet 
breathes  a  spirit  of  modernity.  The  durability  of 
this  work  is  also  remarkable:  it  withstands  sun- 

>hine  and  rain, 
while  the  hard 
enamel  surface 
retains  the  col- 
our and  form  for 
ages. 

M cciia  (I s ,  a 
bronze  relief  for 
the  Queen  City 
Club,  Cincin- 
nati, is  a  Greek 
dance  in  sculp- 
ture, full  of 
movement  and 
allurement.  Not 
a  bacchanal  but 
a  dance  of  the 
fairies,  "who 
hear  the  winds 
laugh  and  mur- 
mur, and  sing  of 
the  land  where 
e\en  the  old  are 
fair  and  even 
the  wise  are 
m  e  r  r  >■  of 
tongue."  This 
h  a  I  f  -  b  o  y  i  s  h 
tendency,  this 
understanding 
of  the  child  and 
his  belief  in 
fairies,  has 
placed  Barnhorn  figures  of  rollicking,  singing, 
dancing  children  among  his  most  successful  com- 
missions. The  Dolphin  and  Boy  is  not  an  effort 
drenched  with  the  aroma  of  a  perspiring  sculp- 
tor. Xot  that,  but  radiant  with  buoyant  boy- 
hood, it  breathes  the  exuberance  of  youth,  with 
no  pretty  sentimentality,  either. 

And  still  a  widely  different  but  none  the  less 
dominant  note  is  expressed  in  the  almost  pathetic 
expression  on  the  face  of  the  Christ  Child  in  the 


BY   CLEMENT   J. 
B.\RNHORN 


Help  Yoitng  Artists 


c/ 


Alma  Mater  for  the  Covington  Cathedral  fagade. 
Here  is  a  child  face,  conscious  of  its  divinity,  realiz- 
ing what  an  awful  thing  it  is  to  be  a  human  being, 
yet  divinely  responsible.  The  boy  grown  tall  he 
has  shown  us  in  the  Wetterer  Memorial,  not  an 
attempt  at  portraiture,  were  such  a  thing  possible, 
but  rather  to  represent  a  typical  leader,  a  Christ 
who  symbolizes  by  the  raised  hand  and  opened 
book  the  supremacy  of  Christianity. 

Again  is  found  this  fusion  of  the  mundane  and 
the  sacred  in  the  Poland  Memorial  and  the  Bel- 
lamy Storer  altar-piece.  Expressive  of  the  most 
lofty  ideals,  free  from  mannerisms  and  the  mania 
for  effect  so  characteristic  of  recent  American  art, 
they  are  the  embodiment  of  naturalness  and  truth. 

Barnhorn  has  modelled  portraits  of  men  and  of 
women,  varying  his  method  with  the  sitter  before 
him;  religious  groups  that  have  gone  far  in  cleans- 
ing church  statuary  of  the  spirit  of  untruth  that 
still  exists  under  the  influence  of  the  imported 
Italian  product;  memorial  tablets  worthy  of  an 
artist  craftsman;  joyous  children  playing  with 
turtles,  dolphins  and  other  fountain  accessories; 
but  seldom  has  he  achieved  more  than  in  his 
recently  unveiled  Clara  Baur  Memorial  Fountain. 

In  the  course  of  his  career  Clement  J.  Barnhorn 
has  received  numerous  honours  and  executed 
many  commissions,  while  he  is  now  busily  engaged 
on  a  four-figure  group  of  heroic  size,  and  a  large 
lunette.  The  Assumption  of  the  Virgin.  He  will 
always  remain  a  sculptor  of  the  inner  life — the 
kingdom  of  the  spirit. 

HELP  YOUNG  ARTISTS ! 
We  cannot  commend  too  highly  the 
action  of  the  principal  New  York  news- 
papers in  devoting  so  much  space  to  an 
enterprise  initiated  by   C.  S.  Pietro,  the  sculp- 
tor, which  has  for  its  aim  the  amelioration  of  the 
young  artists'  condition. 

The  encouragement  given  in  the  last  ten  years 
to  architecture  and  in  the  last  three  years  to  sculp- 
ture by  the  Beaux  Arts  competitions  shows  how 
much  good  can  be  effected.  Architecture  has 
advanced  more  than  its  sister  arts. 

Greatly  owing  to  the  war  and  its  baneful  influ- 
ence upon  the  somewhat  limited  interest  attaching 
to  art  and  the  artist,  it  has  come  to  i)ass  that  hard 
times  have  become  much  harder,  with  the  result 
that  only  a  small  j)ercentage  of  artists  are  able  to 
emj)loy  their  talents  to  advantage. 


The  older  and  more  successful  men  and  women 
will  pass  away  and  the  (question  arises,  "who  will 
fill  their  places  if  young  artists  of  to-day  receive 
no  encouragement?"  We  need  art.  It  is  not  too 
much  to  aver  that  no  nation  can  hold  any  special 
place  without  an  art  corresponding  to  its  greatness 
in  other  spheres.  A  nation  cannot  base  its  su- 
premacy upon  commerce;  it  needs  aesthetics  as 
surely  as  it  requires  an  army  or  a  na\y.  It  is 
therefore  one's  bounden  duty  to  support  art, 
and  any  scheme  which  will  hearten  genuine  artists 
and  restrain  them  from  a  reluctant  departure 
into  other  careers  should  make  a  very  solid 
appeal  to  every  right-thinking  citizen. 

It  has  been  arranged  to  give  prizes  of  the  value 
of  $200,  $150  and  $100,  with  several  auxiliary 
prizes  of  $25  each  should  the  competitions  be 
attended  in  sufificient  numbers.  Mrs.  Helen 
Foster  Barnett  has  expressed  her  desire  to  donate 
the  first  prize  in  the  first  competition.  On  the 
19th  of  April  there  will  be  an  exhibition  at  the 
Reinhardt  Galleries,  which  have  been  kindly  given 
for  a  fortnight's  display  and  sale. 

It  is  not  to  be  claimed  that  competitions  and 
resultant  prizes,  however  numerous,  will  do  every- 
thing that  is  needful,  but  it  is  a  start  in  the  right 
direction.  These  quarterly  contests  will  bring 
together  a  large  gathering  of  ambitious  young 
people  who  will  feel  a  larger  pride  in  accomplish- 
ment from  the  fact  that  their  efforts  are  being 
watched  and  welcomed — in  art  as  in  other  things 
sympathy  counting  for  a  great  deal.  There  will 
also  be  a  social  side  to  these  contests  which,  with 
lectures  and  criticisms,  may  go  far  to  restore  con- 
fidence in  many  who  have  grown  despondent. 

It  has  been  considered  best  to  create  founder 
members  upon  payment  of  S500.  and  a  supporting 
membership  to  all  who  are  willing  to  pay  any  sum 
of  $10  or  abo^•e.  All  cheques  may  be  sent  direct  to 
Mr.  E.  M.  Gattle,  jeweller,  6^50  Fifth  .\venue.  who 
has  consented  to  act  as  treasurer  of  the  fund. 

Like  Mr.  C.  S.  Pietro.  we  are  in  the  very  best 
position  to  know  how  many  trul\"  deserving  artists 
to-day  lack  the  opportunity  to  show  their  work  io 
the  pul)lic  and  to  the  critics.  Dealers  can  oifl\ 
show  the  work  of  a  few  artists  during  the  season. 
And  yet  many  other  artists  paint  and  model 
c[uite  as  well  as  the  ordinar\-  exhibitor,  in  some 
cases  infinitely  better.  We  are  heartily  in  accord 
with  any  measure  whicli  will  tend  to  mitigate  the 
ditficulties  besetting  the  yt)unger  artists  of  to-day 
who  will  be  the  big  artists  of  to-morrow  . 


Tlie  Resuscitation  of  a  Dead  .J  rt 


BY    P.    V.    (lALLAND 


T 


HE  RESUSCITATION  OF  A  DEAD 
ART:  GOBELIXS  OF  TO-DAY 
BY  W.  FRAXCKLYX  PARIS 


The  much  vaunted  superiority  of  the 
present  day  over  the  benighted  times  when  men 
were  reduced  to  killing  their  fellows  one  by  one 
and  with  stone  mallets  resolves  itself  into  the 
meagre  fact  that  we  are  a  little  better  off  as  to 
music — particularly  the  mechanical  means  of 
sending  it — than  were  our  forebears  of  a  thousand 
or  of  a  hundred  years  ago. 

In  painting,  sculpture,  architecture,  in  every- 
thing save  the  purely  utilitarian,  the  world  has 
practically  stood  still.  Xot  only  have  we  failed  in 
twenty-five  centuries  to  surpass  the  architecture 
of  the  Parthenon  and  the  sculpture  of  Phidias,  but 
we  have  not  even  equalled  it. 

The  same  might  be  said  of  painting,  had  any- 
thing come  down  to  us  from  the  brush  of  Apelles. 
As  it  is,  we  have  living  proof  in  Raphael  that  no 
material  improvements  in  the  art  of  painting  have 
been  made  within  the  last  four  hundred  years. 

Let  us  not,  however,  take  too  dismal  a  view  of 
this  age  of  artistic  decadence.  Every  day  we  read 
of  some  Wall  Street  art  lover  paying  ten  thou- 
sand dollars  a  square  foot  or  more  for  a  Titian  or 


Velasquez,  and  our  national  banks  and  public 
libraries  are  copies  of  Greek  temples. 

The  artistic  sense  exists  only  in  the  subjective, 
and  if  we  cannot  create  we  can  at  least  appreciate. 

This  is  one  art  manifestation,  however,  which 
seems  to  have  not  only  lost  its  power  of  expression 
but  its  following  as  well. 

In  the  golden  age  of  Pericles,  when  art  was  in  its 
glory,  the  weavers  of  pictured  fabrics  were  held  in 
high  honour.  The  writers  of  the  day  tell  us  of  mar- 
vellous tapestries  that  tented  the  roof  of  the 
Parthenon,  and  shielded  from  the  sun  the  gold- 
helmeted  head  of  Pallas  Athene.  Word  has 
come  down  to  us  of  fabled  hangings  that  stretched 
between  the  painted  columns  of  that  goddess's 
temple  and  on  which  were  ])ictured  heroic  scenes 
from  the  battle  of  Salamis. 

We  hear  of  a  funeral  pageant  held  by  Alexander 
the  Great  in  honour  of  his  friend  Hephaestion,  in 
which  Babylonian  tapestries  and  other  treasures 
valued  at  twelve  million  dollars  were  consumed  in 
the  sacrificial  pyre.  In  later  days  we  see  the 
peplon  of  Alcimene,  with  the  gods  of  Olympus 
woven  in  the  border,  sold  for  one  hundred  and 
twenty  thousand  dollars;  and  the  esthetic  X'^ero 
paying  four  million  sesterces,  or  one  hundred  and 
sixty-eight  thousand  dollars  for  a  velarium  made 


The  Resttscitatioji  of  a  Dead  Art 


of  Assyrian  tapestry.  The  Caliphs  of  Bagdad  and 
the  Ptolemys  of  Egypt  hung  their  persons  and  the 
walls  of  their  palaces  with  marvellous  trappings 
woven  on  the  looms  of  Memphis  and  Alexandria. 
Wherever  were  pomp  and  magnificence  there  were 
tapestries.     They  were  the  appanage  of  kings  and 


DECORATIONS 


BY    p.    V.    GALLAND 


conquerors,  to  be  flaunted  in  camps  and  throne 
rooms.  The  finest  wool,  silk,  and  silver  and  gold 
thread  were  employed  in  this  manufacture,  and 
cities  like  Tyre  acquired  fame  for  the  dyes  used. 

During  the  dark  ages,  that  awful  Byzantine 
period  when  for  nine  long  centuries  art  was  ban- 
ished from  the  earth,  the  art  of  tapestry  weaving 
suffered  the  fate  of  all  the  other  arts  and  was 
forgotten. 

With  the  re-awakening  of  the  artistic  conscience 


in  the  fourteenth  century,  however,  tapestry  came 
into  its  own  once  more.  Thanks  to  the  encourage- 
ment of  aesthetic  grandees  like  the  dukes  of  Bur- 
gundy, the  Medicis,  the  Popes,  the  French  and 
Spanish  kings,  it  was  quick  in  regaining  favour. 
By  the  end  of  the  fifteenth  century  the  weavers 
of  Arras,  Lille,  Tournai,  Brussels,  Paris,  Bruges, 
were  everywhere  acclaimed.  For  nearly  two 
hundred  years  the  looms  of  Flanders  and  of 
France,  to  say  nothing  of  Spain  and  Italy,  were 
busy  translating  into  silk  and  dyed  wools  and  gold 
thread  the  cartoons  especially  drawn  for  them  by 
Raphael,  Mantegna,  Leonardo  da  Vinci,  Titian, 
Veronese,  Rubens,  Teniers,  Compel,  Le  Brun  and 
others  of  lesser  fame. 

The  relative  value  of  painting  and  tapestry, 
even  at  that  period,  is  eloquently  demonstrated  by 
the  price  paid  to  Raphael  by  Pope  Leo  X  for  the 
ten  panels  of  The  Apostles.  Raphael  received  ten 
thousand  dollars  for  the  ten  cartoons,  and  Peter 
Van  Aelst,  the  Brussels  weaver,  one  hundred  and 
fifty  thousand  dollars.  This  suite  is  now  pre- 
served in  the  Vatican,  and,  although  much  of  its 
pristine  colouring  is  gone,  its  value  is  placed  by 
experts  at  one  million  five  hundred  thousand 
dollars.  A  much  less  famous  suite,  consisting 
only  of  four  panels,  the  Scenes  of  Opera  byCoypel, 
sold  for  five  hundred  and  eighty  thousand  francs 
in  1900. 

Aside  from  its  value  as  a  work  of  art,  of  course, 
there  is  always  to  be  considered  in  a  tapestry 
the  intrinsic  value  of  the  gold  that  may  be  used 
in  its  weaving  and  the  value  of  the  time  devoted  to 
the  work.  While  it  probably  took  Raphael  less 
than  six  months  to  paint  the  cartoons  of  The 
Apostles,  it  took  Van  Aelst  and  his  assistants  four 
years  to  execute  them  on  the  high  loom.  The  suite 
known  as  The  King's  Story,  which  is  of  about  the 
same  size  as  The  Apostles,  took  ten  years  to  make. 

In  the  first  twenty-eight  years  of  its  existence, 
from  1663  to  1690,  the  Royal  Manufactory  of  the 
Gobelins,  numbering  two  hundred  and  fifty  weav- 
ers, only  turned  out  nineteen  high-loom  pieces. 

When  we  read,  therefore,  that  in  1656  the  corpo- 
ration of  tapestry  weavers  of  Paris  decorated  the 
streets  along  which  the  processions  of  Holy  Week 
were  to  pass  with  eight  hundred  panels,  we  can 
form  some  idea  of  the  acti\ity  which  the  art  of 
tapestry  weaA-ing  had  acquired  in  the  years  imme- 
diately preceding  that  period. 

Toward  the  end  of  the  seventeenth  century, 
however,  a  period  of  depression  and  discourage- 


LA  siKENK  i:t  lk  poeth: 

BY  GUSTAV  MOREAU 


The  Rcsjiscifatiou  of  a  Dead  Art 


DECORATIONS 


BY    P.    V.    OALLAND 


ment  set  in.  Individual  ateliers,  unable  longer  to 
maintain  themselves,  sought  the  support  of  king 
or  State.  Brussels,  which  had  long  enjoyed  a 
merited  supremacy,  found  itself  surpassed  by 
Paris,  where  Henri  II  was  fast  gathering  the  best 
weavers  of  Flanders  to  his  court. 

In  1662  Louis  XIV,  following  the  worth}-  exam- 


ple of  his  predecessor,  established  the  Gobelins, 
under  the  title  of  Manufacture  Royale  des  Meu- 
bles  de  la  Couronne,  appointing  the  distinguished 
and  talented  Le  Brun  to  direct  it.  The  personnel 
numbered  two  hundred  and  fifty,  besides  sixty 
apprentices.. 

A  hundred  years  ago  the  Gobelins  were  not  the 
sole  repository  of  the  lost  art  of  tapestry  weaving. 
The  pope,  the  king  of  Spain,  and  the  king  of  Ba- 
varia maintained  ateliers  in  Rome,  Madrid  and 
Munich,  and  there  were  others  in  Turin  and 
Naples.  For  more  than  fifty  years,  however,  the 
French  manufactory  has  been  the  lone  guardian 
of  this  divine  fire,  and  it  is  thanks  to  France  and 
the  Gobelins  that  the  glorious  art  tradition  begun 
by  Penelope  has  been  continued  to  this  day. 

The  national  manufactory  is  still  housed  in  the 
grounds  of  Louis  XIV  as  in  the  time  of  its  founda- 
tion, but  the  two  hundred  and  fifty  weavers  of 
1662  have  dwindled  to  sixty,  and  the  annual  appro- 
priation of  two  hundred  thousand  dollars  has 
shrunk  to  fifty  thousand. 

It  was  not  until  1906  that  the  Gobelins  actually 
sought  the  limelight  by  exhibiting  its  most  recent 
productions  at  the  annual  exposition  of  French 
artists  in  Paris.  Even  then  it  was,  in  a  sense,  hors 
concours  in  that  it  had  nothing  to  sell.  The  tapes- 
tries shown  were  all  Government-ordered  and 
Government-owned.  There  being  no  way  in 
which  "the  trade"  can  obtain  Gobelin  tapes- 
tries, their  value  to  this  same  trade  is  at  once 
heightened.  The  most  modern  Gobelins  available 
for  barter  and  exchange  date  back  to  Napoleon 
III.  Since  then,  outside  of  a  few  pieces  presented 
by  the  French  Republic  to  visiting  rulers,  all  the 
tapestries  have  remained  thepropertyof  the  State. 

In  a  degree,  this  is  unfortunate,  as  compara- 
tively few  can  enter  the  sacred  precincts  of  the 
Elysee,  of  the  Senate,  or  of  the  Sujireme  Court  of 
Rennes,  where  the  magnificent  tapestries  of  Gal- 
land,  Maignon  and  Toudonze  are  now  hung. 

It  would  certainly  redound  to  the  greater  glory 
of  thcGobelinsof  to-day  if  reproductions  of  these 
reall\-  si)lcn(lid  tapestries  could  he  hung  in  a  i>ul)lic 
museum.  The  suite  of  Galland  which  ornaments 
the  parlours  of  the  Klysee— the  French  White 
House — is  a  triumph  of  classic  composition. 

The  work  of  Toudon/.e  is  less  ornamental,  more 
spectacular,  richer  in  colour.  It  pictures  the  his- 
tory of  ancient  Brittany  in  six  cri)wded  scenes. 
Nothing  more  regal  ever  came  out  of  the  Gobelins, 
and  this  was  but  five  short  vears  ago! 


LI 


lUPITER  ET  SEMELE 
BY  ALBERT  MAIGNON 


An  English  Type  of  Architecture 


HOME    OF    HERBERT   H.   LEHMAN,   ESQ. 


ARCHITECT,    HARRY    A.    JACOBS 


A 


AMERICAN    VERSION    OF    AN 
ENGLISH  TYPE  OF  ARCHITEC- 
TURE 
BY  C.  MATLACK  PRICE 


There  is  a  certain  type  of  English  domestic 
architecture  which  is  very  Uttle  understood  in  this 
country.  We  have  grown  reasonably  familiar 
with  the  intimately  picturesque  type,  the  cottage 
type,  and  also  with  the  earlier  forms  of  large 
manor  houses  on  feudal  estates.  There  is  less 
acquaintance  in  this  country,  however,  with 
another  type — the  almost  severe  and  essentially 
dignified  kind  of  house  developed  in  England  by 
such  architects  as  Norman  Shaw,  E.  L.  Lutyens 
and  a  few  others.  It  is  a  type  with  some  of  the 
rugged  qualities  of  Norman  architecture,  some  of 
the  picturesque  qualities  of  mediaeval  architecture 
and  a  certain  amount  of  modern  feeling.  It  is  an 
architecture  of  large  masses  and  little  detail,  of  a 
sense  of  stability  and  permanence.  It  is  the 
architecture  of  a  house  destined  to  become  an 
ancestral  family  seat. 

The  English  type  of  country-house  has  suffered 
a  good  deal  at  the  hands  of  some  architects  in  this 
country  for  two  leading  reasons — it  has  either  been 
taken  too  literally  and  stupidly  copied,  or  taken 
with  too  little  understanding  and  stu])idly  paro- 
died. 

It  has  been  supposed  that  because  a  certain  his- 


toric house  in  England  is  pleasing,  a  copy  of  it  in 
this  country  must  be  pleasing.  This  is  a  serious 
fallacy,  and  the  fruits  of  it  constitute  one  of  the 
strongest  arguments  against  imported  architec- 
ture.   Of  course  there  are  American  architects 


Vli;\\     SH(>\VIN(.    TIKKAC'II)    (>.\Kl)i;\ 


THE    LIVING-ROOM 


VIKW    SHOWING    STAIRCASE    AND   COSEY    RECESS 


All  Euglisli  Type  of  A rchitectiire 


A    CORNER    OF    THE    LIVING-ROOM 


who  have  transplanted  English  country-houses 
with  excellent  skill  and  deserved  success.  Few, 
however,  have  attempted  to  transplant  the  kind 
of  English  country-house  which  forms  the  subject 
of  this  article,  because  few  have  appreciated  its 
peculiar  qualities. 

Mr.  Harry  Allan  Jacobs,  the  architect  of  this 
house  for  Mr.  Herbert  H.  Lehman,  has  achieved 
an  unusually  interesting  and  successful  rendering, 
at  once  replete  with  all  the  charm  of  historic  asso- 
ciation, and  appropriate  to  its  particular  place  and 
purpose. 

The  house  is  located  on  an  estate  of  seventy 
acres  between  Port  Chester  and  White  Plains,  in 
New  York.  The  ground  is  rolling  and  the  fields 
rich  in  natural  stone,  which  was  used  in  the  lower 
story  of  the  house,  effecting  a  gratifying  note  of 
local  appropriateness.  Much  of  the  charm  of  the 
English  country-house  has  been  lost  in  our 
attempts  at  adaptation  because  architects  have 
not  made  use  of  local  materials. 

Above  the  field-stone,  the  second  story  is  of 
grev  stucco  on  terra-cotta  blocks,  and  the  roof  is 


of  graduated  slate,  varied  in  its  range  of  blue, 
grey  and  purple  tones.  That  the  transition  in  the 
materials  used  for  the  e.xterior  walls  of  the  house 
might  not  make  itself  felt  in  an  unpleasant  hori- 
zontal demarcation,  the  line  was  broken  by  carry- 
ing a  gable  on  the  front  up  to  its  entire  height  in 
field-stone,  the  end  gable  and  octagonal  tower 
done  in  stucco.  This  is  an  admirable  e.xpedient, 
and  might  have  been  carried  out  to  an  even 
greater  extent. 

As  in  nearly  all  English  country-houses,  the  win- 
dows arc  of  varied  sizes,  though  not  of  character- 
istically irregular  arrangement,  and  are  fitted  for 
the  most  part  with  casements. 

The  house  is  especially  well  studied  with  reganl 
to  its  placement  on  its  site,  which  has  been  devel- 
oped just  enough  to  show  able  study  of  the  prob- 
lem, but  not  so  much  as  to  destroy  the  naturalK' 
beautiful  contours  of  the  ground. 

From  the  rear,  or  garden-front  of  the  house, 
the  ground  falls  gradually  away  forty  feet  or  more, 
and  this  grade  has  been  terraced  in  walled  gardens. 
The  main  architectural  feature  of  thesjarden-front 


All  English  Type  of  A rcJiitecture 


A    SIN    rAKLOlR 

is  an  octagonal  tower,  and  the  axis  of  this  has  been 
taken  as  the  axis  of  the  terraces.  There  are  two 
of  these,  and  a  third,  the  lowest,  containing  a  swim- 
ming  pool,  is  in  construction.  This  will  take  up 
the  entire  distance  from  the  house  to  some  woods 
at  the  foot  of  the  slope,  and  at  this  end  there  will 
be  a  wall  and  pavilion,  or  garden  casino. 

This  pleasant  relationship  between  house  and 
grounds  is  very  evident  in  the  ])hotographs,  and 
gives  promise  of  a  rare  degree  of  charm  when  the 
place  is  older.  It  is  the  sort  of  house,  indeed, 
which  time  will  mellow  and  beautify;  it  is  de- 
signed to  be  an  "old"  house. 

The  plan  is  an  interesting  one,  and  as  logical  as 
it  is  interesting.  There  is  always  a  pleasant  c[ual- 
ity  of  informality  about  a  plan  in  which  the  wings 
slant  off  at  angles,  and  in  this  case  there  is  effected 
an  excellent  arrangement  of  rooms,  both  on  the 
first  and  second  floors. 

On  the  first  floor  the  dining-room  is  an  unusual 
and  pleasant  room,  because  it  may,  in  fair  weather, 
be  converted  into  the  open  air  by  raising  the  great 
panes  of  plate  glass,  which  are  set  in  metal  frames 
and  counterweighted  to  raise  completely  out  of 
sight.  This  dining-room  is  in  the  octagonal  tower 
seen  on  the  garden-front  of  the  house,  and  it 
commands  beautiful  views  toward  Long  Island 
Sound. 


P 


lllLAlM:LrilIA'S    HUNDRED   AND 
TENTH  EXHIBITION 


Ai  TiiK  reciuest  of  Mr.  Lewis,  presi- 
dent of  the  Pennsylvania  Academy  of 
the  Fine  Arts,  we  take  pleasure  in  publishing  his 
letter,  which  explains  a  regrettable  mistake  made 
in  our  recent  review  of  the  exhibition: 
Dear  Mr.  Nelson: 

I  have  read  with  interest  your  intelligent  appre- 
ciation and  criticism  of  the  iioth  Annual  Exhibi- 
tion of  the  Pennsylvania  Academy  of  the  Fine  Arts 
as  published  in  No.  217  of  The  International 
Studio.  Like  everything  else  you  write,  it  is 
worthy  of  careful  consideration.  One  criticism 
you  make,  however,  I  must  take  exception  to. 

"Why  such  a  picture  as  18'j^  should  be  singled 
out  for  distinction  as  against, for  instance, a  neigh- 
bouring canvas  by  Frank  W.  Benson,  The  Seam- 
stress, is  one  of  those  riddles  of  the  universe  which 
the  most  seasoned  gallery-goer  fails  to  solve." 

Frank  W.  Benson's  picture,  The  Seamstress,  was 
not  eligible  for  the  Lippincott  Prize,  first,  because 
he  received  the  prize  in  1903,  twelve  years  ago,  and 
secondly  because  the  prize  is  awarded  to  a  picture 
which  is  for  sale,  and  TheSeamstress  is  not  for  sale. 

I  am  sorry  you  made  this  mistake,  and  I  think 
it  ought  to  be  corrected  in  justice  to  Mr.  William 
M.  Paxton,  who  exhibited  1875,  which  did  receive 
the  prize;  in  justice  to  Mr.  Frank  W.  Benson, 
whose  picture  you  say  in  effect  was  considered  for 
the  prize  and  rejected,  and  in  justice  to  the  com- 
mittee on  exhibition  of  the  board  of  directors, 
whose  judgment  has  been  impugned. 

Probably  the  simplest  way  of  making  the  correc- 
tion, knowing  as  I  do  your  love  for  truth  and  your 
determination  to  stand  by  the  truth,  is  to  publish 
this  letter  in  the  next  number  of  your  valuable 
journal.     I  remain.         Yours  very  truly, 

John  F.  Lewis. 


GENERAL    VIKW    SHOWING   THE    GROUNDS 


What  Tale  does  this  Tapestry  Tell? 


W 


HAT    TALE    DOES 
TAPESTRY  TELL? 


THIS 


In  answer  to  Mr.  Lewis's  article  in 
March  issue 


The  monograph  on  King  David  as  he  is  de- 
picted by  miniaturists  of  the  fifteenth  and  six- 
teenth centuries  communicated  by  Mr.  John  F. 
Lewis,  president  of  the  Pennsylvania  Academy  of 
Fine  Arts,  is  interesting  so  far  as  it  goes.  Mr. 
Lewis  will  pardon  me,  I  am  sure,  if  I  say  that  it 
does  not  decide  the  question  at  issue. 

We  have  only  to  compare  the  king  in  the  tapes- 
try under  discussion  with  the  type  of  King  David 
seen  in  these  miniatures  to  see  that  he  does  not 
conform  to  type.  Not  only  does  he  lack  the  harp, 
which  is  almost  always  his  badge  and  credential, 
as  the  broken  wheel  is  that  of  Saint  Katharine,  and 
the  gridiron  that  of  Saint  Lawrence,  but  he  carries 
a  sceptre,  and  his  expression  is  neither  that  of  the 
inspired  psalmist  nor  that  of  the  man  suddenly 
attacked  by  "love  at  first  sight."  Is  it  not  rather 
the  face  of  a  man  brooding  over  a  wrong,  suffering 
the  pangs  of  jealousy?  Far  removed  from  the 
emotions  more  or  less  unskilfully  suggested  in  the 
face  of  King  David  by  the  miniaturists,  is  it  not 
reasonable  to  refer  this  king  to  the  secular  sphere 
of  the  romances  rather  than  endeavour  to  accom- 
modate all  the  difl&culties  of  the  scene  to  a  story 
from  the  Old  Testament  ? 

If  Mr.  Lewis  thinks  that  an  artist  circa  1 500  to 
1525  would  be  squeamish  regarding  the  nude  and 
intentionally  depict  Bath-sheba  in  a  magnificent 
gown  with  long  train,  jewels  in  her  coif  and  neck- 
laces over  her  shoulders,  how  does  he  account  for 
the  miniature  he  shows  in  which  David  is  depicted 
naked  in  a  river  and,  again  (which  is  more  to  the 
point),  for  the  miniature  from  a  Book  of  Hours  in 
which  Bath-sheba  is  displayed  entirely  nude  stand- 
ing in  a  circular  fountain,  while  King  Da\id  looks 
on,  not,  as  Mr.  Lewis  imagines  the  king  in  the 
tapestry  to  gaze,  leering,  but,  on  the  contrary, 
quite  without  expression,  from  a  window  in  the 
castle?  We  have  many  similar  scenes  in  Books 
of  Hours  written  and  painted  for  serious  men  and 
women,  and  some  that  were  printed  and  then 
illustrated  by  hand;  they  come  down  to  1525. 
Why  should  a  designer  for  tapestry  suppress  the 
bathing  fountain  and  the  nudity,  when  the  minia- 
turist embellishing  a  prayer-book  saw  no  wrong  in 
such  a  scene?  While  it  is  true  that  the  miniatur- 
ists put  local  backgrounds  of  castle  and  interior 


behind  BibUcal  figures,  it  is  also  true  that  along 
with  the  Renaissance  came  an  effort  to  indicate 
the  Orient,  as  we  see  among  the  Itahan  painter- 
primitives  when  they  introduce  palm  trees,  camels 
and  turban-bearing  followers  in  such  popular  pic- 
tures as  The  Adoration  of  the  Magi. 

The  Oriental  touch  which  Mr.  Lewis  finds  in  the 
late-Gothic  architecture  of  the  fountain  seems  very 
remote.  The  Altman  collection  has  a  Virgin 
Mary  and  Bambino  by  Bernard  van  Orley,  the 
famous  Flemish  designer  of  tapestries,  which  has 
a  similar  fountain,  as  far  as  possible  from  Oriental 
in  shape  I  Mr.  Lewis  has  a  good  deal  to  say  about 
the  turban  and  the  crown,  as  if  I  had  suggested 
that  the  king,  if  David,  would  have  worn  a  tur- 
ban. Re-reading  "What  Tale  does  this  Tapestry 
Tell?"  he  will  see  that  we  should  expect  among 
the  male  attendants  some  sign  of  the  turban,  in 
accordance  with  the  paintings  and  prints  of  the 
period  to  which  this  tapestry  belongs. 

While  I  admire  the  tapestry,  I  cannot  go  along 
with  Mr.  Lewis  so  far  as  to  believe  that  "probably 
every  figure  is  intended  as  a  portrait."  I  regret 
that  I  cannot  accept  the  suggestion.  If  it  were  so, 
it  would  go  far  to  prove  my  thesis,  viz.:  that  we 
have  here  an  imaginary  scene  from  some  romantic 
lay  about  King  Mark,  Tristan  and  Isolde,  or  King 
Arthur,  Lancelot  and  Guinevere.  It  is  easier  to 
suppose  that  a  design  for  a  Court  circle  would  con- 
tain portraits  of  members  of  that  circle  than  a 
design  for  a  church.  In  the  latter  only  portraits 
of  donors  w-ere  placed,  and  always  in  subordinate, 
reverent  positions. 

As  to  Mr.  Lewis's  remarks  regarding  the 
"housetop,"  let  him  observe  where  Rembrandt 
places  King  David  in  his  celebrated  nocturne 
showing  Bath-sheba,  completely  nude,  in  her 
courtyard,  a  painting  now  in  the  Altman  collec- 
tion. I  also  differ  from  him  when  he  says:  "The 
mediaeval  artist  had  never  seen  the  roof  of  an 
Oriental  house,  flat,  parapeted,"  etc.,  in  this  sense. 
I  am  sure  an  artist  of  the  calibre  of  him  who  made 
this  design  must  have  travelled  in  Italy,  like 
Bernard  van  Orley,  and  while  there  would  have 
seen  housetops  very  similar  to  those  of  the  Levant. 

Much  as  I  regret  to  differ  on  an  art  matter,  even 
so  small  a  matter,  from  the  president  of  the  Penn- 
sylvania .\cadem>-,  I  must  repeat  that  Mr.  Lewis 
fails  to  substantiate  the  easy-going,  conventional 
assignment  of  King  Da\id  to  the  king  depicted  in 
this  tapestrw  Will  not  some  one  suggest  a  more 
probable  character?  Charles  de  Kvy, 


IViiladclpJiia  .Irt  Chtb  lix/iibifiou 


Members'  Exhibition.  Arl  Club  of  Philadelphia 
WINDY   AFTERNOON 


BY  LEON   KROLL 


P 


IIILADELPHIA    ART    CLUB 
KXHIBITION 
BY  EUGENE  CASTELLO 


FiFTV-NiXK  works  in  oil  l)y  artist 
meml:)ers  of  the  Art  Club  of  Philadelphia  were 
on  view  in  the  f^allery  from  February  2 1  to  March  5 
inclusixe,  and  this  was  followed  by  another 
exhibition  about  two  weeks  later,  open  to  contri- 
butions from  members  of  the  profession  in  general 
and  subject  to  selection  by  a  jury.  Not  a  few  of 
the  canvases  here  shown  are  imy)ortant  ones,  the 
production  of  painters  whose  names  do  not  appear 
in  this  year's  Academy  show  or  who  are  repre- 
sented there  by  less  interesting  works,  a  situation 
that  is  probably  consoling  to  them  and,  of  course, 
satisfactory  to  the  public  not  concerned  with  local 
differences  of  opinion  on  artistic  coteries.  An 
effort  was  made  to  give  every  artist  member  of  the 
Club  who  so  desired  an  opportunity  to  exhibit  at 
least  one  of  his  works,  limiting  him,  however,  to  a 
reasonable  size  of  canvas.  Some  show  more  than 
one  such,  as  William  .M.  Chasi-,  for  example,  who 


is  represented  by  three:  a  portrait  of  his  son, 
Master  Roland  Dana  Chase,  lent  by  Mrs.  William 
M.  Chase;  an  Old  Fisherman,  and  a  still-life  picture 
of  Deep  Sea  Cod,  admirable  works,  each  in  a  differ- 
ent way,  and  characteristic  of  the  versatile  painter. 
Benedict  Osnis  shows  portraits  of  Marcia  and 
Sonia,  engaging  presentments  of  ingenuous  child- 
hood. Henry  Rittenberg's  well-designed  and 
skilfully  brushed  figure,  entitled  Reflections,  has 
the  real  distinction  attached  to  the  portrayal  of  a 
very  charming  personality.  He  also  shows  a  capi- 
tal bit  of  still-life  that  is  admirable  in  facture. 
Joseph  de  Camp  exhibits  a  very  effectively  illu- 
minated three-quarter,  entitled  Silver  Waist; 
William  H.  K.  Yarrow  a  well-conceived  figure  of  a 
girl  of  distinctly  Spanish  type,  entitled  Minnie. 
L.  ,G.  Seyffert  occupies  the  honour  place  in  the  gal- 
lery with  a  full-length  "arrangement,"  entitled 
Study  in  Blue  and  Gray,  a  very  slender  young 
v.oman  in  diaphanous  drapery  of  delicate  contrast- 
ing colour  forming  the  subject  of  the  work,  and 
Lazar  Raditz  has  a  carefully  painted  portrait  of 
Mr.  H.  Dale  Benson  on  view. 


PliiladelpJiia  Art  Club  ExJiibition 


Emil  Carlsen  shows  two  small  but  very  telling 
landscapes.  The  Canal,  and  Woods,  Interior.  Ed- 
ward W.  Redtield  exhibits  three  works,  two  of 
them  snow  scenes,  the  other  Stover's  Mill,  one  of 
the  most  virile  canvases  that  has  been  observed  as 
coming  from  his  hand  recently.  William  Rit- 
schel's  Ice-Bound  Ledges,  Monhegan  Island,  has 
some  wonderfully  forceful  and  realistic  painting  of 
massive  boulders  and  tumult  of  heavy  surf.  Birge 
Harrison  shows  some  poetic  moonlight  scenes  of 
beach  and  river.  Alexander  Harrison  contributes 
a  view  of  Venice  by  Moonlight.  Charles  P.  Gruppe 
is  represented  by  an  interesting  work  depicting  a 
Street  of  Xra.'  York.  Paul  King  shows  a  character- 
istic Mill  Road,  true  to  nature  in  rendering  of 
atmospheric  greys.  Besides  a  convincing  por- 
trait of  Mr.  John  R.  Tinkham,  W.  W.  Gilchrist 
has  a  very  good  study  of  the  nude  entitled 
The  Mirror.  Leon  Kroll  shows  a  boldh-  han- 
dled landscape,  Windy  Afternoon. 


Members'  Exhibition  .  Art  Cluh  of  Philadelphia 

SILVER   WAIST  BY   JOSEPH    DE    CAMP 


Members'  Exhibition,  Arl  Club  of  Philadelphia 
ICE-BOUND  LEDGES,   MONHEGAN   ISLAND 


BY    WILLIAM    RITSCHEL 
I  IX 


< 


Members'  Exhibition,  Art  Club  of  Philadelphia 


REFLECTIONS 

BY  HENRY  H.  RITTENBERG 


Art  Patron  and  Master  Painter 


COLOUR   STUDY   FOR   SIDE    WALL 

CORPUS   CHRISTI    CHAPEL,    NEW    YORK   CITY 


A 


RT   PATRON   AND    MASTER 
PAINTER 
BY  W.  H.  DE  B.  NELSON 


The  great  cause  for  which  W.  Laurel 
Harris  has  for  years  been  working  and  agitating  is 
the  producing  of  industrial  art  in  an  industrial 
nation,  of  insisting  that  artist  and  art  students 


BY    W.    LAIRKL    HARRIS 


should  learn  not  only  to  utilize  material  but  to 
solve  the  problem  of  the  materials  used.  The  art- 
ist, as  a  rule,  is  not  a  practical  man.  and  in  no 
manner  is  this  lack  of  education  more  pro\en  than 
in  the  decay  and  fading  away  of  colour  that  may 
be  observed  among  so-called  masterpieces  of  mod- 
ern times.  He  believes  that  true  art  can  only 
occur  through  the  co-operation  ()f  the  art  patron 


hi  Pat  roil  aiu-l  Master  rainier 


DETAIL  OK  PANEL  CARVED  AND  (ilLDED 
FOR    CORl'LS    CHRISTI    CHAPEL 


BY  W.  LAIREL 
HARRIS 


and  the  master  painter,  aided  by  a  staff  of  young 
enthusiasts.  The  great  painters  of  old  were  not 
only  master  painters,  but  were  contracting  deco- 
rators in  the  fullest  sense  of  the  word,  and  in  Mr. 
Harris's  opinion  there  can  be  no  great  national  art 
until  the  time  is  forthcoming  that  we  moderns  can 
work  in  the  manner  and  spirit  of  such  men  as 
Raphael,  Pintericcio,  Fra  Angelico,  Giotto,  Gen- 
tili  da  Fabrino  or  Mantegna,  only  to  name  a  few 
of  this  illustrious  band.  In  other  words,  we 
should  revive  the  traditions  of  the  past  by  adding 
grace  and  colour  to  our  public,  semi-public  and 
private  buildings,  and  render  in  lines  and  tones  all 
that  is  or  should  be  dear  to  the  hearts  of  the  people. 

W.  Laurel  Harris  is  much  more  of  a  practitioner 
than  a  preacher,  however,  as  his  latest  memorial, 
Hunts  Point,  clearly  demonstrates. 

In  the  case  of  the  Corpus  Chri>li  Chapel  at 
Hunt's  Point,  which  in  its  main  features  may  be 


considered  as  completed,  there  was  a  s{)lendid  co- 
operation between  the  art  patron,  Mr.  John  D. 
( "rimmins,  and  the  master  painter,  W.  L.  Harris, 
who  with  untied  hands  was  enabled  to  carry  out 
his  scheme  of  decoration  from  alpha  to  omega,  so 
that  this  little  Dominican  chapel  stands  forth 
to-da>-  as  marking  a  distinct  epoch  in  American 
art ;  and  il  is  an  object  lesson  for  many  reasons,  not 
the  least  of  which  is  that  this  emprise  has  been 
entirely  protected  from  commercialism. 

The  large  wall  spaces  offered  to  the  mural  painter 
ideal  conditions.  The  centre  of  the  eastern  wall, 
where  the  Blessed  Sacrament  is  exposed  all  day,  is 
the  dominant  note  of  interest.  In  order  to  create 
the  sensation  of  splendour  and  glory,  every  re- 
source of  the  painter's  art  has  been  brought  into 
play:  intricate  patterns  of  gold  and  silver,  lapis 
la/Aili  and  malachite,  opals  and  mother-of-pearl. 


DETAIL  OF  PANEL  CARVED 
AND  GILDED  FOR 
CORPUS  CHRISTI  CHAPEL 


BY  W.  LAUREL 
HARRIS 


Art  Patron  and  Master  Painter 


combine  with  winged  cherubim  and  the  ra\s  of 
ascending  light.  A  border  in  high  relief  surrounds 
this  composition,  showing  the  passion- vine  in  a 
conventionalized  rendering,  whilst  amid  gold  and 
silver  one  sees  at  intervals  the  heraldic  device  of 
the  Dominican  Order.  Throughout  the  building 
the  passion-flower,  in  gold  and  orange,  is  repeated, 
giving  charm  and  brightness  to  every  corner. 
Panels  of  saints, 
prophets  and  apos- 
tles, along  with  the 
stations  of  the  Cross, 
complete  the  side- 
wall  ornamentation. 
The  carved,  gilded 
panels,  of  which, 
when  completed, 
there  will  be  twenty, 
are  to  be  tinted  in 
fourteenth- century 
manner,  like  the 
highly  prized  altar- 
pieces  of  that  remote 
period.  The  idea  of 
Mr.  Harris  is  to  give 
our  churches  a  unity 
of  decoration  which 
will  include  every- 
thing from  the  chairs 
to  the  ceiling  or 
dome.  There  should 
be  no  isolated  clus- 
ters of  art  objects. 

The  Church  of  the 
Paulist  Fathers  has 
occupied  many  fruit- 
ful years  of  W.  Laurel 
Harris's  life  and  has 
given  him  a  unic[ue 
experience  in  church 
decorating,  an  ex- 
perience  which   has 

born  golden  fruit  in  this  latest  achievement,  where 
nothing  was  left  to  chance.  The  master  painter 
who  conceived  the  scheme  was  on  the  scaffold 
with  his  men,  following  out  every  detail. 

The  fact  that  the  glorious  red  walls  of  a  Pom- 
peian  villa  have  survived  the  ravages  of  time  and 
climate,  while  a  few  years  suffice  to  make  a  modern 
wall  crack  and  peel,  has  led  Mr.  Harris  to  take 
great  precautions  with  flat  tints  and  plain  paint- 
ing.    Such  work  should  not,  in  his  opinion,  be 


DETAIL  OF  PANEL  CARVED  AND 
GILDED  FOR  CORPUS  CHRISTI  CHAPEL 


relegated  to  ordinary  workmen  devoid  of  artistic 
knowledge  and  imagination.  In  the  Corpus 
Christi  Chapel  the  pale  mat  tones  of  the  petals  of 
the  passion-flower  form  the  background,  over 
which  spread  in  intricate  pattern  the  purple  blue 
of  the  flower's  centre  and  the  dull,  cool  green  of 
the  pointed  leaves.    To  quote  Mr.  Harris: 

''How  much  happier  our  artists  would  be  if 
instead  of  organizing 
new  societies,  new 
exhibitions  and  get- 
ting forever  and 
without  end  into 
more  or  less  dis- 
graceful rows,  they 
were  one  and  all  en- 
gaged at  permanent 
work  on  the  walls  of 
our  public  and  pri- 
vate buildings.  But, 
unfortunately,  our 
modern  art  educa- 
tion is  somewhat  at 
fault.  Our  artists  are 
not  taught  to  obtain 
scientific  and  practi- 
cal results;  they  are 
not  trained  to  be 
master  painters. 
They, unfortunately, 
seldom  have  the 
practical  knowledge 
of  decorative  affairs 
displayed  by  hun- 
dreds of  great  Italian 
master  painters  of 
the  past.  Through 
all  the  ages  the  mas- 
ter painter  and  the 
art  patron  walked 
hand  in  hand,  help- 
ing each  other,  ren- 
dering gloriousand  permanent  the  hopes,  the  fears, 
the  ambitions  and  the  ideals  of  the  people." 

The  time  will  surely  arrive  when  mural  painting 
will  have  a  vogue;  when  our  public  buildings 
will  be  edifices  of  joy  and  beauty,  full  of  colour 
and  sculpture,  united  into  a  harmonious  scheme 
by  master  painters,  surrounded  by  their  pupils, 
all  endowed  with  a  like  desire  to  do  their  very 
best,  the  symbolism  of  their  thought  and  work 
extending  to  every  detail  in  the  design. 


BV  \V.  LAI  REL 
HARRIS 


Karl  II  'illichii  nicjfciibac/i 


mm 


K 


\RL  WILUKLM   DIKFFEN- 
BACH 

HV   KULALIK  OSGOOD 
GROX'KR 


Onk  of  the  most  significant  fijijures 
among  Cicrman  artists  of  the  present  time  is  that  of  Karl  W'ilhehn  DiefTenbach.  Through 
his  sympathetic  and  spontaneous  depiction  of  childhood  and  youth,  both  in  oil  and 
black  silhouette,  he  holds  a  uni([ue  ])lace  in  modern  art. 

He  is  a  folk)\ver  of  no  school,  though  he  has  caught  something  of  the  poetic  spirit  of 
the  early  Greeks  and  the  mural  decorators  of  ancient  Pom])eii  and  Herculaneum.     In 

fact,  his  art  rellects  the  influence  of  his 

long  life  in  southern  Italy  more  strongly 

than  it  does  that  of  his  home  country. 

This  may  be  e.\i)laine(l  l)y  the  fact  that 

about  twenty  years  ago  Herr  DielTenbach 

was  forced,  after  much  persecution,  to 
leave  his  fatherland  because  of  his  too  liberal  views  along  the  lines  of  religion  and 
personal  conduct.  He  has  himself  described  how,  with  his  three  little  children,  he 
wandered,  an  exile,  across  the  rugged  Swiss  mountains  and  down  the  sunny  slopes  of 
Italy,  until  he  found  his  "Paradise"  among  the  simple,  friendly  peasants  on  the  ancient 
royal  island  of  Gapri.     Here,  without  interference,  he  is  living  his  life  in  simplicity  and 

trustfulness,  recording  in  verse  and  pic- 
ture many  of  his  dreams  of  ideal  beauty 

and  joy. 

He  has  discarded  the  ordinary  costume 

and  wears  a  long  grey  robe,  with  sandals 

on  his  bare  feet  and  no  hat  to  cover  the 
uncut  hair  which  is  combed  straight  back  from  his  high  forehead.     He  is  one  of  the 
most  picturesc{ue  iigures  on  the  famous  little  island,  and  a  visit  to  his  studio,  such  as 
the  writer  was  privileged  to  make  a  short  time  ago,  gives  a  glimpse  of  this  unusual  and 
impressive  personality  that  is  not  soon  forgotten. 

Perhaps  the  most  strikingly  beautiful  of  Herr  Dieffenbach's  recent  work  is  the  poem 

and  panel  picture  entitled,  "Per  Aspera 

ad  Astra,"  or  "  Meines  Lebens  Traum  und 

Bild:  auf  Rauher  Balm  zu  den  Sternen 

liinan."    The  poem  is  a  charming  series 

of  word-pictures,  showing  the  joyous  and 

triumphant  life-journey  of  a  human 
family  in  right  relation  with  its  God  and  its  fellow  creatures.  This  gospel  of  "Peace 
on  earth  for  men  and  animals,  holy  peace  for  all  nature,"  is  also  the  theme  which  is 
developed  so  e.xciuisitely  and  irresistibly  in  the  thirty-four  silhouette  pictures  which 
accompany  the  poem,  some  of  which  are  reproduced  here.  They  are  depictions  of 
the  rhvthmical  grace  and  the  joyous  companionship  of  children  and  creatures  at  jieace. 
But   they  are   more  than  this.     The 

sweep  and  movement  of  the  drawing,  the 

freshness  and  spontaneity  of  the  compo- 
sition, the  grace  and  vigour  of  the  rac- 
ing, leaping,    dancing  child-figures,    the 

strength  and  beauty  of  the  friendly  ani- 
mals, and  the  delicate  tracery  of  the  vegetation,  make  this  series  one  of  Germany's  most 
notable  contributions  to  modern  art. 


/^g^t^A 


/;/  the  Galleries 


THE   ANTIQUARIAN 


BV    J.    DE    TAHY 


IN  THE  GALLERIES 
In  these  days  of  over-production  in  paint- 
ing and  sculpture,  to  mention  the  principal 
art  items  which  the  public  is  invited  to  view 
it  behooves  one  to  manifest  a  great  care  in  what 
to  see  and  what  to  neglect.  This  season,  more 
than  any  previous  one,  we  find  several  galleries 
interested  in  a  never-ceasing  whirl  of  group  ex- 
hibitors of  every  degree  of  talent  and  impotency. 
To  see  the  occasional  good  things  one  has  to 
take  in  regard  hundreds  of  exhibits  which  cer- 
tainly deserve  hanging — hanging  in  chains,  like 
felons,  by  the  cross-roads.  Then  there  are  the 
personal  offenders,  as  distinguished  from  grou])s. 
The  one  man  or  the  one  woman,  perhaps  an 
infatuated  couple,  who,  fresh  from  the  master's 
hands,  feel  it  essential  to  disfigure  a  few  walls  and 
wait  in  spidery  anticipation  upon  the  public  fly. 
In  such  wise  art  is  degraded  and  the  artists  reap 
no  benefit.  Of  course,  there  are  exceptions,  and  we 
hasten  to  mention  one  or  two  that  occur  to  mind. 
A  very  interesting  display  of  Spanish  art,  in  the 
manner  of  the  great  protagonists,  Zuloaga  and 
SoroUa,  was  an  exhibition  in  the  gallery  of  liraun 


et  Cie.  by  Pascual  Monturiol,  who  portrays  the 
drudgery  of  life  in  its  most  perspiring  phases. 
Lumbermen  with  Herculean  chests,  bending  be- 
neath their  load,  foundry  men,  lightermen,  long- 


(  <)Mr(fsv  Bt'riin  I'holographu  Company 

MOTHER   AND   TWINS  BY    MAI  RK  E 


///  t/ic  (id //cries 


To  he  hung  in  he  Stale  Hon 

GEN.  GEORGE  ROGERS  Cl.AKK 


liV  OTTO  STARK 


shoremen,  and  his  decorative  panels,  with  ])urple 
and  gold  clouds  on  the  horizon,  and  a  procession 
of  fisherfolk  going  to  or  returning  from  the  boats, 
are  fine  compositions.  The  spirit  of  Meunier, 
whose  pupil  he  was,  breathes  in  many  of  the  draw- 
ings. The  best  figure-piece  is  Jose  Flores  and 
Family,  a  fat,  over-dressed  gipsy  and  wife,  airing 
their  wealth  and  their  three  buxom  daughters 
who  walk  in  front  to  meet  the  admiration  and 
envy  of  Barcelona.     To  offset  the  squalid  side  of 


life  and  its  degrading  poverty,  the  artist  has  dotted 
his  exhibition  about  with  many  smiling  and  happy- 
l(H)king  gii)sy  girls,  but  these  are  somewhat  com- 
mercial paintings  and  tlo  not  explain  the  man. 

Ossip  L.  Linde  showed  some  twenty  canvases  in 
the  studio  of  C.  S.  Pietro,  the  sculptor.  His  work 
formed  the  subject  of  a  special  article  in  our  last 
issue. 

Scarpitta,  the  young  Sicilian  sculptor,  gave  a 
numerically  big  exhibition  in  the  galleries  of 
Ehrich  Brothers.  Though  in  many  respects  an 
excellent  craftsman,  one  feels  that  he  lacks  origi- 
nality and  force,  that  Mnemosyne  somewhat  o\-er- 
rules  the  creative  Muses.  However,  he  is  still 
}()ung  and  much  of  his  work  portends  a  successful 
future.  Noticeable  among  his  works  are  his  Amor 
di  Madrc,  Lady  Godiva  and  The  Last  Bond. 

In  our  last  issue  a  portrait  by  J.  H.  Gardner 
Soper,  of  Perugini,  was  attributed  to  George 
Soper.     We  pray  forgiveness. 

Bourgeois  Galleries,  668  Fifth  Avenue,  have 
arranged  for  an  exhibition  of  the  works — paint- 
ings, lithograi)hs  and  etchings — of  Henrik  Lund, 
the  Norwegian  artist,  to  run  from  April  3  to 
April  24.  Dr.  Christian  Brinton  has  consented  to 
write  an  appreciation,  which  will  appear  in  the 
May  number. 

Mr.  Martin  Birnbaum,  of  the  Berlin  Photo- 
graphic Company,  is  only  in  his  element  when 
able  to  secure  outre  exhibitions  of  what  might  be 
styled  "hothouse  art,"  and,  fortunately  for  the 
elements,  he  is  very  often  in  the  happy  position  of 
tendering  rich,  rare  and  exotic  offerings  to  an 
artistic  public.  It  is  comforting  to  observe  that 
this  discriminating  searcher  after  art  of  cosmopoli- 
tan importance  occasionally  deigns  to  select  an 
American  artist  as  his  showman,  in  this  instance 
Maurice  Sterne,  who,  self-exiled,  like  Gauguin  in 
Tahiti,  has  spent  years  in  India  and  the  Archi- 
pelago. 

The  Tack  Exhibition,  lately  concluded  at  the 
Worch  Galleries,  was  an  immense  success,  artisti- 
cally considered,  and  the  pictures  will  go  by 
invitation  of  Miss  Cornelia  Sage  to  the  Albright 
Gallery,  Buffalo. 

A  rehabilitation  of  the  New  York  Society  of 
Etchers  has  taken  place,  and  henceforth  those  in- 
terested will  find  a  great  change  in  the  spirit  and 
management  of  this  youthful  Society,  whose  board 
will  consist  of  the  following  gentlemen:  Mahonri 
Young,  president;  Arthur  Covey  and  Earl  Horter, 
vice-presidents;  George  T.  Plowman,  secretary, 


In  the  Galleries 


and  Howard  McCormick,  treasurer.  In  connec- 
tion with  etching,  it  may  be  mentioned  that  Mr. 
Plowman  is  enrolUng  members  for  a  class  to  be 
held  in  the  studios  of  the  Carlton  Illustrators,  top 
floor  of  the  Fuller  Building.  Any  one  interested 
should  write  quickly,  before  the  class  is  completed, 
to  Mr.  Plowman  at  the  National  Arts  Club,  who 
will  give  all  information. 

The  Arlington  Galleries  have  been  exhibiting 
the  work  of  several  lady  artists,  most  prominent 
among  whom  by  the  work  exhibited  are  Jane 
Peterson  and  Alethea  Hill  Piatt.  The  former  has 
a  well-painted  picture,  entitled  Red  Parasol,  some- 
what injured  by  the  fact  that  the  lady  belonging 
to  the  parasol  is  attempting  the  difhcult  task  of 
walking  up  a  wall  instead  of  what  are  intended  to 
be  steps.  No  wonder  the  lady  looks  over  her 
shoulder,  inviting  sympathy  in  her  difficult  enter- 
prise. 

A  Sunlit  Wood  and  An  Old-World  Workshop  are 
very  creditable  performances  by  Alethea  Hill 
Piatt.  The  Sphinx,  by  Georgia  T.  Fry,  is  a  good 
rendering  of  a  somewhat  worn  subject.  These 
galleries  will  next  be  giving  an  exhibition  of  the 


water-colours  of  Onorato  Carlandi,  who  has  been 
exhibiting  this  winter  in  Boston. 

A  new  gallery  has  been  opened  at  14  East 
Forty-sixth  Street,  by  Mr.  John  Levy,  whose 
evident  intention  is  to  show  first-class  work,  judg- 
ing by  the  pictures  he  has  hanging. 

The  Art  Club  of  Philadelphia  has  awarded  the 
Gold  Medal  to  Joseph  de  Camp  for  his  oil  paint- 
ing bearing  the  title  Silver  Waist,  reproduction  of 
which  appears  in  this  issue  on  page  lix. 

Among  our  reproductions  is  an  interesting  trib- 
ute to  General  Clark  painted  in  a  dignified  manner 
suitable  to  its  destination  in  Indiana's  State 
House.  The  artist  is  Otto  Stark.  A  painting  by 
the  Hungarian  artist,  J.  de  Tahy,  adorns  the  top 
of  page  Ixv,  and  is  a  pleasing  composition  full 
of  character.  At  the  foot  of  this  page  is  the 
reproduction  of  a  clever  impression  by  Theresa 
Bernstein. 

A  very  beautiful  display  of  Japanese  drawings 
and  prints  by  Ichiryusai  Hiroshige  is  drawing 
enthusiastic  print  lovers  to  the  Yamanaka  Galler- 
ies. The  catalogue  is  beautifully  gotten  up,  with 
a  colour  frontispiece  and  numerous  half-tones.    In 


SEKING    THH    WAR    NEWS    ON    HKOADWAV 


HV  thi:ki:sa  hkhnsti  in 
i.xvii 


///  the  (id //cries 


lot)k.ing  at  tht'sc  wondrous  designs  and  tlolicalc 
phantasies  it  is  not  surprising  that  si>  many  artists 
deri\e  much  from  Japan. 

The  Macbeth  (lallery  ])ecame,  during  March, 
a  \erital>le  dancing  hall.  Beautiful  bronzes,  rang- 
ing from  a  tiny  little  dancing  babe  three  or  four 
inches  high,  by  Lillian  Link,  to  larger  works  by 
Robert  .\itken.  MaKina  HolTmann  and  Alice 
Morgan  Wright,  to  name  only  a  few,  illustrated 
the  dance  classically  and  barbarically  performed. 
More  interesting  still  were  the  drawings  above 
them  h\  Arthur  B.  Daxies  in  chalk  and  charcoal. 

A  painting  by  Carton  Moorepark  of  Mr.  Ewart 
has  been  for  some  time  on  view  in  the  window  of 
the  Scott  &  Fowles  Gallery.  This  portrait  com- 
manded attention  from  the  fact  that  it  occupied 
the  window  e.\clusi\ely,  and  from  the  more  im- 
portant fact  that  it  revealed  itself  as  an  achieve- 
ment very  much  in  advance  of  the  usual  portrait 
work  performed  in  New  York.     Carton  Moore- 


j)ark  is  an  artist  of  unusual  attainment,  as  collect- 
ors are  beginning  to  percei\'e. 

\'arnishing  day  and  press  view  of  the  ninetieth 
annual  exhibition  of  the  National  Academy  of 
Design  were  on  ALirch  ic).  As  usual,  the  exhibi- 
tion will  be  duly  noticed  in  The  Studio.  A  visit 
to  the  Farmer  studios  at  5  West  Fifty-sixth  Street 
is  a  joyful  event.  The  room  decorations,  with 
splendid  carvings  and  gildings  and  temple  cur- 
tains, make  a  beautiful  design  and  set  ofT  in  a 
remarkable  manner  the  Chinese  antiques  which 
Mr.  Farmer  has  so  intelligently  collected. 

March  Number 

By  an  unfortunate  accident  several  imperfect 
copies  were  mailed.  Subscribers,  especially  those 
who  have  their  numbers  bound  up,  would  do  well 
to  assure  themselves  that  they  have  perfect  copies. 
A  glance  at  the  first  page  will  give  the  necessary 
evidence. 


Courtesy  Berlin  Photographic  Compatr. 
A    BALI    DAN'CE 


BY   MAURICE    -STERNE 


LABANDON.       BY 
J.  H.  FRAGONARD 


^By  permission  of  Messrs.  Titos.  An"""  Sr  Sons, 
Publishers  of  the  large  engraving) 


NTERNATIONAL 
STUDIO 


VOL.  LV.     No.  219 


Copyright,  1915,  by  John  Lane  Company 


MAY,  1915 


T 


HE  SPRING  ACADEMY 
BY  W.  H.  DE  B.  NELSON 


With  the  return  of  spring  the  Na- 
tional Academy  of  Design  in  New  York 
City  has  once  more  held  its  annual  and  ninetieth 
exhibition.  Departing  from  usual  custom,  it  was 
decided  to  make  it  an  entirely  free  exhibition,  and 
to  judge  by  the  capital  attendance  the  experiment 
has  been  crowned  with  success.  If  art  can  be 
popularized,  the  best  way  to  set  about  the  task  is 
undoubtedly  to  do  away  with  gate  money.  Possi- 
bly in  time  the  Academy  may  find  it  convenient 
even  to  provide  representatives  of  the  press  with 
needed  photographs  of  the  exhibits,  thus  stepping 
into  line  with  Philadelphia,  Pittsburgh,  Washing- 
ton, Chicago  and  other  art  centres  which  follow 
this  plan  not  merely  as  a  matter  of  courtesy,  but 
more  as  a  matter  of  course.  Possibly  before  the 
advent  of  the  millennium  they  may  even  proffer 
cakes  and  lemonade.  Free  entrance  is  not  the 
only  sign  of  the  occasion.  This  exhibition  marks 
the  official  exodus  of  Mr.  John  W.  Alexander,  who 
in  discarding  his  mantle  may  well  exclaim: 
'^Hic  victor  ccestus  artemque  repono.^' 
The  display  embraced  close  upon  five  hundred 
numbers,  including  thirty-four  pieces  of  statuary, 
mostly  of  a  small  character,  excepting  the  exquis- 
ite young  girl  in  bronze  by  Rudulph  Evans,  stand- 
ing at  attention  with  an  apple  in  either  hand. 
That  most  difficult  pose  has  been  gracefully 
achieved,  and  the  stiffness  of  the  heel-to-heel  posi- 
tion does  not  obtrude  to  mar  in  any  way  the  com- 
position. An  excellent  bronze  is  Tying  the  Sandal, 
by  Charles  Louis  Hinton,  who  has  pleasingly 
solved  a  difficult  problem.  From  all  sides  the 
bending  figure  presents  fine  sweeping  lines  and 
charming  contours. 

So  much  is  truly  good  art  in  the  four  well-hung 
galleries  that  we  may  be  pardoned  for  calling 


attention  later  on  to  a  lower  standard  of  art,  of 
course  without  singling  out  examples. 

F.  Waugh  gives  us  the  many- twinkling  smile  of 
ocean  in  his  South  Atlantic,  which  is  a  splendid  bit 
of  objective  painting.  Paul  Dougherty  was  con- 
spicuous by  his  absence.  A  somewhat  bizarre 
canvas  by  Gifford  Beal  reveals  him  at  his  best.  No 
elephants  on  this  occasion,  but  a  scene  from  the 


I'OLLV  WITH  Till-: 
ROM.W  SC.VRI" 


UY  \.  M  \YN.\KI» 
WII,LI.\MSON 


The  Spring  Academy 


NORTH    RIVER    FRONT 


Hippodrome,  and  as  fine  a  piece  of  impressionistic 
work  as  could  be  found  on  any  wall.  It  is  a  blague 
of  brutal  strength,  from  the  huge  curtain  to  the 
motley  crowd  and  the  ambling  white  horses 
shaded  with  green  and  Ijlue.  The  whole  thing  is 
splendidly  vital  and  entertaining.  For  beauty  of 
sheer  paint  we  turn  to  George  Bellows'  Young  Girl, 
which  compels  admiration. 

In  a  general  survey  the  reflecting  visitor  could 
hardly  escape  the  feeling  that  very  much  labour  is 
bestowed  upon  clay  and  canvas  that  would  find  a 
more  useful  outlet  in  field  or  factory.  A  large  per- 
centage of  artists  continue  to  produce  bad  art, 
memories  of  the  past,  continuations  of  bygone  suc- 
cesses, flagrant  imitations  of  the  quick  and  the 
dead.  The  uninteresting  and  lifeless  work  of  the 
'fifties  and  'sixties,  instead  of  being  scrapped  and 
forgotten,  is  recreated  daily  and  with  an  audacity 
past  all  comprehension  the  craftsman  submits 
these  unnecessary  efforts  to  a  too  indulgent  jury. 
And,  yet,  are  these  efforts  entirely  futile?     We 


may  see  those  four  blessed  letters, 
more  euphonic  than  Mesopota- 
mia, "  Sold,"  in  the  bottom  corner 
of  canvases  which,  judged  as  art, 
have  little  intrinsic  worth  beyond 
the  cash  value  of  the  frame.  The 
public  is  therefore  as  much  to 
blame  as  the  artist.  Both  need 
to  be  educated.  Just  as  long  as 
trashy  pictures  find  a  market 
hundreds  of  artists  will  arise  at 
cock-crow  to  supply  the  need. 

We  shall  only  then  secure 
the  best  art  in  America  when 
the  artists  themselves  feel  less 
trammelled  by  convention.  Their 
main  fault  is  that  they  are  too 
timid.  Some  few  that  we  could 
name  are  gaining  pictorial  or  plas- 
tic freedom  by  their  temerity,  by 
which  term  it  shall  not  be  implied 
that  pyrotechnics  or  any  unsane- 
ncss  should  be  countenanced. 
Cubism  and  kindred  phenomena 
are  as  dead  as  the  proverbial  door- 
nail ;  where  their  devoteesexpected 
a  thoroughfare  they  were  pulled 
up  short  in  a  cul-de-sac.  The 
reason  is  that  all  these  isms  have 
been  developed  upon  insecure 
premises.  To  arrive  at  the  top 
peaks  of  Parnassus  requires  strict  equipment 
and,  above  all  things,  a  solid  foundation  to 
the  training  received.  Foundationless  art  has 
the  same  chance  of  soaring  as  an  uncharged 
balloon.  Those  artists  who  are  progressing  are 
doing  so  for  the  reason  that  their  art  man- 
sions have  been  constructed  solidly,  so  that  they 
can  and  do  experiment  continually  with  mod- 
ern problems;  they  are  actualists  in  whose  lap  the 
future  of  art  in  this  country  reposes.  At  present 
there  is  too  much  paltering  with  the  past,  too  much 
hanging  on  to  the  skirts  of  tradition,  as  though 
American  artists  were  not  big  enough  to  build  up 
their  own  tradition.  The  material  is  at  hand  and 
beckoning  to  those  who  will  only  envisage  it. 

Viewed  from  a  distance  that  no  ordinary  room 
ofTers,  Hawthorne's  picture  is  a  grand  study  of 
filtered  light.  A  woman  of  mulatto  type  appar- 
ently— else  how  could  those  brown  tones  relate 
with  the  purple  walls? — is  occupied  with  spring 
fashions.     The  piece  is  well  staged  and  the  painter 


BY   ALBERT   KROLL 


The  Spring  Acadefny 


Isaac  N.  Maynard  Prize 

PORTRAIT  OF  DR.  FELIX  ADLER 


BY  DOUGLAS  VOLK 


is  estranged  from  his  usual  somewhat  sombre  pal- 
ette. Snowscapes  retain  their  popularity  to  an 
extraordinary  degree  among  our  American  artists, 
and  every  quality  of  snow  and  bleakness,  from  the 
feathery   material    to  glacial   snow,  find  their 


places  upon  the  walls.  Among  the  brigade  who 
wrestle  ably  with  winter  problems  are  E.  \V.  Rcd- 
lield,  VV.  E.  Schofield,  Paul  King,  Gardner  Symons, 
Charles  Rosen, Jonas  Lie, Everett  L.Warner,  Carl 
Eric  Lindin,  Gustavo  Wicgand  and  James  Knox. 


The  Spn'/io-  .Academy 


First  Hallgarten  Prize 
BEBALO 


BY    EUGENE    SPEICHER 


Albert  (iroll  had  a  small  canvas  of  his  favourite 
hunting  ground.  Arizona,  with  an  excellent  sunset 
effect. 

Louis  Betts  showed  a  \ery  attractixe  portrait, 
representing    in    full    length    the    winsome    little 

L.XXIV 


daughter  of  Mr.  and  Mrs.  Gardner  Symons,  whose 
name,  by  the  way,  is  not  Bessie.  The  easy  pose, 
tine  composition  and  luscious  colour  mark  this 
portrait  out  as  one  of  the  best  exhibited.  Other 
good  children  paintings  were  Miss  Florence  Rossiu, 


The  Spring  Academy 


SNOWFALL    IN    THE    WOOD 


BY    EVERETT    WARNER 


by  Irving  R.  Wiles,  a  splendid  instance  of  insou- 
ciant childhood  in  white  frock,  blue  bows  and  a 
little  blue  elephant  toy  at  her  feet.  The  back- 
ground might  have  been  more  luminous  and  in 
better  tone,  but,  take  it  all  in  all,  the  artist  has 
given  us  a  very  striking  portrait  in  excellent  taste. 
Lydia  Emmet's  Goldfish,  too,  is  a  charming  piece 
of  childhood — a  little  tot  gazing  into  a  bowl  of 
goldfish — very  joyous  in  colour  and  conception. 
Theresa  Bernstein  is  a  young  artist  with  a  well- 
assured  future  to  face.  Her  groups  are  splendidly 
observed,  and  when  she  departs  from  a  certain 
tendency  to  mix  molasses  with  her  pigments  her 
canvases  will  be  still  more  compelling  in  interest. 
In  the  south  gallery  was  a  large  composition  by 
this  artist,  representing  a  crowd  at  the  box-ofTicc. 
The  different  types  of  music  lovers  and  that  edging 
movement  of  the  line  have  been  well  c\idenced  in 
paint.  Arthur  Hoeber  in  Willoivs  and  Granville 
Smith  in  Cedars  have  displayed  good  qualities  in 
paysage  intime.  The  latter's  End  of  the  Pier  is 
bathed  in  atmosphere  and  well  composed,  but  the 


colour  appeared  a  little  too  forced  for  the  subject. 
Hayley  Lever  and  H.  B.  Snell  were  represented 
with  fine  Cornish  subjects.  E.  B.  Grossmann's 
Girl  with  a  Teacup  is  interesting,  if  only  to  show 
that  the  virile  technique  of  Robert  Henri  and 
George  Bellows  is  calling  forth  many  admirers  and 
disciples.  Christine  Herter  showed  a  Girl  Srci-iiig 
in  which  the  handling  of  neck  and  shoulders  was 
very  exquisite.  Charles  Warren  Eaton.  .\.  P. 
Lucas  and  Carl  Eric  Lindin  contributed  lanil- 
scapes  of  true  l>rical  quality. 

The  young  Russian,  Joel  J.  Lexitt,  has  repeated 
the  promise  of  his  winter  performance  in  a  Russian 
village  wrapt  in  slumber  and  apparently  Ner\- 
remote  from  the  tragedies  of  war,  the  canvas 
showing  an  imagination  which,  blended  in  paint, 
puts  him  far  above  the  standing  of  the  ordinary 
landscapist  blessed  only  with  outward  vision.  As 
a  second  string  to  his  bow  he  showed  a  peasant 
woman  with  an  indication  of  sunset  and  sheep, 
entitled  At  the  Close  of  the  Day.  This  a]>pears  to 
be  slightly  overworked  and  more  an  illustration 


llic  SpriiiiT  Acadouy 


than  a  i^icture  in  conse(|ucnco.  But  tlio  inward 
vision  is  manifest  and  gives  the  rciiuircd  cachet. 

VV.  J.  Beauley  has  surprised  his  friends  if  not 
himself  by  the  finely  and  solidly  painted  City  Gate, 
with  the  charming  colour  pattern  through  the 
passage.  One  may  detect,  perhaps,  tlie  arcliitect 
a  little  too  strongly,  but  still  it  is  a  great  picture. 

Crisp's  Curtain  Call  is  also  a  call  to  the  artist. 
He  deser\es  a  l)ou(]uet  as  much  as  the  prima  donna 
assoliita  who  bows  so  gracefully  in  front  of  the 
gorgeously  decorative  curtain. 

November  Shadows  by  Catherine  Langhorne,  a 
child's  portrait  by  Eugene  Speicher,  Glenn  New- 
el I's  Old  Farm,  November,  Randall  Davey's  Lhicle 
Dan,  Ivan  Olinsky's  Vera,  A.  T.  Van  Laer's 
Autumn,  A.  P.  Cole's  Summer  Idyll,  Lester  D. 
Boronda's  Monterey  interior,  Chaunccy  Ryder's 
Pack  Monadnock,  Nisbet's  glorification  of  sum- 
mer, Bicknell's  May  Morning,  all  proclaimed  merit 
and  invited  closer  inspection.  W.  H.  Singer 
showed  a  salmon  stream.  He  has  a  blue  vision, 
but  his  tone  and  colour  are  so  full  of  charm  that 


one  soon  falls  into  his  way  of  thinking.  F.  Lun- 
gren  sent  A  Cafe  which  as  a  design  was  brimful  of 
cleverness.  The  carafes,  tables  and  illuminations 
dot  the  picture  well,  but  the  figure  seated  is  a 
fashion-plate.  CuUen  Yates'  Crisp  September  is 
atmospheric  but  somewhat  spotty.  H.  Hilde- 
brandt  is  Aery  successful  in  his  Sewing  Bee,  where 
he  introduces  standing,  sitting  and  kneeling  fig- 
ures with  light  bursting  through  a  large  window 
and  weaving  beautiful  patterns  upon  flooring  and 
furniture.  Hubbell's  Susanna  is  a  well-thought- 
out  decoration.  A  lady  reclines  upon  a  sofa  and 
dashes  of  rich  red  fulfill  their  mission  excellently 
in  an  unusual  composition.  A  young  nude  by 
A.  Kanovitch  deserves  mention  for  its  grace  and 
atmospheric  quality.  Mary  Greene  Blumen- 
schein  well  deserved  the  Julia  A.  Shaw  prize  for 
her  Princess  and  Frog.  The  swirling  lines,  the 
rhythmic  feeling  throughout,  combined  with  the 
rich,  creamy  tone  of  the  draperies,  give  the  canvas 
great  distinction.  These  qualities  make  up  for  a 
certain  gaucherie  of  pose. 


TRIBITE    TO    BKAITY 
LXXVI 


BY    IRANCIS   C.    JONES 


TWILFr.HT  SONATA 
BV  LILLIAN  GENTH 


Interpretation  not  Imitation 


BELVEDERE.    OVERLOOKING    SUMMER    GARDEN 


FRANK    LLOVD    WKU.HT,    ARCHITECT 


I 


NTERPRETATION  NOT  IMITATION 
BY  HENRY  BLACKMAN  SELL 


"  Style,"  commented  Frank  Lloyd  Wright 
in  a  recent  discussion  of  his  architectural 
work,  "is  the  external  manifestation  of  organic 
integrity,  and  decoration  merely  an  ele- 
ment of  style.  Just  why  architects  borrow  the 
semblance  of  styles  from  the  past,  adopting  or 
even  adapting  those  forms  which  changing  condi- 
tions have  robbed  and  left  barren,  has  always  been 
a  mystery  to  me.  It  seems  such  a  foolish  neglect 
of  our  natural  gifts.  New  modes  of  living,  new 
needs  and  new  tools  should  bring  forth  new  styles 
with  their  elements  of  new  decoration."  And 
surely  there  are  few,  if  any,  living  architects  bet- 
ter qualified  to  put  these  pointed  queries  into  dis- 
cussion. 

Nourished  as  a  youngster  in  the  draughting 
rooms  of  Dankmar  Adler  and  Louis  H.  Sullivan, 
upon  whose  World's  Fair  transportation  building 
European  architectural  authorities  heaped  un- 
qualified honours  as ''the  first  newnote  in  architec- 


ture since  the  Gothic,"  Air.  Wright  grew  up  in  an 
architectural  atmosphere  free  from  pedants  and  a 
pretentious  awe  of  the  "seven  orders"  to  an  un- 
hampered and  enlightened  selfhood.  Then  in  the 
full  flush  of  youthful  energy  and  with  a  sincere  and 
healthy  appreciation  of  the  fine  art  of  building  he 
set  out  to  find  for  himself  a  field  untouched  by  the 
office  of  his  training. 

"At  first,"  says  Mr.  Wright,  in  telling  of  this 
period,  "there  was  a  reaction.  I  soon  made  little 
or. no  use  of  decoration  as  an  applied  thing.  From 
out  the  chaos  of  architectural  effort  I  wanted  to 
erect  buildings  that  would  definitely  meet  and 
truthfully  idealize  (poetically,  if  possible)  the  indi- 
vidual requirements  for  which  they  were  designed. 
Upon  this  ideal  of  organic  integrity  my  work  must 
stand  for  its  merit  and  for  its  style." 

This  alone  was  a  task  worthy  of  and  requiring 
the  strength  of  a  strong  man.  It  meant  the  fore- 
front of  the  development  of  a  worthy  .\merican 
architecture,  an  architecture  that  would  not  be 
adorned  with  decorative  forms  stolen  from  the 
tombs,  the  temjiles  and  the  cathedrals  of  the  Old 


Ififcrprcfiifio/i  //of  I////fafio// 


World,  but  an  architecture  that  is  in  itself  and  in 
its  natural  developments  a  style,  a  decoratit)n;  an 
architecture  the  character  of  whose  forms  should 
be  one  with  the  legitimate  use  of  the  great  modern 
tool — the  machine — and  in  harmony  with  the  best 
architectural  traditions  we  have  inherited. 

In  the  pursuance  of  this  ideal  it  is  easy  to  believe 
that  uncounted  obstacles  had  to  be  conquered. 
One  building  possibility  followed  another  in  and 
out  of  the  office  because  prospective  clients  were 


feet,  with  \arious  precedents  established.  Now 
greater  and  less-hampered  opportunities  are  com- 
ing to  hand  in  the  development  of  truly  typical 
American  industrial  buildings. 

This  brief  summary  of  Mr.  Wright's  aims  will 
possibly  give  a  better  understanding  of  the  unusual 
things  accomplished  in  his  latest  work — a  summer 
garden  and  a  winter  garden  at  the  foot  of  the  old 
World's  Fair  Midway,  a  hundred-foot-wide  and 
mile-long  parkway,  connecting  two  of  Chicago's 


ENTR.\NCE    TO    ARCADE    OF    WINTER    GARDEN 


IRANK    LLOYD    WRIGHT,    ARCHITECT 


dul.ious  of  radical  departures  from  the  forms  thev 
had  become  accustomed  to  regard  as  architecture. 
But  there  always  comes  a  time  when  sustained 
creative  effort  is  rewarded,  a  time  when  the  light 
of  a  new  day  seems  to  break  through  the  mists  of 
misunderstanding;  when  those  who  come  to  scoff 
remain  to  give  assent. 

Among  revolutionists  pioneer  periods  never 
cease,  and  the  time  will  probably  never  come  when 
Frank  Lloyd  Wright,  the  living,  has  nothing  new 
to  say,  but  the  ground  is  broken,  and  in  the  field 
of  the  detached  dwelling  the  work  is  well  on  its 


largest  parks.  Here  the  artist  and  his  dream  have 
come  near  a  meeting,  and  for  the  first  time  in 
many,  many  years  the  forms  of  three  arts,  archi- 
tecture, sculpture  and  painting,  are  found  proceed- 
ing from  and  determined  by  the  same  mind. 
Everything,  from  the  intricate  complications  of 
the  commodious  kitchen  to  the  comfortable  din- 
ing-rooms, where  every  guest  has  an  unobstructed 
view  of  the  cabaret,  to  The  Lady  of  Sorrows  and 
The  Lady  of  Joys,  to  the  polychromatic  panels  in 
the  "tavern  tap,"  came  from  the  brain  of  this  ver- 
satile builder  of  buildings. 


SPRITES 

DESIGNED  BY  FRANK  LLOYD  WRIGHT 

EXECUTED  BY  A.  JANNELLI 


hifcrpycfafiou  Jiof  I  mi  tat  ion 


A    POLYCHROMATIC 
DKCORATION 


DESIGNED   AND    EXECUTED   BY 
JOHN   LLOYD   WRIGHT 


"\Vc  have  lonjj;  passed  that 
childish  slate  wherein  we  de- 
mantled  of  music  that  it  imitate 
the  harking  of  a  dog,  the  singing 
of  the  nightingale  or  the  soft  rush- 
ing of  a  rixer.  We  ha\e  gone  he- 
neat  h  the  surface  in  music  that  we 
might  interpret  all  of  tliese;  we 
ha\e  found  fundamental  chords  of 
harmony,  and  wi-  ha\'e  arranged 
those  chords  in  suhtle  [)atterns 
which  bring  us  into  closer  s\  m- 
pathy  with  the  eternal  and  which 
recreate  us  as  joys  and  sorrt)ws  of 
all  the  ages.  Must  the  graphic 
and  plastic  arts  remain  on  the  low 
plane  of  imitation?  Are  there  no 
elemental  chords  of  harmony  in 
line,  in  colour  or  in  modulated  sur- 
face? Must  we  forsooth  go  on 
painting  and  sculpturing  the  lit- 
eral flower,  the  literal  nude,  the 
literal  platitudes  of  ol^ious  exter- 
nalities, eternally?  No,  we  can 
and  we  should  treat  the  eye  of  the 
mind  on  as  high  an  aesthetic  plane 


Early  last  spring  when  for  the  third  time  Mr. 
Wright's  work  was  accorded  an  individual  e.xhibi- 
tit)n  at  the  Chicago  Art  Institute  in  connection 
with  the  work  of  other  American  architects,  the 
art  critic  of  one  t)f  the  daily  papers  chanced  into 
the  room  devoted  exclusively  to  his  latest  building 
projects  while  he  was  arranging  plans  and  models. 

"Mr.  Wright,"  said  his  interrogator,  "hasn't 
your  work  rather  cubistic  sympathies?" 

"What  do  you  mean  l)y  'cubistic'?"  he  replied, 
"  If  you  refer  to  the  fact  that  the  work  is  a  form  of 
natural  design  rather  than  nature  imitation,  I 
might  plead  guilty." 

"Yes,  but  natural  design  rather  than  nature 
imitation?     What  do  you  mean  by  that?" 

"Simply  this — inter prelalion  instead  of  imita- 
tion. For  generations  we  have  been  accepting 
the  literal  aspect  of  nature's  forms  faithfully — 
often  the  more  faithfully  the  more  appreciated— 
and  so  recording  it  for  the  'adornment'  of  our 
homes  and  public  buildings.  We  have  passed  the 
time  when  we  need  depend  upon  these  obvious 
realisms. 


■BB 


TATTHKN    IN    (ONCKKTE    WALL 


Interpretation  not  Imitation 


UiaOKATIVE    DETAILS    SHOWING    UNITY   OF    ARCHITliCTURE    AND    SCLLrTLRK 


as  we  do  the  ear  of  the  mind,  and,  by  the  dis- 
cernment of  colour's  innate  harmonies,  by  ap- 
prehending the  eloquence  that  inheres  in  the 
mere  qualities  of  line  as  line  or  of  modulated 
surface  pattern,  a  more  intimate  and  natural 
expression   of  spirit   in   the   terms  of    pure   de- 


sign. Only  through  such  an  interpretation  of 
nature,  based  ujwn  simple  principle,  will  the  art 
of  architecture  and  its  painting  and  sculpture  be 
raised  above  imitation  and  the  character  of  a 
building  become  truly  intimate — a  great  inlcrpre- 
latioti  once  more  elemental  as  a  work  of  art. 


TJic  Sculpfuye  of  Riahtlph  Evans 


T 


HE    SClLFriKK    OF     RlDrLril 
EVANS 

BY  HKEKX  ClirkCHlLL 
CANDKi: 


What  shall  we  say  of  the  Anieriean  sculj)t<)r 
who  is  little  known  to  the  i)ul)lic  in  his  own  coun- 
try hut  who  has  achie\e(l  the  rare  distinction  of 
lia\  int;;  a  figure  bouj^ht  1)>-  the  French  Government 
for  the  Luxenibourji.  There  is  a  modesty  of 
demeanour  and  a  sensiti\eness  that  prevent  the 
true  artist  from  self-exploitation,  for  so  conscious 
is  he  of  the  elusiveness  of  heautv  that  his  attitude 


BRONZE    STATUE 
OF   GIRL 


BY    RUDULPH 
EVANS 


must  ever  be  one  of  humility  toward  his  own 
efforts  to  crystallize  it. 

Although  Rudulph  Evans  has  not  an  unsold 
piece  in  his  studio,  he  is  little  known  beyond  a 
certain  group  of  men  who  have  been  fortunate 
enough  to  secure  his  work.  The  marble  replica  of 
The  Golden  Hour  will  soon  be  in  the  Metropolitan 
Museum  in  New  York,  but  until  then  Mr.  Evans' 
work  is  not  before  the  public  except  in  a  brief  but 
important  showing  at  the  Knoedler  Gallery. 

The  art  of  Rudulph  Evans  is  one  full  of  poetry, 
especially  in  portraiture.  Particularly  does  he 
feel  the  delicate  atmosphere  of  aloofness  surround- 
ing childhood,  and  this  he  imparts  to  the  portraits. 
The  bust  of  the  little  granddaughter  of  Mr.  James 
-Stillman  is  frankly  a  portrait  of  a  child  of  ten  as 
she  looks  in  her  daily  play,  but  it  has  also  a  wist- 
fulness  and  a  tender  droop  of  compassionate 
shoulders  that  is  of  her  coming  womanhood.  It  is 
the  representation  of  a  little  girl,  but  of  a  little  girl 
whom  you  would  like  to  know  and  with  whose 
development  you  would  like  to  be  associated. 
This  bust  is  cast  in  bronze  and  is  completely  cov- 
ered with  a  soft,  lustreless  patine  of  deep  yellow 
gold.  The  effect  is  bewilderingly  lovely  in  its 
softening  of  all  hard  shadows. 

Another  little  granddaughter  is  shown  in  a 
bonny  head  that  is  full  of  suggestion.  It  was  exe- 
cuted at  the  order  of  Mr.  Thomas  F.  Ryan.  It  is 
full  of  the  spirit  of  childhood,  all  eagerness  in 
movement,  all  reserve  as  to  thought.  This  re- 
serve of  children,  this  protection  they  all  instinc- 
tively give  their  mental  processes  lest  some  grown- 
up chide  or  ridicule,  it  is  the  peculiar  power  of  Mr. 
Evans  to  impart  to  his  portraits.  He  works  at 
childhood  with  the  touch  of  the  poet. 

The  most  ambitious  of  the  nude  figures  is  that 
called  The  Golden  Hour,  a  young  girl  of  uncon- 
scious beauty  and  nobility,  surveying  life  in  the 
light  of  its  sunrise.  It  has  the  repose  of  the  Greek 
ideal,  yet  speaks  of  modernity;  it  is  not  so  much 
tender  as  it  is  strong  in  hope  and  expectancy, 
which  is  the  true  attitude  of  youth  toward  the  un- 
known. The  figure  is  modelled  with  deep  appre- 
ciation of  subtlety  in  curve  and  texture,  and  one 
feels  by  the  eye  alone  the  softness  of  flesh  and  the 
strength  of  construction.  But  above  all  this 
shines  the  glowing  heart  of  young  womanhood. 

This  figure,  which  was  made  for  Mr.  F.  A. 
Vanderlip,  to  be  the  goddess  of  his  formal  garden 
at  Scarborough,  N.  Y.,  was  cast  in  Paris,  in  bronze, 
then  covered  with  patine  of  a  chastened  gold,  and 


DETAIL  OK  A  NUDK 
BY  RUDULPH  EVANS 


TJic  Sculpt ityc  of  Rinhtlph  Rvaiis 


j^irlliood  as  we  know  healthy  girl- 
hood in  America. 

In  brief,  it  may  be  said  of  Mr. 
llxaiis"  art  that  he  is  a  sculptor  who 
holds  fast  to  beauty,  which  in  these 
days  of  artistic  backsliding;  is  as 
rare  as  it  is  satisfying.  His  ideal  is 
the  spirit  of  ancient  Greece  dashed 
with  modernity,  as  he  puts  on  his 
wondrous  gold  patine;  or,  if  you 
like,  he  spells  the  message  of  to  day 
with  the  time-old  alphabet  of  art. 
He  tries  no  wild  tricks,  no  eccen- 
tric nights  of  model's  pose,  or  of 
execution,  but  quietly,  elegantly, 
poetically,  he  expresses  the  beauty 
which  is  found  in  a  body  and  a  soul 
I'ltly  united.  In  consequence  he 
will  live  when  we  have  forgotten 
the  rash  sensationalist  who  but 
catches  a  moment  of  a  tired  eye. 


K 


ARL  BITTER 


A  FOUNTAIN  DESIGN 


BV  KUDULPH  EVANS 


sent  to  the  Salon  for  last  spring's  exhibition.  It 
was  there  that  the  art  committee  of  the  French 
Government  saw  it  and  at  once  determined  to 
secure  it  for  the  Luxembourg.  As  it  was  prom- 
ised to  Mr.  Vanderlip,  this  could  not  well  be,  so  a 
compromise  was  effected,  whereby  a  replica  was  to 
be  left  in  France.  Permission  was  also  given  to 
repeat  the  figure  later  in  marble  for  the  Metropoli- 
tan Museum.  But  the  original  stands  in  the 
garden  of  Mr.  Vanderlip,  the  jewel  in  a  wide 
architectural  scheme  which  both  protects  and 
exhibits  it. 

A  figure  of  extreme  interest  is  a  nude  holding  an 
apple  in  either  hand.  In  this  is  seen  a  suggestion 
of  the  archaic.  It  is  as  though  it  might  have  been 
modelled  in  Greece  while  Egypt  still  influenced  her 
art.  It  has  a  boldness,  a  flouting  of  cocjuetry 
in  the  pose,  that  is  akin  to  the  Egyptian,  and  that 
in  our  day  seems  almost  like  a  conventionalizing 
of  the  human  lines,  as  for  architectural  service. 

Another  figure  of  which  we  give  only  the  head  is 
a  nude  in  buoyant  pose,  designed  for  the  garden 
of  Mr.  John  D.  Rockefeller,  where  it  now  stands 
in  an  architectural  setting  made  by  Mr.  Bosworth. 
This  head  has  all  the  charm   anrl   freshness  of 


The  terrible  accident  which 

caused  the  death  of  Karl  Bitter  on 

April  lo  outside  the  Metropolitan 

Opera  House,  New  York,  has  removed  a  notable 

sculptor  from  our  midst.     His  contributions  to 

art  are  too  well  known  to  need  mention  here. 


STLDV    OI"    A    CHILD 


HY    RIDULPH    EVANS 


Heiirik  Limd 


TF^T^.  "Ic;^.* 


■\ 


MR.   TH.   HALVORSEX 


BY    HENRIK   LUND 


H 


EXRIK  LUXD  OF  NORWAY 
BY  CHRISTIAN  BRINTON 


There  is  no  gainsaying  the  fact  that 
New  York  is  rapidly  becoming  one  of 
the  international  art  capitals  of  the  world.  While 
it  cannot  thus  far  claim  precedence  over  Paris  or 
London,  yet  to  unprejudiced  minds  it  is  obviously 
entitled  to  rank  next  in  succession.  The  reason  is 
not  far  to  seek.  We  possess  the  necessary  acquisi- 
tive power  and  we  display  an  aesthetic  curiosity 
which  is  literally  insatiable.  Unpatriotic  as  it 
may  appear,  we  are  not  satisfied  with  the  stand- 
ardized product  of  our  native  painters  and  sculp- 
tors. We  demand  something  more  stimulating, 
hence  the  welcome  accorded  artists  from  overseas, 
whether  they  be  pre^•iously  known  to  us  or  not. 
A  typical  case  in  point  is  presented  b\-  Henrik 
Lund  of  Norwav,  the  current  exhibition  of  whose 


work  has  attracted  such  favourable  notice.  Al- 
though not  widely  kno^\•n  to  the  local  public,  this 
was  not,  however,  Mr.  Lund's  first  visit  to  our 
shores.  He  spent  considerable  time  in  this  coun- 
try during  the  season  of  191 2-13,  when  he  was 
artistic  director  of  the  memorable  display  of 
Scandinaxian  art  held  under  the  auspices  of  the 
American-Scandinavian  Society. 

The  work  of  Henrik  Lund  is  of  particular  inter- 
est because  it  is  expressive  of  present-day  aesthetic 
tendencies  in  the  Northland.  A  free,  bold 
draughtsman,  and  a  colourist  of  originality  and 
power,  he  stands  in  the  forefront  of  the  modern 
mo\ement  in  Scandinavia.  Like  Gosta  \on  Hen- 
nigs  in  Sweden,  Axel  Jorgensen  in  Denmark,  and 
Ludvig  Karsten  of  Kristiania,  Lund  cannot  be 
called  an  extremist.  He  adheres  to  the  represen- 
tation of  form  as  it  appears  to  the  m^rmal  vision, 
and  his  sense  of  chromatic  \alues.  while  individual. 


Hcnrik  Lund 


is  by  no  im-iins  arbitrary  or  cccoiitric.  He  occu- 
pies, in  short,  a  middle  ])osition  between  the  radi- 
cals of  yesterday,  such  asCtvanne,  Gauj^uin.  and 
Van  Gogh,  and  the  rampants  of  to  day,  including 
Henri-Matisse,  Picasso,  Picabia,  </  <;/.,  ad  iiijin. 
Those  craving  the  sensational  will  find  Mr.  Lund's 
work  a  disappointment.  Those,  on  the  other 
hand,  who  make  a  fetish  of  the  conventional  will 
doubtless  be  perturbed  by  his  energy  of  stroke  and 
penchant  for  pure  or  slightly  modified  colour 
effects. 

The  artistic  tradition  which  the  work  of  Henrik 
Lund  eloquently  exemplifies  is  not  the  outcome  of 
hybrid  conditions.  It  is  essentially  a  home  prod- 
uct, an  epitome  of  his  own  race  and  time.  It  bases 
itself  squarely  upon  the  sturdy  naturalism  of 
Christian  Krohg  and  the  psychic  suggestion  of 
Edvard  Munch.  More  sensitive  than  Krohg,  and 
less  imaginative  than  Munch,  the  younger  man 
shares  in  many  respects  this  dual  aesthetic  heri- 
tage. You  cannot  confront  his  work  without 
recalling  either  or  both  of  his  great,  turbulent 
predecessors,  who,  happily,  are  still  alive  and 
fecund  to-day.  The  artistic  history  of  Norway  is 
indeed  brief,  those  two  epoch-making  canvases, 
Krohg's  Alhcrtincal  the  Police  Court  and  Munch's 
.S'/jr/;/,;^.  having  been  i)ainted  respectively  in  1887  and 
1889.  A  distinctly  indigenous  personality,  Lund 
owes  little  to  Paris  and  less  to  Germany.  He  has 
not  infrequently  been  christened  the  Norwegian 


k 


MISS   ELLEN   HVIDE    BANG 


BY   HENRIK   LUND 


MR.    GEDDES,    TOLEDO 


l!V    mCNRIK    UNI) 


Manet,  though  the  only  possible  excuse  for  such  a 
characterization  seems  to  reside  in  the  fact  that, 
during  their  early,  adventurous  youth,  both  went 
on  long  sea  voyages — Manet  to  Rio  de  Janeiro  and 
Lund  to  South  Africa.  Their  art  itself  is  differ- 
ent, as  different  as  might  well  be  inferred  from 
the  fundamental  disparity  in  training  and  tem- 
perament. 

Owing  partly  to  the  wholesome  individualism  of 
the  people  themselves  and  partly  to  the  fact  that 
their  country  is  still  without  official  art  instruc- 
tion, the  Norwegians  are  refreshingly  indepen- 
dent,  though  at  the  same  time  eclectic,  alike  in  their 
painting  and  their  sculjiture.  Those  stormy  radi- 
cals. Munch  and  Vigeland,  have  done  gallant  ser- 
vice in  stiffening  the  spirit  of  the  younger  genera- 
tion, and  it  is  to  this  group  that  Henrik  Lund 
belongs.  He  developed  spontaneously  with  little 
or  no  specific  tuition .  A  brief  course  of  study  with 
Harriet  Bacher,  and  a  trip  merely  for  the  sake  of 
observation  to  Copenhagen,  Paris,  and  Berlin  con- 
stituted his  entire  apprenticeship.  He  had  always 
desired  to  paint,  and  paint  he  did  as  soon  as  he  was 
at  liberty  to  do  so.  There  was  at  the  outset  no 
special  predisposition  toward  any  given  subject  or 
theme.  He  attacked  with  equal  gusto  landscape, 
still-life,  and  the  human  face  and  form.  Wide  as 
are  his  artistic  sympathies,  it  is  nevertheless  in  the 
province  of  yjortraiture  that  Henrik  Lund  displays 
the  fullness  of  his  power.  A  shrewd  student  of 
character,  and  a  brilliant,  dashing  craftsman,  he  is 
able  swift I\-  to  see  and  transfer  to  canvas  the  essen- 


C..;ty.',  ._.,.;  ,1/,,.  K,, 


THE  LATK  MR.  HVCO  RKISINT.ER 
BY  HENRIK  LIND 


Ut^ 


I Iciirik  Lifjid 


I    iVw    of    thosi"    I'xpcriiiK'iU 


tial  [KTSonalilx-  of  llu'  fitter.  While  his  nu-tliod 
may  be  sumniar\ .  ihc  nsult  is  abundantly  \ital 
and  conxincini;;. 

The  work,  which  .Mr.  Lund  has  hroutrlU  to 
Anu'rica  consists  of  portraits,  landsca[)es.  a  few 
outdoor  uonre  studies,  and  a  scries  of  lithograi)hs 
and  dr\-points.  A  salutary  iiH'(|ualil\-  of  attain- 
ment marks  not 
whether  colour- 
istic  or  linear,  for 
the  virile  Nor- 
wegian is  by  no 
means  machine- 
like in  liis  i)ro- 
duction.  E\ery 
problem  exacts  a 
fresh  solution. 
Independent  of 
precedent,  he  ap- 
proaches each 
subject  upon  its 
own  merits.  He 
fails  or  succeeds 
in  direct  ratio  to 
the  vividness  of 
his  tirst  impres- 
sion and  the  vig- 
our with  which 
he  is  able  to  push 
his  attack.  Pos- 
sessing a  tem- 
pera m  e  n  t  in 
which  delibera- 
tion plays  scant 
part,  he  stakes 
all  upon  the  in- 
itial  impact. 
While  such  a 
course  presents 
its  manifest  per- 
ils and  pitfalls, 
yet  when  condi- 
tions are  favour- 
able the  out- 
come more  than  justifies  itself.  This  is  not  the 
way  one  is  taught  to  paint  in  the  schools.     It  is 


vol  N(.   GIRL 


force,  a  ciualit\'  in  which  our  own  production  is 
sadly  deficient.  We  have,  of  course,  our  popular 
lK)rtraitists,  apostles  of  snow-clad  hillside  and  dev- 
otees of  industrial  theme,  yet  there  is  something 
fundamentally  timid  and  conser\ati\e  in  our  out- 
look upon  nature  and  character.  Lacking  in 
restraint  and  devoid  of  studied  contemplation 
though  they  unquestionably  be,  the  big,  dashing. 

canvases  of  such 
a  man  as  Mr. 
Lund  are  never- 
theless inspirit- 
ing to  a  degree 
which  we  can 
scarcely  fail  to 
appreciate. 
They  possess  a 
vigour  and  spon- 
taneity the  ab- 
sence of  which 
should  cause  us 
no  inconsider- 
able regret. 

The  matter 
seems  to  resolve 
itself  into  a  ques- 
tion of  individu- 
ality, and  here 
thesmallercoun- 
try  possesses  a 
distinct  ad\-an- 
tage  over  our 
own  vast,  stand- 
ardized commu- 
nity. The  Nor- 
wegian aims  to 
preserve  and  to 
perfect  his  per- 
sonality. The 
.\merican  seeks 
conformity  to 
accepted  con- 
vention. V  o  u 
find  no  conces- 
sion to  popular  i)rejudice  in  the  austere  Ibsen  or 
the  aggressive  Bjornson,  and  the  same  holds  true 


BY    HENRIK    LUND 


nevertheless  the  method  exemplified  by  Goya  and      of  Krohg,  Munch,  and  Vigeland.    It  was  not  by 
by  many  kindred  rebels  who  have  helped  to  redeem      descending  to  the  common  level  but  through  man- 


art  from  professional  fatigueand  academic ana-mia. 

The  wholesome,  impetuous  art  of  Henrik  Lund 

should  find  ready  response  in  our  midst.     Though 

assurediv  undisciplined,  it  is  replete  with  dxnamic 


fully  dragging  the  public  up  to  their  heights  that 
these  men  managed  to  survive  and,  in  the  end,  to 
triumph.  Their  art  was  not  compliant.  It  was 
defiant. 


Sf.  Pattl  Institute 


ST.  PAUL  INSTITUTE 
I  The  announcement  has  been  made 
that  an  extensive  exhibition  of  work  of 
Northwestern  artists  will  be  presented  in 
St.  Paul,  May  1-9,  under  the  auspices  of  the  St. 
Paul  Institute.  This  plan  is  more  ambitious  than 
any  other  which  has  been  independently  under- 
taken by  St.  Paul  management  for  the  promotion 
of  art  interests.  Its  fulfillment  along  the  broad 
lines  laid  out  by  those  responsible  for  its  inception 
will  result  in  a  quickening  of  artistic  talent  and 
appreciation  throughout  Minnesota  and  the  sur- 
rounding States. 

For  a  time  it  appeared  probable  that  there 
would  be  no  large  spring  exhibition  in  St.  Paul, 
such  as  has  heretofore  been  assembled  by  the 
Minnesota  State  Art  Society  and  presented  locally 
by  the  St.  Paul  Institute.  For  a  number  of  years 
this  annual  exhibition  has  been  presented  under 
the  joint  auspices  of  the  two  organizations  men- 
tioned and  has  met  with  signal  success.  It  came 
to  be  regarded  indeed  as  the  outstanding  event 
in  St.  Paul  art  activities.  Much  to  the  credit  of 
the  Minnesota  State  Art  Society  and  its  director, 
Maurice  K.  Flagg,  it  presented  in  a  very  compre- 
hensive way  the  achievement  of  the  artistic  talent 
of  Minnesota  in  the  field  of  fine  and  applied  arts, 
and  there  was  displayed  each  year  a  collection  of 
representative  American  paintings. 

After  careful  consideration  of  all  matters  and 
parties  involved,  the  State  Art  Society  decided  to 
present  its  annual  exhibition  as  a  feature  of  the 
State  Fair,  where  it  vras  felt  it  would  do  the  great- 
est good  to  the  greatest  number.  An  agreement 
was  forthwith  made  between  the  managements  of 
the  State  Fair  and  the  State  Art  Society  whereby 
for  at  least  three  successive  years  the  two  organiza- 
tions would  jointly  present  the  annual  art  exhibi- 
tions. The  conspicuous  success  of  the  exhibition 
shown  by  the  Minnesota  State  Art  Society  on  the 
Fair  grounds  last  September  proved  the  wisdom  of 
this  change.  At  the  same  time  the  St.  Paul  Insti- 
tute felt  that  it  would  be  a  misfortune  to  lose  the 
cumulative  value  which  has  been  gained  by 
repeated  presentation  of  the  State  Art  Society's 
exhibition  in  previous  years.  The  community  has 
come  to  look  forward  to  a  big  art  displa>-  as  an 
annual  event  in  the  late  winter  or  early  spring 
months,  and  it  was  felt  that  the  response  would 
continue  to  increase  if  some  aggregation  of  art 
could  be  shown  at  that  time.     And  so,  with  an 


entire  absence  of  any  feeling  of  rivalry  or  compe- 
tition, and  enjoying  the  cordial  support  of  the 
State  Art  Society,  the  Institute  has  developed  and 
wUl  carry  out  its  plan  for  a  spring  exhibition  this 
year  and  successive  annual  exhibitions. 

The  scope  and  purpose  of  this  undertaking  will 
differentiate  it  from  the  annual  exhibitions  of  the 
State  Art  Society.  In  the  first  place,  instead  of 
limiting  the  field  from  which  artists  may  submit 
their  w^ork  to  the  boundaries  of  Minnesota,  the 
Institute  extended  it  to  include  Wisconsin,  Iowa, 
the  Dakotas  and  Montana.  Invitations  were 
sent  to  artists  throughout  this  territory,  who  will 
be  on  an  equal  footing  with  those  of  local  and 
State  residence.  Those  in  charge  have  decided 
not  to  include  the  craft  arts  and  architecture  in 
this  display,  confining  it  strictly  to  the  fine  arts. 
There  will  be  a  competent  jury  of  artists  of  estab- 
lished reputation,  non-residents  of  St.  Paul,  who 
will  decide  what  work  of  that  submitted  will  be 
shown  and  to  whom  honours  are  to  be  awarded. 
Medals  which  will  have  accredited  and  authorita- 
tive significations,  bearing  the  stamp  of  the  St. 
Paul  Institute,  will  be  presented  as  prizes  to  the 
winning  artists  in  the  various  branches  of  art. 
Those  medals,  awarded  each  year,  will  have  a 
standard  valuation  in  relation  to  artistic  achieve- 
ment and  will  be  a  symbol  of  merit  that  will  be 
eagerlv  sought  and  proudh'  cherished  when  won. 

The  Institute  plans  on  a  collateral  feature  corre- 
sponding to  the  generous  display  of  paintings  by 
eminent  American  artists  of  to-day,  such  as  the 
State  Art  Society  has  included  in  its  exhibitions. 
However,  instead  of  bringing  a  general  collection 
of  work  from  some  Eastern  point  in  this  country,  it 
is  the  intention  to  add  even  greater  interest  to  the 
forthcoming  spring  exhibitions  by  assembling  a 
generous  loan  collection  of  paintings  by  celebrated 
artists,  European  as  well  as  American,  and  con- 
temporan,-  as  well  as  not  living;  such  paintings  to 
be  offered  for  the  occasion  by  public  galleries  and 
private  owners  in  the  territory.  Such  loans  will 
come  for  the  most  part  from  the  Twin  Cities, 
where  much  art  material  of  highest  rank  nt)w  linds 
a  permanent  place.  It  is  proposed  that  the  St. 
Paul  Institute  shall  purchase  at  least  one  work  to 
be  selected  from  this  exhibition,  keeping  up  the 
tradition  of  a  popular  voting  contest  established  in 
connection  with  former  State  .Art  Society  exhibi- 
tions. The  picture  so  selected  will  be  added  to  the 
jHTmanent  gallery  of  the  Institute  in  the  St.  Paul 
.Auditorium. 


The  .Irf  of  Mayiiani  Dixon 


"W 


THE    POOL 


BY   MAYNARD   DIXON 


T 


HE  ART  OF  MAYNARD  DIXON 
BY  HILL  TOLERTON 


Do  YOU  know  Maynard  Dixon?  He 
is  an  artist  \vho  has  interpreted  the 
West,  and  he  has  interpreted  it  not  superficially 
nor  casually,  but  profoundly  and  skilfully,  from  a 
knowledge  that  is  thorough  and  an  exi^eriencc  that 
is  wide. 

In  his  paintings  he  has  given  us  not  only  scenes 
from  life  in  the  mountains  and  plains,  desert  and 
shore — mysterious  Indians,  men  of  the  lonesome 
cattle  ranges,  dust  of  round-up  and  the  distant 
scurry  of  wild  horses,  but  also  beautiful  landscapes 
of  the  desert,  the  gorgeously  coloured  mesas 
of  Arizona  and  the  pale  sage-brush  wastes  of  the 
Northwest.  Executed  with  careful  technique  and 
filled  with  light  and  colour,  these  pictures  give  to 
the  beholder  the  pleasure  of  works  of  art  done  with 
truth,  with  the  added  joy  that  is  always  present 
when  a  real  artist  has  put  his  own  personality  into 
what  he  has  depicted.  That  the  artist  under- 
stands the  life  of  the  West,  especially  the  life  of 
the  great  inter-mountain  desert,  and  that  of  the 
Indians,  with  a  very  thorough  and  complete  mas- 
tery gained  from  his  years  of  experience  and  travel 
in  the  great  Southwest,  is  self-evident.  His  art 
reveals  the  indisputable  fact  that  he  is  not  paint- 
ing as  an  onlooker  or  an  outsider  after  superficial 
observation,  or  purely  for  commercial  purposes, 
but  from  a  love  of  the  life  itself,  as  he  has  himself 
known  and  lived  it.  His  art  is  expressive  of  his 
convictions  and  reflects  absolutely  the  sincerity 
of  the  man.  This  c}uality  of  sincerity  is  the  one 
to  which  we  especially  desire  to  call  attention,  and 
is  one  of  the  striking  features  of  his  work. 

Undoubtedly  Mr.  Dixon's  sympathy  with  the 
out-of-door  life  of  the  West  and  his  comprehension 
of  the  Western  spirit  so  masterfully  revealed  in  his 
art  is  largely  due  to  the  fact  that  he  is  a  native 

XCII 


Californian  who  has  spent  the  major  part  of  his 
life  west  of  the  Rockies,  and,  like  Joaquin  Miller, 
his  genius  is  purely  native. 

Like  many  another  Californian  who  has 
achieved  distinction,  Mr.  Dixon  is  of  Southern 
ancestry,  his  father  having  removed  from  Virginia 
in  1868  to  w'hat  is  now  Fresno,  Cal.,  where  the 
artist  was  born  in  1875.  Although  Mr.  Dixon  has 
a  studio  in  the  city,  he  is  not  of  the  city,  but  has 
his  real  home  in  the  gray  sage-brush  uplands  and 
the  arid  and  highly  coloured  deserts  of  the  West. 
Since  igoo  the  artist  has  made  many  trips  through 
dififerent  parts  of  the  West,  from  Canada  to 
Mexico,  spending  much  time  in  the  desert  parts  of 
Arizona.  In  these  travels  he  has  visited  some 
twenty-five  different  Indian  tribes,  and  many  a 
ranch  and  "prospect  hole."  As  he  himself  has  said 
in  his  characteristic  way: 

"I  never  was  'adopted'  into  any  Indian  tribe, 
but  have  friends  among  them  that  I  would  prefer 
to  many  a  white  man.  I  have  ne\er  been  a  cow- 
boy, but  I  have  camped  and  ridden  with  them 
many  miles  and  days.  I  never  tried  prospecting, 
but  I  have  bunked  with  old  prospectors  in  the 
desert  and  on  the  mountains.  I  never '  carried  the 
chain,'  but  I  have  lived  in  surveying  and  logging 
camps,  and  the  smell  of  sheep-pens  is  not  unknown 
to  me.  My  object  has  always  been  to  get  as  close 
to  the  Real  Thing  as  possible — people,  animals 
and  country.  The  melodramatic  Wild  West  idea 
is  not  for  me  the  big  possibility.  The  more  lasting 
qualities  are  in  the  quiet  and  more  broadly  human 
aspects  of  Western  life.  I  aim  to  interpret  for  the 
most  part  the  poetry  and  pathos  of  the  life  of 
Western  peo[)le  seen  amid  the  grandeur,  sternness 
and  loneliness  of  their  country." 

Some  of  the  artist's  finest  achievements  are  a 
result  of  these  trips  and  have  been  exhibited  in 
important  art  centres,  and  many  of  these  now 
form  a  highly-prized  portion  of  various  private 


The  Art  of  Maynard  Dixon 


collections.  Of  course  the  artist's  work  in  oil  does 
not  show  in  all  cases  the  highest  excellence  of 
which  he  is  capable.  His  earlier  work  shows  the 
faults  which  the  first  efforts  of  all  artists  are 
inevitably  bound  to  show,  and  in  some  cases 
the  drawing  of  his  figures  leaves  much  to  be 
desired.  However,  considering  the  difficulties  of 
his  task,  he  has  achieved  in  many  instances  results 
which  are  rather  remarkable. 

The  C/(^5  del  Muerto  expresses  very  beautifully 
the  extravagant  and  vivid  colouring  of  the  desert, 
and  In  the  Horse  Corral  is  full  of  spirited  action. 
The  Last  Warrior  is  one  of  the  artist's  successes, 
and  its  quiet  reserve  and  dignity  reveal  very 
clearly  the  completeness  of  his  training  and  the 
originality  of  his  genius. 

Mr.  Dixon's  versatiUty  of  talent  is  amply 
proved  by  the  fact  that  besides  his  paintings  he 
has  executed,  at  various  times,  some  very  fine 
designs  for  furniture  and  fixtures  which  were  quite 
faithfully  in  the  spirit  of  the  best  periods  of 
English  and  French  interior  decoration.  One  of 
his  recent  triumphs  is  a  room  in  which  the 
totem  of  an  Indian  tribe  has  been  used  as  a  motif 
for  the  entire  decoration  of  the  room,  the  design 
being  repeated  in  the  furniture,  draperies  and  wall 
decorations. 

Undoubtedly  one  of  the  most  important  of  the 
artist's  recent  achievements  is  the  completion  of 
four  decorative  panels  for  the  Indian  Hall  in  the 
magnificent  home,  "Anoakia,"  which  Mrs.  Anita 
Baldwin  McClaughry  has  built  in  the  Santa  Anita 
Canyon,  near  Pasadena. 

These  four  mural  decorations  form  a  frieze  four 
feet  deep,  running  around  the  hall.  In  imagining 
and  executing  these  panels  the  artist  has  given 
rather  a  free  rein  to  the  poetical  side  of  his  nature, 
and  has  laid  especial  stress  upon  the  picturesque 
and  romantic  in  the  life  of  the  Indian,  instead  of 
accentuating  the  harsh  and  cruel  features.  The 
pictures  are  intended  to  suggest  rather  than  depict 
the  Hfe  of  that  "type"  of  Western  Indian  which 
has  now  practically  disappeared,  and  the  models 
used  by  the  artist  were  real  flesh- and- blood 
Indians. 

The  pictures  express  in  a  very  convincing  and 
beautiful  way  certain  phases  of  that  life  and  cer- 
tain customs  and  beliefs.  We  will  note  here  again 
that  the  poetical  feeling  of  the  artist  is  possibly 
the  dominating  quality  in  these  compositions,  and 
so  thoroughly  has  he  grasped  how  deeply  the  old- 
time  Indian  had  his  life  wrapped  up  in  the  super- 
natural, that  he  has  obtained  a  marvellous  inter- 
pretation of  the  Indian  and  his  traditions.     The 


belief  in  supernatural  manifestations  is  a  funda- 
mental of  Indian  life.  It  colours  all  their 
thoughts,  influences  all  their  acts,  and  their  abso- 
lute faith  and  sincerity  in  their  beliefs  call  upon 
our  admiration. 

Although  these  four  panels  are  separate  compo- 
sitions, each  one  makes  a  part  of  a  continuous  flow 
of  line,  so  that  the  artist  has  expressed  a  certain 
unity  which  closely  joins  the  pictures  together. 
This  arrangement  makes  a  rather  small  room 
appear  larger  than  it  actually  is. 

The  most  stirring  of  these  panels,  and  the  one 
which  portrays  most  vividly  the  savagery  of  the 
Indians,  is  entitled  The  Victory  Song,  and  repre- 
sents a  war  party  returning  with  their  captives. 
On  the  bare  body  of  the  chief  w-ho  rides  in  front  is 
painted  the  "Coo" — stripes  indicating  the  num- 
ber of  times  he  has  struck  the  enemy.  He  car- 
ries in  his  hand  a  painted  stick  ornamented  with 
one  of  his  victim's  scalps.  The  medicine-man 
follows,  wearing  his  bonnet  ornamented  with 
buffalo  horns,  which  represent  his  supernatural 
powers. 

The  black  and  red  stripes  on  his  face  are 
the  colours  of  war  and  death,  and  he  carries  the 
sacred  medicine-spear,  supposed  to  be  imbued 
with  supernatural  powers.  In  the  medicine-bag 
which  he  carries  across  his  knees  are  those  secret, 
medicines  which  are  supposed  to  influence  the  for- 
tunes of  his  war  party,  and  the  mystery  of  which 
no  one  but  the  medicine-man  knows.  The  buffalo 
robe  thrown  about  his  body  completes  his  cere- 
monial costume.  The  white  captive  riding  behind 
the  medicine-man  and  the  Indian  chief  is,  of 
course,  the  centre  of  interest  in  the  panel,  and  in 
the  truly  superb  drawing  of  this  nude  figure  the 
artist  has  very  graphically  expressed  utter  hope- 
lessness. Her  luxuriant  mass  of  reddish-brown 
hair  forms  a  fine  bit  of  colour.  Behind  the  white 
girl  follows  a  motley  crowd  of  warriors,  Indian 
captives,  etc.,  and  in  the  distance  to  the  right  are 
seen  the  natives  of  the  village  who  have  come  out 
to  observe  the  warriors'  return. 

The  panel  on  the  opposite  wall,  called  Envoys  of 
Peace,  is  in  complete  contrast.  To  the  right  is 
seen  the  single  figure  of  a  cliiof  standing  forward 
slightly  in  advance  of  his  companions,  and  looking 
intently  toward  the  mounted  warriors  of  another 
tribe  who  approach  slowly  up  the  hill.  The  artist 
has  conveyed  in  this  figure  a  very  fine  sense  of 
dignity  and  majestw 

In  one  of  the  smaller  panels,  entitled  The  Pool, 
is  a  very  charming  group  of  Indian  women  and 
children,  who  in  the  earl>-  morning  have  come 


r  3- 


\f^y 


'^^'^^ 


-AT'S^       5 


The  Art  of  May nard  Dixon 


down  to  bathe.  This  composition  is  perfectly 
balanced,  and  these  beautifully  drawn  figures  are 
silhouetted  against  an  immense  white  cloud  which 
does  not  show  to  advantage  in  the  reproduction. 
Noteworthy  is  the  beautiful  blue  tone  of  the  robe 
which  is  thrown  over  the  central  figure  in  the  group. 

The  last  panel  of  the  four  is  called  The  Ghost 
Eagle,  and  in  the  poetry  and  pathos  of  the  picture 
one  of  the  old  Indian  superstitions  is  suggested. 
The  Indians  believe  that  whenever  any  bird  or 
animal  hovers  near  the  place  where  one  of  their 
number  has  died  it  is  a  manifestation  of  his  spirit. 
The  Indians  coming  up  the  slope  of  the  hill  on  the 
right  approach  the  burial-rock  and  seeing  the  eagle 
they  are  filled  with  awe  of  the  ghost.  This  picture 
is  more  particularly  satisfying  to  the  artist,  in  that 
it  expresses  so  vividly  that  combination  of  fear  and 
love  of  supernatural  manifestations  which  is  so 
vital  a  part  of  the  Indian's  life.  It  is  at  the  same 
time  the  most  decorative  of  the  group. 

The  composition  of  each  of  these  panels  is 
excellent,  leaving  nothing  to  be  desired,  and  espe- 
cially interesting  is  the  character  drawing  of  the 
Indian  horses.  However,  we  think  the  critic 
would  be  justified  in  taking  exception  to  the  trans- 
parency of  the  harmonious,  though  subdued  col- 
ouring, which  is  a  little  flat  for  mural  work,  but  it 


suits  exactly  the  room  in  which  the  decorations  are 
placed.  Also  we  think  the  blue  haze  ever  present 
in  the  desert  has  been  rather  too  strongly  accented, 
and  a  severe  critic  would  undoubtedly  observe  the 
absence  of  atmosphere  between  the  beholder  and 
the  figures  in  the  first  plane,  but  to  have  changed 
this  would  have  possibly  had  the  effect  of  losing 
the  solidity  of  the  wall,  especially  considering  the 
feeling  of  great  spaces  observable  in  the  second 
plane.  The  ideas  expressed  in  the  panels  are 
beautifully  carried  out  in  the  other  decorations, 
the  wainscoting  of  redwood  being  toned  a  charming 
shade  of  smoke  gray  and  the  tile  floor  having  a 
modified  Navajo  pattern  of  the  artist's  design. 

On  the  whole,  Mr.  Dixon  is  to  be  congratulated 
upon  having  achieved  a  signal  success  in  his  inter- 
pretation of  the  mystery  and  silence  of  the  Great 
Plains,  and  in  developing  an  art  which  is  truly 
national  in  that  it  is  distinctly  American. 

An  artist  who  so  thoroughly  comprehends  the 
romance  of  the  old  days  no  doubt  will  be  per- 
suaded to  return  to  the  desert  in  the  near 
future,  and  we  may  expect  on  his  return  to  have 
further  proofs  of  the  genius  of  one  who  is  so  com- 
pletely saturated  with  the  spirit  of  the  West  that 
in  expressing  himself  he  unconsciously  epitomizes 
the  life  of  the  time. 


A    NAVAJO   FAMILY 


HV    MAVNAKO    DIXON 
XCV 


Acadc])iic  Theatre,  Carnegie  lusfifufe,  Pitfsbitrgh 


CENTRAL  PANEL  OR  CURTAIN 


A 


CADEMIC  THEATRE,  CARNEGIE 
INSTITUTE,  PITTSBURGH 
BY  SAMUEL  HOWE 


Thk  theatre  of  the  School  of  Applied 
Design  at  the  Carnegie  Institute  of  Pittsburgh  is 
an  academic  workshop  as  well  as  a  delightful  set- 
ting for  a  play  or  a  lecture.  The  architect  said 
that  one  of  the  greatest  difficulties  had  been  to 
secure  a  decoration  that  did  not  call  too  much 
attention  to  itself,  and  that  was  not  primarily  and 
distinctly  a  theatrical  "fakement."'  Nothing 
would  have  been  easier  than  to  have  had  a  splen- 
did canvas  full  of  gaudy  colours,  a  painting  seem- 
ing to  own  the  place  and  possibly  diverting  the 
students  from  the  purpose  of  the  building.  Yet 
in  its  way  this  composition  is  just  as  good  as  the 
work  of  Puvis  de  Chavannes,  Sargent,  or  Abbey,  of 
the  Boston  Public  Library,  in  that  it  is  essentially 
a  part  of  the  building,  illustrating  definitely  an 
acceptable  theme.  The  drawing  is  calm,  quiet, 
real — simply  a  mural  painting.  It  is  not  dizzy 
with  personality,  but  rather  the  work  of  a  man 
satisfied  to  transmit  an  idea,  dealing  with  facts. 
It  is  archaeology,  plus  painting,  plus  man  of  the 


world  in  his  desire  to  so  arrange  his  work  that  it 
holds  a  proper  place  and  does  not  usurp  the  posi- 
tion of  something  else.  So  skilfully  has  the 
designer  introduced  into  the  story  the  well-known 
examples  of  the  world's  treasures  that  the  visitor 
may  look  at  them  or  not  as  he  will,  enjo}'ing  the 
outline  or  ignore  it  altogether.  Still  he  must  feel 
their  presence  and  perhaps  unconsciously  assimi- 
late many  of  their  underlying  principles.  Here  is 
history,  sociology  and  religion.  The  scenes  depict 
Egypt,  Assyria  and  Greece  so  that  a  child  can  very 
well  understand.     The  drawing  is  splendid. 

Of  course,  the  first  thing  we  notice  is  the  shape 
of  the  place.  It  is  elliptical  in  plan.  The  liberal 
daylight  is  supplied  by  a  large  lantern  in  the  ceil- 
ing. The  widest  portion  of  the  ellipse  is  occupied 
by  the  proscenium  arch,  and  the  small  ends  are 
subdivided  by  three  wall  panels.  The  sketch  plan 
tells  the  story.  The  central  panel,  or  curtain, 
closing  the  stage  opening  is  a  scene  of  Rome  once 
again  majestic  and  triumphant.  The  base  of  the 
composition  is  a  fragment  of  a  tomb  in  Villa 
Albani  accompanied  by  a  portion  of  the  frieze  of 
the  tomb  of  Cecelia  Metella,  the  Roman  eagle  and 
wreath  now  in  the  portico  of  the  Church  of  SS. 


Acadejiiic  Theatre,  Carnegie  Institute,  Pittsburgh 


Apostoli  and  a  panel  from  the  arch  of  Marcus 
Aurelius.  In  the  middle  ground  from  left  to  right 
is  one  of  the  horses  of  Phidias,  a  bronze  wolf  of  the 
Vatican,  a  restored  portion  of  the  prow  of  a  Roman 
galley  and  the  well-known  Victory  of  Cornezzano, 
a  copy  of  which  is  in  the  Metropolitan  Museum  of 
this  city  and  known  to  every  student  in  the  land. 
A  portion  of  the  tomb  of  Emperor  Severus — the 
sculptured  base — is  to  be  seen  behind  the  horse  of 
Phidias.  On  the  right  side  of  the  composition  is  a 
fragment  of  the  arch  of  Constantine,  and  in  the 
same  general  field  behind  that  again  extends  a 
colonnade  of  the  Corinthian  Order  from  the  Tem- 
ple of  Vesta.  The  background  in  the  dim  distance, 
so  faint  that  it  can  hardly  be  seen,  yet  never  out 
of  sight,  is  the  outline  of  a  Roman  dome. 

The  panel  on  the  left  is  Greece.  A  portion  of 
the  frieze  of  Bacchantes  from  the  Museum  at 
Naples  forms  the  base.  Above  is  a  full  relief  fig- 
ure of  Libera  outlined  against  a  decorated  portion 
of  the  tomb  of  Dexileos  at  Athens.  Behind  is  the 
dignified  Order  of  the  Parthenon.  The  adjoining 
panel  illustrates  Assyria.     The  base,  which,  by 


the  way,  takes  up  the  same  general  line  through- 
out the  building,  recalls  a  relief  of  the  Palace  at 
Persepolis.  Behind  is  the  winged,  human- 
headed  bull  from  Khorsabad  and  arches  from  the 
Palace  of  Nimrod  at  Babylon.  The  columns  are 
from  the  Palace  at  Persepolis.  It  should  be 
noted  that  care  has  been  taken  that  where  possible 
throughout  the  decorative  scheme  of  the  theatre 
certain  horizontal  lines  connect,  the  frieze  and 
base  spring  of  arcading  preserve  the  same  line 
where  possible,  tending  to  broaden  and  unite  the 
story.  A  panel  designed  in  memory  of  Egypt 
completes  the  set  to  the  left  of  the  stage.  The 
base  embodies  a  portrait  of  Seti  I  at  Abydos.  The 
small,  seated  figure  of  Neferhotep  is  immediately 
above,  and  also  the  colossal  standing  figure  of 
Nefertari,  the  favourite  wife  of  Rameses  II,  from 
the  Temple  at  Luxor.  A  fragment  of  a  colonnade 
from  the  Temple  at  Edfou,  with  just  a  glimpse  of 
the  Kirosphinx  in  the  Temple  at  Karnak,  com- 
pletes the  scene.  Yes,  the  Egyptians  were  alwa\"s 
sentimentalists,  romanticists,  with  an  imagination 
and  humanity  which  is  to-day  preserved  in  build- 


SET  OF  PANELS  TO  RIGHT  OK  STACE,   PORTRAYING  BYZANTINE,   POINTED  GOTHIC  ANI>  RENAISSANCE  PERIOPS 

xcvn 


Acadoiiic  Tlicatn\  Cann\^ic  Institute,  PittsbiirgJi 


iiiiis  transmiltctl  lo  us.  Some  of  their  work  has 
more  significance  than  the  entahhitures  of  the 
Renaissance,  and  is  even  to  l)e  preferred  to  much 
of  the  Romanes(iue  work. 

To  the  right  of  the  curtain  is  something  of  the 
Byzantine  ])erio(l,  including  the  Romanesfiue  of 
France  and  Ital\ .  'Die  I'lgure  from  St.  Marks  at 
Venice,  a  sarcophagus  from  the  Riccardi  Palace  at 
Florence. and  a  bay  of  anarcading  from  theChurch 
of  St.  Guillem  le  Desert  in  Languedoc,  will  be 
recognized.  Following  is  a  memorandum  of  the 
Middle  Ages,  pointed  Gothic  ever  agile  and  am- 
bitious. Above  the  sculptured  base  from  the 
cathedral  at  Salamanca  is  one  of  the  figure  col- 
umns from  the  southern  porch  of  the  cathedral  at 
Chartres,  and  a  gargoyle  from  the  cathedral  at 
Amiens.  We  naturally  turn  to  the  last  panel  with 
pleasure,  for  it  recalls  so  vividly  Michael  Angelo's 
well-known  figure  of  Kight  from  the  tomb  of  San 
Lorenzo  at  Florence. 

Behind  this  is  Donatello's  67.  George  from  the 
church  of  San  Michele,  Florence,  with  a  portion 
of  the  arcading  by  Benedetto  at  Spoleto  and  a 


cartouche  from  the  Cancelleria  Palace  in  Rome. 

We  are  in\ited  to  look  at  the  idealism  of  the 
woman  of  the  Nile,  fascinating  according  to 
I"'.gyptian  imagery  and  possibly  a  little  more  deco- 
rati\e  and  immeasurable  than  any  other  concep- 
tion we  have  had.  Look  at  the  woman  of  the 
Renaissance,  and  even  at  the  Greek-clothed 
woman.  They  are  beautiful  as  figures,  beautiful 
of  line — that  is,  a  good  deal  of  a  picture,  less  satis- 
factory as  a  comrade.  The  Greek's  care  for  the 
flesh  and  clothes  seem  to  have  been  at  the  expense 
of  the  spirit.  The  standing  figure  of  a  man  in  the 
panel  of  Byzantium,  with  uplifted  hand  of  bene- 
diction and  finger  pointing  to  something  beyond 
the  arena  of  the  struggles  of  this  world,  is  very 
human. 

Over  the  proscenium  arch  is  a  motto,  a  reminder 
that  architecture  is  ever  the  servant  of  mankind. 
It  reads:  "Here  inspiration  spreads  her  wings." 
This  little  theatre  is  an  admirable  text-book,  a 
diary  of  man's  temptation,  a  gauge  of  his  passions. 
And  perhaps  its  lessons  are  all  the  more  valuable 
because  of  a  subtle  presentment. 


SET    OF    PANELS    TO    LEFT    OF    STAGE,    PORTRAVINO    (IKKECE,    ASSVRL\    AND    EGYPT 


///  the  Galleries 


Exhibited  at  the  Xalioual  Aiademy  of  Design  in  its  last  Winter  Exhibition 
POPPIES 


BY   ROBERT    \V.    VONNOH 


IN  THE  GALLERIES 
Among  the  important  exhibitions  besides 
the  New  York  Academy's  spring  display 
must  be  mentioned  first  the  highly  successful 
experiment  of  Brooklyn  Museum.  Director  Wil- 
liam H.  Fox  has  gotten  together  a  splendid  collec- 
tion of  contemporary  American  art,  and  the 
method  of  displaying  in  groups  deserves  notice. 
By  the  aid  of  partitions  it  is  possible  to  enjoy  good 
pictures  without  tedium  and  eye-strain.  One  feels 
that  the  artists  have  sent  of  their  best,  and  very 
many  of  the  107  paintings  are  prize-winners  and 
star  features  of  recent  exhibitions.  The  women 
artists  at  the  Anderson  Galleries  have  shown  once 
more  and  very  con\incingly  that  there  need  be  no 
question  of  sex  in  painting  or  statuary,  as  witness 
the  work  of  Anne  Goldthwaite  in  Luxembourg 
Palais,  the  somewhat  harsh  but  effective  canvases 
of  E.  V.  Cockroft,  the  stunning  figure  pieces  of 
Theresa  Bernstein,  The  Big  Animal  Book  by 
Martha  Walter,  who  ought  to  leave  the  babies 
alone  for  a  period  and  give  us  more  of  the  beach,  in 
which  class  of  painting  she  is  undefeated  among 
the  moderns;  Mary  H.  Tannahill,  Harriet  Bow- 
doin,  Maude  Bryant,  Jane  Peterson,  Sophie  M. 
Brannan,  Anna  Crane  and  Josephine  Lewis  are  all 
well  represented. 

Among  the  sculptresses  Harriet  W.  Frischmuth 
distinguished    herself,  especially  with  Girl  with 


Fish;  Olga  Popoff  MuUer,  Janet  Scudder,  Eliza- 
beth Sturtevant  Bliss  and  Mrs.  Harry  Payne 
Whitney  likewise  sent  good  works  of  art. 

David  and  Jonathan  or,  to  be  more  explicit, 
Walter  Dean  Goldbeck  and  Mario  Korbel,  painter 
and  sculptor  respectively,  and  inseparable  com- 
rades, gave  a  very  choice  display  at  the  Reinhardt 
Galleries,  which  will  receive  attention  in  a  later 
issue  from  the  pen  of  Dr.  Arnold  Genthe. 

At  the  Daniel  Galleries  one  expects  to  find  ultra- 
modern art,  and  the  offerings  of  Samuel  Halpert 
certainly  do  not  belie  the  character  of  the  gallery. 
Some  of  the  pictures  shown  are  most  attractive  in 
colour  and  design,  especially  a  view  of  Notre 
Dame  seen  from  an  unusual  angle,  and  a  scene  in 
Ardeche,  France.  Good  portraits  and  landscapes 
ha\e  been  on  view  at  the  Arlington  Galleries.  The 
artist  is  Elizabeth  Curtis,  who  loves  to  tackle 
problems  of  atmosphere,  fog,  moonlight  and  mist. 

American  landscape  painting  has  been  beauti- 
fully represented  during  the  last  month  at  the 
Macbeth  Galleries  by  an  association  of  recent 
origin  calling  itself  the  Twelve  Landscape  Paint- 
ers. We  receive  a  s])ecial  satisfaction  from  Bruce 
Crane's  Late  Winter— Cnme  at  his  top  notch,  we 
believe— Alden  Weir's  charming  Windham,  and 
J.  Francis  Murphy's  October  Hillside,  this  latter 
on  exhibition  through  the  courtesy  of  Mr.  Alex- 
ander Hudnut.  Snell.  Lathrop,  Carlsen  and 
Ochtman  are  also  in  e\idence.     We  commend  a 


///  the  Gallcyics 


OBVERSK  (IF  BENKDICT  XV  MEDAL 


REVERSE  OK  BENEDICT  XV  MEDAL 

serious  consideration  of  both  the  individual  and 
aggregate  excellence  of  such  an  exhibition  of 
American  painting. 

In  a  few  days  Lester  D.  Baronda  and  George 
Bellows  are  to  have  a  room  apiece  at  the  Minne- 
apolis Institute  of  Fine  Arts. 

William  Caryl  Cornwell  has  for  some  time  been 
playing,  but  very  seriously,  with  what  may  be 
termed  a  new  phase  of  art.  He  calls  his  discovery 
"luminos,"'  and  has  just  shown  them  with  eclat  at 
the  Worch  Galleries.  These  luminos  are  pictures 
constructed  out  of  translucent  coloured  papers  in 
layers  of  various  thickness  and  lighted  from  be- 
hind. The  effect  is  truly  magical  and  the  light 
thus  obtained  defeats  all  rivalry  from  pigment. 


A  snow  scene  in  Quebec  and  some  fog-girt  hay- 
stacks in  the  marshland  of  New  Jersey  illustrate 
the  splendid  uses  to  which  this  new  art  can  be 
ai)plie(l. 

H\-  the  courtesy  of  Mr.  J.  de  Lagerberg  we  are 
enabled  to  reproduce  the  medal  of  the  new  Pope, 
Ik'nedict  XV,  made  by  Carlo  Johnson,  of  Milan. 
The  designer  of  the  medal,  Albino  Dal  Castigne, 
had  six  bronze  plaquettes  at  the  International 
Medallic  Exhibit  of  the  American  Numismatic 
Society,  1910. 

Below  is  an  urn  twenty-three  inches  high, 
ordered  by  Countess  Dahlerup,  of  New  Rochelle, 
to  contain  the  ashes  of  her  sister,  Harriet  Beck- 
Brundum.  The  third  figure  in  the  group  depicted 
is  her  other  sister,  the  well-known  writer,  Karin 
Michaelis. 

The  reproduction  on  page  cii  is  the  work  of  a 


A    SILVER 
MEMORIAL    URN 


EXECUTED    BY 
CARL    VIETH 


PORTRAIT  OF  MRS.  HILDEBRANDT 
BY  H.  L.  HILDEBRANDT 


///  fJic  Galleries 


A    PORTRAIT 


MV    DOROTHY    M  NAMEE 


W'hitt',  Alloni  &  Co.,  of  London  and 
New  York.  The  senior  partner  of 
this  firm,  Sir  Charles  Allom,  has  con- 
trolled the  decorative  scheme  of  the 
main  floor  of  the  palatial  new  resi- 
dence of  Mr.  Henry  C.  Frick  on  Fifth 
A\enue,  New  York,  and  following 
the  recent  acquisition  by  Mr.  Frick, 
through  the  Messrs.  Duveen,  of  the 
celebrated  Fragonard  Room  from 
the  Morgan  Collection,  which,  con- 
sidered as  a  unit,  is  held  by  Mr. 
Joseph  Duveen  to  be  the  most  im- 
portant work  of  art  in  America.  Sir 
Charles,  in  consultation  with  Mr. 
Duveen,  has  designed  the  new  room 
for  the  accommodation  of  the  famous 
paintings,  which  it  is  expected  will 
provide  the  most  effective  setting 
they  have  ever  enjoyed. 


H 


ELP  YOUNG  ARTISTS! 


young  artist  who  is  making  her  debut  at  the  Mac- 
Dowell  Galleries.  Dorothy  McNamec  is  quite 
untaught,  and  her  portraits  occur,  one  might  say 
A  very  few  glances  at  the  sitter  give  the  necessary 
inspiration  and,  lo  and  behold,  to  the  surprise  of 
artist  and  subject,  a  soulful  portrait  of  a  Holbein- 
esque  character  ensues,  the  pencil  following  uncon- 
sciously the  dictates  of  her  artistic  conscience.  It 
would  be  black  magic  were  it  not  performed  in 
sanguine. 


M 


R.     FRICK'S 
ROOM 


NEW      FRAGONARD 


Referring  to  the  mention  made  on  page  155 
of  this  issue,  in  the  English  section  of  the  maga- 
zine, of  the  new  home  of  the  Fragonards  of  Cirasse, 
it  should  in  justice  be  added  that  the  new  setting 
for  these  famous  panels  is  being  made  by  Messrs. 


A  NOTICE  appeared  on  page 
xlvii  of  last  issue  explaining  this  latest 
scheme  to  benefit  young  artists.  At 
this  moment  of  writing  some  hundred 
competitors  are  engaged  upon  a 
theme  given  by  Mr.  Daniel  Chester 
French,  "War,"  and  when  we  go  to 
press  an  exhibition  of  this  work  will 
be  in  full  swing  at  the  Reinhardt  Gal- 
leries, which  have  been  generously 
lent  for  the  purpose.  The  competitions  thus  in- 
augurated will  be  continued  at  short  inter- 
N'als,  the  next  in  a  month's  time  being  devoted 
to  painting.  The  great  interest  attaching  to  this 
enterprise  leads  to  the  belief  that  we  have  here 
something  which  will  grow  to  be  a  \'ery  important 
movement.  But  like  all  similar  efforts  this  one 
needs  support,  and  we  would  once  more  mention 
that  Mr.  E.  M.  Gattle,  at  630  Fifth  Avenue, 
New  York,  has  very  kindly  consented  to  act  as 
treasurer  of  the  fund  to  be  raised  by  membership. 
The  payment  of  $500  constitutes  a  founder  mem- 
ber, while  any  lesser  sum  from  ten  dollars  upwards 
makes  the  contributor  a  supporting  member.  It 
is  to  be  hoped  that  those  who  value  art  for  life's 
sake  will  be  sufficiently  interested  so  that  their 
active  sup[)ort  may  be  speedily  forthcoming. 

Among  the  most  recent  members  may  be  men- 
tioned Mr.  Elihu  Root  and  Mr.  Otto  Kahn. 


■QUEEN    HENRIETTA   MARIA.' 

FROM         THE  PAINTING  BY 

SIR     ANTHONY     VANDYCK. 


INTERNATIONAL 
STUDIO 


VOL.  LV.     No.  220 


Copyright,  191S  by  John  Lane  Company 


JUNE,   1915 


T 


HE  SAX  DIEGO  AND  SAN   FRAN 
CISCO  EXPOSITIONS 
BY  CHRISTIAN  BRINTON 


Editor's  Note. — //  was  Dr.  Christian  Brinton's  wish 
to  have  the  two  expositions  run  concurrently  in  this  issue 
but  considerations  of  space  have  necessitated  our  reserving 
San  Francisco  for  the  month  of  July.  This  will  enable 
■us  to  illustrate  the  articles  more  fully.  Other  contributions 
by  the  same  writer  will  follow  in  due  course  giving  special 
heed  to  the  paintings  and  statuary. 

I.     Sax  Diego 

It  must  be  confessed  that  the  congenital 
weakness  for  hvperbole  which  obtains  west  of 
the  Mississippi  leads  one  to  be  cautious  not 
alone  of  the  Grand  Canyon  but  of  the  eloquently 
exploited  expositions  at  San  Diego  and  San  Fran- 
cisco. Superlatives  not  unwarrantably  make  for 
suspicion,  yet  in  none  of  these  instances  is  there 


occasion  for  undue  conser\'atism.  Like  the 
thumb-print  of  God  pressed  into  the  surface  of  the 
earth  so  that  man  may  forever  identify  His  handi- 
work, the  Canyon  transcends  the  possibilities  of 
verbal  or  pictorial  expression.  Although  by  no 
means  so  ambitious  as  its  competitor,  or,  rather, 
its  complement,  farther  northward  along  the  his- 
toric Camino  Real,  the  Panama-California  Exposi- 
tion has  scant  reason  to  fear  comparison  with  the 
Panama-Pacific.  Restricted  in  area  yet  rich  in 
suggestion  the  San  Diego  Exposition  is  a  synthe- 
sis of  the  spacious  Southwest.  It  seems  to  have 
sprung  spontaneousl\'  from  the  soil  and  the  vi\id 
race  consciousness  of  those  who  inhabit  this  vast 
and  fecund  hinterland.  Regional  in  the  sense  that 
the  recent  Baltic  Exposition  at  Malmo  and  the 
Valencian  Exposition  of  iqoq  were  regional,  it  is 
at  once  more  concent. ated  and  more  characteristic 


Panama-Califurnia  E.xl>ositioit.  Stin  Du^ii 
ACROSS   THE    ESPL.W.-VDE 


AKiniiii  I.  I  KVNic  r.  Ai  i.i:n,  jr. 

cv 


The  S(i)i  Dici^o  ami  Saii  hyaiicisco  Rxposifions 


tlKin  litlur  of  those  iiU'iiioralilr  dispUiys. 
Though  yovi  ni;iy  h;i\  c  sitii  nuiiiy  cxi)ositions 
you  h;i\T  encountered  nt)ne  like  tliis  red-tiled, 
white-wailed  city  set  amid  luxurious  senii-troi)ical 
vegetation  and  tlanked  on  one  side  by  a  deeplx 
incised  onoyo,  and  on  the  other  by  tlu'  azuri' 
ex]>anse  of  the  sea.  On  crossing  the  niajestic 
Puente  Caballo  you  enter  the  Plaza  de  California, 
or  California  Quadrangle,  the  architecture  of 
which  furnishes  the  ke\Tiote  of  the  exposition. 
To  the  left  is  the  California  Huilding,  which  exem- 
plilies  the  cathedral  type,  to  the  right  is  the  I""ine 
Arts    Building,    which    conforms    to    the    better- 


It  is  im|)ossible  not  to  respond  to  the  >ediKti\e 
llax'our  and  opulent  fancy  of  such  an  otYering  as 
confronts  one  at  lialboa  Park.  Climatic  condi- 
tions royally  concur  in  assisting  the  architect  to 
the  utmost.  .Almost  e\ery  conceivable  tlower, 
plant  and  tree  here  attains  unwonted  magnifi- 
cence. The  sun  is  brilliant  but  does  not  burn, 
and  the  close  proximity  of  the  sea  softens  and 
freshens  the  atmosphere  without  undue  prepon- 
derance of  moisture.  Proceed  along  the  acacia- 
lined  Prado  which  constitutes  the  main  axis  of  the 
general  plan,  stroll  under  the  cloisters,  linger  in 
the  patios,  or  follow  one  of  the  countless  cakadas 


Piiiiamii-Cnlifnrnia  F.xf><>':ilion,  Suit  Piri;(i 


VIKW    FROM    THE    I,AGUN.\    DK    CAH.ALI.O 


known  Mission  style.  These  structures  are  per- 
manent, and  are  not  only  a  credit  to  the  e.xposition 
and  the  municipal  authorities,  but  reveal  in  new 
and  congenial  light  the  varied  talent  of  their 
designer,  Mr.  Bertram  G.  Goodhue.  At  San 
Diego  you  ha\e  in  brief  something  that  at  once 
strikes  a  picturesque  and  appropriate  note.  The 
remaining  buildings  which,  with  the  exception  of 
the  Music  Pavilion,  are  the  creation  of  Mr.  Frank 
P.  Allen,  Jr.,  all  continue  the  Si)anish-Colonial 
motif  with  conspicuous  success.  None  of  them 
is  in  the  least  out  of  harmony  with  the  general  en- 
>eml)le,  and  there  is  not  one  that  tk)es  not  display 
uncommon  capacity  for  the  assimilation  and  ada])- 
tationof  this  singularl\efTective  architectural  St  \lc. 


or  pathways  skirting  the  crest  of  the  hill,  and  you 
will  experience  the  sensation  of  being  in  the  gar- 
dens of  a  typical  Mexican  mission.  The  mind 
indeed  travels  even  farther  back — back  to  the 
Alcazar  of  Sevilla,  the  Generalife,  and  to  remote 
and  colourful  Byzantium.  Unlike  most  of  its 
predecessors,  the  San  Diego  Exposition  does  not 
convey  an  impression  of  impermanency.  The 
luxuriance  of  the  floral  and  arboreal  accompani- 
ments, of  course,  help  to  dispel  any  such  feeling. 
Yet  behind  this  is  a  distinct  sense  of  inevitability 
which  derives  from  the  fact  that  here  is  something 
which  is  at  one  with  the  land  and  its  pe()[)le — a 
\isible  exjiression  of  the  collective  soul  of  the 
Southwest. 


Panama-California  Exposition,  San  Diego 


A  MISSION  PATIO 

SOUTHERN  COINTIES  BITLDING 


The  Siui  Dicoo  ami  Sail  FniJicisco  Expositions 


It  iH'od  scarci'lx'  l)c  as>unu'(l.  Iidwcxct,  tluit  thi> 
radiant  city  which  sniiU's  down  from  its  jiri'iMi- 
capped  acropolis  came  into  bcinj^  o\'cr  night,  as  it 
were.  Behind  this  symphony  of  beauty  is  a  back- 
grc)und  ot  solid  endea\-our  and  >erious  research 
along  widely  di\ergent  lines.  Mr.  Goodhue's 
California  Building  is  a  successful  adaptation  to 
e.xposition  exigencies  e)f  the  impressively  ornate 
cathedral  at  Oaxaca.  Mexico.  The  New  Mexico 
State  Building,  with  its  more  severe  silhouette  and 
massive  weathered  beams  protruding  from  the 
outside  walls,  is  a  free  amplification  of  the  famous 
adobe  mission  of  the  Indian  pueblo  of  Acoma,  the 
"sky  city,"  dating  from  lOoo.  The  essentially 
composite  character  of  Spanish  architecture  is 
nowhere  better  illustrated  than  in  these  various 
structures,  where  you  are  confronted  by  turns  with 
details  Roman  and  Rococo,  late  Gothic  and 
Renaissance,  Classic  and  Chirugueresque.  Still, 
despite  this  manifest  complexity  of  origin  and  in- 
spiration, the  ensemble  achieves  the  effect  of  com- 
plete unity.  The  \ery  flexibility  of  the  style  em- 
ployed is  its  greatest  asset  when  it  comes  to  solv- 
ing problems  of  such  a  nature.  You,  in  short, 
witness  here  in  San  Diego  the  actual  re\-ival  of 
Spanish-Colonial  architecture,  and  you  will 
scarcely  fail  to  agree  that  as  a  medium  it  is  as 
perfectly  adapted  to  the  physical  and  social  con- 
ditions of  the  Southwest  as  is  the  English-Colonial, 
or  Georgian,  to  the  needs  of  the  East.  Had  the 
Panama-California  Exposition  accomplished  noth- 
ing else,  this  rehabilitation  of  our  Spanish-Colonial 


heritage  would  ha\e  amply  justified  its  existence. 
The  same  consistenc\-  of  aim  and  idea  which 
characterizes  the  architectural  features  of  the 
exposition  obtains  in  other  fields  of  activity.  It 
has  been  the  intention  of  those  in  charge  to  show 
processes  rather  than  products,  and  nowhere  is 
this  more  significantly  set  forth  than  in  the  Cali- 
fornia Building,  which  enshrines  examples  of  the 
stupendous  plastic  legacy  of  the  Maya  civiliza- 
tion, and  in  the  Indian  Arts  Building,  which  is 
de\-oted  to  displays  of  the  craftsmanship  of  the 
present-day  Indian  of  the  Southwest.  To  begin 
with  the  deep-rooted  substratum  of  primitive 
effort  which  stretches  back  into  dim  antic[uity,and 
to  follow  its  development  down  to  modern  days 
entails  no  small  amount  of  labour  and  scholarship. 
For  this  task  the  exposition  authorities  were  for- 
tunate in  securing  the  ser\ices  of  Dr.  Edgar  L. 
Hewett  and  a  corps  of  competent  assistants  from 
the  Smithsonian  Institute,  Washington.  Dr. 
Hewett  is  one  of  that  rapidly  increasing  number 
of  scientists  who  feel  the  indissoluble  connection 
between  ethnology  and  aesthetics.  Nothing  finer 
has  thus  far  been  accomplished  than  his  installa- 
tion of  the  several  exhibits  in  this  particular  sec- 
tion. The  collections  of  pottery,  rugs,  baskets 
and  domestic  utensils,  and  the  detailed  series 
of  drawings  illustrating  that  graphic  symbolism 
which  is  an  inherent  element  in  all  aboriginal 
artistic  expression,  are  as  extensive  as  they  are 
stimulating.  On  comparing  these  latter  with  the 
canvases  devoted  to  nati\-e  type  and  scene  by  Mr. 


I'anama-Cali/ornia  Exposition,  San  Diego 
COMMERCE    .\Sl-)    INDISTRIKS    BlILDINC; 


ARCHITFCT,    IRANK    V.    AI.l.KN.    JR. 


Copyright,  1915,  P'ltinniii-C  i:i:;    in:<i  I 


FACADE  OF  THK  CALIFORNIA  STATF  lUII.DIXc' 
ARCHITECT,  BERTRAM  C..  C.OODHCE 


TIic  SiDi  nico'o  ami  Sail  rra)icisco  Ilxpositioiis 


RobtTl  Henri,  Mr.  Joseph  \\.  Sharp.  ;uul  others  in 
the  Fine  Arts  BuiUlinj?.  one  is  forced  to  concludi' 
that  the  eap;icit\-  for  pictorial  re|)resentation  has 
(iinunislied  rather  than  increased  witli  the  advent 
of  our  hitter-day  art  scliools  and  academies. 

N'ou  can  hardly  expect  perfection,  even  in  such 
an  e.\pt)sitit)n  as  that  at  San  Dietjo,  and  it  is  in  the 
choice  of  paintings  for  this  same  l-'ine  Arts  liui'.d- 
inp  that  one  may  point  to  a  certain  hii)se  from  an 
otherwise  consistently  maintained  standard.  It 
is  not  thai  Mr.  Henri  and  his  coterie  are  not 
admirable  artist>.      It  is  sim])l\-  that  they  do  not. 


t^leaminj;  little  city  perched  u[)on  its  j^reen-crested 
mesa  teaches  anythinj?,  it  teaches  that  the  most 
precious  thinj^s  in  life  and  in  art  are  those  that  lie 
nearest  the  threat  elo(|uent  heart  of  nature.  The 
>ul)lle  process  of  interaction  which  forever  j^oes 
silently  on  between  man  and  his  surroun(lin<i;s,  the 
identity  between  that  which  one  sees  and  feeds 
u|)on  and  that  which  one  i)roduces,  are  facts  which 
you  find  convincingly  ])resented  at  the  San  Diego 
K\j)osition.  It  is  more  than  a  mere  show-window 
of  the  Southwest.  Alike  in  its  architecture  and 
its  specific  offerings  it  tyjiifies  the  richness  and 


Patiania-Califoriiia  Exposition,  San  Diego 

liNTR.XNCE    TO   THE    V.\RIED  . 

INDISTRIES    BUII.niNC. 


ARCHITECT,    FRANK    P.    .\LLEX,    JR. 


fit  into  what  appears  to  be  and  in  other  respects 
manifestly  is  a  carefully  worked-out  programme. 
San  Diego  is  so  rich  in  the  fundamental  sources  of 
beauty  and  feeling  that  had  there  been  no  paint- 
ings on  view  one  would  have  had  scant  cause  for 
complaint.  The  welcome  absence  of  the  custom- 
ar\-  flatulent  and  dropsical  statuary,  which  is  such 
a  happy  feature  of  the  exterior  arrangements, 
inight  well  have  been  supplemented  by  the  exclu- 
sion of  the  pretentious  and  .sophisticated  canvas. 
Intensive  rather  than  extensive  in  appeal,  bas 
ing  itself  frankly  u[)on  local  interest  and  trarlition. 
conscious  of  its  inheritance  and  looking  with  con- 
fidence toward  the  future,  the  Panama-CaHfornia 
Exposition  stands  as  a  morlel  of  its  kind.      If  this 


romance  not  alone  of  New  Spain  but  of  immemo- 
rial America. 


A 


RTHUR  HOEBER 


Following  closely  upon  the  death  of 
F.  Hopkinson  Smith,  so  famous  in  the  triple  role 
of  author,  artist  and  engineer,  it  is  our  sad  task  to 
record  the  loss  of  that  genial  writer  and  artist, 
Arthur  Hoeber,  who  for  many  years  has  been  a 
contributor  to  our  columns  and  an  ever  welcome 
friend  inside  and  outside  of  the  office.  He 
was  a  landscapist  of  merit  and  the  kindliest 
critic  that  ever  sat  in  judgment  upon  the  work 
of  others. 


ex 


Alfred  Philippe  Roll 


Exhibited  Paris  Salon  1880.     In  the  Museum  of  Vaienciennes 
THE    STRIKE   OF   THE   MINERS 


BY    ALFRED    PHILH'PK    ROLL 


A  LP 

A 


LFRED  PHILIPPE  ROLL 
BY  PAUL  VITRY 


The  personality  as  well  as  the  work 
of  the  president  of  the  "Societe  Nation- 
ale  des  Beaux  Arts,  "Alfred  Roll,  is  certainly  among 
the  highest,  the  most  noble,  and  at  the  same  time 
the  most  significant  of  that  of  any  of  the  contem- 
porary French  artists.  Even  as  in  the  midst  of 
strife  the  combatants  gather  around  the  flag,  the 
symbol  of  their  honour  and  their  valour,  likewise 
there  is  to  be  found  in  a  nation  men  who  are  like 
the  standard-bearers,  and  in  whom  one  proudl\' 
places  confidence  in  critical  moments  because  they 
embody  the  essential  virtues  of  their  race,  because 
it  is  haj)y)\'  to  recognise  itself  in  them,  happ\-  to 
be  represented  by  them  in  the  eyes  of  the  universe. 
None  was  ever  more  worthy  than  Roll  to  be,  in  the 
anxious  and  critical  days  through  which  we  are 
now  passing,  the  ambassador  of  French  art  to  the 
United  States.  His  character  is  worthy  of  the 
situation ,  and  the  power  which  he  enjoys  is  due  as 
much  to  his  generous  nature  and  his  loval  and 


fearless  independence  as  to  the  brilliancy  of  his 
great  genius.  No  other  series  of  works  could 
represent  more  magnificently  than  those  of  Roll, 
to  the  friendly  people  of  the  great  .\merican 
republic,  the  efliort  of  an  entire  generation  of  art- 
ists. At  the  same  time  these  works  express  the 
fruitful  labour  of  an  admirably  filled  career,  and 
oft'er  a  collection  of  French  art  at  once  \irile  and 
official,  profoundly  individual  and  free  and  expres- 
sive of  a  common  ideal. 

It  was  immediately  following  the  great  national 
crisis  of  1870- 187 1,  that  Roll  Ixegan  to  manifest 
his  artistic  activities;  he  was  then  twenty-five 
vears  of  age,  being  born  in  1846.  He  was  a 
Parisian  by  birth  but  came  originally  from  an 
Alsatian  family,  and  was  brought  up  in  the  indus- 
trial centre  of  Faubourg  Saint-Antoine.  His 
vocation  was  spontaneously  revealed  to  him.  and 
he  left  the  industrial  apprenticeship  for  the  art  of 
painting.  His  first  attempts  were  landscapes,  in- 
spired by  those  of  the  masters  of  the  great  school 
of  i8.:?o.  which  was  at  that  time  accomplishing  its 
evolution.     Later,   after   a   short    course   in    the 


Alfred  Philippe  Roll 


classical  studios  of  Gcroim'  and  Hoiinat,  sonic 
stronii  studies  of  figures,  dated  1S7  :;,  l)ear  witness 
to  the  power  and  forcefulness  of  his  work.  Some 
})ictures  of  romantic  or  mythological  character, 
such  as  Don  Juan  cl  Haydcc,  in  the  Museum  of 
Avignon,  or  as  his  Chasscrcssc  in  the  embassy  at 
Constantinople,  again  ex])ress  certain  tendencies 
of  retarded  romanticism.  From  this  date  it  is  the 
strong  realism  which  attracts  Roll — it  is  the  ardent 
life;  his  Bacchaulc  of  187,^,  evokes  a  fiery  elegance 
which  is  exclusi\elv  his  own,  the  memor\-  of  certain 


ties  which  he  places  tirst  in  his  ambitions,  in  his 
studies  of  the  nude,  in  his  compositions  of  scenes 
from  contemporary  history,  as  well  as  the  daily 
life  of  the  working  world,  and  in  his  portraits,  of 
which  the  greater  part  were  ])r()(luce(l  in  the  \-i\id 
light  of  garden  or  field. 

L'liiondalioii  a  ToiiJoiisc,  ])ainted  in  1877,  and 
now  in  the  Museum  of  Ha\-re;  La  Fcle  de  Silene,  on 
the  other  hand,  dated  1879,  and  which  is  at  the 
Museum  of  Ghent,  show  the  last  concessions  to 
the  art  of  the  school.     The  first,  with  its  dramatic 


L'lil  fnr  Exhibition  hi  Anurua  from  the  Liixfiiihour.i;,  Ihrouah  (oiirtesy  of  the  French  Government  and  M.  Leonce  Benedite 

war:  forward  march  hv  Alfred  phii.hm'h  roll 


volu[)tuous  nudes  and  realistic  works  of  Courbet, 
whilst  here  and  there, even  in  that  painting,  w^hich 
in  its  splendour  and  its  warmth  savours  yet  of  the 
studio,  one  can  already  note,  as  Henri  Marcel  says, 
"the  grey  and  black  which  came  directly  from 
Manet."  Of  recent  date,  Roll's  work  has  inclined 
toward  the  art  of  the  innovators,  and  it  has  been 
more  toward  the  bright  and  luminous  ]jainting 
that  all  the  sympathies  of  the  artist  have  been 
swayed,  despite  the  lack  of  understanding  of  the 
public  and  the  opposition  of  the  critics.  It  is  the 
search  after  the  atmosj)heric  and  luminous  (|uali- 


ctYects,  which  recall  those  which  the  young  Geri- 
cault  had  unwittingly  brought  out  in  his  famous 
Radcaii  dc  la  Mcduse,  presents  also  a  tragic  power 
which  justifies  the  memory  of  that  master  with 
whom  one  often  delights  to  compare  our  artist. 
Moreover,  do  we  not  find  in  his  s]:)irited  study  of 
the  horse,  shown  in  many  of  his  sketches,  as  well 
as  in  many  great  compositions,  a  common  link 
between  them.  As  to  the  unbridled  and  joyous 
dance  of  the  Bacchantes  about  the  Old  Silenus,  it  is 
also  an  inspiration,  wholesome,  powerful,  and  de- 
notes  the   same   generous   temjierament   as   the 


Alfred  Philippe  Roll 


In  the  Palais  des  Beaux-Arts,  Paris 
THE    TILLERS    OF    THE    SOIL 


BY    ALFKKn    )'HlLirri-:    ROLL 


analogous  compositions  of  our  great  sculptor, 
Dalou,  who  also  distinguished  himself  about  the 
same  time,  and  whom  Roll  knew  and  loved  for 
many  years.  But  as  Dalou  was  held  back  by 
classical  tradition  and  the  less  rapid  emancii)ation 
of  sculpture,  it  was  not  until  much  later  that  he 


essayed  the  realistic  subjects,  the  types  and 
scenes  of  popular  life  to  which  he  aspired.  Roll, 
since  iSSo,  in  \\\>Slrikc  ol  l/ic M iinrs  {{o-(Liy nl  the 
Museim  of  \'alenciennes).  continuing  the  elTort 
of  Courbet  in  the  .S7();/<'  Breakers  anil  of  L' EnUrrc- 
nniit  a  Onuiiis.  ileliberately  adopts  the  most  dra- 


Alfred  Philippe  Roll 


inatic  nality  with  ;i  kci-ii  scnsi'  of  i'\|)rt.'ssi\c  and 
huiiian  irulh.  /ola.Goiuimrt  and  Maupassant  arc 
the  Htcrary  inspirators  and  here  ai)pi'ars  succes- 
si\eiy  after  y7/c.S7//Av.  antedating,  let  us  ohserxe, 
!)>•  se\eral  years  tlie  "■  CK'nuinal"'  of  /ola.  that 
strand  paije  illustrated  by  Roll  in  iSSj:  77/c 
Popular  l-'ftc  of  July  i  >lli  in  1SS5,  Lc  Cliaiitirr  en 
Travail  tic  Surcsiits  in  1SS7.  77/c  Torxcard  March, 
an  inciilent  full 
of  action  o{  tlu' 
canipaii^n  of 
1S7C.  was  in- 
spired by  iivinti 
memories  (as 
Roll  was  lieuten- 
ant of  militia 
durinij  the  war); 
itisscrui)ulously 
realistic  ami  free 
from  useless  bril- 
liancy or  fancy 
of  any  kind. 

In  i8qi  The 
Commemoration 
of  the  Centennial 
o/;7fVpfinall\"  in- 
spired in  Roll 
that  colossal 
work  which  fig- 
ures in  the  Ver- 
sailles Museum 
and  which,  in  the 
most  simple  and 
direct  wax .  with 
neither  pomj) 
nor  allegory, 
shows  an  enthu- 
siastic crowd, 
pressing  around 
President  Car- 
not.  There  one 
can  recognize  all        ^""  ""•  /-y'"'"'"'"  '»  -i  '"'"ua  from  the  Lux 

^  Cifrieninnnl  and  .\i .  Leoiue  nentaile 

the  political  fig-  the  woman  in  white 
ures  of  the  mo- 
ment, both  civic  antl  artistic.  The  artist  has  suc- 
ceeded in  e.xpressing  in  the  dusk  of  the  golden  light 
which  bathes  the  park  of  Louis  XIV  a  memoral)le 
emption  of  a  grand  collective  soul,  exalted  by  the 
remembrance  of  the  great  Revolutionary  days. 

Numerous  independent  figures  accompany  these 
great  canvases  which  will  prolong  with  more  fresh- 
ness and  grace,  if  not  of  power,  the  memory  of 


The  Layiiii^  of  the  First  Stone  of  the  Alexander 
liridj^c.  exhibited  in  the  Salon  of  iSgq,  and  also 
destined  for  the  \'ersailles  Museum.  These  are 
.\fanda  La  Metric,  the  \orniandy  Tarm  Woman, 
iSSo,  now  in  the  Luxembourg  Museum;  The  Old 
Woman  of  Picardy  of  iSSi;  Rouby  Cement  Maker 
of  1SS4,  77/('  Old  Quarryman  of  iScSq,  and  then 
again  77/r  Poor  h'rench  Rai^iird  and  Louise  Cattel 

( nurse)iSc)4,7'^c 
Tillers  of  the  Soil 
and  77/c  Exodus 
of  the  sameyear, 
7//C  Old  Woma)i 
with  the  Faggot, 
of  I Qo I ,  The 
Drama  of  the 
Tlarth  and  The 
Calvarv  of  1903. 
The  last  works  of 
this  series  offer 
a  note  more  or 
less  harsh  and 
sad.  It  is  no 
longer  the  joy- 
ous activities 
productive  of 
the  power  of  hu- 
man effort,  but 
oppression  of  fa- 
tigue,  misery 
and  despair 
which  haunts 
the  mind  of  the 
gloomy  and  sad- 
dened artist. 
However,  before 
that  crisis,  per- 
taining to  scenes 
of  toil  or  of  his- 
tory, numerous 
works,  sparkling 
with  health  and 
the  joy  of  living, 
had  come  from 
his  brush.  The  splendour  of  the  nude,  the  luxuri- 
ance of  the  auburn  hair  flowing  in  the  sunlight, 
on  a  background  of  verdant  nature,  with  the 
young  bulls  or  colts  prancing  as  accompanying 
figures,  had  many  a  time  fascinated  him.  The 
Woman  with  the  Bull  in  the  Museum  of  Buenos 
A\Tes  is  the  most  brilliant  success  of  the  series. 
The  magnificent  decoration  of  the  Citv  Hall  of 


•mbourg,  llirottf-h  courtesy  of  the  French 

BY    .\I.KRKI)    I'HILU'PK    ROLL 


Alfred  Philippe  Roll 


THE    OLD   QUARRYMAN 


Paris,  The  Joys  of 
Life  (1SQ5),  is  the 
culmination  of  that 
period. 

Since  then,  time 
accomplishing  its 
mission,  the  mature 
and  serene  artist  has 
followed  two  series  of 
inspiration  in  his 
productions,  here 
and  there  a  note  of 
bitterness,  of  sinister 
and  quivering  hu- 
man distress,  as  in 
the  striking  picture. 
After  the  Sorrow,  of 
iqo6.  contiguous 
with  the  resplendent 
nudes  of  The  Kiss  of 
the  Sun,  The  Woman 
with  a  Dog  or  The 
Pink  Room.  At  the 
same  time  of  the  sec- 
ond part  of  The  Joys 
of  Life,  Art,  Motion, 

Labour  and  Light  indicate  a  striving  for  ex- 
pression, more  complex,  a  noble  uneasiness  of 
a  mind  in  quest  of  a  higher,  more  comprehensive 
and  human  art.  Also  the  great  canvas  of  IQ08, 
which  the  artist  has  entitled  Through  Nature  to- 
ward Humanity,  and  which  has  taken  a  place  in 
the  Sorbonne;  finally  the  ceiling,  recently  placed 
in  the  Petit  Palais  at  Paris,  where  triumphs  a 
young  and  audacious  Republic,  all  in  \avid  red, 
in  the  midst  of  figures  of  geniuses,  philosophers, 
sages,  workmen  and  soldiers,  which  unite  to  form 
its  cortege. 

It  is  singular  to  note  how  much  this  observer, 
this  painter  of  realistic  scenes  retains  his  individ- 
uality: h^nv  his  temperament,  his  state  of  mind, 
either  momentary  or  deep,  appears  through  his 
productions,  and  whose  ability  is  so  admirably 
sketched  Ijy  Leon  Bourgeois,  the  great  statesman 
and  far-sighted  psychologist.  One  has  from  the 
first,  in  the  presence  of  Roll,  the  certainty  of  a 
profound  sincerity,  a  man  who  devotes  himself 
entirely  to  his  work  and  who  has  no  desire  to  be 
distinguished  except  through  his  own  efforts. 
Nature  to  him  is  an  open  book,  inexhaustible  and 
multiform:  he  loves  every  aspect  of  it,  from  the 
most  crude  and  ordinary  (which  he  portrays  with- 


out falling  into  the 
triviality  of  shallow 
or  fiat  naturahsm) 
to  the  most  delicate 
and  most  full-blown 
flowers,  which  he 
knows  how  to  fash- 
ion without  a  touch 
of  academic  insipid- 
ness. Whether  Roll 
paints  an  old  peasant 
showing  the  ravages 
of  age,  or  a  radiant 
and  enchanting  vis- 
ion of  the  nude  form 
of  a  young  maiden, 
it  is  in  himself  that 
he  \erifies  the  phil- 
osophical adage  that 
"beauty  is  the  splen- 
dour of  truth.'"  He 
shows  the  same  deep 
passion  in  his  pursuit 
of  plastic  reality  as 
BY  ALFRED  PHILIPPE  ROLL       whcu  he  appHes  him- 

self  with  an  untiring 
energy  to  produce  that  ideal  of  luminous  truth  by 
means  of  unceasing  effort.  His  contemporaries 
and  his  rivals  at  times  attempt  to  attain  the  same 
degree  of  greatness,  but  their  audacity  does  not 
alarm  him;  on  the  contrary,  they  always  find  in 
him  a  sympathetic  companion  also  seeking  the 
solution  of  the  problem. 

Such  a  disposition  as  'SI.  Roll's  necessarily  was 
the  making  of  him  and  he  has  not  missed  his  goal, 
that  of  a  portrait  painter  of  the  highest  order. 
His  academy  studies  were  always  truthful  and 
veritable  portraits,  serious  and  attentive.  His 
first  works,  like  that  of  his  mother,  dateil  1S7S, 
still  cling  to  a  style  a  little  scholastic,  which  we 
noticed  not  long  ago  at  the  beginning  of  his  career. 
The  Child  on  Horseback  of  the  Salon  of  iSSS.  one  of 
his  sons,  is  a  splendid  result  of  a  period  of  joyt)us 
exuberance.  The  .Man  in  .\fournini^.  in  which  one 
easily  recogni/.es  the  artist  himself,  is  a  li\ing  wit- 
ness of  the  sad  episodes  of  his  life.  Numerous  tig- 
ures,  already  historical,  reveal  to  us  the  meetings 
and  the  friendships  which  accunuilate  in  the  course 
of  an  active  existence,  intimately  mingled  with  the 
life  of  a  republican  country.  It  is  Jules  Simon, 
Alphand,  Yves  GuyiU,  .\nti>nin  Proust,  President 
Carnot  and  all  those  who  figure  in  the  canvas  of 


/ji'iiii^  ^'hjicyiciui  Iitclicys 


The  Cciiltiiary:  Zohi,  \'ac(|iKTii',  Cliarlis  (larniir, 
I)aK)u.  I'tc,  later  I'rcsick'iit  l-'aurt.\  whom  he 
sketchctl  in  his  villa  at  Saiiite  Adrcssc,  ami  tlu- 
youn^  Czar  Nicholas, whom  he  asked  to  pose  for  him 
at  Tsiirkoie  Selo,  in  order  to  enlighten  and  give 
him  a  realistic  view  for  the  jncture  entitled  the 
Layiiii^  of  the  First  Stone  of  the  Alexonder  Bridge. 
Later  the  grave  and  pensive  tigure  of  Leon  Bour- 
geois, a  work  nH)re  penetrating  and  thoughtful,  as 
contrasteil  with  works  oi  such  high  ideals  and 
poetical  rapture  as  his  preceding  ones,  and  which 
shows  us  the  result  oi  serious  maturity  in  the  artist 
always  in  quest  of  improvement,  never  satisfied 
with  his  achievements,  however  brilliant,  but  mov- 
ing exer  on  toward  his  highest  ideal. 

The  landscape  also  naturally  tempts  him,  and 
these  were  his  first  inspirations.  Normandy  pas- 
tures or  industrial  suburbs,  he  appears  always  cor- 
rect and  e.\pressi\"e  throughout  his  works,  and  it  is 
here  that  he  relaxes.  The  sea,  rough  and  colour- 
ful, the  sky  with  tragic  clouds  or  majestically  calm 
at  sunset,  the  spacious  grassy  gardens  peopled 
with  clear  silhouettes,  or  with  animals  at  liberty; 
to  these  he  returns  incessantly,  but  with  diverse 
renderings,  very  rarely  confining  himself  to  that 
objective  tranquillity  which  in  itself  is  the  very 
strength  of  a  Rousseau  or  a  Claude  Monet.  Roll, 
in  his  landscapes  as  in  his  decorations,  in  his  scenes 
of  nature,  and  even  in  his  portraits,  gives  himself 
up  entirely  to  his  ardent,  generous,  audacious  and 
enthusiastic  temperament,  his  frank  sympathy 
and  his  poetic  soul.  He  is  a  realist  by  education ; 
we  have  seen  it,  willingly  and  in  theory,  but  he  is 
above  all  a  passionate  lyric.  Li  his  clear  eyes, 
piercing  and  soft,  one  feels  the  dream  of  humanity 
which  is  about  to  blossom  in  his  expressive  work, 
poignant  or  jo\ous,  never  impersonal  nor  abstract. 

The  tragic  events  which  have  thrown  his 
country  into  confusion  found  Roll  working  at 
the  border  of  the  Forest  of  Fontainebleau,  in 
the  harmonious  setting  of  his  great  garden  at 
Bois-le-Roi  in  the  distance,  and  the  grand, 
peaceful  valley  of  the  Seine,  which  was  to  be  de- 
stroyed some  weeks  later  by  the  terrible  tempest. 
He  was  completing  some  of  his  Summer  Idylls. 


c 


IVLNG  AMLRICAN  KTCHLRS: 

AN  EXPLRIMENT  IN   PHILADEL 
VHlk 


TiiKRK   are    two  factors  which    make  for  suc- 
cess    with     the     American     etcher.     Either    he 


must  have  been  dead  a  very  long  time,  em- 
balmed art  being  \ery  ])opular,  or  he  must  gain 
recognition  in  Paris  or  London  and  rush  direct 
from  the  American  landing  stage  to  the  print 
dealer's  office.  A  skimming  process  then  ensues  in 
which  the  cream  of  the  ]ilates  is  obtained  and  a 
year  of  financial  ])eace  is  assured  to  the  artist. 
The  \ear  ended,  he  must  turn  to  other  pursuits  or 
else  rush  back  to  Europe  and  perform  a  fresh  gar- 
nering of  subjects  for  a  couple  of  years.  Such  is 
the  etcher's  treadmill. 

But  strange  as  it  may  appear,  there  are  some 
print  lovers  who  do  not  demand  that  an  etcher  be 
dead  or  domiciled  abroad;  they  only  wish  to  be 
confronted  with  good  cxam]>lcs  of  the  art  to  frame 
or  place  in  their  jjortfolios. 

An  experiment  has  just  come  to  a  successful 
close  in  w'hich  Mr.  and  Mrs.  Jasper  Yeates  Brin- 
ton,  of  Philadelj)hia,  collected  portfolios  from 
some  twenty  or  thirty  artists  and  in  the  intimate 
surroundings  of  their  beautiful  home  inxited 
friends  and  others  to  come  and  see  and  bu>'.  The 
home  was  turned  topsy  turvy  and  for  a  week  these 
enthusiastic  people  laboured  to  make  a  few  hun- 
dred proofs  show  to  the  best  advantage.  On  the 
first  "At  Home"  Mr.  George  T.  Plowman  was 
invited  from  Boston  to  demonstrate,  not  to  lec- 
ture. In  the  simplest  manner,  surrounded  by  an 
interested  audience  and  a  practical  outfit  he  ex- 
plained the  different  processes  and  showed  the 
tools  and  their  uses.  The  somewhat  austere 
atmosphere  and  too  apparent  commerciality  of  the 
gallery  was  conspicuous  by  its  absence  and  the 
fact  that  a  few  dozen  j^rints  found  a  c|uick  sale  is 
e\'idence  that  the  host  was  not  engaged  in  flogging 
a  dead  horse,  but  was  initiating  a  modus  operandi 
which  should  command  the  serious  attention  of  art 
lovers  willing  to  make  similar  sacrifices,  namely, 
to  give  up  house,  time  and  money  for  a  few  days' 
exhibition  on  the  same  intimate  lines. 

It  should  be  said  in  conclusion  that  etchers  were 
selected  at  random  and  only  a  few,  just  to  try  out 
the  idea.  No  etcher  who  was  not  represented 
need  feel  for  a  moment  that  he  was  overlooked. 
As  soon  as  a  regular  plan  of  action  has  been  deter- 
mined upon,  there  will  be  opportunity  to  register. 
Had  this  enterprise  been  a  failure  instead  of  a 
marked  success,  the  unqualified  thanks  of  all — 
dealers,  etchers  and  art-loving  public — are  due  to 
the  Brintons,  who  have  done  so  much  to  encourage 
this  delightful  art  as  i)ractised  by  living  American 
etchers.  \V.  H.  df,  B.  X. 


The  City  College  Stadiinn 


DETAIL    OF    THE    CITY   COLLEGE    STADIUM 


ARCHITECT,    ARNOLD    \V.    BRIXXER 


T 


HE  CITY  COLLEGE  STADIUM 
(PRESENTED  TO  THE   CITY  BY 
MR.  ADOLPH  LEWISOHN) 
BY  JOHN  H.   FINLEY 


part  hewn  from  the  rock,  looks  out  over  New  York 
City  and  on  clear  days  across  the  Sound  to  the 
hills  on  the  north  shore  of  Long  Island.     And 


On  the  Trasteverine  Hill,  overlooking  the 
city  of  Rome,  there  is  a  semi-circular  rock-hewn 
theatre  which  is  the  miniature  model  of  what 
I  long  ago  hoped  might  some  day  crown  St.  Nicho- 
las Heights  in  New  York  City.  And  now  what  was 
long  ago  hoj:)ed  for  is  almost  incredibly  in  actual 
existence.  To  be  sure,  it  is  many  tens  of  times 
larger  than  the  little  stone-seated  hill-top  theatre, 
near  the  convent  of  St.  Onofrio,  where  it  is  said 
Tasso  used  to  come  in  his  last  days  to  rest  beneath 
a  huge  willow  that  flung  its  afternoon  shadow- 
over  the  northernmost  seats.  Moreover,  there  is 
no  high  screen  of  cedars  at  the  rear  to  shut  it  awa\' 
from  the  street  and  give  it  an  atmosi)here  of  the 
academic  grove.  In  place  of  the  stately  and  soni- 
bre  trees,  it  has  been  necessary  to  build  a  solid 
architectural  frame  as  a  setting  and  for  shelter  from 
the  late  afternoon  summer's  sun  and  the  noises  of 
a  street-car  avenue.  But  there  is  this  resemblance : 
that  as  the  miniature  theatre  of  St.  Onofrio  looks 
over  Rome,  so  this  new-world  hill-top  theatre,  in 


OM-;  oi"   WW.  i:m)  r.w  ii.ioNr 


Tlic  C  'ity  College  Stadium 


ihougli  it  bus  no  Tasso  tree,  it  has  a  nu'iiiory  of  a 
poet  wlumi  N\'\v  ^'ork  >houl(l  ih\  i r  forgot, 
Richard  Watson  Ciihkr;  for  I  recall  his  stanclin<j 
with  nu'  at  the  north-west  corner  of  the  site  and 
imaj^inini:  what  lie  has  iu)t  li\  ed  to  see. 

This  structure  has  the  outlook  of  St.  Onofrio. 
but  it  has  the  sweep  of  the  ellipse  of  the  Coliseum, 
and  it  has,  as  1  recall,  the  diameter  dimension  of 
the  great  amphitheatre  at  l-.pidauros.  Man\- 
years  ago  1  heard  a  lecture  on  this  historic  theatre 
and  was  greatly  encouraged  in  my  labour  for  the 
City  College  theatre  or  stadium  In-  learning  that 
the  theatre  praised  by  Pausanias  as  the  most 
beautiful  in  Cireece  would  ha\e  fitted  closely  the 
plot  now  occupied  by  this  most  attracti\e,  as  I 
believe,  of  new-world  stadiums. 

It  is  in  the  literal  and  narrow  definition  of  the 
word  not  a  "stadium";  nor  is  it  in  like  literalness 
an  amphitheatre.  It  is  a  "hemi-stade,"  as  a 
Greek  professor  friend  of  mine  has  called  it;  it  is 
half  an  "  amphi."  But  with  its  running  track  and 
its  ball  fields,  it  serves  the  purposes  of  a  stadium, 
and  with  its  semi-circular  seats  it  also  serves  the 
purposes  of  an  out-of-door  theatre.  If  the  other 
half  of  the  ellipse  had  been  added,  the  uses  of  the 
structure  would  have  been  greatly  diminished  and 
the  view,  which  is  an  asset  of  incalculable  \alue, 
would  have  been  shut  away. 

I  wish  the  field  could  ha\e  been  a  bit  larger  and 
the  track  a  bit  longer,  but  there  was  no  stretching 
this  tract  bounded  by  four  streets,  and  the  struc- 
ture could  not  well  have  been  made  smaller.  As  it 
is,  it  should  not  only  serve  the  college  students  but 
also  influence  the  out-of-door  recreational  life  of 
the  city,  affording  a  j)lace  not  only  for  j)ractice  and 
competitive  college  school  and  public  games,  but 
also  for  concerts,  pageants  and  plays.  Under  the 
direction  of  the  best  organized  department  of 
j)hysical  training  with  which  I  am  familiar,  I 
anticipate  that  this  stadium  will  be  a  great,  whole- 
some civic  factor. 

While  it  rises  out  of  the  generosity  of  Mr. 
Adolph  Lewisohn,  who  has  built  it  and  given  it  to 
the  city,  it  takes  its  form  from  the  architectural 
skill  of  Mr.  Arnold  W.  Brunner,  to  whose  genius 
American  cities  are  becoming  greatly  indebted.  I 
do  not  forget  the  early  helpful  suggestions  and 
sketches  of  George  B.  Post  and  his  sons,  who  de- 
signed the  great  college  buildings  in  the  adjoining 
blocks.  Mr.  Brunner,  however,  as  Mr.  Lew- 
isohn's  architect,  solved  what  seemed  at  first  an 
insoluble   problem,   of   making   a   -structure   that 


would  be  ser\  iceable  as  well  as  beautiful,  and  that 
would  meet  all  the  classical  recjuirements  while 
standing  in  immediate  proximity  to  a  group  of 
perpendicular  Gothic  buildings. 

The  following  facts  will  detine  the  structure 
more  fully : 

It  extends  from  i3()th  Street  to  \S^\.\\  Street, 
along  Amsti'rdam  Avenue,  and  with  the  lield,  ex- 
tends from  Amsterdam  Avenue  to  Convent 
Avenue,  immediately  south  of  the  City  College 
buildings;  it  is  built  entirely  of  concrete,  its  front- 
age on  Amsterdam  Avenue  4O0  feet;  there  are 
i()  rows  of  seats  divided  into  16  sub-divisions; 
there  is  a  Doric  colonnade  at  the  back  of  64  col- 
umns 15  feet  high;  the  semi-elliptical  colonnade 
ends  in  two  pavilions  27  feet  by  23  feet  6  inches, 
containing  showers  and  dressing-rooms  for  com- 
peting teams;  there  are  6,000  seats  and  approxi- 
mately 1,500  standees;  the  colour  of  the  concrete  is 
a  light  grey;  the  panelled  wall  back  of  columns  is  to 
be  coloured  Pompeian  red ;  the  slope  of  ground  from 
Amsterdam  Avenue  to  Con\-ent  Avenue  forms  a 
natural  amphitheatre;  the  spectators  face  the  east; 
athletic  field  provides  space  for  baseball  diamond, 
football  field,  one-fifth  of  a  mile  running  track  and 
450  feet  straightaway;  the  entire  field  is  to  be  en- 
closed with  light  iron  fence,  so  as  not  to  obstruct 
the  view;  immediately  in  front,  extending  to  the 
edge  of  the  hill,  is  a  park  space  of  two  blocks. 

It  is  a  happy  initial  consummation  that  this 
beautiful  structure  of  classical  lines  should  be 
dedicated  by  the  performance  of  a  Greek  play. 
With  its  colonnade  rising  high  on  one  of  the  high- 
est crests  of  the  island,  it  will  indeed  be,  in  the 
words  of  Euripides,  the  "lit  house"  of  the  dawn. 
And  some  day  (I  have  the  hope  now  that  so  much 
has  come)  the  great  marble  columns  designed  by 
Mr.  Brunner  will  stand  as  a  portal  for  the  new- 
day  and  as  a  monument  commemorative  of  the 
glorv  of  the  da\s  that  have  been. 


H 


ALVOR     BAGGE     COLLECTION 
THE   EHRICH    GALLERIES 


AT 


This  collection  w-as  made  by  Mr.  Hal\-or 
Bagge  during  many  years  spent  in  Greece  assist- 
ing in  archaeological  excavations  in  Knossos, 
Delhi  and  Sparta.  Becoming  interested  in 
Byzantine  art  he  formed  this  unique  collection 
which  has  just  been  brought  to  this  country. 
The  collection  has  already  been  shown  in 
Christiania  and  Co])enhagen. 


# 


\«**'.  j5 


:;:  Z 


^f  m    «>  ^  fc    B- 


Academy  Xm  York  Spring  Exhibition,  igij 


LA   MIDINHTTH 

Fi\    ALHKRT   ROSFCNTHAI. 


The  Passing  Show 


RHAPSODIE 


BY    JONAS    LIE 


THE       PASSING 
SHOW 
BY 
W.  H.  DE  B.  NELSON 

I.    BROOKLYN  EX- 
HIBITION 

The  Brookl\n  Institute 
Museum  scored  an  unpre- 
cedented success  with  its 
recent  invited  exhibition, 
which  has  attracted  enor- 
mous attention  amongst 
art  enthusiasts  who  have 
hitherto  looked  to  the 
Carnegie  Institute  and  the 
Pennsylvania  Academy  as 
the  only  media  for  such  a 
rich  display  of  contempo- 
rary American  art.  The 
long  western  gallery,  ex- 


OIRL    WITH    THE 
I'lNK    HOW 


in    MARY 
CASSATT 


ct'ik'ntl\-  lighted  and  |)ar- 
titioned  otY  so  as  to  form  a 
nuni'her  of  diminutive  gal- 
leries, offered  the  oppor- 
tunity for  admiring  groups 
of  paintings,  undisturbed 
1)\-  discordant  companion- 
ship. The  keynote  of  this 
|)raise\Yorthy  enterprise 
was  the  sanity  of  the  col- 
lection, the  outlawing  of 
the  ultra  modern  and  the 
ultra  antique  combined 
with  superb  hanging.  That 
it  will  be  the  precursor  of 
still  more  important  an- 
nual exhibitit)ns  goes  with- 
out saying  and  it  behoo\es 
Xew  York  now  more  than 
e\er  to  K^ok  to  its  laureU, 
especially  when  new  facili- 

C  XXI 


The  Passing-  S/icnc 


X\'C«««v<m'm<AVW>WKMM»KWM<«»mn  't<.^■8W.VW^WV^^'^^^.^W«<■^0^N^■WW^WWv^■CW!^g^S!WW'^^ 


FISHERMKN  S  HOISKS,   ST.   IVES 


RV   HAYLEY  LEVER 


ties  of  travel   will  place  the  visitor  quickly  and  Robert  Henri    submitted    an    unknown    piece 

directly  in  the  very  vestibule  of  the  Institute.  of  work,   a   brilliantly   painted  half-nude    girl. 

The  exhibition  was  most  comprehensive  and  This  and  an  Irish  landscai)e,  along  with  an  In- 
included  Cecilia  Beaux,  William  Chase  and  Mary  dian  girl,  formed  a  sjjlendid  trilogy.  Twogood 
Cassatt;  Albert  P.  Ryder,  with  eight 
canvases;  a  couple  by  Philadelphia's 
veteran  artist,  Thomas  W.  Eakins;  a 
Weir,  a  Davies,  a  Lever  and  a  Mani- 
gault;  Bellows'  Geraldine  Lee,  No.  i, 
and  a  portrait  of  Maxlield  Parrish 
by  Kenyon  Cox.  John  W'.  Alexander 
showed  a  graceful  woman  leaning 
over  a  table;  Kroll  a  very  decora- 
tive Xorth  Spanish  Town.  Glackens 
and  Sloan  were  well  represented. 
A  beautifully  decorative  still-life, 
full  of  splendid  colour,  showed  a 
new  side  of  Jonas  Lie,  while  the 
best  of  his  Panama  group,  The 
Heavenly  Host,  reapj^eared  as  the 
Heavenly  Hoist,  losing  nothing  in 
the  process.  .\  newcomer,  Montagu 
Marks,  is  worth  following.  north'si'.\msh  town  by  leon  kkoi.l 


WASHOE    VALLEY,    NEVADA 


BY    ALHKKT    L.    I. ROLL 


ROSE   TO    ROSE 


HV     VKIIH  K    H.    1)  WIKS 


llic  /\rss/;/o'  S/iOT^' 


PORTRAIT    OF    MK-^.     WILLIAM 
N.    KRIiMKR 


BV    CECILIA 
BKALX 


1 1 .    !•  RI  KXl  )S  ( )V  VOUxXG  ARTISTS 

'I'liis  latest  orj^ani/ution  commenced  its  cum- 
l)ai,<,ni  witli  an  exhibition  of  sculpture  i)leasantly 
shown  at  the  Reinhardt  Galleries,  loaned  for  the 
occasion.  The  subject  for  a  competition  given 
out  1)\-  Mr.  Daniel  C.  French  was  "War,"  and 
some  hundrt'd  and  lhirt\-  \()un,u;  artists  attacked 


landscapes  by  Ben  Foster,  a  fine  hillside  paint- 
ing by  Gardner  Symons;  a  twilight  Metcalf; 
three  entertaining  snapshots  by  Luks;  a 
brilliant  Frieseke  in  contradistinction  to  a 
pallid  Dewing,  gave  opportunity  to  test  the 
strong  pulse  of  American  jiainting  of  to-day.     war 


HV    a.    RAMON 


SAVINfi    THK    STANDARD 
C.XXIV 


BV    JKANNK    BKRTKAND 


I 


TJie  Passing  Show 


qualified  on  similar  grounds.  Some  verv  excel- 
lent work  appeared,  showing  tine  modelling 
and  a  well-trained  imagination.  Much  was 
Beaux  Arts  and  much  was  bizarre.  The  jur\-  did 
their  best  and  showed  considerable  patience  over 
a  very  difficult  and  somewhat  thankless  task.  In 
the  end,  as  usual,  they  did  not  please  everybody. 
It  was  noticeable  that  about  2  per  cent  onlv  of 
the  exhibitors  expressed  the  joic  de  battre,  the  rest 
evidenced  the  sheer  misery  and  tragedy  of  blood- 
shed, the  agony  and  despair  of  cities  and  people 
devastated  by  poluphlosboysterous  hordes  of 
murderers  in  armour.  It  is  no  wonder  that  the 
public,  deeply  interested  though  it  was,  felt  no 
inclination  to  purchase.  People  want  to  outlive 
and  forget  war. 

The  next  exhibition  to  be  held  in  the  studios 
of  Mrs.  Harry  Payne  Whitney,  who  has  done  and 
is  doing  so  much  for  this  cause,  will  take  place 
June  15  and  will  be  painting,  the  subject,  given 
out  by  Mr.  John  Alexander,  to  be  Labour. 

The  latest  enthusiast  in  this  good  cause  is 
Mr.  Otto  H.  Kahn  who  has  done  much  besides 
making  a  donation  of  one  thousand  dollars. 


WAR  HV  ANTHONY  DE  FRANCISCl 

the  theme  with  enthusiasm,  omitting 
none  of  the  horrors  and  misery  which 
war  evokes.  Many  of  the  exhibitors 
seemed  so  anxious  to  start  that  they 
barely  paused  to  consider  what  was  asked 
of  them  but  rushed  into  subjects  which, 
though  traceable  to  conflict,  hardly  ex- 
press the  spirit  or  essence.  For  instance, 
a  half-caveman,  half-gorilla,  clothed  in  a 
German  helmet  and  an  ujJturned  mous- 
tache is  but  an  unveiled  satire  u])on  one 
of  the  contesting  nations  now  at  war, 
while  a  very  wooden-looking  coil  looking 
over  the  jxisture  gate  and  labelled 
Mammals  Gone  to  the  Front,  hardly 
claims  serious  attention.  Two  or  three 
dozen  numbers  should   have    been    dis-      at  closk  i.rii's 


BY    GLADYS   FURRIS 

cxxv 


The  rassiii!^  SV/ok' 


THE   OLD   MILL-PONU 


Hv  (..  (.i.ENN   m;\vi;ll 


111.  ALLIKD  AR  riS  rs  OF  AMERICA 

Though  the  Conservatives  and  Progressives  do 
not  employ  the  pristine  vigour  of  the  Guelphs  and 
Ghibellines  in  their  conflicts,  still  the  rope  of  art 
receives  occasional  jolts  from  the  one  faction  or 
the  other.  Sometimes  a  more  than  ordinary 
strain  on  the  rope  produces  some  little  result,  such 
as  the  Allied  Artists  of  America.  The  effect  of 
this  product  is  so  far  short-reaching,  for  the  reason 
that  amid  the  clash  of  cymbals  heralding  in  the 
new  men,  the  public  fails  to  see  any  fresh  tendency 
or  anything  in  their  e.xhibition  which  might  not 
hang  with  perfect  propriety  upon  the  walls  of  a 
spring  or  winter  exhibition  of  the  Academy.  What 
the  pul)lic  did  see  and  admire  was  a  beautifull\' 
hung  exhibition  in  which  the  artists  were  allotted 
certain  wall  space,  for  which  they  drew  lots;  the 
elimination  of  the  Bluebeard  chamber,  officially 


known  as  the  Academy  room;  and  the  use  of  the 
Central  Caller}'  for  small  material,  sheltered  by 
the  large  canvases  in  the  South  and  \'anderbilt 
Galleries,  a  happy  blend. 

The  Allied  Artists  are  stri\-ing  for  the  advaiice- 
ment  of  American  art,  by  o!)ening  new  avenues  of 
opportunity  for  the  exhibition  of  meritorious 
works  of  art  for  which  the  Academy  finds  no  space, 
or  else  hangs  so  abominably  that  the  artist  would 
derive  as  much  benefit  if  his  canvas  were  put  on  a 
clothes-line  in  a  back  yard  of  Hoboken.  All 
honour  to  the  Allied  .-Vrtists,  who  are  at  least  teach- 
ing the  lesson  that  artists  must  help  themselves  if 
they  wish  to  benefit  others.  Near  a  hundred 
members,  who  have  stood  shoulder  to  shoulderfor 
sixteen  months,  can  at  least  be  sure  that  their  pic- 
tures  will  be  shown  in  the  best  possible  manner, 
and  it  is  now  up  to  them  to  conx'ince  the  i)ublic 


CXXVI 


UELl'HRA 

BY  CHRIS'llNA  MORION" 


TIic  Piissiih^  S//()7l> 


^StBH^^T'f^i^T^JI^II^ 

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hi   ■ 

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w,    -^ 

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BY    F.    HIS    MORA 


that  they  are  worthy  of  special  attention.  The 
demon  of  mediocrity  that  bites  so  deeply  into  the 
vitals  of  Academic  exhibitions,  must  be  warned  off 
the  premises  of  the  Allied  Artists,  or  else  thev  will 
plead  in  vain. 

.\mong  lesser  known  exhibitors  none  has  blos- 
somed forth  with  brighter  promise  than  Christina 
Morton,  whose  work,  though  not  impeccable,  has 
line  colour  and  that  feeling  of  joy  of  production 
that  bids  the  beholder  halt  and  share  the  pleasure 
of  the  artist. 


IV.    INDIANA  ARTISTS  AT  THE 
JOHN  HERRON  INSTITUTE 

Thk  work  of  the  painters  of  Indiana  is  not 
very  well  known  in  the  East,  but  the  repre- 
sentation from  that  State  has  always  been  one 
of  the  strongest  features  of  the  exhibitions  of 
the  Society  of  Western  Artists.  There  are  many 
who  believe  that  the  real  American  art  of  the 
future  will  come  out  of  the  Middle  West,  from 
those  artists  who  have  received  their  inspiration 
directly  from  the  American  country  and  people. 


C.XXVIII 


TJie  Passing  Slunu 


Eighlh  Annual  Exhibition  at  the  J^iini  I: 
WINTER    NOONDAY 


BY    T.    C.    STEELE 


Eighth  Annual  Exhibition  at  the  John  llrrron  Art  Inslituir 
THE    ARSENAL    BELL 


HY    OTTO    ST\RK 


To  these,  the  present  Annual  Ex- 
hibition of  Works  by  Indiana  Artists 
in  the  John  Herron  Art  Institute, 
Indianapolis,  will  be  of  more  than 
passing  interest.  As  always,  the 
real  mainstay  of  the  Indiana  ex- 
hibitions is  the  work  of  the  so- 
called  ''Hoosier  Group" — T.  C. 
Steele,  William  Forsyth.  J.  Ottis 
Adams  and  Otto  Stark.  Although 
they  have  taken  root  in  In- 
diana, they  have  not  permitted 
themselves  to  l)ecome  provincial 
but  have  kept  in  touch  with  the 
general  movements  of  art  in  the 
world.  Under  their  tutelage  many 
\-oung  men  antl  women  have  car- 
ried a  love  of  art  and  a  knowledge 
of  its  technical  practice  to  all  the 
varit)us  corners  of  the  State;  many 
have  gone  still  farther  atield  and 
have   either    achieved    reputations 


lllC  /\lSs///o'  S//(rK' 


\  .    ri.ASIIC  CIAH.  PHILADELPHIA,  AND 
pi:  A  BODY  INSTITUTE,  BALTIMORE 

A  Baltimorkan,  Miirjorie  D.  Martinet,  and  a 
sprinkling  of  Philadelj)hians,  including  Ada  C. 
Williamson,  Anne  W.  Strawbridge,  Alice  Kent 
Stoddard  and  Kli/.a!)cth  Sparhawk-Jones,  ha\-c  in 
their  recent  exhibitions  demonstrated  how  ably  a 
wonuin  can  play  a  man's  jmrt  in  painting.  These 
ladies  met  with  marked  success  at  the  Plastic  Club 
Philadelphia  and  at  the  Peabody  Institute,  Bal- 
timore. 

Anne  W.  Strawbridge  showed  ten  canvases 
which  ga\e  her  indisputable  right  to  be  reckoned 
an  animal  painter  of  ])rominence.  Many  paint 
animals,  few  are  animal  painters.  This  lady  in- 
teri)rets  horses  and  endows  them  with  individual- 
ity and  character  and,  what  is  eciually  important, 
she  gi\'es  the  true  action.  Alice  Kent  Stoddard 
scored  a  signal  success  in  the  difficult  task  of  treat - 


I'OKTKAIT    OF    \SM.    lORSVTH,  KS(^). 


HV    S.   I>.   BAl  S 


for  themselves  or  ha\e 
helped  in  promoting  art  in- 
terest in  the  Middle  West. 

But  it  is  most  encourag- 
ing to  notice  from  year  to 
year  in  the  Indiana  exhi- 
bitions the  growing  strength 
of  the  younger  generation, 
those  who  are  just  beginning 
to  make  themselves  known . 
This  }ear.  more  than  ever 
before,  one  realizes  that 
when  the  members  of  the 
''Hoosier  Group"  have 
passed  on,  there  will  be 
others  to  carry  forward  their 
ideals.  S.  P.  Baus  and  Clif- 
ton A.  Wheeler  attracted 
attention. 

Others  whose  work  should 
not  be  overlooked  were  J.  E. 
Bundy,  of  Richmond;  Mrs. 
J.  O.  .\dams,  Brookville; 
William  Edouard  Scott  and 
Wayman  Adams,  both  of 
Indiana])olis. 

H.McCormick.of  Leonia. 
N.  J.,an(lC.Reiffel,of  Nor- 
walk.  Conn.,  contributed  a 
ringing  note  to  the  exhi- 
bition. 


HV    MAKJOKIK    I).    MARTINKT 


The  Passing  Slum' 


ing  childhood  naturally  without  suggesting  the 
portrait  in  Paper  Dolls.  It  is  a  snapshot  in  oils 
and  technically  excellent.  This  artist  can  do 
other  things  with  her  palette.  She  stands  high 
among  American  marine  painters.  Elizabeth 
Sparhawk-Jones  is  so  busy  with  colour  that  she 
somewhat  neglects  drawing.  An  old  gardener 
stooping  over  his  geranium  is  an  orgy  of  colour 
intelligently  applied.  Her  other  picture  was  less 
interesting.  Ada  C.Williamson  showed  portraits 
and  etchings.  Her  Peacock  Girl  is  a  grand  study 
of  blues  and  greens  and  extremely  decorative. 
Se\eral  good  seashore  etchings  testified  to  her 
abilities  with  the  needle.  Good  landscapes,  wood 
scenes  of  tree  trvmks  and  valley,  a  quarry  entitled 
Human  A)ils,  were  credited  to  Marjorie  D.  Mar- 
tinet. To  lend  additional  interest  to  the  exhibi- 
tion was  a  large  group  of  sculptures,  commemora- 
tive of  the  late  Emily  Bishop,  that  talented  ^Nlary- 
land  artist  who  died  so  young,  and  some  good  por- 
trait busts  bv  Beatrice  Fenton. 


VI.  THE  PORTRAIT  PAINTERS 

The  National  Association  of  Portrait  Painters 
held  their  usual  annual  show  in  New  York  City 
and  at  the  National  Museum,  Washington,  D.  C. 
They  offered  no  special  surprises,  it  is  true,  but  the 
twenty-two  exhibits  totalled  a  high  average  of 
proficiency  in  interpretation  of  character.  The 
finest  example  of  simplified  art  was  undoubtedly 
Cecilia  Beaux's  portrait  of  Mr.  William  Straight. 
Both  Mr.  and  Mrs.  Crawford,  Eugene  Speicher, 
George  Bellows,  Ir\'ing  Wiles  and  Robert  \'onnoh 
were  all  well  represented  with  vital  renderings  of 
their  subjects,  proving  themsehes  in  possession  of 
that  idios}Ticratic  note  which  a  good  painting 
must  have  if  it  shall  appeal  to  our  aesthetic  emo- 
tion. A  portrait  of  a  lady  in  a  blue,  spangled  gown 
by  Howard  Gardner  Gushing  was  remarkable  for 
its  forceful  background  m  black  against  buff. 
Johansen's  portrait  of  the  veteran  art  editor.  Mr. 
Alexander  W.  Drake,  is  too  well  remembered  from 
the  Academv  to  need  further  notice. 


MILK    P.\CK 


H\     ANM:    W.    >1R WVHRlDC.l-: 
C.\\\l 


A  roKTKArr  ok  his  daughter 

BY  IKV1N(.  K.  WILES 


///  the  Galleries 


IN  THE  GALLERIES 
We  are  accustomed  to  consider  the  Car 
negie  Institute  as  the  official  sexton  of  the 
art  season,  for  after  their  annual  exhibition 
nothing  stirs  until  the  winter.  This  season  the 
sinking  of  the  Lusiiania  may  be  said  to  have  taken 
the  place  of  that  famous  institute  as  far  as  com- 
pleting the  art  season  is  concerned.  Every  one 
bemoans  the  loss,  among  other  valuable  lives,  of 
the  many  well-known  dealers  and  experts  who 
went  down  in  that  ill-fated  vessel. 

At  the  galleries  of  the  Berlin  Photographic  Com- 
pany, Mr.  Birnbaum  has  arranged  a  varied  and 
unique  exhibition.     It  is,  in  some  cases,  a  review 


ni:si(.N    I-OR    A    lOl  N  IAIN 


\\\     I'M  I,    MllKUI> 


of  different  shows  held  during  the  winter,  and  will 
remain,  with  additions,  for  the  summer  months. 
One's  eye  is  first  caught  by  a  set  of  coloured 
lithographs  on  stone,  by  Malvina  Hoffman,  the 
sculptress  and  well-known  pupil  of  Rodin,  of 
Pa\'lowa  and  members  of  her  company.  For  these 
she  made  thousands  of  studies  behind  the  scenes, 
when  she  was  not  fortunate  enough  to  have  that 
gifted  dancer  pose  for  her.  They  are  exquisite  in 
drawing  (note  particularly  the  hands),  some  are 
violent  in  action,  all  are  full  of  beauty  and  show 
immense  deal  of  study.  One  queries  if  such  detail 
of  form  could  be  seen  when  the  figures  are  in  whirl- 
ing motion. 

At  one  end  of  that  small  room  which  for  years 
has  shown  the  Xew  York  i)ublic  such  unusual  and 
interesting  exhibitions,  are  hung  a  set  of  litho- 
graphs by  Albert  Sterner.  The  centre  is  occupied 
by  the  well-known  Amour  Mort,  one  of  his  most 
successful  drawings.  Near  by  the  marvellous  por- 
trait-study of  Mr.  Birnbaum,  Herbert  Baer  is  rep- 
resented by  studies  of  birds  done  in  coloured  prints 
from  wooden  blocks,  which  are  the  outcome  of 
many  studies  made  in  the  Zoological  Gardens  at 
the  Bronx.  Prominent  here  are  colour  prints  of 
flowers  by  Edna  Boies  Hopkins,  engraved  on  wood 
and  printed  by  hand.  These  are  exceedingh- 
beautiful  and  indicate  a  great  power  of  selection 
and  a  strong  colour  sense. 

Mrs.  L.  Wright,  who  is  self-taught,  is  repre- 
sented by  a  number  of  groups  of  flowers  ir. 
water  colour.  In  some  cases  her  work  is  naue, 
but  shows  how  untrammelled  and  indixidual  the 
secluded  student  and  lo\er  of  nature  may  be. 
She  shows  patient  study,  research  and  a  wonder- 
ful sense  of  colour-combinations.  One  sees  again 
a  few  of  Mrs.  Burroughs"  delightful  bronze  figures 
and  Herbert  Crowley's  extraordinary  morality 
studies. 

Ernest  Haskell's  etchings  of  heads  and  land- 
scapes complete  one  of  the  most  charming  displays 
shown  this  year. 

.\t  the  Montross  C.aller>-  was  shown  from  .\pril 
2%  to  May  22  the  third  of  the  series  of  exhibitions 
l)y  the  Modernists,  a  si)ecial  exhiliition  of  modern 
art  ai)plied  to  decoration.  Mr.  .Montross  an- 
nounces in  a  leaflet  that  "  the  men  who  made  them 
have  thrown  their  hat  into  the  ring";  that  their 
work  is  no  mere  experiment;  that  they  are  in  frank 
competition  with  what  is  t)utworn,  conventional 
and  uninteresting;  with  the  stupiil  allegories  and 
hist(Mical  scene-painting  with  which   our  public 

CXXXUI 


///  flic  Galleries 


huiUlinj^s  and  prixulc  hou>(.'s  ha\i'  hi't'ii  (list'iu;- 
iircd.  Also  "  Thi'v  wisli  to  j^ct  a\va\'  from  the 
incongruous  and  tri\ial  and  stick,  to  self-expression 
abine  all  things.'"  All  must  approach  such  an 
exhibition  with  an  o]>en  mind.  .\  few  showed 
veneration,  many  st)ught  earnestly  "what  the\- 
were  driving  at."  desiring  a  fornuila,  nian\  still 
expressed  ribald  merrinuiit. 

The  exhibition  was  a  great  success  as  containing 
examples  of  "self-expression."  .\rthur  H.  l)a\ies" 
large  decoration  is  tlie  only  one  which  could  prop- 
erly take  its  j^lace  on  a  wall  as  a  decoration.  It  is 
called  The  Dawning,  and  shows  several  fnu'ly 
drawn  but  indistinct  forms,  with  rectangular  and 
very  black,  back  hair.  Several  rectangles  are 
thrown  into  corners  and  the  whole  is  enclosed  in  a 
narrow,  bright  blue  frame.  Davies'  other  con- 
tribution is  a  small  can\as  /;/  a  Forest.  Four 
Botticelli  ligures  are  gracefulh"  i)osing  against  the 
huge  trunk  of  a  redwood  tree.  They  are  lovely  in 
line  and  colour  and  remind  one  somewhat  of 
his  former  manner  of  painting. 


Taylor's  Blue  I'ap-rooui  is  unmistakal)l\'  blue, 
(ilackens  had  two  ])ortraits  in  which  he  has  out- 
Renoired  Renoir.  Prendergast"s  Summer  is  a 
decoration  and  is  one  of  his  jovous  out-of-doors 
effects  with  which  the  art  world  is  so  familiar. 
I-'Jmcr  MacRae's  Poppies  and  Lilies  are  long 
panels,  and  show  the  only  attempt  at  convention- 
alization. One  enthusiastic  \isitor  mistook 
morning  glories  for  a  hospital  chart  of  in- 
testines. 

Kuhn  had  a  large,  lumpy  lady  seen  in  rectan- 
gles. Some  one  in  the  gallery  remarked  'Td 
hate  to  be  alone  with  it  I"  Maurice  Sterne  showed 
three  exam])les.  Though  sombre  in  colour  the 
mass  of  Indian  figures  are  cleverly  drawn  and 
indicate  great  study  of  the  people  of  Bali.  In 
the  outer  room,  George  Hart  was  represented  by  a 
number  of  fine  water-colours  of  natives  of  Samoa, 
Tahiti  and  Morea. 

Hamilton  Easter  Field's  nine  canvases,  re- 
cently exhibited  at  the  Daniel  Gallery,  show  great 
freshness  and  freedom  of  technicjue  and  an  excel- 


lO.NK 
CXXXIV 


HV    IV.\K    G.    OLINSKV 


/;/  tJie  Galleries 


lent  sense  of  colour  and  of 
values.  The  three  portrait 
studies  are  broad,  yet  not 
slighted  in  modelling,  and  ex- 
hibit insight  into  the  charac- 
ter of  the  sitters.  Field  is  to 
be  congratulated  in  his  com 
paratively  new  choice  of  sub- 
ject— snow-co\'ered  roof-tops. 
In  Hanging  Gardens  I  find 
great  harmony  of  tone,  a 
charm  and  a  poetic  sense. 

Waterfall  is  indicated  in  a 
few  broad  strokes  of  strong 
colour  and  is  but  an  impres- 
sion. It  could  have  found 
congenial  company  in  an  ex- 
hibition of  the  same  charac- 
ter half  a  block  away.  His 
still  life  lacked  truth  in  values 
and  a  spontaneity  fovmd  in  his  other  works.  He 
belongs  to  the  sane  members  of  the  modern  school. 


Exhibited  at  Xational 
PORTRAIT  OF  MISS 


Academy  of  Design,  tqis 
IVES 


BY  I.  E.    HORI 


i 


< 


l^idor  Portrait  I'rizc  at  the  Satmagti'Kl:  Ciul\  i<yi  ■ 
PORTRAIT    OF    MILDRED 


BY    ARTHUR    FREEDI.ANDKR 


is  individual  in  his  viewpoint  and  should  not  abuse 
(as  in  Waterfall)  his  delicate  sense  of  colour. 

During  the  month  of  May  an  E.x- 
hibition  of  Original  Sculpture  by 
American  Women  was  held  at  the 
Gorham  Galleries.  The  exhibits  were 
not  ambitious  in  character,  being 
small  in  size,  and  tending  to  the  imagi- 
native rather  than  to  the  realistic. 
Of  the  few  life-sized  portrait  busts 
shown,  Gail  Sherman  Corbetts.  loaned 
by  Miss  Cottle,  was  the  most  im- 
portant. Gertrude  V.  Whitney  showed 
an  excellent  study  of  a  head  in  mar- 
ble; Janet  Scudder  was  represented 
by  a  bronze  Girl  with  Fish,  being  one 
of  her  Fountain  series,  .\lthough  the 
figure  has  great  distinction,  it  lacks 
the  grace  and  movement  of  her  other 
works  of  that  character.  Edith  W. 
Burroughs"  Water  Baby  is  also  a  foun- 
tain and,  although  not  an  original 
idea,  is  a  beautifully  modelled  figure 
of  a  child.  Fountains  are  the  favorite 
designs,  and  Laura  Gardin  Frazer  ex- 
hiljited  the  most  successful  of  all.  This 
was  a  table  fountain,  unusual  both  in 
conception  and  in  execution.  The 
figure  of  the  bashful  little  child  is 
charming,  naive  and  original  in  char- 
acter, while  the  docorati\o  bas-relief 
on  the  pedestals  is  well  modelled. 

I  XXXV 


/;/  flic  Cnr/Ierics 


Amoiit;  thf  k'w  (k'si.^ns  of  aniiiuUs  or  of  l)ir(l> 
were  Hck-n  Mort<)irs  sketch  of  Marc  tiiid  I-'oiil, 
and  Elizabeth  Xt)rt()n's  Lioness  and  CuIks. 

Stina  Gustafson's  CV///<"  Memorial  Cross  is  iin- 
pressi\e;  Harriett  \V.  I'Vishmuth's  G/r/ w//// />)(>/- 
/>///;;  (portion  of  a  double  fountain)  wasamonsi;  the 
most  successful  of  the  larj^e  ambitious  subjects. 
Caroline  I'eddle  Ball's  Bird  Bath  should  be  ac- 
<iuired  by  bird  loxers  and  placed  in  their  gardens. 
The  intluence  of  the  war  was  shown  in  Jionnie 
Kramer's  Hate,  and  very  strikingly  in  Sally  James 
Farnham's  The  Little  Silver  Rosarv  that  Keef)s  a 
Man  from  Harm.  Hut.  according  to  the  interpre- 
tation of  the  sculptress,  the  rosary  does  not  seem 
to  be  etTective. 

.\nna  X'aughan  Hyatt's  dancing  figure,  with 
garlands  and  doves,  has  great  beauty  and  grace, 
reminding  one  of  the  dancer  who  has  recently 
charmed  many  at  the  Centur\-  Theatre.  It  is  one 
of  few  original  conceptions  for  a  fountain  figure. 

Mahina  Hoffman's  PavUnva  Gavotte,  loaned  by 
Mile.  Pavlowa,  would  without  ([uestion  carry  off 
the  gold  medal  of  the  exhibition  should  one  be 
gi\en.  A  small  gilded  figure  in  wa.x,  it  is  a  won- 
derfully truthful  delineation  of  that  talented  dan- 
seuse.  In  poke-bonnet  and  early  Empire  gown, 
she  is  represented  in  one  of  her  incomparable 
attitudes  in  that  most  fascinating  of  dances. 
It  is  Pavlowa  to  the  life,  as  well  as  an  exquisitely 
beautiful  figure.  One  should  attend  the  exhibi- 
tion if  only  to  see  this.  The  catalogue,  whose 
front  page  is  a  bright  \-ellow  and  which  is  tied  with 
yellow  and  purple  ribbon,  is  very  suggesti\e  of  a 
well-known  movement  among  women  to-day. 
What  it  indicates,  in  the  case  of  American  women 
sculptors,  one  can  easily  conjecture. 

The  Ehrich  Galleries  showed  during  May  a 
marvellous  assemblage  of  Byzantine  paintings, 
carvings,  manuscripts,  embroideries,  etc.,  from  the 
collection  of  Halvor  Bagge.  The  brothers  Ehrich 
afforded  to  all  \-isitors  a  very  rare  treat  in  this 
unique  display. 


A 


RGKXTIXA    SECTION,    PANAMA- 
I'ACIFIC  EXPOSITION 


Sf:.\()R  Hokack)  .\.\.\s.\g.\sti,  .\rgenline  Com- 
missioner-General to  the  Panama-Pacific  Inter- 
national Expositk)n,  has  recently  opened  the 
Argentine  section  in  the  Palace  of  Fine  .\rts.  In 
keeping  with  all  of  the  exhibits  made  In'  the 
Argentine   Cio\ernment,   its   fine   arts  exhil,it   is 


bi'autifull\  instalk-d.  Its  large  gallery  contains 
se\enty-t'i\  I'  work^,  e\ery  one  the  creation  of  a 
natixe  .Xrgentino.  None  of  these  ha\e  been  shown 
before  at  an\'  exposition.  In  speaking  of  the 
.Argentina  section,  J.  E.  I).  Trask,  chief  of  the 
Department  of  Fine  Arts,  who  was  himself  United 
States  Commissioner-General  to  the  International 
Exposition  held  at  Buenos  .\ires  in  1910,  said:  "I 
am  delighted  that  our  friends  from  the  great 
Republic  of  the  South  ha\e  made  in  this  depart- 
ment an  exhibit  in  e\er\-  wa\'  worthy  of  the  high 
artistic  standards  of  their  nation.  Perhai)s  no 
peoi)le  in  the  world  ha\e  a  more  m(ning  recogni- 
tion of  the  importance  of  style,  and  this  is  well 
shown  in  their  installation  here.  Both  in  painting 
and  in  sculi)ture,  the  Argentine  Rei)ublic  ranks 
high  among  nations  of  the  world,  while  in  architec- 
ture they  hold  a  foremost  position.  Their  present 
exhibit,  entirely  the  work  of  nati\e  Argentines, 
will,  I  hope,  do  much  to  inspire  among  our  own 
people  a  desire  to  know  more  of  them.  The  most 
important  ser\ice  which  the  Exp(;sition  can  d( 
for  their  country  is  to  arouse  an  appetite  for 
knowledge  relating  to  other  lands,  and  the  Argen- 
tine section  in  the  Fine  Arts  Palace,  beautiful  as  it 
is,  will  itself  serve  the  double  purpose  of  satisfying 
our  sense  of  the  beautiful  and  stimulating  our 
desire  for  knowledge." 


F 


ROM  A  CORRESPONDENT 


"1  HAVE  read  in  the  March  issue  of  The 
International  Studio  an  inspiring  article  on 
'Truth  and  Personality  in  Art,'  written  by  Ray- 
mond Wyer,  and  feel  that  the  clear  insight 
therein  expressed  of  the  true  verities  of  art  con- 
jointly with  life  will  be  of  inestimable  \'alue  to  me, 
in  strongly  impressing  those  \-ital  essentials  on  my 
mind.  Though  I  have  felt  in  m\-  nature  and  tried 
to  realize  in  some  degree  these  truths  through  ex- 
pression in  my  work,  I  had  but  faintl\-  grasped  the 
understanding  of  the  importance  of  the  expres- 
sion— "contemporary  spirit  of  our  times."  I  feel 
it,  to  my  own  benefit,  to  be  the  most  enlightening 
article  on  the  essentials  of  art  I  ha\e  ever  read, 
and  most  jiarticularly  so  in  the  understanding  I 
ha\'e  gained  of  the  relationship  of  what  is  vital  in 
art  to-da\'  with  the  art  of  all  time — that  really 
lives.  This  article  will  help  me  powerfully  to 
weld  my  desires  to  efforts  toward  their  realization. 
I  am  thinking,  too,  what  a  great  breadth  of  vision 
it  will  open  to  many  minds." 


CXXXVI 


THE  STUDIO 


T 


HE   PAINTINGS  OF  LEONARD 
CAMPBELL  TAYLOR. 


As  I  sit  down  by  the  warmth  of  a  bright 
hearth  and  the  comfortable  Hght  of  a  shaded  lamp 
to  discuss  art,  guns  are  roaring  and  belching  forth 
death  and  destruction,  thousands  of  mothers'  sons 
are  lying  dead  or  moaning  in  agony — Klio  is  turn- 
ing over  a  new  leaf,  and  blood,  as  usual,  is  her  ink. 
And  yet,  as  time  passes  and  the  writing  becomes 
fainter,  this  great  European  War  will  be  chronicled 
in  heavy  tomes,  will  be  commented  upon  wth 
much  acumen  by  learned  historians,  will  be  digested 
with  much  difficulty  by  unwilling  schoolboys — dead 
matter.  But  perchance  the  eager  student  or  the 
unwilling  scholar  may  pause  for  a  moment  to  look 
upon  an  "old"  picture  painted  at  the  time  of  the 
Great  War,  and  it  will  speak  to  him — a  Hvi?!g 
thing. 

In    truth,   works   of  art,   counted  as    toys  and 
baubles  by  the  multitude,  neglected  and  rejected 


whilst  the  cannons  roar,  are  the  fruits  by  which 
we  are  known  to  posterity  ;  they  are  a  better  record 
of  our  existence- than  the  chronicles  of  our  most 
glory-covered  battles. 

It  is  a  curious  fact,  too,  that  those  artists  whose 
bent  and  ambition  have  prompted  them  to  paint 
"history" — the  historical  painter  taking  precedence 
in  the  academical  hierarchy — are  precisely  those 
who  have  thereby  achieved  less  lasting  fame  and 
appreciation,  whilst  the  humbler  painters  of  por- 
traits, landscapes,  and  even  of  still-life  enjoy  en- 
during favour. 

Those  who  are  fortunate  enough  to  possess  an 
inborn  love  of  art  will  know  that  this  love  is  a 
kind  of  worship^not  worship  of  persons,  but  of  the 
manner  in  which  the  artists  have  recorded  their 
own  joys,  their  admiration  of  the  world  they  live 
in.  And  unless  a  work  of  art  possesses  besides,  or 
rather  beyond  and  above,  its  technical  achievement 
this  spirit  of  worship  and  reverence,  it  lacks  the 
highest  quality  of  art. 


"the  music-room  " 

LV.  No.  217. — March  1915 


BY    I..    CAMIBKl.I,    TAYLOR 

3 


The  raiiifin^^s  of  Leonard  Campbell  Taylor 


An  unusual  amount  of  "  hii^h  finish  "  (for  wluch 
dreadful  expression,  reeking  of  french-polish,  we 
apologise)  first  drew  the  erities'and  the  public's  atten- 
tion to  the  work  of  Leonajd  Campbell  Taylor.  Pains- 
taking finish  of  sudi  quality  one  hardly  expected 
to  find  in  a  ////  df  siW/c  exhibition.  The  fact  is 
Campbell  Taylor's  "  finish"  is  a  personal  achieve- 
ment, worth  closer  study  and  analysis  ;  but  before 
we  proceed  to  discuss  it  from  a  point  of  view  more 
likely  to  interest  the  readers  of  this  article  (  if  there 
be  any  such  :  the  writer  himself  generally  prefers  to 
study  the  excellent  reproductions  in  The  Studio 
and  to  make  up  his  own  explanatory  text)  it  is 
worth  while  inquiring  why  "  highly  finished  stuff," 
as  painters  sometimes  call  such  work,  generally 
appeals  to  the  lay  mind  much  more  than  "slick" 
painting.  Mr.  Taylor  admits,  for  instance,  that  it 
is  the  highly  finished  work  which  the 
public  demand  of  him.  This  is 
natural  :  to  an  eye  not  trained  to 
see  beyond  subject  matter  the  high 
finish  of  a  picture  bears  all  the  signs 
of  patient  labour.  Time  is,  as  every- 
body knows,  money  ;  consequently 
a  work  upon  which  much  time  has 
been  spent  {jlhou}:;ht  rarely  being  a 
marketable  item)  must  necessarily, 
thinks  the  man  of  commerce,  be 
worth  much  money.  Nevertheless, 
the  man  of  commerce  is  not  so 
wrong  as  some  would  like  him  to 
be.  From  time  immemorial  artists 
have  considered  "  finishing "  the 
most  difficult  part  of  their  trade, 
and  Manet's  method  of  visualising 
has  probably  been  the  cause  of 
more  bad  painting  than  \'an 
Eyck's. 

The  informed  eye  admires  in 
Campbell  Taylor's  work  not  so 
much  the  finish  as  its  discreetness. 
Where  the  layman's  mind  sees  a 
polished  mahogany  table  with  a 
C-hinese  vase  and  flowers  the  ex- 
perienced eye  distinguishes  a  con- 
cert of  colour,  admires  both  melody 
and  accompaniment,  traces  with 
appreciation  the  rise  and  fall  of 
light,  the  little  episodes  of  local 
colour,  the  quiet,  unifying  passages 
of  shade,  and  the  symphony  of  the 
tout  ensemble.  There  is  no  attempt 
to  deceive  the  eye.  The  artist 
knows  that  this  means,  not  a  minute 


representation  of  isolated  factSj  but  a  discreet 
selection  and  arrangement  of  such  facts  as  the 
painter  deems  both  presentable  and  representable. 
In  other  words,  instead  of  painting  all  his  eyes  can 
see,  he  endeavours  rather  to  suppress  what  he 
knows  would  destroy  the  unity  of  his  picture.  In 
his  picture  Reminiscences  he  has  a  convex  mirror  in 
the  apj)roved  \'an  Eyck  manner  with  minute 
representation  of  the  objects  it  reflects,  a.nd  yet 
the  picture  suppresses  many  facts  which  the  eye  of 
the  artist  saw  but  did  not  recjuire.  In  this  way 
tlie  interest  is  concentrated  on  the  most  important 
part  of  the  painting — the  heads  of  the  two  old 
people.  All  serious  modern  artists  work  on  these 
well-known  principles  laid  down  for  them  by  such 
great  painters  as  Fantin-Latour,  Manet,  Chardin, 
and  Vermeer.     The  latitude  of  selection  accounts 


TIIK    C.RKV    SHAWl, 


liV    1..    CAMPBELL    TAYLOR 


UNA    AND  THE   RKD-CROSS   KNIGHT 
BY   LEONARD  CAMPBELL   TAYLOR 


INTERIOR."     BY  L. 
CAMPBELL  TAYLOR 


The  Paintings  of  Leonard  Campbell  Taylor 


also  for  the  possibility  of  individual  expression. 
If  we  take  amongst  contemporary  artists  a  still- 
life  painted  by  Brangwyn,  Nicholson,  Orpen,  or 
Campbell  Taylor,  we  shall  assuredly  discover  a 
different  manner  of  expressing  the  thing  seen ; 
Brangwyn  and  Taylor  being  at  the  opposite  poles, 
yet  each  being  true  to  his  own  conception,  and 
that  without  disregarding  objective  truth. 

Leonard  Campbell  Taylor,  who  was  born  on 
December  12,  1874,  and  is  thus  just  over  forty 
years  of  age,  says  that  Le  Sidaner  and  Whistler 
have  had  the  greatest  influence  on  him,  although 
he  admits  that  at  the  Academy  schools  he  derived 
most  benefit  from  the  teaching  of  Seymour  Lucas 
and  S.  J.  Solomon.  The  home  of  a  Doctor  of 
Music,  a  'Varsity  organist — and  at  Oxford  to  boot — 
is,  one  may  be  pardoned  for  anticipating,  exactly 
the  kind  of  place  that  would  fill  the  soul  of  a  son 
brought  up  in  such  surroundings  with  a  spirit  of 
quiet,  nervous  contemplation  rather  than  adven- 
turous, experimental  activity.  One  might,  too, 
perhaps,  have  expected  a  tinge  of  saintliness  and 
is  happy  to  be  disappointed  in  that  respect. 


Taylor's  art  is  full  of  that  quiet,  contemplative 
love  of  humanity  and  nature  :  he  is  Whisjtlerian  in 
his  fondness  of  "tone"  and  a  certain  love  of  flat 
pattern,  and  Le  Sidaner-like  in  his  rendering  of  still- 
life  and  outdoor  effects.  An  accomplished  portrait- 
painter,  with  a  sympathetic  appreciation  of  character, 
he  is,  nevertheless,  more  in  his  element  when  he 
can  show  his  "  sitters  "  in  their  surroundings. 

It  was  fortunate  for  him  that  the  Pre-E.aphaelite 
Millais  stimulated  his  ambition.  Una  and  the 
Red-Cross  Knight,  one  of  his  first  exhibited  works, 
shows  the  extent  to  which  he  followed  the  early 
Millais  technique,  thereby  submitting  his  brush  to 
very  severe  discipline.  He  avoided  thus  the  pit- 
falls which  beset  so  many  young  artists  who 
attempt  a  Philip  IV  reminiscence  of  Velasquez 
without  ever  having  learnt  to  draw. 

No  .doubt  the  "romantic"  subject  also  appealed 
to  him.  Abbey  had  revived  its  interest,  and 
Frank  Craig,  Taylor's  intimate  friend  of  many 
years,  followed  Abbey's  example.  But  Taylor's 
romantic  strain  is  of  another  kind.  Possibly 
Whistler's  iMiss  Alexander  may  have   helped    to 


ri.ACB    ST.    KTIICNNK,     MKAIX 


1!V    I..    CAMl'HEl.l.    TAVlv^R 


^  o 

1—1     i-M 

a:   . 


The  Paintings  of  Leonard  Campbell  Taylor 


engender  his  love  for  the  crinoline  period,  though 
he  imagines  his  own  ladies  in  a  rather  earlier 
decade.  But  he  was  certainly  amongst  the  first  of 
the  younger  men  to  resuscitate  and  glorify  the 
crinoline.  I  say  glorify :  I  am  sure  our  grand- 
mothers or  great- grand  mothers  never  did  look  quite 
as  charming  as  our  artist  would  have  us  believe. 
Artist  that  he  is,  he  selects  all  the  quaint  charm  of 
the  fashion  and  leaves  its  absurdities  to  imagina- 
tion. The  picture  which  made  his  name  was 
The  Rehearsal,'*  a  quintet  of  two  ladies  and  three 
gentlemen  in  the  costumes  of  his  favourite  period. 
Taylor  has  created  a  type  of  young  womanhood 
entirely  his  own  ;  assuredly  neither  golf  nor  even 
hockey  has  ever  strengthened  the  muscles  of  these 
young  ladies,  nor  stronger  fare  than  Mrs.  Hemans 
ever  nurtured  their  minds.  In  point  of  fact  they 
must  have  found  their  male  companions  somewhat 
disconcertingly  "  foreign."  The  person  who  stood 
for  the  violinist,  by  the  by,  was  a  well-known 
character  in  the  neigh- 
bourhood of  Leicester 
Square,  a  "fallen  star"  in 
a  weather-worn  coat,  who  is 
here  portrayed  for  a  more 
appreciative  posterity. 
And  the  'cellist  with  the 
white  hair  and  ruddy  com- 
plexion and  portly  form — 
who,  in  Bohemia,  remem- 
bers him  not  in  his  little 
Soho  restaurant  where  one 
might  dine  for  eighteen- 
pence  in  company  of  illus- 
trious persons,  celebrities 
such  as  Mr.  Walter  Sickert, 
the  more  enjoyable  be- 
cause of  the  attcK  io  sono 
elation  their  presence  in- 
spired? The  future 
chronicler  will  relish,  no 
doubt,  this  little  excursion 
when  reporting  our  artist's 
"  life."  Manifestly  Taylor 
had  ^\'hisller  in  his  mind 
when  he  conceived  this 
subject.  The  key  is 
Whistler's,  so  is  the  cur- 
tain, and  perhaps  the 
white  symphony  of  the 
frocks.  The  Vermeer 
wall  with  the  splash  of  the 


De  Hooch  sunlight  reminds  one  of  the  earlier 
Dutch  masters.  One  does  not,  of  course,  intend 
to  suggest  that  Taylor  consciously  set  about  to 
imitate  the  older  masters,  but  it  is  part  of  the 
artist's  impressionable  nature  to  assimilate  in 
some  form  the  achievements  of  others,  and  there 
is  not  one  great  master  in  all  the  history  of  art  who 
has  not  built  on  such  foundations.  This  Rehearsal 
is  charming  in  subject,  composition,  and  handling  ; 
it  charmed  the  Royal  Academy  public  and  the 
Chantrey  Trustees,  who  delivered  it,  perhaps  re- 
gretfully, into  that  mausoleum  of  disputed  repu- 
tations, the  Tate  Gallery.  Mr.  Taylor  is  partly 
responsible  for  this  fate  of  his  picture — its  size 
predestined  it  for  such  an  institution.  Painted  on 
the  scale  of  his  Music  Room,  it  would  have  lost 
nothing  of  its  artistic  value — I  am  not  sure  that  it 
would  not  have  gained — but  the  Chantrey  Trustees 
would  then  most  likely  have  overlooked  it,  like 
the  public  who  generally  seem  to  associate  great- 


*  Reproduced  inTHE Studio, 
June  1907,  p.  35. 


"  I'EKSIASION 


BY    I..    CAMPBELL    TAYIOR 
9 


llic  Paiiitiiio^s  of  Lcojiani  Campbell  Taylor 


iiess  iji  art  with  dimensions.  The  Italian  Ciovern- 
nients  too,  purchased  one  of  our  artists  hirger 
eanvases,  his,  especially  in  its  "c-orreeted  ''  version, 
delightful  Bedtime*  for  the  ("lallery  in  Rome. 
Nevertheless,  one  is  a  little  inclined  to  conij)lain 
o{  tant  i\e  I'ruit  (\\\\.\\  (U:e  apologies  to  the  mother 
and  nurse  for  associating  the  dear  little  baby  with 
the  proverbial  omelette).  I  hope  Mr.  Taylor  will 
forgive  me  for  finding  fiiult — an  unusual  thing  in  a 
monographic  article,  which  is  generally  reserved 
for  fulsome  praise,  the  critic  having  vented  his 
venom  whilst  the  pictures  are  still  on  the  walls  of 
their  first  exhibition.  Nothing  that  our  artist 
paints  could  be  devoid  of  charm  :  he  is  far  too 
serious  and  accomj)lished  an  artist,  but  in  these 
two  pictures  it  is  just  a  (juestion  of  handling  as 
compared  with  the  scale. 

One  can  imagine  that  it  gave  the  jury  of  the 
Paris  Salon  especial  delight  to  award  Mr.  'J  aylor 
a  gold  medal  for  his  |)icture.  The  Lady  of  the 
Castle,  which  also  figured  in  the  Royal  Academy 
exhibition  of  1910  and  was 
reproduced  in  these  pages 
at  the  time.  The  reserved 
English  type  of  beauty  of 
the  lady  in  question,  the 
calm,_subdued  tonality  of 
the  painting,  its  agreeable 
pattern,  must  have  come  as 
a  relief  to  eyes  tired  witli 
the  violent  shocks  they  are 
apt  to  receive  in  a  Paris 
exhibition. 

This  brings  us  to  the 
question  of  technique. 
Campbell  Taylor  has  never 
studied  in  Paris.  He  has 
thus  never  been  tempted 
to  paint  in  order  to  exhibit 
his  cleverness,  or  to  adver- 
tise his  originality,  or  to 
exas{)erate  the  Philistine; 
on  the  other  hand,  he  has 
not  acquired,  perhaps,  the 
facile  manner  of  draughts- 
manship. But  he  shows 
in  all  his  work  that  he  has 
absorbed  the  principles  of 
so-called  "impressionist" 
visioning,  >vhich  came  to  us 
through  France  from  \'elas- 
quez.      Even   his   highly 


finished  work,  he  has  told  me,  "grows."  "  I  keep 
the  canvas  going  at  about  equal  stages,  all  over." 
The  reader  will  ai)preciate  the  particular  difficulty 
where  highly  finished  work  is  concerned.  In  paint- 
ing an  individual  object  in  detail,  detail  is  apt  to 
assert  itself  to  the  detriment  of  the  object,  and  the 
object  itself  to  impose  itself  on  the  surroundings,  so 
that  the  composition,  viewed  as  a  whole,  becomes 
"jumpy  '  and  ou-t  of  tone.  Campbell  Taylor 
therefore  prefers  to  eliminate  obvious  realisms  and 
to  cultivate  a  certain  flatness  of  masses.  He  thus 
avoids  what  R.  A.  M.  Stevenson  called  "a  hurial- 
of  beauty  in  niggling."  As  a  matter  of  fact,  how- 
ever, Mr.  Taylor  cultivates  two  distinct  manners — 
the  one  rather  smooth  and  highly  finished,  though 
\\histlerian  and  unified  in  tonality ;  the  other 
broad  with  short,  alert  touches,  Le  Sidaner-like  in 
appearance.  The  subjects  he  chooses  for  the  latter 
"  technifjue  "  are  as  a  rule  outdoor  scenes  and  still- 
life  interiors — as,  for  instance,  the  Interior  and 
Waiting  for  the  Aeroplane.    The  degree  of  brilliance 


/ 


*  Reproduced  in  Thi;  Stu  mo, 
June  1909,  p.  43. 
10 


I'ATIENCE 


BY    I,.    CAMPBELL   TAYLOR 


•r  (  ,  //rrrt.^n  <>/ 
Robtrt  y'otttii,'rr,  f'.sg.,  k'.C.J 


"THE  CANAL.  FROM  THE 
OIL  PAINTING  BY  LEONARD 
CAMPBELL       TAYLOR. 


The  Paintings  of  Leonard  Campbell  Taylor 


artist  himself  is,  as  a 
rule,  an  artist  malgre  lui. 
As  Ruskin  points  out,  he 
does  not  "think"  in  the 
ordinary  sense,  and  ex- 
amples are  not  lacking  to 
prove  that  his  theories 
flatly  contradict  his  prac- 
tice, and  that  he  could 
not  explain  his  manner 
of  painting.  Neverthe- 
less, his  own  views  of  his 
art  are  necessarily  more 
authoritative  than  his 
critics'  opinions.  Mr. 
Taylor  thinks  art  "not 
only  delightful  but  also 
educative,  in  the  sense 
that  it  teaches  observa- 
tion "  ;  he  believes  it  to 
be  "also  historically  in- 
structive, but  above  all  it 
interprets  the  secrets  and 
beauties,  of  nature  and 
character."  Here  you 
have  the  true  confession 
of  an  artist's  soul.  De- 
light, the  joy  of  seeing, 
he  achieves  in  such  work  is  surprising,  considering  comes  first ;  observation,  its  science,  comes  second ; 
the  subdued  tonality  of  his  other  work.  His  eye  communication  conies  third.  Last,  but  not  least, 
is  particularly  sensitive  to  the  pearly  greys  and  pale     comes  a  function  which,  I  venture  to  think,  is  the 


"I'AVILION    I'KANCAIS,    VERSAU.LICS  " 


BY    L.    CAMPBELL    TAYLOR 


ambers  and  purples  of  evening  skies,  such  as  that 
of  the  Place  St.  Etienne  in  unfortunate  Meaux. 
Another  thing  that  marks  him  out  amongst  other 
modern  painters  is  the  quite  delightful  use  he 
makes  of  pattern — not  pattern  as  understood  in  the 
compositional  sense,  but  in  its  ordinary  meaning. 
Flowery  wall-paper,  coloured  chintz,  and   striped 


real  modern  achievement  of  art  :  interpretation. 
To  my  mind  there  can  be  no  doubt  that  neither 
Giotto,  Raphael,  nor  e\en  Velasquez  ever  con- 
sciously bothered  about  art  as  an  interpretation  of 
life.  They  either  copied  nature — Giotto  awk- 
wardly, piecemeal,  and  on  a  basis  unconnected  with 
art,   viz.  dogma  or  religion  ;  Velasquez   conscien- 


and   shot  silk,  together  with   an   Oriental   carpet  tiously,  efficiently,  like  a  sentient  mirror — or,  like 

border,  form  in  Reminiscences  an  agreeable  ensemble  Raphael,  they  adapted  nature  at  second  hand,  the 

which  is  not  disturbed  by  the  discreet  pattern  of  first   hand   being   the  sculptor's,  for  purposes   of 

the  cane-backed  settle  ;  and  a  similar  fondness  for  decoration.     But  the  rendering  of  nature,  or  rather 

pattern,   together  with   a   striking  composition  is  life,   not  as  an   imitative  representation  nor  as  a 

shown   in    21ie  Firstborn.     His    manipulation    of  decorative  adaptation,  is  something  new.     When 

these  things  is  almost  feminine  in  its  api)reciative  the  history  of  the  art  of  our  own  times  comes  to 

gracefulness.     Quite  lately  he  has  begun  to  unite  be  written  by  posterity  llu\-  will  call  it  the  Age  of 

his   two  styles,   painting  Early  Victorian   subject-  Interpretation. 


matter  with  Impressionist  brushing. 

Art  is  so  many-sided,  depends,  both  for  creation 
and  appreciation,  so  much  on  personal  idiosyn- 
crasies, that  no  one  has  a  right  to  set  himself  up  as 


That  Leonard  Campbell  Taylor  will  occupy  an 
honoured  place  in  this  future  history  there  is  little 
doubt.  He  is  in  the  prime  of  life,  and  nuuh  as 
his  work   is  already  appreciated  by  lovers  of  the 


a  judge  in  such  matters;  if  he  attempts  to  do  so  less  adventurous  type  of  modern  art,  considerable 
he  will  find  that  his  decisions  will  often  be  upset  as  his  achievement  already  is,  we  prophesy  that 
in    the    higher  court    of  personal    opinion.     The      his  best  is  still  to  come.  Hkkhkrt  Furst. 


WAITING  FOR  THE  AKROPLANE" 
BY  L.  CAMPBELL  TAYLOR 


(In  the  Collection  of  A,  C.  Clai/son,  £si/.,  A'.C. 
Copyright,  F.  Hanfstacngl,  London) 


'C  II  K  C  K."       H  V    L. 
CAMPBKLL  TAYLOR 


"REMIXISCKXCES."     BY 
L.  CAMPBELL  TAYLOR 


Mr.  Edmund  H.  News  '' Loggan'  Drawings 


T 


HE  "NEW  LOGGAN"  DRAWINGS 
OF  OXFORD  AND  FLORENCE. 
BY  EDMUND  H.  NEW. 


It  is,  perhaps,  a  work  of  supererogation  to  re- 
mind readers  of  The  Studio  that  Mr.  Edmund 
Hort  New  is  one  of  a  distinguished  group  of  black- 
and-white  artists,  who,  as  far  back  as  the  early 
nineties  of  the  last  century,  brought  the  Birmingham 
School  into  striking  prominence  among  the  art 
centres  of  this  country.  These  artists  have  made 
their  influence  felt,  and  have  themselves  for  the 
most  part  since  become  sundered,  far  and  wide. 
Mr.  New  himself  years  ago  left  Birmingham,  and 
setded  in  Oxford,  but  he  still  remains  true  and 
faithful  to  his  early  ideals,  as  the  work  produced 
by  him,  even  at  the  close  of  a  period  of  twenty 
years,  yet  testifies. 

Among  his  most  notable  achievements  in  recent 
years  are  his  Oxford  views  of  the  "New  Loggan  " 
series — so  named,  of  course,  after  the  famous 
seventeenth-century  engraver,  David  Loggan.  This 


artist  was  born,  so  it  is  believed,  at  Danzig,  in  1635. 
He  came  to  this  country  in  or  shortly  after  1653. 
Settling  at  Nuffield,  in  Oxfordshire,  he  made  the 
acquaintance  of  the  antiquary,  Anthony  Wood, 
whose  great  work  on  Oxford  and  its  Colleges 
Loggan  eventually  undertook  to  illustrate.  His 
series  of  views,  however,  was  not  finished  until 
1675,  the  year  after  Woods  monumental  work  had 
made  its  appearance.  Meanwhile,  on  March  30, 
1669,  Loggan  was  formally  appointed  official 
engraver  to  the  University  of  Oxford,  a  distinction 
of  which  he  was  justly  proud.  Having  completed 
his  Oxford  views  he  next  proceeded  to  engrave  a 
similar  series  of  Cambridge  views.  He  died  in 
Loiidon  in  or  about  the  year  1693. 

The  distinguishing  feature  of  Loggan's  views,  or 
"  prospects  "  as  he  preferre(^  to  style  them,  is  the 
bird's-eye  aspect  of  buildings  rendered  in  a  con- 
ventional projection,  which  is  more  nearly  isometrical 
than  in  strict  perspective.  This  method,  adopted 
also  by  William  Williams  in  his  "  Oxonia  Depicta," 
published  in  1733,  affords  at  a  glance,  it  is  claimed, 


"high  street,  oxford" 


KRO.M    A    PB.N    DRAWING    BY    EDMU.ND    HOKT    NEW 

17 


Mr.  Eii/iniNii  II.  Xcics  ''  Loggaii 


Dra\cijigs 


a  clearer  and  more  injiiipreheiisive  idea  of  a  cjuad- 
ranguhir  building  than  can  be  obtained  1)\  any 
one  other  system  of  drawing. 

The  same  method  of  representation  has,  very 
wisely,  then,  been  followed  by  Mr.  New  in  his 
new  Loggan  views  ;  the  latter  appearing,  however, 
not  in  book  form,  but  in  separate  plates  from  time 
to  time.  From  ^\'illiams'  day  to  the  ])resent  no 
such  series  of  Oxford  views  has  been  attempted. 
In  the  interval  many  sweeping  changes,  not  always 
for  the  better,  have  taken  place  in  Oxford  buildings, 
and,  if  it  is  not  ungracious  to  criticise  such  excellent 
drawings  as  Mr.  New's,  one  may  be  permitted  to 
observe  that  his  rendering  is  really  too  excellent, 
inasmuch  as  his  magic  touch  sheds  a  glamour  over 
all  the  buildings  alike,  making  the  most  recent  and 
crudest  of  the  crude  to  look  as  plausible  and  as 
venerable  as  the  genuine  works  of  former  days. 
This  much  being  prefitced,  nothing  remains  to  add 
but  unstinted  praise  for  the  artist's  exquisite  and 
careful  draughtsmanship.  Each  view  is  a  delight- 
ful work  of  art  in  itself. 

Not  least  among  the  advantages  of  the  "New 


Loggan "  is  that  Mr.  New  sometimes,  as  in  the 
case  of  Merton  and  Magdalen  Colleges,  adopts  for 
standpoint  a  different  (juarter  of  the  compass  from 
the  original  Loggan,  thus  providing  a  record  of  a 
peculiar  value  of  its  own.  The  seventeenth-cen- 
tury engraving  of  Merton  College  is  taken  from 
the  north  ;  whereas  Mr.  New  chooses  a  vantage 
ground  at  an  imaginary  height  over  Merton 
meadow.  To  do  so  was,  indeed,  necessary  in 
order  to  depict  not  only  the  beautiful  meadow 
frontage  of  the  Fellows'  Quadrangle,  built  in  1610, 
but  also  the  more  modern  buildings,  erected  at  the 
South-west  by  Butterfield  in  1864,  and  the  new 
court  by  Mr.  Basil  Champneys  which  takes  the 
place  of  the  old  St.  Alban  Hall  in  the  east,  as  also 
the  ^\'arden's  new  lodging  on  the  other  side  of  the 
street  to  north-east  of  the  rest  of  the  college 
buildings.  Another  point  which  Mr.  New's  view 
brings  out  well  is  the  fact  that  Merton  Chapel  is 
an  unfinished  cruciform  church,  lacking  the  nave 
that  was  originally  projected ;  whereas  the  ante- 
chapels  of  the  group  of  colleges,  of  which  New 
College  was  the  first,  and  Magdalen  the  third  in 


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MEKTO.N    COLLEGE,    OXKORD 
18 


FROM    A    I'EN    DR.XWING    BV    EDMUND    HORT    NEW 


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Mr.  Rdiiiimd  II.  Xcii'^s  ''  Loggan^^  Drawings 


order  of  date,  arc  entirely  different  l)oth  in  con- 
ception and  plan.  The  New  College  ante-chapel 
(with  i)thers  like  it)  consists  of  a  short  nave  of  two 
bays  with  nave-aisles  of  the  same  length,  the  whole 
being  in  noway  transeptal.  Not  only  do  the  interiors, 
with  their  two  arched  arcades  upheld  by  a  single 
pier  in  the  middle,  demonstrate  this  essential 
difference ;  but  Mr.  New's  views  of  the  exteriors 
of  New  College  and  Magdalen,  showing  the  roof 
ridges  of  the  aisles  parallel  to  those  of  the  nave, 
irrefutably  prove  the  same  obvious,  yet  usually 
misunderstood  fact. 

Loggan's  view  of  Magdalen  in  1675  quite 
naturally  depicts  the  college  from  the  west,  since 
the  ancient  approach  to  it  was  by  the  gravel  walk 
which  ran  parallel  to  the  street,  from  the  front  of 
the  old  East  Cate  of  the  city,  past  the  front  of 
Magdalen  Hall,  to  a  gateway  in  front  of  the  west 
end  of  the  chapel.  In  modern  times,  however, 
this  arrangement  has  been  changed.  Magdalen 
Hall  is  no  more,  the  party-wall  which  divided  it  from 
Magdalen  College  was  removed  in  1885,  the  site 
of  the  old  gravel  walk  has  been  railed  in,  and  anew 


entrance  gateway  been  erected  in  the  street,  beyond 
the  west  end  of  the  old  south  range  of  the  college. 
The  common  entrance  to  the  college  having  thus 
been  shifted  to  the  south,  Mr.  New  delineates  the 
college  buildings  from  that  aspect.  On  the  extreme 
left  may  be  seen  the  modern  .St.  .Swithin's  buildings, 
erected  by  Messrs.  Bodley  and  (jarner  ;  and  along 
the  background,  at  the  north  east,  extends  the 
range  of  "new  buildings"  which  were  begun  in 
1733.  It  seems  almost  incredible,  but  the  fact  re- 
mains that  so  much  were  these  buildings  admired 
at  the  time  of  their  erection,  and  so  much  corre- 
spondingly were  the  old  Gothic  buildings  of 
Wayndete  despised  as  remnants  of  barbarism,  that 
it  was  seriously  purposed  to  demolish  the  older 
part  of  the  college,  or  at  least  so  to  remodel  it  as 
to  bring  it  into  conformity  with  the  new  work. 
It  was  for  a  period  of  upwards  of  sixty  or  seventy 
years  that  the  fate  of  the  old  Gothic  buildings 
hung  in  the  balance.  The  north  range  of  the  old 
quadrangle  was  indeed  actually  demolished,  but 
was  happily  rebuilt  in  a  very  fairly  imitative  manner. 
In  the  end  wiser  counsels  happily  prevailed,  and 


Eiaiii-f 


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BAI.I.IOL    COI-I-ECE,    OXIORU  " 
20 


FROM    A    TEN    DRAWING    KV    EDMUND    HORT    NEW 


«^    f      ^  J?^.^^7,rl  1-1/  rhf 


■^SZlu-al/d  iy  Ifu  JInul 


7^/////j!>^^WlfeIAA\5/'WAYNrLETE 


\^s^-'}^^mmiie'/J3a-^7^^^i^i^iM^s^^ji!^;m:s&M/^^m, 


BISHOP5^WlKCHESTER:^;^:^c57i 


MAGDALEN  COLLEGE,  OXFORD" 
F  ROM  A  PEN  D  R  A  W  I  N  G  BY 
EDMUND   HORT   NEW 


Mr.  Ilihiumd  II.  News  ''  Loggan"  Dnnviugs 


the  old  buildings  were  spared,  never  again  it  is 
hoped,  to  be  in  danger  at  the  hands  of  the  college 
in  whose  trust  they  remain.  Mr.  New's  drawing 
emphasises  the  irregularity  of  the  plan,  and  shows 
how  different  are  the  axes  of  the  hell-tower  on  the 
one  hand  and  of  the  chapel  and  hall  on  t  he  other. 
The  picture  does  not  include  either  the  long  wall 
which  bounds  the  college  grounds  on  the  west,  or 
Magdalen  Hridgc.  the  principal  ajiproath  to  Oxford, 
on  the  east. 

ILUliol  College  from  the  St)uth,  New  College 
from  the  West,  and  Trinity  College  from  the  South 
are  all  represented  by  Mr.  New  from  the  same 
aspect  as  that  chosen  by  Loggan.  The  "New 
Loggan,"  however,  serves  admirably  to  illustrate 
the  changes  that  have  taken  place  in  the  respective 
buildings  between  the  end  of  the  seventeenth 
century  and  the  early  part  of  the  twentieth.  In 
the  case  of  New  College  the  principal  changes  aie 
the  addition  of  an  upper  story  to  Wykeham's 
ciuadrangle,  the  erection  of  the  garden  court  (on 
the  model,  it  is  supposed,  of  Versailles  Palace)  on 
tlie    east,    and    the    extensive    new    buildings    in 


Holywell  Street  to  the  northeast.  It  may  be 
noticed,  by  careful  examination  of  Mr.  New's 
drawing,  that  the  pitch  of  the  chapel  roof  has  been 
raised  too  high  and  too  acutely  to  accord  with  the 
west  gable  of  the  chapel  itself.  For  this  arbitrary 
disfigurement.  Sir  Gilbert  Scott  was  responsible — 
and  that,  in  spite  of  earnest  remonstrances  on  the 
part  of  the  present  Warden  and  others.  The  roof 
of  the  cloister  in  the  foreground  has  recently  been 
repaired,  since  Mr.  New's  drawing  was  made,  the 
old  stone  slates  being  found  to  have  fallen  into  a 
sad  state  of  dilapidation. 

At  Balliol  and  Trinity  Colleges  changes  still 
more  drastic  have  occurred  since  Loggan's  time,  so 
much  so  that  both  colleges  have  practically  been 
rebuilt.  At  Balliol  only  the  western  range  of  the 
old  quadrangle  and  the  library  on  the  north 
remain  ;  while  at  Trinity  only  the  east  side  of  the 
old  quadrangle  and  the  hall  on  the  west,  with  part 
of  the  buildings  beyond  the  antechapel,  survive. 
It  was  recently  proposed  to  remove  Butterfield's 
modern  chapel  at  Balliol  and  to  replace  it  with  a 
reproduction  of  the  late  mediaeval  chapel  which  he 


arJ^WCOLLUCE,  Oxford, 
OyWilltamof  WyAeliam.jiD'  isjg ' 


.NEW    COLLEGE,    OXKOKU  " 
22 


IKOM    A    I'E.N     UKAWINC;    liV    KD.MLM)    IIOKT    NKW 


Mr.  Edmund  H.  Neivs  '' Loggair  Drawings 


"TRINITY   COLLEGE,    OXFORD" 


FROM    A    PEX    DRAWING    BY    EDMUND   HORT   NEW 


destroyed, but  the  schemewas  ultimatelyabandoned. 
Beside  the  rebuilding  of  its  chapel  and  other  parts, 
Trinity  College  has  been  considerably  enlarged 
toward  the  south  by  the  inclusion  of  the  cottages 
in  the  foreground  of  Mr.  New's  picture  and  Kettell 
Hall  (purchased  from  Oriel  College)  at  the  south- 
east. 

TJie  Towers  of  Oxford  as  the  title  indicates,  is 
a  view  taken  from  the  top  of  Magdalen  Tower. 
It  belongs,  therefore,  not  quite  to  the  same  category 
as  the  prospects  taken  from  an  imaginary  altitude. 
The  middle  of  the  picture  is  occupied  by  the  New 
Schools,  from  Sir  T.  G.  Jackson's  design,  selected, 
so  it  has  always  been  understood,  not  for  e.xternal 
beauty  but  on  account  of  the  internal  convenience  of 
the  planning.  The  view  of  the  High  Street,  looking 
}vestwards  is  a  very  favourite  one  and  shows  the 
main  thoroughfare  of  the  city,  wilh  the  graceful 
curve  which  is  justly  and  universally  admired. 

From  Oxford  to  Florence  is  a  far  cry  ;  and  yet  the 
train  of  thought  which  connects  the  two  several 
places  is  no  novelty.  For  has  not  Cecil  Headlam 
in  "Oxford  and  its  Story,"   i()04,  described  Head- 


ington  Hill, which  overlooks  the  University  city,  as 
"  the  Fiesole  of  Oxford  "  ?  In  some  sort,  too,  the 
sweep  of  the  Arno  suggests  an  analogy  with  the 
High  Street  of  Oxford.  In  Mr.  New's  view  of 
Florence,  a  number  of  little  key  sketches  in  the 
lower  margin  serves  to  identify  the  various  buildings 
depicted  in  the  panorama  above.  This  particular 
view  is  a  new  departure,  but  welcome  as  it  is,  one 
may  venture  to  hope  that  Mr.  New  will  not  be 
tempted  to  abandon  for  other  enterprises  the 
"  New  Loggan"  series  of  Oxford  news  which  no  one 
else  is  so  well  qualified  as  himself  to  produce. 

AVMER  ^  ALLAN'CE. 

[Mr.  New's  Oxford  series  also  includes  Brasenose 
and  Wadham.  All  these  drawings  as  well  as  the 
Florence,  have  been  engraved  under  his  super- 
vision on  the  same  scale  as  the  originals,  which 
with  the  exception  of  The  Towers  of  Oxford  and 
Florence,  the  dimensions  of  which  are  8.\  by  21 
inches,  measure  approximately  13  by  16  inches, 
and  the  engravings  are  published  by  the  artist 
hi:nsjlfat  17  Worcester  Place,  Oxford.] 


^  «  w 
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U  W  Q 
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Drawijigs  by  Arthur  J.   Gas  kin 


T 


HE  DRAWINGS  OF  ARTHUR 
J.  GASKIX.  BY  JOSEPH  E. 
SOUTHALL. 


The  drawings  of  Arthur  J.  Gaskin  are  chiefly 
notable  for  the  extraordinary  refinement  in  the 
quality  of  their  line,  and,  where  they  are  more 
complete,  for  a  rare  sense  of  tone  and  colour. 
That  is  not  to  say  that  Mr.  Gaskin  lacks  the  power 
of  completing  his  modelling,  or  of  dealing  with 
the  problems  of  light  and  shade.  It  results  rather 
from  that  pure  delight  in  line  and  colour,  so 
beautifully  displayed  in  the  art  of  Asiatic  countries 
and  in  the  painting  of  mediaeval  Europe.  Now 
these  qualities  are  inevitably  obscured  when  strong 
effects  of  light  and  shade  are  introduced.  More- 
over the  expression  of  relief  and  shadow  belongs 
rather  to  the  province  of  sculpture  than  to  that  of 
painting  and  drawing. 

It   is    obvious    that    an 
artist  who   works    in   such 
a  method   as  that   of  Mr. 
Gaskin  can  appeal  only  to 
those  who  have  the  faculty 
of  attentive  and  penetrative 
vision.      To  those  who  ex- 
pect to  see  startling  effects 
of  light  and  shade  or  figures 
which  stand  out  from  their 
background,  such  design  is 
incomprehensible   and,   in- 
deed, almost  invisible.   Vet 
it   is   not,   in   the   deepest 
significance    of    the    term, 
less  real  or  less  true,   but 
rather    is    more   so.     The 
business  of  an  artist  is  not 
to  produce   work    "like 
nature  "  ;  this  is  alike  im- 
possible and  needless,  for 
nature    is    prolific  einough. 
His  business  is  to  describe 
what    he    sees,    whether 
with   his  outward  eyes    or 
with   the    inward    vision 
of  his  soul,    that  others 
may  partake   of    his    reve- 
lation.    For    this     pur- 
pose it   is  necessary  to 
select,    to   design,   and    to 
compose,   so   as  to  secure 
beauty   and    rhythm    with 
intelligibility.     A    great 
truth    is    enunciated    by 


Browning  in   his    "  Fra    Lippo    Lippi,"    when    he 
says  : 

Fcr   don't  you  mark  ?     We're   made    so  that  we 

love 
First  when  we  see  them  painted,  things  we  have 

passed 
Perhaps  a  hundred  times  nor  cared  to  see. 
And  S3  they  are  better  paiated — better  to  us, 
Which  is  the  same  thing. 

Now  look  at  the  two  drawings,  A  Country  Boy 
and  A  Village  Lad  (p.  30),  and  note  how  in  these 
apparently  unpromising  subjects  Mr.  Gaskin  has 
discovered  for  us  not  only  a  great  fund  of  character 
but  also  classic  folds  of  drapery,  not  unworthy  to 
be  set  beside  the  monumental  drawings  of  the 
great  Albert  Diirer.  Look  again  at  the  delicate 
drawing  of  the  ear  and  the  living  growth  of  hair  in 
Derek.  These  drawings  and  the  drawing  of  a  baby 
six   weeks   old   are   reduced   almost,   though   not 


••JOSCEI.VNK    WITH      THE    HI  RUC.^liE  *' 


r.V    .\KTHIR   J.    (-.ASKIN- 
GS 


Dr{77i'/;/gs  by  Artliiiy  J .  Gaskiii 


cjuite,  to  outline,  but  in  the  charming  girl's  head 
called  Portrait  we  feel  a  delicious  sense  of  colour 
and  tone,  with  the  deep  brown  hair  at  one  end  of 
the  scale  and  the  white  insertion  round  the  neck  at 
the  other.  The  blue  eyes,  the  rosy  lips  and  the 
pale  flesh  tones  could  never  have  been  thus  ren- 
dered if  heavy  shadows  had  been  introduced. 
\'ct  how  true  to  nature  it  all  is.  The  coloured 
reproductions  and  especially  the  beautiful  baby 
face  Margaret  speak  for  themselves. 

It  was  this  faculty  for  grasping  the  fundamentals 
of  art,  and  especially  of  ornamental  or  decorative 
art,  together  with  his  feeling  for  romance,  that 
made  Mr.  Gaskin  by  far  the  most  inspiring  figure 
that  has  yet  appeared  upon  the  teaching  staff  of 
the  Birmingham  School  of  Art,  though  he  has 
never  been  its  nominal  headmaster.  To  him  more 
than  to  any  other  is  due  the  pre-eminent  position 
achieved  by  that  school, 
though  he  was  singularly 
fortunate  in  being  sur- 
rounded by  a  group  of 
voung  artists  near  to  his 
own  age,  working  with 
him  and  achieving  many 
of  them  no  inconsider- 
able fame  in  the  world  of 
art.  Among  these  col- 
leagues of  the  nineties 
may  be  mentioned  the 
names  of  Mr.  Chas.  Gere, 
the  well-known  member 
of  the  New  English  Art 
Club,  whose  work  is  so 
familiar  to  readers  of 
The  Stidio,  Mr.  Henry 
A.  Payne,  A.R.W.S., 
painter  of  a  wall  decora- 
tion in  the  House  of 
Lords,  Mr.  Sydney  Mete- 
yard,  painter  and  book 
illustrator,  Mr.  Treglown, 
illuminator  and  writer, 
Miss  Newill,  embroi- 
deress,  Miss  Gere,  the 
gifted  sister  of  Charles 
Gere  and  painter  of  a 
work  recently  bought  for 
the  nation  by  the  Con- 
temporary Art  Society, 
Mr.  Edmund  New,  the 
widely  known  book  illus- 
trator, and  Mr.  Bernard 
Sleigh,  a  painter  and  the 
26 


engraver  of  charming  woodcuts.  In  addition  there 
were  in  Birmingham  one  or  two  other  companions 
not  then  working  within  the  School  of  Art.  All 
these  artists  were  in  close  sympathy  with  one 
another  and  mutually  helpful. 

In  these  days  of  swiftly  changing  fashions  it  is 
refreshing  to  see  a  man  like  Mr.  Gaskin  who  has 
his  feet  upon  a  rock  and  who,  while  keenly  ap- 
preciative and  observant  of  the  interest  and  beauty 
of  contemporary  life,  is  not  engaged  in  the  pitiful 
scramble  to  keep  up  with  the  very  latest  sensation 
of  the  hour.  His  art  is  guided  by  eternal  prin- 
ciples that  are  always  new,  and  speaks  to  deep 
instincts  in  the  human  race  that  never  fail  nor 
change,  whatever  superficial  variations  the  course 
of  time  may  bring.  Greatly  as  the  externals  of  life 
and  costume  have  changed  in  four  centuries,  the 
faces  left  to  us  by  Holbein  or  Pisanello  are  just 


PORTRAIT 


BY    ARTHUR   J.    GASKIN 


L 


■jo-^ci.'^.-^^ 


i^ 


"JOSCELYNE."      FROM    A    DRAWING 

BY     ARTHUR      J.     GASKIN. 


"7iflilTili«gai»iiiiifijii-iiiiniiiiii  I  jiiii  ■■ 


.^T/O. 


W^^-W^:.^r, 


U.,i   ^/^// 


■^■>y 


':^'i>m^:ry 


•-^_r;,* -^;-     -:m»ip 


"DEREK."     FROM  A   DRAWING 
BY  ARTHUR  J.  GASKIN 


Dm-u'i'jigs  by  ArtJiiir  J .  Gaskin 


■apo^—^t Bw  i,ni  ii»«j»  rv^ 


\ 


\ 


\ 


A 


"a    country    boy"  by   ARTHUR   J.    GASKi:; 


III.  Minutely  careful  and  thorough  drawing 
from  nature — explicative  of  outline  and  of  form, 
but  usually  with  only  faint,  yet  complete,  light  and 
and  shade. 

\\ .  The  outline  transferred,  and  pure  colour 
laid  transparently,  upon  a  white  or  gold-coloured 
ground  without  alteration  or  painting  out,  the 
design  having  been  settled  by  the  previous  studies. 
To  obtain  deep  colours  many  thin  layers  may  be 
necessary,  one  above  another,  but  the  whole  series 
must  be  determined  upon  in  advance. 

One  of  the  most  recently  discovered  ideals  for 
an  artist  is  the  cjuest  for  the  faculty  to  express  or 
evoke  states  of  mind.  \'et  it  would  be  difficult  to 
find  an  artist  of  any  period  whose  work  did  not 


l^ 


/^ 


^^ 


such  as  we  find  living  around  us  to-day,  and  the 
principles  of  their  art,  though  we  may  need  to  turn 
them  upon  other  problems,  are  such  as  will  not 
fiiil  us  in  our  times. 

It  would  not  be  easy  to  put  into  words  the  guid- 
ing principles  that  are  none  the  less  clearly  felt  by 
Mr.  Gaskin  and  those  closely  associated  with  him. 
Nor  would  it  be  possible  adequately  to  describe  his 
work  in  words.  If  this  could  be  done,  the  work 
itself  would  become  superfluous.  But  certain 
points  may  be  noted,  for  the  guidance  of  any 
student  who  may  feel  inclined  to  follow  in  the  same 
path. 

I.  A  clear  mental  conception  of  the  subject  Xu 
be  drawn  or  painted. 

II.  A  small  .sketch  or  design  of  the  subject. 
In  an  elaborate  work  this  may  be  drawn  many 
times  over  before  it  is  finally  settled. 

^o 


<:f 


.ruA 


A    Vn.LA(;K    l.AI) 


liV   ARTHUR  J.    GASKI.N 


"MARGARET." 
BY    ARTHUR 


FROM    A    DRAWING 

J.     G  A  S  K  I  N. 


Drawings  by  Arthur  J.  Gaskin 


reveal  the  state  of  his  mind.  Indeed  were  it 
otherwise  he  would  not  be  an  artist.  The  thing  of 
primary  importance,  then,  must  be  the  possession 
of  a  state  of  mind  worthy  to  be  expressed.  Such 
a  state  of  mind  will  assuredly  not  be  one  so  filled 
with  self-sufificiency  and  conceit  as  to  be  ready  to 
dispense  with  all  the  accumulated  wisdom  and 
technical  skill  acquired  through  countless  genera- 
tions and  numerous  races  of  men.  The  state  of 
Mr.  Gaskin's  mind,  as  abundantly  evidenced  in  his 
work,  is  one  of  profound  reverence  for  the  spiritual 
and  the  beautiful,  and  of  a  teachable  nature  willing 
to  learn  the  wisdom  of  the  ancients  or  of  the 
moderns,  while  reserving  always  the  right  of  dis- 
crimination. Long  before  the  days  of  the  Post- 
Impressionists  Mr.  Gaskin  had  discovered  the 
value  of  masses  of  bright  colour,  and  reckoned  at 
its  true  worth  the  chatter 
about  "atmosphere" 
which  then  formed  half 
the  stock-in-trade  of  the 
minor  art  critic. 

The  present  day  has 
brought  to  the  student, 
whether  by  collections 
open  to  the  public  or  by 
reproductions,  a  vision  of 
the  art  of  the  whole  world 
never  previously  available. 
With  this  advantage  has 
come  the  grave  danger  of 
bewilderment  and  of  dis- 
traction. It  was,  perhaps, 
fortunate  that  at  the  time 
when  Mr.  Gaskin  was 
forming  his  style  (now  so 
clearly  marked  and  indi- 
vidual) he  was  mainly 
guided  by  the  work  of  the 
Italian  Primitives  with  their 
Byzantine  origin.  Thus  it 
was  not  difficult  for  him  to 
apj)reciate  the  noble  (juali- 
ties  of  the  best  art  of  China 
and  Japan,  of  India  and 
Persia,  of  Egypt  and  of 
(jreece,  all  founded  upon 
the  same  great  verities  and 
breathing  the  same  spirit. 

In  looking  at  a  group  of 
Mr.  Gaskin's  drawings  it 
is  impossible  not  to  be 
impressed  with  his  sense 
of    style,   with    the    dis-  "six  wkeks  old 


tinguished  character  of  the  company.  Not  the 
least  merit  of  his  art  is  that  it  demands  a  manti.1 
alertness  on  the  part  of  the  spectator.  It  does 
not  attempt  to  do  everything  for  an  indolent 
public,  but  stimulates  a  healthy  activity  of  vision. 
Here,  one  feels,  is  a  true  leader  in  the  art  of  seeing, 
one  who  can'  point  out  beauties  that  we  had  not 
suspected,  and  can  therewithal  open  to  us  the 
gates  of  a  new  country  full  of  delight  and  hope. 

When  the  present  time  of  pitiless  destruction  is 
over  the  world  will  have  to  face  a  new  problem  of 
construction,  and,  though  nothing  can  bring  back 
to  us  the  priceless  monuments  of  the  past,  mych 
will  depend  upon  the  wise  guidance  of  new  effort. 
In  this  stupendous  work  the  knowledge  and  judg- 
ment of  such  a  man  as  Mr.  Gaskin  would  be  quite 
invaluable  if  it  were  called  in.  J.  E.  S. 


I!Y    AKTUUK   J.    f.ASKlN' 

2>Z 


I/aro/c/  Sfnblcrs  Metal-work  and  Jlnaiiich 


H 


AROLU  STABLER,  WORKER 
1\  METALS  AND  ENAMELS- 
HV    HAMILTON   T.   SMITH. 


In  tlie  old,  far  off  (Irosvcnor  Gallery  days,  craft 
work  was  a  very  sad-coloured  aflair.  The  pangs  of  re- 
birth were  no  doubt  responsible  for  the  solemn  self- 
consciousness  which  expressed  itself  in  "greenery 
yallery "  and  slender,  yearning  damsels.  Of  the 
contemporaries  of  Morris  many  would  have 
shuddered  at  the  bare  idea  of  being  jolly,  and  yet, 
in  those  whose  business  it  is  to  make  beautiful  the 
little  everyday  things  with  which  we  are  to  live, 
surely  this  quality  is  to  be  desired  above  all  others. 
Harold  Stabler's  work  is  perhaps  best  summed  up  by 
this  word  "jolly";  let  others  strive  after  romantic 
ideals —  he  will  give  us  gay  colours,  garlands  of 
flowers  and  cheery  little  naked  children  bubbling 
over  with  mischief. 

It  is  a  pleasant  and  a  hopeful  thing  to  find  this 
gaiety  in  an  art  so  essentially  modern  in  all  its 
aspects.  Youth  always  tends  to  take  itself  over- 
seriously,  and  it  must  be  confessed  that  in  the 
"  lesser  arts,"  so  recently  re-born,  joyousness  has 
not  been  the  dominant  note.  Beset  with  problems 
of  technique,  the  search  for  methods  of  expression 
has  led^us  through  desolate  places,  and  made  us 
perhaps  rather  unduly  earnest  about  the  whole 
business.    It  is  always  so  at  times  when  there  is  no 


settled  tradition  of  craftsmanship.  Tlie  old  Gothic 
stonemasons,  with  generations  of  living  tradition 
behind  them,  could  afford  to  give  full  play  to  their 
lancy,  as  many  of  their  delightful  pieces  of  humour 
remain  to  testify.  We  find  the  same  thing  in  Chinese 
art,  from  which  Mr.  Stabler  has  learned  so  much. 
We,  of  these  later  times,  have  been  too  busy  to  be 
playful,  but  out  of  the  welter  of  ex[)eriments  and 
"  movements "  certain  broad  principles  are  be- 
ginning to  emerge,  and  with  these  established  we 
may  hope  once  more  to  be  skilful  enough  to  play 
with  our  work. 

The  older  Schools  ot  Craftsmanship,  whose 
origins  are  lost  in  prehistoric  mists,  developed  for 
age  after  age  until  they  were  suddenly  cut  off  by 
the  Industrial  Revolution.  It  is  no  more  than 
forty  years  since  Morris  and  his  fellows  set  out  on 
their  campaign — little  enough  time  for  the  reviving 
of  forgotten  methods  and  lost  ideals  in  all  the 
crafts,  but  the  new  centuries  move  more  swiftly 
than  the  old,  and  ground  has  been  broken  afresh 
in  many  fields  during  this  modern  Renaissance. 
The  peculiar  joy  of  craftsmanship  lies  in  its 
opportunities  for  exploring  new  processes  and 
perfecting  old  ones.  Those  who  have  read 
Cellini's  delightful  "Treatises  on  Goldsmithing " 
will  remember  the  zest  with  which  he  describes,  in 
the  minutest  detail,  every  trick  he  discovered  in  his 
many  trades.     This  entliusiasm  for  process  is  the 


CASKKT    IN    Sll.VKK    AM)    KNAMKI.    (  I'K  KSKNTKI)    BY    Till-.    HOROIGU    OT    KKIC.  II  I.KV,    VOKKSII I KIC). 

EXKCUTEO    By    HAROLD   STABLER 

34 


DliSir.  NED    AND 


CLOISONNE 
A  CASKET. 


ENAMEL   PANELS   EOR 
BV  ILAROLD  STABLER 


y. 


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W 

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^^H^HBBH 

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^^^H 

^^^^|9H 

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^^^^^^W^^^^^^^ '^^H^^^^^^^H 

^^^^^^^^^^^^^^^^^^H^^^V'^^^^H 

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^^^^^^^^^^^^^^^^^(^^^^^^^^^^^1 

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^^^Bufl^^^^^^^^^^^^^^^^^lP9^^^^fl 

I^B 

Harold  Stabler  s  Metal-work  and  Enamels 


NECKLACE    IN    SILVER   AND   GOLD   SET    WITH    STONES 
BY    HAROLD    STABLER 


hall-mark  of  the  true  craftsman,  and 
it  is  possessed  to  the  full  by  Mr. 
Stabler.  His  activities  in  various 
metals  cover  a  wide  field,  ranging 
from  gold  jewellery,  finished  with  the 
utmost  delicacy,  to  architectural 
bronze  work. 

But  probably  his  finest  and  most 
characteristic  work  is  that  in  cloi- 
sonne enamel.  It  is  curious  that 
this  ancient  form  of  decoration, 
capable  of  such  varied  uses,  should 
have  been  so  little  employed  by 
modern  artists.  Mr.  Stabler,  using 
the  methods  of  ancient  China  and 
Byzantium,  with  the  liveliest  insight 
into  their  possibilities,  has  evolved  a 
style  which  is  not  only  original  but 
extraordinarily  modern  in  feeling.  It 
would  be  difficult  to  speak  too  highly 
of  his  achievements  in  this  medium. 
With  its  severe  limitations  it  demands 
at  once  a  nice  sense  of  colour  and 
the  most  consummate  drawing  ;  out- 
line is  all-important,  and  as  this 
outline  consists  solely  of  the  wire 
"  cloisons  "  which  enclose  the  various 
fields  of  colour,  it  must  be  simplified 
to  the  last  degree.     How  suggestive 


it  can  be  made,  in  spite  of  this  simplification,  may 
be  seen  by  comparing  the  various  textures  in  the 
first  of  the  four  panels  on  p.  35,  where  the 
smooth  round  limbs  of  the  children,  the  shaggy 
fur  of  the  bear,  and  the  delicacy  of  the  flowers 
are  all  rendered  in  a  most  masterly  way.  The 
coloured  plate  shows  well  the  rich  and  jewel-like 
effect  of  these  panels,  very  reminiscent  of  Pompeian 
frescoes,  with  their  backgrounds  of  black  or  red. 
Full  as  they  are  of  charming  fancy  they  are  even 
more  remarkable  for  the  ingenuity  aud  economy  of 
means  with  which  the  artist  has  achieved  his 
effects. 

The  use  of  cloisonne  enamel  for  the  enrichment 
of  silversmiths'  work  is  shown  in  the  Keighley 
Casket  and  also  in  the  fine  centre-piece  made  for 
the  5th  Battalion  of  the  Welsh  Regiment,  which 
occupied  a  prominent  position  at  the  exhibition  or 
British  Art  and  Crafts  held  in  Paris  last  summer. 
After  the  dreary,  misbegotten  caskets  which  are 
commonly  made  for  purposes  of  presentation,  the 
former  is  a  sheer  joy,  and  it  says  much  for  the  en- 
lightenment   of   Keighley    that    its 


(  KKAM    JIC.S    AND    SUGAR-BASINS.       DESIGNED    AND    EXElT  TED 
BY    HAROLD   STABLER 


Ilayold  Stabler s  Metal-work  auci  Iiiianicls 


PORTION  OK    Al.lAK    KAll.    I.N    C 1 1.1  H  NC-.MKTAl.     UKl'OUSsfe 


DKSIONKl)    AND    KXKCUTKI)    BV    HAROLD    STAHI.KR 


municipal  aulhoritiLS  sliould  have  commissioned, 
for  siicli  a  purpose,  a  genial,  human  piece  of  work, 
with  which  the  recipient  could  be  exj)ected  after- 
wards to  live,  not  merely  without  discomfort  but 
with  very  real  pleasure.  The  centre-piece  again 
shows  the  artis.'s  fine  decorative  sense  ;  in  looking 
at  the  illustration,  it  must  be  borne  in  mind  that 
when  in  actual  use,  the  upi)er  and  lower  basins 
are  filled  with  flowers  or  fruit,  against  which  the 
regimental  goats  and  tlie  national  dragons  are 
silhouetted,  and  thus  any  apparent  tendency  to 
spikiness  is  excluded. 


The  cup  and  cover  made  for  the  Saddlers' 
Company  is  another  fine  example  of  ceremonial 
plate,  of  which  the  severe  dignity  is  relieved  by 
very  beautiful  enrichment. 

A  further  important  work,  not  shown  here,  is 
the  silvered  and  enamelled  mace,  made  for  the 
Confraternity  of  the  Blessed  Sacrament  for  use  at 
Westminster  Cathedral. 

The  table  silver,  in  keeping  with  its  domestic 
character,  strikes  a  homelier  note,  but  in  its  quiet 
gracefulness  it  is  as  satisfying  as  the  more  ambitious 
pieces. 


4 


BRONZE  CANDIESTK  K 
WITH  CHAM  P  L  E \  fe 
ENAMELLING.  I)E- 
SKINEDAND  EXECUTED 
BV     HAROLD     STABLER 


PAIR    OK    ALTAR    CANDLESTICKS    KOR    (IIAl'KL    OF 

IIONVII.LE     AM)      CAIUS      COLLEGE,     CAMHRID(;E. 

DEMKiNED     A\D      EXECUTED      IN       SILVER      AND 

ENAMEL    BY    HAROLD   STABLER 


BRONZE  CANDLESTICK 
WITH  CHAMPLEVi: 
ENAMELLINC;.  DE- 
SIGNEDAND  EXECUTED 
BV     HAROLD     STABLER 


38 


Harold  Stabler  s  Metal-work  and  Enamels 


gain  in  value  from  the  delicate  beauty  of  the  work 
with  which  they  are  surrounded. 

No  account  of  Harold  Stabler's  work  would  be 
complete  without  some  reference  to  that  of  Mrs. 
Stabler,  whose  frequent  collaboration  with  her 
husband    has    had    such    happy   results.     Of  her 


AI.TAR    CROSS    IN    BRASS    GILD- 
ING    METAL    AND     COPI'ER. 
UESIGNEP   AND    EXECUTED    BY 
HAROLD   STABLER 


SILVER     CHAI.ICR     SKI      WITH     STONES. 

DESIGNED  AND  EXECUTED  BY  HAROLD 

STABLER 


The  jewellery  is  interest- 
ing as  showing  a  just  sense 
of  the  value  of  the  setting 
as  well  as  of  the  gems. 
To  use  a  French  term,  for 
which  there  is  no  English 
equivalent,  it  is  bijouterie 
as  against  the  joiallerie  of 
commerce,  which  latter 
has  no  object  but  to  dis- 
play the  qualities  of  the 
actual  stones,  the  sole  duty 
of  the  setting  being  to  hold 
them  securely  and  to  efface 
itself  as  much  as  possible. 
In  this  jewellery  of  Mr. 
Stabler's  the  gems  them- 
selves are  of  no  great 
costliness,  but  so  skilfully 
are  they  wrought  into  the 
general    design    that   they 


TAIK    OK    SIl.VER-GIIT    CRUETS    AND    TRAY.       DESIGNED    AND    ENGRAVED    KOR 
WESTMINSTER    CATHEDRAL    BY    HAROLD    STABLER 


39 


Harold  Sf abler  s  Mcfal-ii'ork  and  Enamels 


I-KESKNl  ATION      CTT.         DESUINKI)     AND     KXECUTKI) 
I-OK   TlIK    SADOI.EKS'  COMPANY  BY  HAKOl.I)   STABLER 

charming  statuettes  in  [lottery  and  other  materials 
there  is  not  space  to  give  an  adequate  account  in 
this  article,  but  it  is  sufificient  to  say  that  the  work 
of  each  of  them  owes  not  a  little  to  the  other. 
As  an  example  of  this  it  may  be  mentioned  that 
the  little  pendants  shown  in  the  coloured  plate 
were  executed  from  Mrs.  St-ablcr's  designs. 

It  is  interesting  to  note  that  Mr.  Stabler  served 
his  apprenticeship  as  a  cabinet-maker  and  wood- 
carver,  spending  seven  years  at  this  craft  in 
Westmorland,  where  he  was  born.  After  taking 
up  metal-work  he  was  associated  with  Mr.  Llewellyn 
Rathbone  in  Liverpool  and  came  with  him  to 
London.  He  has  been  for  some  years  Head  of 
the  Art  Department  at  the  Sir  John  Cass  Institute 
and  is  also  Instructor  of  metal-work,  jewellery  and 
enamelling  at  the  Royal  College  of  Art,  in  succes- 
sion to  Mr.  Henry  Wilson. 

It  would  be  difficult  to  find  an  artist  whose  work 
in  its  various  aspects  typifies  more  completely  the 
40 


modern  spirit  at  its  best  than  that  of  Harold 
Stabler — eager  and  adventurous  but  not  divorced 
from  traditional  methods:  attractive  and  debonair, 
yet  with  a  wholesome  saltness  which  saves  it  from 
cloying.  The  vigorous  temperament  of  the  man 
is  shown  by  the  vitality  he  imparts  to  all  his  work 
and  by  the  ease  and  sureness  with  which  he 
attacks  problems  of  widely  different  kinds.  'J'he 
masters  of  the  Renaissance  were  at  once  gold- 
smiths, sculptors  and  painters,  ecjually  efficient  in 
either  capacity,  whereas  the  art-workers  of  our 
grandfathers' days,  excepting  that  lone  giant  Alfred 
Stevens,  appear  to  have  degenerated  into  polite 
dilettanti  when  they  ventured  beyond  the  con- 
fines of  one  branch  of  their  craft.  Why  this  should 
have  been  so  it  is  not  easy  to  decide,  but,  what- 
ever the  reasons,  we  of  the  twentieth  century,  with 
men  like  Stabler  working  in  our  midst,  may  take 
heart  of  grace  and  congratulate  ourselves  that  we 
live  in  more  hopeful  days.  H.  T.  S. 


TABLE  CENTRE  I'lECE  IN  SH.VER  AND  ENAMEL. 
nESIGNEI)  AND  EXECUTED  FO'R  THE  OEKlCERs'  MESS 
OK     THE     WELSH     REGIMENT     BY    HAROLD    STABLER 


•vmt.-'  .  -^. 


**\ 


CLOISONNE   ENAMEL    PANELS   AND 
PENDANTS      BY   HAROLD  STABLER. 


Belgian  Artists  in  England 


B 


ELGIAX    ARTISTS    IN    ENG- 
LAND.  BY  DR.  P.  BUSCHMANN. 

(Second  Article* ) 


Belgi.\x  artists  have  ever  easily  become  ac- 
climatised in  foreign  countries.  Many  of  them 
felt  oppressed  within  the  narrow  frontiers  of  their 
fatherland  and  took  their  chance  in  the  wide  world. 
At  the  end  of  the  Middle  Ages,  many  Flemish  and 
Walloon  masters  settled  in  Paris,  in  Mehun-sur- 
Vevre,  in  Dijon,  as  court  painters,  sculptors,  and 
miniaturists  to  the  kings  of  France,  to  the  dukes 
of  Berry  and  of  Burgundy,  and  their  marvellous 
works  profoundly  influenced  the  art  of  France  and 
of  Europe.  Jan  van  Eyck  travelled  in  Portugal, 
Roger  van  der  ^^'eyden  and  Just  of  Ghent  in  Italy, 
not  as  students,  but  as  accomplished  masters. 
From  the  sixteenth  century  onwards  Italy  became 
the  land  of  promise  for  every  Flemish  artist  ;  many 
of  them  settled  permanently  in  Rome,  where  they 

*  The  first  article  appeared  in  our  issue  of  December. 


formed  a  well-known  and  somewhat  turbulent 
colony.  Justus  Suttermans  became  the  court 
painter  of  the  Medici  at  Florence,  Rubens  spent 
eight  years  beyond  the  Alps,  ^'an  Dyck  felt  at 
home  in  the  Genoese  palazzi  as  well  as  in 
Antwerp  and  at  the  English  court ;  Peter  de 
Kempeneer  was  Hispanicized  in  Seville  as  Pedro 
Campaiia :  Peter  Brueghel  sketched  in  Tyrol ; 
Bartholomew  Spranger  when  he  died  at  Prague  was 
the  painter  of  the  Emperor  Rudolph  II,  and  the 
reign  of  Louis  XIV  of  France  was  illustrated  by 
artists  like  Philippe  de  Champaigne,  Gerard  van 
Opstal,  Adam  van  der  Meulen,  Gerard  Edelinck 
and  many  others — all  of  Belgian  origin. 

These  are  but  a  few  examples,  but  fully 
sufficient  to  show  the  wonderfully  expansive  power 
of  Belgian  art.  With  such  precedents,  the  Belgian 
artists  who  have  come  to  England  may  not  find  any 
difficulty  about  getting  acclimatised,  nor,  in  fact, 
have  they.  There  is  no  doubt  about  this.  During 
the  first  weeks  they  might  have  been  subdued — 


•'LANDSCAPE    IN    WKST    FLANDERS  ' 


on.  rAiNriNf.  by  kobkkt  boidrv 

4;> 


Be/gia/i  .  I rfisfs  in  luiglainl 


aiul  soiiK'what  hcwiklcrcd  -  l)y  the  stionLi;  im- 
])rc'.ssi()ns  of  a  quite  new  world.  r>ut  the}  liave 
soon  discovered  its  pecuHar  beauties  :  the  majesty 
of  the  craggy  cHfTs,  the  everlasting  emerald  of  the 
meadows,  theriiythm  of  undulating  hills,  the  mighty 
trees  spreading  out  tiuir  oddly  knotted  arms, — 
and,  before  all,  the  magic  scenery  in  air  and  water. 
Certainly,  the  heavy,  clouded  skies  of  the  Low 
Countries  with  their  wonderful  light  effects  have 
inspired  many  immortal  masterpieces,  but  the 
I'^nglish  atmosphere  has  its  own  peculiar  charm  ;  it 
may  be  less  overwhelming,  but  it  is  subtler,  more 
diapered,  more  delicately  iridescent  with  the  orient 
of  pearls  and  nacre.  And  the  moving  veils  of 
haze  and  mist  afford  the  most  suri)rising  and 
delightful  effects  to  every  sensible  eye. 

Times  are  not  propitious  to  artistic  creation — 
and  it  may  be  some  time  yet  before  these  fresh 
impressions  will  be  reflected  by  the  Belgian  artists 
in  works  of  durable  value.  But  we  know  that  many 
of  them,  with  a  praiseworthy  courage,  have  taken 
up  pencil  and  brushes  and  are  bravely  endeavour- 
ing to  forget  their  distress  by  working.  They  have 
already  shown  us  their  first  attempts,  arid  if  the  mis- 
fortunes which  have  befallen  Belgium  are  not  to  be 
overlooked  we  are  confident  that  its  artists  will  at 
least  have  acquired  something  by  their  forced  stay 
in  England ;  it  will  have  enlarged  their  views,  en- 


riched   their   niiiids,   and  awakened   a  wholesome 
I'lithusiasm  for  newly  discovered  beauty. 

The  I'Lnglish  public,  in  its  turn,  has  displayed  a 
peculiar  interest  in  Belgian  art  ;  besides  the  im- 
jiortant  exhibition  now  on  at  ISurlington  House — to 
which  we  hope  to  refer  later — some  smaller  selec- 
tions of  Belgian  works  have  been  on  view  in  London 
galleries. 

Mr.  Paul  Lambotte,  Director  at  the  Ministry  of 
Fine  Arts  in  Belgium,  succeeded  in  collecting  a 
hundred  works,  all  of  which  have  been  sold  for  the 
immediate  relief  of  the  artists  who  remained  in 
Belgium,  by  a  subscription  generously  patronised 
by  the  wealthy  classes  of  London.  Necessarily 
they  were  works  of  more  or  less  minor  importance  : 
sketches,  drawings,  water-colours,  etchings,  but 
the  exhibition,  held  in  the  Goupil  (iallery,  had  a 
(juite  distinctive  appearance  and  proved  a  gratify- 
ing success.  Some  of  the  best-known  Belgian 
artists  were  represented.  We  note  the  following 
works,  in  the  alphabetical  order  of  their  authors  : 
one  of  the  masterly  etchings  by  Albert  Baertsoen, 
happily  brought  over  from  Ghent ;  a  pretty  little 
drawing  in  chalk,  Ni}:;hf  Impression  at  Rhubitm, 
executed  by  Emile  Claus  during  his  stay  in  the 
neighbourhood  of  Cardiff;  some  select  prints  by 
the  Nestor  of  Belgian  engravers,  Auguste  Danse, 
and  by  his  daughters  Louise  and  Marie  Danse;  a 


WINTKK    LANDSCAPE 

44 


BY  GUSTAVE  VAN  UE  WOESTVNE 


/'V/-i 


■\k^  Aa^  I,';  .■  j<^«^  •i5     c    fn 


THE  BEGUINAGE.  BRUGES:  WINTER" 
FROM  AN  ETCHING  IN  COLOURS 
lU'   MARTIN   VAN    DER    LOO 


Belgian  .  I r lists  in  Jinglaiui 


"  PORTRAIT    d'kMANT    " 

KY    CAMILI.K    STl'RBEl.l.K 


cloudy  landscape  by  Leon  Frederic  ;  some  refined 
and  delicately  tinted  drawings  and  engravings  by 
Fernand  Khnopff;  an  important  water-colour, 
Stranded  Ships,  by  Alex.  Marcette ;  symbolical 
figures  on  a  gold  ground  by  Xavier  Mellery.  Charles 
Mertens,  too,  having  made 
his  first  attempt  at  render- 
ing the  English  landscape, 
showed  us  a  pretty  sketch  in 
oil  colours  ;  the  late  Con- 
stantin  Meunier  was  repre- 
sented by  an  etching  Le 
Port;  the  sculptor  Victor 
Rousseau  by  a  drawing  ;  Jan 
Stobbaerts  by  an  original 
lithograph,  Cour  de  Ferme ; 
Alexander  Struys,  the  great 
painter  of  the  humble  in- 
teriors of  Malines,  con- 
tributed an  etching  after  his 
picture  Le  mois  de  Marie ;. 
Alfred  Verhaeren  a  litho- 
graph, Jeune  Pkheiir.  This 
review  is  by  no  means  com- 
plete, but  we  will  not  tire 
the  reader  with  a  longer 
enumeration. 

Another  collection, 
privately  brought  over  from 
IJelgium,    was    exhibited    at  "taxandkr" 

46 


the  McLean  (iallery,  under  the  somcwlial  hy[)er- 
bolic  denomination  of  "  Belgian  Masterpieces." 
It  contained,  however,  several  meritorious  works. 
The  chief  attraction  consisted  of  a  drawing  Belgium 
Unfettered,  specially  executed  for  this  exhibition 
by  Jan  Gouweloos,  and  framed  with  the  lielgian 
colours.  It  showed  the  very  serious  qualities  of 
this  vigorous  painter.  We  further  mention  sketches 
by  Firmin  Baes,  Geo  Bernier,  Georges  Lemmers, 
Jules  Merckaert,  Jos.  Taelemans,  Carl  Werleman  ; 
etchings  by  Aug.  Danse,  M.  L.  Cluysenaer,  Maurice 
Langaskens,  J.  B.  and  M.  H.  Meunier,  Henri 
Thomas,  and  Louis  Tit/.;  and  a  number  of  drawings 
and  water-colours  by  Jan  Gouweloos,  Maurice 
Hagemans,  Theo  Hannon,  Amedee  Lynen,  and 
others. 

Whilst  these  exhibitions  were  in  progress,  and 
some  other  Belgian  works  were  being  shown  at  other 
galleries,  we  have  succeeded  in  collecting  some 
further  reproductions  of  pictures  and  sculptures 
by  artists  now  in  England,  and  are  glad  to  place 
these  before  our  readers  as  supi)lementing  those 
previously  published. 

We  first  mention  the  vivid  bust  of  Taxander, 
by  Frans  Huygelen,  a  symbol  of  the  indomitable 
Flemish  character  and,  what  is  better,  a  strong 
piece  of  sculpture,  speaking  the  language  that  was 
understood  in  Memphis  and  in  Athens,  in  Florence 
and  in  Rheims,  the  language  of  high  art,  that  may 


BY    KRANS    IIUYGEI.EX 


Belgian  Artists  in  England 


PORTRAIT    MEDAL 


BY    PAUL    WISSAERT 


vary  its  forms  through  different  ages  and  countries, 
but  still  derives  from  the  same  sources  of  eternal 
beauty.  Le  Calvaire  is  the  title  chosen  by  Jozue 
1  )upon  for  a  drove  of  old  horses  exhausted  by  a  life 


PLAQUETTE,     "  EDICATION  " 

RV    PAL'L    WISSAERT 


of  hard  labour  and  doomed  to  immolation.  Every 
step  brings  them  nearer  to  death  and  ultimate  relief 
from  their  sufferings.  Their  hopeless  resignation 
has  been  strikingly  rendered  by  the  artist. 

We  have,  not  yet  referred  to  another  sculptor  : 
Camille  Sturbelle,  a  pupil  of  Ch.  van  der  Stappen. 
His  important  monumental  and  decorative  works 
are  erected  on  public  places  in  Brussels  and  Liege. 
We  reproduce  a  portrait  of  a  child  and  a  funerary 
stele  bv  this  artist. 


Paul  Wissaert  is  a  medallist  who  shows  a  delicate 
touch  in  his  modelling ;  the  double  portrait  of  his 
parents  and  the  plaquette  symbolising  Education, 
which  he  has  executed  for  the  society  "  Les  Amis 
de  la  Medaille,"  gi\-e  a  good  idea  of  his  skill  and 
refined  taste. 

Gustave  van  de  Woestyne,  who  is  chiefly  a 
portrait  and  figure  painter,  is  represented  here  with 
a  JVinter  Landscape,  sharply  contrasting  with  the 
generally  naturalistic  tendencies  of  Belgian  art.  It 
reveals  another  side  of  the  Flemish  soul,  which  is 
not  less  interesting  :  its  spiritual  and  mystical 
aspirations.  Whilst  a  sensual,  fiery  pantheism 
culminated  in  the  art  of  Rubens  and  Jordaens, 
mediaeval  faith  and  piety  were  admirably  expressed 
by  the  "  primitive "'  masters,  and  these  two  ap- 
parently opposed  feelings  developed  side  by  side 
throughout  the  whole  evolution  of  art  in  Flanders. 
Xo  direct  correlation  is  to  be  found  of  course,  be- 
tween this  landscape  and  any  medieval  Madonna 


^- 


I  INERARV    STELE   (u'KVERK    CEMETKRV) 

BV    CAMILLE   STURBELLE 

47 


Studio-Talk 


l.E   CALVAIRK 


KY   JOZUE    iniPON 


or  Epiphany,  but  there  is  a  similitude  of  mind 
which  idealises  nature  and  makes  it  express  the 
artist's  own  sensations  and  dreams.  As  a  contrast 
to  this  "interpretation"  of  nature,  we  reproduce  a 
more  realistic  Flemish  landscape  by  a  young 
painter,  Robert  Boudry. 

The  etching  by  Marten  van  der  Loo,  The 
Begiiinage,  Bruges:  Winter,  reminds  us  again  of 
the  fate  of  the  beautiful  old  Flemish  towns,  once 
so  quiet  and  peaceful,  now  resounding  with  the 
alarums  of  war — if  not  razed  to  the  ground.  The 
artist's  studio,  situated  near  the  Antwerp  forts,  has 
probably  been  blown  up,  and  his  plates  destroyed. 
.\hirten  van  der  Loo  has  specialised  in  the  delicate 
and  complicated  technique  of  coloured  etching, 
and  has  proved  himself  particularly  happy  in  render- 
mg  the  aspects  of  old  towns. 

After  the  first  article  on  Belgian  artists  was  com- 
pleted, we  heard  of  many  other  artists  who  have 
sought  refuge  here.  It  has  not  been  possible,  how- 
ever, until  now,  to  reproduce  any  of  their  works, 
nor,  owing  to  their  number,  can  detailed  reference 
be  made  to  them  ;  but  as  a  source  for  later  refer- 
ence, it  may  be  of  interest  to  record  the  following 
names  now  in  our  pos.session :  Alfred  Bastien, 
Maurice  Blieck,  E.  Canneel,  Paul  Cauchie,  Julien 
Celos,  Oscar  de  Clerck,  Berthe  Delstanche,  M. 
Dethy,  N.  van  den  Eeden,  Halkett,  Jean  Herain, 
Jozef  Janssens,  ^Laurice  de  Korte,  Alois  de  Laet, 
Andre  Lynen,  Jean  Le  ALayeur,  de  la  Montagne, 
Jenny  Montigny,  Louis  Moorken.s,  (ierard  Portielje, 
A.  Futtemans,  Alice  Ronner,  Jean  (].  Rosier, 
Leon  de  Smet,  Blanche  Tricot,  H.  Verbrugge,  Fr. 
Verheyden.  Many  of  these  painters,  sculptors 
and  craftsmen  are  worthy  of  a  special  article,  but 
for  the  present  we  must  take  leave  of  our  readers 
until  a  later  occasion. 
48 


STUDIO-TALK. 
(From  Our  Own   Correspondents.) 

t ON  DON. — The  public  interested  in  art  in 
I'^ngland  have  never  been  afforded  a 
more  attractive  spectacle  than  the 
~^  generosity  of  the  Royal  Academy  in 
throwing  open  wide  its  doors,  in  the  name  of  the 
greatest  of  the  war  charities,  to  those  outside  groups 
of  painters  who  in  other  buildings  have  never 
ceased  to  oppose  its  own  traditions  and  challenge 
its  pretensions.  The  Academy  has  even  conceded 
to  the  representatives  of  the  International  Society 
on  the  committee  unusual  licence  in  the  matter  of 
hanging  and  the  arrangement  of  the  rooms.  And 
perhaps  Academicians  have  admitted,  what  all  but 
the  most  conservative  of  them  must  have  felt  for  a 
great  while,  that  sympathetic  hanging  and  absence 
of  over-crowding  is  only  doing  common  justice  to 
the  pictures  exhibited.  One  other  feature  of  the 
War  Relief  Exhibition  at  the  Royal  Academy 
is  that  a  sale  virtually  amounts  to  a  handsome  gift 
made  by  the  artist,  who  is  content  to  receive  one- 
third  only  of  the  less  than  normal  prices  at  which 
the  works  are  offered. 


Many  of  the  pictures  now  on  view  at  Burling- 
ton House  have  formed  important  features  of 
exhibitions  formerly  held  elsewhere,  and  it  must 
be  admitted  that  the  chief  of  the  outside  groups 
have  not  embraced,  as  they  might  have  done,  the 
unique  opportunity  to  make  good  a  claim  that  the 
Royal  Academy  walls,  as  representing  English 
painting,  suffer  every  year  from  the  fact  that  they 
are  not  members  of  the  Institution.  On  the  other 
hand,  it  is  very  refreshing  here  to  meet  for  once  a 
beautiful    Wilson   Steer,    and   perhaps   the   finest 


Studio-Talk 


picture  that  Mr.  Charles  Ricketts  has  yet  painted  : 
such  art  as  this  supports  Mr.  Sargent  on  the  walls 
as  he  is  seldom  supported.  The  Red  Cross  and 
St.  John  Ambulance  Societies  are  to  benefit  by 
the  gate  receipts  and  sales  of  the  exhibition  to  the 
extent  of  one-third,  and  another  third  is  to  be 
given  to  the  Artists'  General  Benevolent  Institution. 
The  Belgian  section  was  not  ready  when  we  went 
to  press,  but  from  what  we  gather  this  collection  of 
exhibits  is  one  which  will  elicit  the  sympathetic 
interest  of  art-lovers  in  this  countrv. 


Gradually  the  Tate  Gallery,  under  Mr.  Aiiken, 
has  been  transformed,  and  it  is  now  one  of  the 
pleasantest  places  in  London  for  the  student  of 
art  to  visit.  An  exhibition  has  been  arranged  in 
one  of  the  rooms  of  cartoons,  paintings  and  draw- 
ings by  Alfred  Stevens  for  the  decoration  of  the 
dining-room  at  Dorchester  House,  lent  by  Sir 
George  Holford  and  Mr.  Alfred  Drury,  R.A.  This, 
as  the  catalogue  reminds  us,  is  the  last  important 


addition  likely  to  be  made  to  the  harvest  of 
Stevens's  work.  It  was  one  of  his  chief  projects 
in  decorative  painting,  the  other  being  the  scheme 
for  the  Dome  of  St.  Paul's  ;  both  remained  projects 
only,  "nursed  in  scores  of  trial  sketches  and  figure 
studies."  

In  the  heart  of  clubland,  a  few  doors  away  from 
Piccadilly  Circus,  there  was  opened  recently  one 
of  the  most  interesting  clubs  in  London,  especially 
from  the  decorative  point  of  view.  The  photograph 
reproduced  here  is  of  the  "  Buccaneer "  Room, 
the  most  quaintly,  as  well  as  luxuriously,  decorated 
room  in  the  club,  which  has  been  named  after 
Carlyle.  L'sed  as  a  smoking  chamber,  it  has  been 
remodelled  on  the  lines  of  a  baronial  hall  or  the 
guest  room  of  a  famous  seaport  inn  of  the  sixteenth 
century.  The  strength  and  power  of  the  frequenters 
of  such  apartments  are  here  suggested  by  the 
rough  stone  walls,  the  heavily  timbered  oak  beams, 
and  the  massive  oaken  tables,  with  their  quaint, 


THK    "  BUCCANKKR  '■    ROOM,    lAKl.Vl.K    CLUB,     I'ICCADILIV 


49 


Stuciio-'ralh 


liand-carvcd  leys.  Around  the  walls  are  liung  ac- 
coutrements and  other  articles  reminiscent  of  the 
battlefield  and  the  chase,  as  well  as  a  number  of  rare 
paintings  ;  whilst  from  the  oak  ceiling-beams  are 
suspended  models  of  fighting  and  merchant  ships. 
The  Club  also  has  a  room  specially  dedicated  to 
Carlvle    and    containing    numerous    relics   of   the 


BOOKPLATE 


BY    C.    V.    A.    VOYSEY 


great  writer.     Messrs.  Waring  and  Gillow  carried 
out  the  remodelling  and  decoration  of  the  ("lub. 


The  Pastel  Society  is  to  be  congratulated  on  its 
decision  to  hold  an  exhibition  this  year.  As 
usual  the  works  were  shown  at  the  Royal  Institute. 
The  exhibition  could  not  be  considered  as  full) 
representative  or  as  varied  as  usual,  but  it  took  no 
inferior  rank  to  preceding  ones  in  the  standard 
attained.  It  was  the  Society's  sixteenth  exhibition 
and  as  such  it  has  been  held  in  a  most  auspicious 
year  :  of  all  mediums  of  expression  that  of  pastel 
perhaps  retains  the  most  associations  of  circum- 
stances elegant  and  humdrum  secured  by  un- 
threatened  peace. 
50 


The  pages  of  this  magazine  have  at  various  times 
borne  testimony  to  the  versatile  talent  of  Mr.  Charles 
F.  A.  \'oysey.  So  many  and  varied  are  the  forms 
in  which  his  decorative  genius  has  expressed  itself 


BOOKPI.ATK 


BY    C.     I'.    A.     X'OVSKY 


that  a  bare  enumeration  of  them  would  fdl  a  con- 
siderable space.  It  is  not  surprising,  therefore, 
that  he  should  have  bestowed  his  attention  upon  a 
class  of  design  which,  if  lying  outside  the  broad 
ambit  of  his  practice  as  an  architect,  is  yet  one 
calling  for  the  play  of  the  decorative  faculty  which  he 
possesses  in  such  a  marked  degree.  In  the  half- 
dozen  book-plates  which  we  here  reproduce  from 
among  a  number  he  has  designed  from  time  to  time 
this  faculty  is  well  manifested  in  combination  with 


BOOKPI.ATE 


BY    C.     K.    A.     VOYSEY 


studio-  Talk 


a  felicitous  application  of  the  symbols  appropriate  to 
the  particular  case.      

At  the  Leicester  Galleries  Mr.  Will  Dyson  has 
been  exhibiting  a  series  of  war  satires,  which  are 
about  to  be  published.  In  all  of  these  he  wishes 
to  concentrate  our  mind  on  the  brutality  of  German 
soldiering,  always  involving  a  figure  based  on  the 
Kaiser.  Goya  in  his  "  Desastres  de  la  Guerra,"  the 
most  terrible  criticism  of  war  that  has  been  passed, 
never  allows  us  to  feel  the  absence  of  its  awful 
glamour.     But  Mr.  Dyson  retains  no  suggestion  of 


^^m 

wM^^W^^^ 

VIOLETMACNAUGHTo'N 

^^^^ 

BOOKPLATE 


BY    C.    K.    A.    VOVSEY 


this  in  his  art,  and  this  makes  his  satire  incomplete 
as  a  criticism  of  the  German  Emperor,  who  has 
always  apparently  been  blinded  by  it  to  the  sordid 
realities  of  modern  war.  The  case  of  the  War  Lord 
has  been  regarded  as  one  of  mental  aberration,  and 
satire  directed  against  him  in  this  vein  is  perhaps 
more  apposite  and  effective  than  that  of  Mr.  Dyson, 
who  depicts  him  with  lustful,  swollen,  cheeks.  Mr. 
J  )yson  draws  boldly  and  fiercely,  contempt  and  anger 
rather  than  mockery  stimulating  his  pen.  Ten  and 
ink  is  his  medium,  and  he  has  apparently  made  e.x- 
liaustive  experiments  to  use  it  on  a  large  scale 
with  an  immense  variety  of  line. 


In  the  same  galleries  Mr.  William  Strang,  A.R.A., 
has  been  exhibiting  a  series  of  war  pictures.  Of 
these  The  Cannonade  at  once  stands  out  as  the  most 
important.     We  may  say  that  it  stands  alone  in  the 


BOOKPLATE 


BY    C.    F.    A.    VOVSEY 


history  of  war  pictures  as  an  original  and  arresting 
thing.  In  the  other  canvases  the  same  ends  are 
pursued  without  quite  so  much  success.  The 
Cannotiade  shows  the  greatest  care  in  pattern  of 
colour  as  well  as  of  form  ;  and  it  is  when  Mr.  Strang 
is  working  in  the  abstract  mood  which  it  expresses 
that  he  is  at  his  best.  In  this  state  of  mind  he 
makes  everything  to  depend  on  action,  and  the 
figures    being    turned   away    from    the    spectator, 


BARE>PT 


BOOK r LATE 


RV    C.    K.    A.    \OYSEY 
51 


"A   CAST  OF  DICE."     FROM   AN   ETCH- 
L\G   BY   ANNA   AIRY,   R.E.,  R.O.I. 


Studio-  Talk 


facial  expression  is  dispensed  with  as  an  element 
in  the  drama  of  the  design.  There  is  something 
so  deliberate  in  this  artist's  methods  that  facial 
expression  often  seems  to  pass  too  quickly  for  his 
brush,  and  his  importance  as  an  artist  is  never  more 
apparent  than  when  he  leaves  the  problem  alone. 
Though  Mr.  Strang  does  not,  in  spite  of  his  terrible 
theme,  convince  us  of  his  interest  in  reality,  he 
proves  again  in  these  pictures  his  genius  for  design 
and  his  possession  of  an  exceptional  faculty  for 
making  it  embrace  without  incongruity  the  most 
violent  aspects  of  modern  life. 


We  are  reproducing  an  etching  by  Miss  Anna 
Airy,  one  of  the  most  gifted  English  women  artists, 
examples  of  whose  work  it  has  often  been  our 
pleasure  to  give  in  The  Studio.  Etching  repre- 
sents only  one  side  of  Miss  Airy's  activities ;  no 
visitor  to  the  Pastel  Society's  exhibition  can  have 
failed  to  remark  her  panels  there,  and  her  art  in 
oils  has  frequently  been  represented  in  the  most 


important  exhibitions.  But  it  is  perhaps  on 
account  of  her  exceptional  draughtsmanship  that 
she  has  made  her  position,  and  in  her  etchings  and 
pastels  her  feeling  for  line  has  greater  opportunity 
for  expressive  play.  Miss  Airy  is  holding  an  exhi- 
bition of  her  recent  work  at  the  Fine  Art  Society's 
Galleries  in  the  near  future,  and  the  collection  in- 
cludes some  delightful  studies  of  plant  and  insect 
life,  about  which  we  hope  to  say  more  on  another 
occasion. 

Mr.  John  Wright  whose  works  were  recently 
to  be  seen  at  the  Fine  Art  Society's,  is  an  artist  of 
mature  talent,  though  as  yet  but  little  known  in 
London.  The  exhibition,  which  represented  his 
achievement  up  to  the  present  time,  included 
water-colours  and  etchings — all  showing  a  high 
standard  of  achievement,  a  sincere  love  of  nature 
and  that  appreciation  of  what  to  include  and  what 
to  omit  which  bespeaks  the  artist.  Many  of  these 
landscapes  included  architecture  and  were  delight- 


THE    CANAL   AT    SLUIS 


KKUM    AN    KTCMING    BY   JOHN    WRIT.HT 

53 


studio-  Talk 


fully  varied  in  character,  painted  mainly  in  I^ngland 
and  Italy,  \'enice  especially  being  shown  in  yet 
another  aspect  free  from  convention.  Mr.  Wright 
is  a  colourist  who  paints  with  the  full  range  of  his 
palette,  and  employs  pure  touches  of  colour  with 
much  effect.  This  sense  of  colour  makes  itself 
felt  in  his  etchings,  which  have  firmness  iuid 
flexibility  of  line,  as  well  as  that  instinct  for  arrange- 
ment which  is  invaluable  to  the  etcher.  Both  as 
painter  and  etcher  we  understand  that  Mr.  Wright 
is  largely  self-taught. 


C'hapel  at  C'arisbrooke  Castle  in  memory  of  the  late 
Deputy  Governor  of  the  Isle  of  Wight. 


Mr.  William  A.  \\ildman,  whose  effective  litho- 
graphic study  oi  J'is/imofi^i^frs'  UV/nr/ wq  here  re- 
produce, is  an  alumnus  of  the  Royal  College  of  Art, 
where  he  gained  a  scholarship  after  studying  at  the 
Manchester  School  of  Art.  He  has  exhibited  at 
the  Royal  Academy,  the  International,  the  Walker 
Art  Gallery,  Liverpool,  as  well  as  other  places,  and 
among  his   latest  productions  is  a  fresco   for  the 


It  is  interesting  to  follow  the  newspapers  wiih 
knowledge  of  the  personality  of  the  generals  at  the 
head  of  the  various  divisions  of  the  army.  Many 
people  will  therefore  be  grateful  to  the  Fine  Art 
Society  for  endeavouring  to  bring  together  a  collec- 
tion of  "  Portraits  of  British  Commanders  taking  part 
in  the  war  on  sea  and  land."  Circumstances  have 
rendered  it  difficult  to  make  the  exhibition  as  com- 
pletely representative  as  it  might  be  but  some  im- 
portant canvases  have  been  included,  notably  Mr. 
Sargent's  Sir  Ian  Hamilton,  commander  of  the 
fourth  army,  and  a  charcoal  portrait  oi  Brig.-Gen. 
G.  //.  Fowke  of  the  General  Headquarters  Staff, 
from  the  same  hand.  There  is  also  technically  an 
unusually  interesting  portrait  of  Lt.-Gen.  Sir 
Herbert  Miles,  Governor  and  ('ommander-in-chief 


1 


miv^ammmmmmnarmmgmi'mmmmi^^'^m'mmmfflk 


TIIK    LO.NE    BARN    ' 

54 


KROM    A    DRY-POINT    BY    JOHN    WRI(;HT 


•'THE  FISHMONGERS'  WHARF.  LOxXDON 
BRIDGE."  FROM  AN  ORIGIiNAL  LITHO- 
GRAPH  BY  WILLIAM   A.   WILDMAN 


studio-  Talk 


"  WAWKI,    CASTLK,    CRACOW." 

of  Gibraltar,  by  Mr.  Glyn  Philpot,  who  is  himself 
serving  in  the  ranks  of  the  new  army. 


The  two  charcoal  sketches  of  Cracow  by  Mr. 
Douglas  Fox-Pitt  which  we  reproduce  were,  like 
many  other  similar  sketches,  made  by  the  artist 
during  a  sojourn  of  several  months  in  the  old 
Capital  of  the  Polish  Kings ;  they  were,  in  fact, 
the  work  of  a  few  minutes  only,  but  they  are  of 
interest  as  showing  how  much  can  be  conveyed  by 
a  few  deft  strokes  committed  to  jjaper  with  almost 
stenographic  brevity  by  a  hand  accustomed  to 
improvisation  and  guided  by  an  eye  which  quickly 
takes  in  the  essentials  of  a  scene.  While  staying 
in  Cracow  Mr.  Fo.x-Pitt  was  specially  invited  by 
the  Society  of  Fine  Art  there  to  exhibit  his  water- 
colour  drawings  of  Cracow  at  the  annual  exhibition 
of  the  Society.  


The  jjermanence  of  the  pigments  used  by  painters 
has  received  a  good  deal  of  attention  during  the 
past  few  years  and  it  is  indeed  a  matter  of  prime 
importance  in  view  of  the  deterioration  which  many 
pictures  painted  within  comparatively  recent  times 
have  undergone.  A  generation  ago,  when  the 
stability  of  water-colour  pigments  was  investigated 
56 


FROM    A    CHARCOAL   SKKTCH    BY    DOUGLAS    ION-PITT 

by  a  committee  nominated  by  the  old  Science 
and  Art  Department,  forty-five  of  the  principal 
water-colour  artists  sent  in  lists  of  the  colours  they 
employed  and  it  was  found  that  nearly  all  of  them 
were  using  one  or  more  colours  that  were  fugitive. 
On  that  occasion  the  tests  were  made  by  Dr. 
Russell  and  Sir  William  Abney.  The  latter  has 
in  the  meantime  devoted  much  time  and  trouble 
to  investigating  the  permanence  of  water-colour 
pigments  and  has  devised  a  more  expeditious 
method  of  testing  a  pigment  for  fading  than  that 
which  he  and  his  collaborator  employed  in  their 
earlier  researches. 

The  results  of  these  later  investigations  made  by 
Sir  William  Abney,  with  a  summary  of  the  earlier 
ones,  were  embodied  in  a  lecture  he  recently 
delivered  before  the  Royal  Society  of  Arts.  The 
cardinal  facts  brought  out  in  the  earlier  tests  were 
that  "  every  coloured  pigment  exposed  to  light  />/ 
vacuo  declines  to  fade  "  and  that  "  the  presence  of 
moisture  is  always  recjuired  to  effect  a  change  in 
colour."  Later  experiments  led  him  to  think  that 
the  action  of  light  on  pigments  in  the  presence  of 
moisture  might  be  a  secondary  action,  and  that 
the  fading  might  be  due  to  the  formation  of  some 


■     ijvtgi  I  '■f^^^w— 


f:  J^i^' 


e 


IT*     ** 


^^^^ 


^55 


/I 

V 


O  =- 

CO 

Jo 
<  ? 

>:6 


n 


studio-  Talk 


Dxklising  agent  produced  by  the  light  on  moisture 
in  the  presence  of  oxygen.  This  suspicion  was 
confirmed  by  the  new  tests  to  which  he  subjected 
some  thirty  pigments,  corresponding  practically  to 
those  tested  by  prolonged  exposure  to  light  on  the 
previous  occasion.  In  the  new  tests  an  electrically 
generated  current  of  o/onised  air  was  employed,  first 
with  and  then  without  moisture,  and  on  the  whole 
the  results  harmonised  with  those  reached  before. 


Sir  William  Abney  mentioned  that  after  retiring 
from  the  Civil  Service  some  eleven  years  ago  he 
himself  took  to  painting  in  water-colours  as  an  occu- 
pation, and  he  gave  a  list  of  the  colours  which  now 
make  up  his  box,  selected  on  account  of  their  per- 
manent qualities.  He  has  three  reds — vermilion, 
light  red  and  rose  madder;  the  yellow  group  consists 
of  aureolin,  yellow  ochre,  raw  sienna,  cadmium 
yellow,  madder  yellow  and 
lemon  yellow ;  the  greens  of 
emerald,  viridian.  Hooker's 
(a  new  mixture),  and  sunny 
green  ;  the  blues,  cobalt, 
French,  Antwerp  blue  and 
Cyanin  blue,  and  violet 
cobalt  ;  the  browns,  an  imi- 
tation Vandyke  brown  and 
brown  madder,  Turner's 
brown,  and  burnt  sienna  : 
and  finally  a  neutral  tint  of 
special  formula,  and  ivory 
black. 


Sand  Bay,  full  of  light  and  sparkling  colour,  the 
famous  iioatlicrd  landscape  by  Corot,  a  couple  of 
works  b>'  Manet,  Philip  Connard's  The  Dessert, 
Brangwyn's  Fife  Day,  Sir  James  Guthrie's  portrait 
of  Major  Hotchkiss,  D.  Y.  Cameron's  dramatic- 
rendering  of  Inverlochy  Castle,  an  ex(|uisite  sunset 
by  J.  Lawton  Wingate,  two  characteristic  works  by 
William  Nicholson,  and  a  couple  of  admirable 
interiors  by  the  Danish  painter,  Hammershoi, 
whose  work  has  not  Iiitherto  been  seen  in  Scottish 
ICxhibitions. 

All  the  members  of  the  .society  exhibited  except 
Mr.  Harrington  Mann.  Mr.  James  Pater.son's 
principal  pictures  were  a  portrait  of  his  daughter 
and  a  view  of  St.  George's  Church,  Edinburgh,  both 
of  which  have  been  seen  before  but  have  undergone 
some  helpful  revision.   Mr.  Lavery  sent  a  portrait  of  a 


E 


"^  DIXDURGH.— 
The  annual  exhi- 
b  i  t  i  o  n  of  the 
Society  of  lught, 
opened  in  the  end  of 
November,  consisted  for 
the  greater  part  of  loan 
work,  and  not  to  be  out- 
done by  other  societies 
this  group  of  artists  de- 
cided to  devote  a  portion 
of  the  |)roceeds  to  the 
Belgian  Relief  Fund.  The 
invited  work  included  two 
portraits  by  Raeburn, 
Whistler's  Little  Lillie  in 
Our  Alley,  William  Mc- 
Taggart's  Kilkerran  Bay 
repre-senting  his  middle 
period,  and  his  ]]'hite 
58 


I'ORTKAIT    OK    A     I.ADV 


BY    F.    C.    B.    CADEI.I. 


(Soiiely  of  Eight,  Edinhini^h) 


studio-  Talk 


"THE    MISSES    WYSE  " 

(Society  of  Scottish  Ai-fisfs,  Edinburgh) 

lady  in  a  sombre  colour-scheme,  Mr.  David  Alison 
showed  in  addition  to  a  portrait  of  a  brother  artist 
an  excellent  study  of  a  lady  in  purple  dress.  Mr.  P. 
W.  Adam  had  two  lovely  interiors,  and  Mr.  James 
Cadenhead  two  poetically  treated  landscapes. 
One  of  the  most  notable  figure  studies  in  the 
collection  was  Mr.  F.  C.  B.  Cadell's  Porti-ait  of  a 
Lady.  Mr.  Cadell  is  one  of  the  most  brilliant  of 
the  younger  Scottish  colourists  much  of  whose 
inspiration  has  come  from  Parisian  study,  and  in 
this  example,  while  preserving  all  the  dash  and 
freedom  that  characterise  his  work,  he  has  devoted 
more  thought  than  usual  to  the  modelling  of  the 
figure  with  a  very  satisfactory  result. 


The  vast  issues  that  are 
being  decided  on  the  plains 
of  Eastern  and  Western 
Europe  have  found  expres- 
sion in  poetry  and  music 
and  doubtless  in  time  the 
painter  will  fall  into  line 
with  his  brother  artists  as 
recorder  and  inspirer. 
Certainly  several  of  the 
members  of  the  Society  of 
Scottish  artists  have  given 
themselves  to  "the  cause" 
and  are  now  shouldering 
the  rifle  in  place  of  wield- 
ing the  brush,  and  a 
much  larger  number  of  the 
still  younger  men  from 
whom  the  ranks  will  some 
day  be  filled  are  also  com- 
rades in  arms.  The  exhi- 
bition held  in  the  R.S.A. 
galleries  in  December  and 
January  had  thus  no  mili- 
tary flavour  except  for  two 
notable  loan  works  from 
the  collection  of  Mr.  Archi- 
bald Ramsden,  London — 
Mr.  Robert  Gibb's  famous 
Thin  Red  Line  and  his 
equally  celebrated  Bala- 
clava. Military  science  has 
evolved  since  these  days 
when  the  panoply  of  the 
parade-ground  was  carried 
into  the  battlefield,  but  the 
soldierly  qualities  are  the 
same,  and  this  personal 
equation  is  probably  the 
most  distinctive  feature 
of  Mr.  Gibb's  work.  Among  the  loan  pictures 
were  four  works  by  the  late  Mr.  J.  W.  Herald,  a 
Forfar  recluse  whose  untimeous  death  ended  a 
career  which  at  one  time  had  great  possibilities 
to  judge  by  his  lovely,  decoratively  treated  Gipsy 
Encampment  and  his  humorous  The  Minstrels,  the 
latter  a  clever  combination  of  water-colour  and 
pastel.  

Nearly  three  hundred  works  in  oil  and  water 
colour  were  hung  in  four  galleries,  and  in  the 
Sculpture  Hall  there  were  over  ninety  small 
sculptures  and  exhibits  of  applied  art.  Portraits 
were    comparatively    few.     The   chairman  of  the 

59 


BY   JOHN    .MUNNOCH 


Stuiiio-Talk 


Mackie  Venetian 
canal  scenes,  one  of 
which  is  reminis- 
cent of  C'analetto, 
Mr.  R.  Easton 
Steuart  a  scene  on 
the  Ahnond  after 
the  manner  of  La 
'louche  and  t^here 
was  interesting 
landscape  work  by 
Mr.  Duddingstone 
H  erdman,  M  r. 
Mason  Hunter,  Mr. 
Henderson  Tarbet, 
Mr.  J.  W.  Par- 
sons, and  Mr. 
James  Douglas. 


VASE  PRESENTED  BYTHE  ROVAI.  PORCKLAIN  WORKS,  COPENHAGEN,  TO  QUEEN  ALEXANDRA 

ON   THE   OCCASION     OF     HER   SEVENTIETH     BIRTHDAY.       DECORATED     BY     MLl.E.    DAGMAR 

VON    ROSEN,    THE   QUEEn's   SILHOUETTE    BY    MLLE.     ELSE    HASSELRUS 


Counci'l,  Mr.  J.  A.  Ford,  had  an  excellent  portrait 
of  Sheriff  McLennan  in  full-bottomed  wig,  Mr. 
Martine  Ronaidson  a  scholarly  portrait  of  Mrs. 
K.  S.  Robertson  and  a  no  less  artistic  present- 
ment of  the  late  Dr.  George  A.  Gibson,  while  Mr. 
David  Alison  has  done  nothing  f^ner  than  his 
portrait  of  a  boy  in  blue  ;  Mr.  John  Munnoch's 
portrait  of  the  Misses  Wyse,  here  reproduced,  is  a 
remarkably  successful  work  for  a  young  artist,  in 
its  composition,  differentiation  of  textures  and 
beauty  of  colour.  Both  Mr.  Alison  and  Mr. 
Munnoch  appeared  in  the  artists'  Roll  of  Honour 
published  in  the  December  issue  of  this  magazine. 


Among  the  water- 
colours  the  out- 
standing feature  was 
Mr.  Stanley  Cursi- 
tor's  The  Nave,  St. 
Magnus  Cathedral, 
represented  under 
renovation  but  pre- 
serving   its  dignity 


amid  the  distractions  of  builders'  paraphernalia. 

A.  E 


c 


Among  the  landscapists  Mr.  Robert  Noble  has 
struck  a  new  note  in  a  romantically  treated  Valley 
on  the  Tyne,  serene  in  its  seclusion  from  the  outer 
world ;  Mr.  R.  B.  Nisbet's  Surrey  Landscape  is 
notable  for  the  delicate  beauty  of  its  cloud  forms 
and  the  rich  ([uality  of  the  foreground,  and  Mr. 
Peter  Mackie  is  to  be  congratulated  on  the  advance 
registered  in  his  solemn  /////  of  Oran,  which  in 
small  compass  realises  the  majesty  of  the  encircling 
mountains.  Mr.  James  Riddell  in  Tulliallan  Woods 
showed  a  grove  of  graceful  birches  complete  in 
composition  and  truthful  in  colour,   Mr.  Charles 

60 


OPENHAGEN — Amongst  the  innumer- 
able beautiful  gifts  Queen  Alexandra 
received  on  the  occasion  of  her  recent 
seventieth  birthday  wasa  very  charming 
vase,  presented  to  her  Majesty  by  the  Royal 
Porcelain  Works,  Copenhagen.  It  is  in  what  is 
generally  called  the  Juleane  Marie  style  ( the 
Danish  queen  who  took  such  a  lively  interest  in  the 
welfare  of  the  works  in  the  latter  part  of  the 
eighteenth  century)  and  it  is  possessed  of  all  the 
harmonious  beauty  peculiar  to  that  period.  The 
decoration  is  the  work  of  Mile.  Dagmar  von 
Rosen,  who  has  made  a  special  study  of  the 
decorative  style  of  that  time  and  entirely  entered 
into  its  spirit,  whilst  the  silhouette  portrait  of  the 
(jueen  has  been  done  by  Mile.  Else  Hasselriis. 

G.  B. 


M 


OSCOW.  —  It    almost    goes    without 
saying  t>hat  with  all  the  energies  of  the 
nation  concentrated  on  the  prosecu- 
tion of  the  tremendous  war  that  is  now 
being  waged  with  the  Central  European  Empires 


mm 


A   RUSSIAN   WAR   FUND   POSTER. 
BY    SERGI    VINOGRADOFF 


wiVi^-'i^'^  ^°^  "^   ^^'--^R  FUND 
I'OblLR.     BY  L.  I'ASTKRVAV 


studio- Talk 


"commerce  and  sea  power" 


(See  New  Yoi-k  Studio-Talk,  opposite  page) 


BY    HENRY    REUTERDAHL 


and  their  Asiatic  ally,  art  events  have  receded 
into  the  background,  and  as  a  matter  of  fact  large 
numbers  of  artists  have  ranged  themselves  under 
the  banner  of  the  Czar,  ready  and  willing,  whatever 
their  rank,  to  do  their  share  in  the  strife.  What 
few  outward  signs  of  activity  among  artists  are  to 
be  seen  are  chiefly  confined  to  the  coloured  prints 
which  are  turned  out  wholesale  for  the  delectation 
of  the  multitude,  such  as  portraits  of  prominent 
personages  and  battle  scenes  which,  though  in 
some  cases  founded  on  actual  incidents,  are,  of 
course,  imaginary  in  their  composition.  Not 
many  of  these  prints  possess  any  real  artistic 
merits,  but  while  deficient  in  draughtsmanship 
some  of  them  show  that  sense  of  colour  which  is  a 
national  characteristic  and  which  ensures  for  these 
lithographic  productions  a  cordial  reception  among 
the  people  at  large,  especially  where  there  is  a 
touch  of  humour  in  them.  The  prints  are 
generally  accompanied  by  letterpress  ex[)lanatory 
64 


of  the  incident  predicted.  Thus  one  popular 
print  of  this  kind  shows  a  German  cavalry  ofificer 
pinned  to  the  ground  by  a  burly  Ruthenian  peasant, 
from  whom  he  has  endeavoured  to  elicit  informa- 
tion as  to  the  whereabouts  of  the  Russian  forces, 
and  the  text  below  tells  how  the  peasant  managed 
to  hoodwink  his  inquisitor — for  if  the  peasant  of 
the  Ukraine  is  proverbially  reputed  to  be  "  duller 
than  the  raven,"  he  is  also  held  to  be  "craftier 
than  the  devil."  Another  print  which  has  taken 
the  popular  fancy  records  the  capture  by  Russian 
peasant  w'omen  of  two  aviators  who  had  come 
down  with  their  machine  on  Russian  territory,  and 
while  one  of  them  is  being  vigorously  "spanked" 
the  other,  bound  with  cords,  is  guarded  by  two  of 
the  women  armed  with  pitchforks.  But  in  ad- 
dition to  these  popular  productions  the  Russian 
public  has  also  had  evidences  of  the  activity  of 
artists  of  a  higher  calibre  in  numerous  posters 
inviting  subscriptions  to  the  various   relief  funds 


Studio-Talk 


which  have  been  organised.  Reproductions  of  two 
of  these  are  here  given.  The  drawing  by  Pasternak 
of  a  wounded  soldier  shows  his  accustomed  facility 
of  draughtsmanship,  while  the  other,  by  Sergi 
Vinogradoff,  possesses  a  more  definitely  Russian 
character,  the  scene  being  typical  of  what  has  been 
taking  place  in  many  a  village  of  the  Empire. 
Another  which  should  be  mentioned  has  been 
composed  by  Konstantin  Korovin,  and  has  a 
distinctly  Old  Russian  flavour,  the  subject  being 
a  presentment  of  the  national  hero  and  Saint 
Dmitri  Donskoi,  who,  in  the  ornamental  lettering 
appropriate  to  his  day,  appeals  to  benevolent 
Russians  now  living  to  make  a  sacrifice  for  tJiose 
who  have  sacrificed  themselves  in  this  great  conflict. 


N 


EW  YORK.— Mr.   Henry  Reuterdahl's 
painting,    Comtnerce   and    Sea    Power, 
reproduced    on 
page    64,    is    a 


JVinter,  SL  Ives,  which  is  generally  regarded  as  a 
capital  performance.  Mr.  Lever  is  an  Australian 
and  on  migrating  to  England  worked  for  some  years 
at  St.  Ives  in  Cornwall.  R.  X. 

PHILADELPHIA.— Well  executed  por- 
traits of  Judges  Edward  D.  White  and 
the  late  Horace  T.  Luxton,  of  the 
Supreme  Court  of  the  United  States,  of 
Edward  M.  Paxson  and  William  W.  Wiltbank,  of 
the  Pennsylvania  Courts,  were  the  principal  can- 
vases of  interest  in  an  exhibition  of  thirty-seven 
works  in  oil  by  Mr.  Albert  Rosenthal,  held  a  few 
weeks  ago  in  a  new  and  beautifully  appointed 
studio  and  residential  chambers  in  the  fashionable 
Rettenhouse  Square  locality.  Other  men  well 
known  in  professional  circles,  such  as  Mr.  Edward 
Biddle,  art  connoisseur  and  litterateur,  Mr.  Faris 


panel  executed  as  a  decora^ 
tion  for  the  schooner- 
yacht  of  Mr.  Harold  \'an- 
derbilt,  and  the  presence 
of  the  "sky-scrapers  ■' 
leaves  one  in  no  doubt  as 
to  the  location  of  the  scene 
which  is  here  so  effectively 
handled.  Themes  such  as 
this  are  Mr.  Reuterdahl's 
speciality,  and  there  are 
few  important  exhibitions 
in  America  which  are  with- 
out some  evidence  of  his 
predilection  for  shipping 
subjects.  This  is,  perhaps, 
accounted  for  to  some  ex- 
tent by  his  Scandinavian 
origin,  for  he  is  a  native  of 
Malmo,  the  busy  Swedish 
port  on  the  Baltic.  He  is 
a  member  of  the  Water- 
("olour  Society  here  and 
\'ice-President  of  the 
Society  of  Illustrators,  to 
whose  exhibitions  he  is  a 
regular  contributor. 


In  connection  with  the 
winter  exhibition  of  the 
National  Academy  the 
Carnegie  medal  has  been 
awarded  to  Mr.  Hay  ley 
Lever   for  his   painting, 


"study  in  pink:  merckdes  wai.ton  " 


I!V    AI  HEKT    ROSKNTHAl. 
6q 


"THE 
CIIIKF 


LATE     EDWARD    M.    PAXSOX 
JUSTICE  OE   PKXXSVLVAXIA.' 


BY  ALBERT  ROSEXTHAL 


Stiidio-Talk 


C.  Pitt,  Curator  of  the  Walter's  Art  Gallery 
in  Baltimore,  M.  Gustave  Huberdeau,  operatic 
artist,  and  Mr.  Joseph  M.  Fox,  theatrical  ma<nager, 
also  have  been  subjects  of  the  facile  brush  of 
Mr.  Rosenthal,  most  successful  in  the  difterentia- 
tion  of  these  various  personalities.  The  collection 
also  comprised  a  number  of  engaging  presentments 
of  charming  young  American  womanhood,  among 
which  should  be  noted  a  portrait  of  Mercedes 
Walton,  a  highly  keyed  and  freely  painted  study 
in  pink  and  white.  E.  C. 

WASHINGTON.— At  the  Fifth  Ex- 
hibition of  Oil  Paintings  by  Con- 
temporary American  Artists,  on 
view  at  the  Corcoran  Gallery  of 
Art  at  Washington,  D.C.,  from  December  15, 
1914,  to  January  24,  1915,  the  first  W.  A. 
Clark  Prize  of  two  thousand  dollars  and  the 
Corcoran  Gold  Medal  was  awarded  to  Mr.  J. 
Alden  \Veir  for  his  Portrait  of  Miss  de  Z.,  the 
second  prize  of  one  thousand  five  hundred  dollars 
with  the  Corcoran  Silver  Medal  to  Mr.  Charles  H. 
Woodbury  for  his  marine  entitled  The  Raitibo7V, 


the  third,  of  one  thousand  dollars  and  the  Bronze 
Medal  to  Mr.  Gifford  Beal  for  his  picture  of  the 
congested  foreign  quarter  of  New  ^'ork.  The  End 
of  the  Street,  ihe  fourth,  of  five  hundred  dollars 
with  Honourable  Mention,  to  Mr.  Richard  Blossom 
Farley  for  a  beautiful  atmospheric  study  of  the 
New  Jersey  sea-shore,  catalogued  as  Fog. 


Three  hundred  and  thirty  works  were  shown  in 
the  eight  spacious  galleries  and  adjacent  corridors 
that,  with  a  handsome  central  Atrium  of  Grecian 
design,  go  far  towards  the  composition  of  a  most 
suitable  building  for  such  purposes.  A  number 
of  the  works  here  exposed  have  already  been 
selected  for  the  Panama-Pacific  Exposition.  Mr 
E.  W.  Redfield's  Sleighing,  Mr.  Birge  Harrison's 
Rose  and  Silver,  Afoonrise,  Mr.  Bruce  Crane's 
November  Hillside,  Mr.  Farley's  prize  picture  Fog, 
Mr.  J  Campbell  Phillips's  The  First  Born,  and 
Miss  Helen  M.  Turner's  Girl  ivith  a  Lantern 
have  been  purchased  for  the  permanent  Corcoran 
Collection.  Mr.  Lawton  VdsVQ.x'%  Portrait  of  Mrs. 
Ray  Athertofi  has  been  acquired  by  the  Art 
Institute   of  Chicago   through    purchase   by   the 


THE    END    OF   THE   STKEKl  '" 


( Conoran  Galltry,   IWnhiui^toii ) 


BY    C.Il-KORI)    liKAI. 
67 


Studio-Talk 


Friends  of  American  Art.  Ninety-one  pictures  at 
prices  aggregating  178,210  dollars  were  sold  in  the 
four  precedit^g  exhibitions,  thirty-five  of  these  for 
the  permanent  collection  in  this  gallery. 


The  painting  of  animals  seems  to  be  a  lost  art 
in  America  at  present,  judging  from  its  absence 
in  leading  shows,  but  portraits  and  landscapes 
abounded.  Mr.  Sargent's  portrait  of  Miss  Ada 
Rehan,  painted  some  time  ago  and  now  lent  by 
Mrs.  G.  M.  Within,  was  far  the  most  distinguished 
canvas  shown  ;  Mrs.  Paul  Reinhardt  by  Mr. 
^Vilhelm  Funk,  Dr.  William  Oxley  Thompsoji  by 
Mr.  Ceorge  Bellows,  Miss  C.  by  Mr.  William  M. 
Chase,  Self  Portrait  by  Mr.  F.  K.  Thompson, 
H.  O.  Tanner  by  Mr.  Thomas  Eakins,  Captain 
Dan  Stn'ens,  Lighthouse  Keeper,  by  Mr.  Randall 
Davey,  Portrait  of  a  Lady  by  Mr.  George  de 
Forest  Brush  (lent  by  Dr.  Walter  B.  James),  and 
the  Portrait  of  the  late  If.  M.  P.  French,  Director 


of  the  Art  Institute  of  Chicago,  by  Mr.  Louis  ]5etts, 
were  characteristic  works  of  these  well-known 
men.  Mr.  Gari  Melchers  contributed  his  figure- 
subject.  Maternity,  already  noted  in  this  magazine 
in  the  review  of  the  last  annual  show  of  the 
Pennsylvania  Academy,  as  was  also  Mr.  Robert 
Yienxi' s  Hi fn  self  and  Herself  diX.  that  time.  Odalesque, 
a  nude  by  the  last-named  painter,  brushed  with  a 
free  touch  admirable  to  behold,  yet  lacked  certain 
qualities  of  modelling  and  nuances  of  fresh-  tints 
that  otherwise  would  have  made  it  a  masterpiece. 
Mr.  Edmund  C.  Tarbell  was  represented  by  a 
carefully  executed  interior  entitled  My  Family, 
interesting  in  sentiment  as  well  as  technique. 
Delightfully  poetic  in  conception,  Mr.  Elliot 
Dangerfield's  Genius  of  the  Canyon,  lent  by  Mrs. 
Chauncey  J.  Blair,  embodied  much  of  the  highly 
coloured  imagery  of  the  Orient.  Sleep,  by  Mr. 
F.  C.  Frieseke,  bore  evidence  of  the  work  of  a 
skilled   craftsman   applied   to   the    drawing    and 


"OCTOBER    MORM.NG" 

68 


(Corcoran  Gallery,  Washm^t,  )i ) 


BY    BEN    FOSTER 


From  a  Thistle  Pnnl 

Copyrigh   Detroit  Publishing  Company 


(Corcoran  Gallery,  ll'asliiitgton) 


"MATERNITY."     BY 
GARI    :\IELCHERS 


"MORNING     LIGHT" 
BY  CHILDE    HASSAM 


(Corcoran  Gallery,   Waskin^/on) 


Studio-  Talk 


positions,    and    Mr.    Robert    Vonnoh's    Memories 
displayed  most  ably  the  skill  of  the  painter. 


"by   the    wine   jar"    (wood)  by   SEKINO   9EILN 

(  Taisho  Exhibiiiou,  Tokyo) 

colouring  of  the  nude.  Mr.  John  W.  Alexander 
sent  a  beautifully  composed  figure  of  a  girl  entitled 
June,  refined  in  treatment  and  effectively  illumin- 
ated. Morning  Light  by  Mr.  Childe  Hassam  very 
creditably  exemplified  his  work  as  a  colourist. 
Mr.  Abbott  H.  Thayer  was  represented  by  a  highly 
decorative  Winged  Figure,  lent  by  Smith  College, 
of  Massachusetts. 


Mr.  L.  G.  Seyffert's  group  of  Spanish  Feasants, 
one  of  the  largest  canvases  shown,  was  a  capital 
work  in  the  way  of  character  painting,  and  should 
be  acquired  for  some  important  permanent  collec- 
tion. One  of  the  most  noteworthy  figure-subjects 
was  Miss  Gertrude  Lambert's  Black  and  Green. 
An  excellent  piece  of  work  by  one  of  the  younger 
men  but  badly  hung  in  a  dark  corner  was  Mr, 
Joseph  Sachs's  In  Street  Costume.  Miss  Mary 
Cassatt  showed  two  canvases,  Jl'owan  Fending 
in  a  Garden  and  Jl'oman  7vith  a  Fan,  the  latter 
painted  in  iSSo,  and  very  different  from  her  present 
method  but  none  the  less  convincing.  Mr.  \\'illiam 
Cotton's  portrait  of  A/iss  Dvorak  should  be  noted 
as  a  good  example  of  a  full-length  figure.  Mr.' 
Charles  W.  Hawthorne's  picture  of  Froi'incetoivn 
Fishermen  was  one  of  the  most  interesting  com- 


Many  good  examples  of  American  landscape 
painting  were  on  view,  such  as  Mr.  Ben  Foster's 
October  Morning,  The  Quarry-  by  Mr.  Daniel 
Garber,  Early  Spring,  Central  Fark  by  Mr. 
AVillard  Metcalf,  The  Old  Fountain  by  Mr.  Walter 
Farndon,  The  Tide  Fool  by  Mr.  \Vm.  Ritschel, 
Xe-Li'  York  by  Mr.  Jonas  Lie,  a  night  effect, 
Mr.  Dewitt  Parshall's  Hermit  Canyon,  and  Mr. 
Ernest  Lawson's  Hills  at  Innzvood.  E.  C. 

TOKYO.— The    Taisho    Exhibition    was 
proud   of  its   Fine  Art   Palace,    which 
contained  the  work  of  the  contemporary 
artists   of  Japan.     The   exhibits    there 
were    considered    worthv  of  commemorating   the 


NANYENDO"  (WOOD).   hY  TAKAMIRA  KOl'N 

(  Taisho  E.xhi/>i(ion,  Tokyo) 

71 


r  It 


■\ 


I 


V 


^gpii^ 


f 


/' 


MEDITATION."     BY 
KOMURO   SUIL'N 


(  Taisho  Exhibition) 


AUTUMNAL  LANDSCAPE 
BY  YAMAOKA   BKIKWA 


Reviews  and  Notices 


new  era  of  Taisho,  which  began  with  the  august 
reign  of  the  present  Emperor.  The  sculpture 
section  attracted  the  greatest  attention.  This 
section,  as  well  as  the  paintings,  porcelain,  cloisonne 
enamels,  lacquer,  metal-work,  &c.,  reflected  the 
spirit  of  the  transitional  period,  through  which  the 
nation  is  now  passing.  Among  notable  pieces  of 
sculpture  were  the  following  :  Tachibana  Fujin, 
in  wood,  by  Naito  Shin;  A  Girl  Acrobat^  a  sketch 
in  clay,  by  Tobari  Kogan ;  Nanyendo  and  Kwannon, 
in  wood,  by  Takamura  Koun  ;  Rejected  Woman 
and  Prayer^  in  marble,  by  Kitamura  Shikai ; 
Execution^  in  clay,  by  Shinkai  Taketaro ;  Light,  in 
bronze,  by  Tsuji  Koyu ;  Count  Oktima,  a  bronze 
relief,  by  Hata  Shokichi ;  Good  Tidings,  in  ivory, 
by  Yoshida  Homei ;  Imperial  Messenger  at  the 
Katno  Festival,  in  wood,  by  Sato  Mitsukuni ;  Goats, 
in  clay,  by  Ikeda  Yuhachi  and  Tajima  Ikka  ; 
fittoku,  in  wood,  by  Yamazaki  Choun ;  Sowing 
the  Seed,  in  wood,  by  Yonehara  Unkai ;  and  By 
the  Wine  Jar,  in  wood,  by  Sekino  Seiun.  A  few 
paintings  will  also  be  remembered :  Meditation, 
by  Komuro  Suin ;  Deep  Snow,  by  Uyemura 
Shoen ;  decorative  screens  by  Terazaki  Kogyo, 
Kawai  Gyokudo,  Kimura  Buzan,  and  others ; 
Storm  and  Summer  by  the  Seashore,  by  Hirai 
Baisen  ;  Kasuga  Shrine,  by  Ogata  Gekko  ;  Nurse, 
by  Kikuchi  Keigetsu  ;  Spring  Verdure,  by  Yoko- 
yama  Taikan ;  Snowstorm,  by  Nishii  Keigaku ; 
Ducks,  by  Hirafuku  Hyakuho ;  and  Sekiheki,  by 
Takashima  Hokkai.  The  exhibition  contained  an 
Autumnal  Landscape  by  Yamaoka  Beikwa,  who 
died  recently  at  the  age  of  forty-seven.  He  was  a 
member  of  the  judging  committee  of  the  annual 
Mombusho  Art  Exhibition,  and  was  regarded  as 
one  of  the  great  masters  of  the  nanga  style,  having 
stood  side  by  side  with  Komuro  Suiun,  Matsu- 
bayashi  Keigetsu,  and  Kosaka  Shideu  of  Tokyo. 

Harada  Jiro. 

ART  SCHOOL  NOTES. 

E DON.— Mr.  H.  H.  La  Thangue,  R.A., 
delivered  two  lectures  to  students  of  the 
Royal  Academy  in  January,  taking  for  his 
subjects  "The  Mental  Outlook  in  Paint- 
ing "  and  "  Colour  in  Painting."  The  distinguished 
painter  defined  a  good  mental  outlook  as  "  the 
faculty  of  seeing  the  most  engaging  characteristics 
of  any  subject,"  which  he  pointed  out  is  one  of 
the  rarest  qualities.  "  If,"  he  said,  "  one  cannot 
capture  in  the  meshes  of  the  mind  the  fine  signifi- 
cant things,  and  let  the  petty  nothings  pass  and 
disappear,  one  lacks  the  first  and  one  of  the  most 
valuable  gifts  of  the  artist."     He  referred  to  the 


over-elaboration  of  accessories  in  many  historical 
paintings  as  a  case  of  defective  mental  outlook, 
and  he  advised  his  hearers  to  resist  the  temptation 
to  add  to  any  landscape  they  might  be  doing,  a 
winding  path,  a  mill,  or  classic  temple,  the  desire 
to  make  such  additions  being  a  symptom  of  an 
ill-regulated  mi/nd.  The  definition  of  good  colour 
which  he  offered  in  his  second  lecture  was,  "Colour 
possessing  fitness  with  truth,"  and  as  an  apt  illus- 
tration he  cited  the  beautiful  west  window  of  Rheims 
Cathedral  now  destroyed.  Recalling  the  exhibition 
of  Rembrandt's  landscapes  in  1899  he  pointed  out 
that  they  had  practically  the  same  aspect  and  colour 
as  the  great  master's  interiors,  and  in  regard  to 
Velasquez's  Surrender  of  Breda  he  observed  that 
not  only  was  there  no  attempt  to  realise  out-of- 
door  lighting  and  colour  to  make  the  picture 
striking  and  convincing,  but  one  noticed  in  the 
picture  two  studio  lights.  He  cited  De  Hooghe 
and  Vermeer  as  perhaps  the  first  of  those  who  felt 
the  necessity  of  painting  the  colour  and  effects 
which  are  proper  to  out-of-door  subjects  as  beauti- 
fully and  with  the  same  care  as  those  of  an  interior. 
He  proceeded  to  criticise  the  premier  coup  method 
of  painting  as  inadequate  to  render  the  transparency 
or  translucency  discernible  in  nature,  and  urged 
that  until  the  student  realises  the  necessity  of  the 
old  treatment  of  colour  by  preparations,  "scumb- 
lings,"  and  "  glazings,"  he  will  never  properly  utilize 
the  resources  of  his  material.  The  two  lectures, 
which  are  worthy  of  wide  distribution,  are  being 
published  together  in  pamphlet  form  by  Messrs. 
Winsor  and  Newton  at  the  price  of  6d.  and  all  the 
profits  are  to  go  to  the  Artists'  General  Benevolent 
Institution. 

REVIEWS  AND  NOTICES. 

Our  Philadephia.  Described  by  Elizabeth 
Robins  Pennell  ;  illustrated  with  one  hundred 
and  five  lithographs  by  Joseph  Pennell.  (Phila- 
dephia and  London  :  J.  B.  Lippincott  Company.) 
305-.  net. — Whenever  we  see  the  names  of  Mr.  and 
Mrs.  Joseph  Pennell  jointly  upon  a  title-page  we 
may  be  sure  of  a  happy  comradeship  of  literary 
and  graphic  art.  Personality  and  temperament  are 
expressive  in  all  their  work.  But  though  they  have 
given  us  many  a  delightfully  vivid  record  of 
European  travel,  it  is  doubtful  whether  any  book 
of  theirs,  with  the  single  exception  of  their  memor- 
able life  of  Whistler — one  of  the  most  live  and 
intimate  biographies  of  an  artist  that  we  possess — 
has  (luite  the  charm  of  this,  their  book  about  the 
city  of  their  birth  and  upbringing.     Tlie  very  title 

73 


Reviews  and  Notices 


—  "Our   I'hiladelphia  " — is  j)t'culiarly  fc-licitous  in 
its  suggestion  of  that  affectionate  intimacy  which 
imphcs     true     possession.       Perhaps     the     most 
engaging    chapter    in     the    book    is    that    of   the 
"  Romance  of  \\'ork,''  in  which  Mrs.  Pennell  relates 
with  charming  frankness  how  she  came  to  know 
at  the  same   time   Philadelphia  and  "J,"  as   she 
always    calls    her    husband.       Trying    her    newly 
fledged    wings   as   a    journalist,    she    accepted    a 
commission  from  a  magazine  editor  to  "  write  up" 
a  series  of  etchings  of  Philadelphia.     These  were 
done  by  a  fellow  townsman  as  yet  unknown  to  her, 
and  the  editor  suggested  that  she  should  consult 
personally  with  the  artist  regarding  her  letterpress. 
How   the   enthusiastic  young  journalist    and    the 
industrious  and  no  less  enthusiastic  young  artist 
walked  together  about  the  highways  and  byw-ays  of 
Philadelphia,  how  he  taught  her  to  see  and  appre- 
ciate the  serene  charm  and  beauty  and  old-world 
picturesqueness     of     the     city    that    his    artistic 
intuition  and  Quaker  traditions  had  taught  him  to 
love,   and  how  this  pedestrian  companionship  in 
quest   of  the    picturescjue    impressions    developed 
into  a  life-habit,  is  a  romance  of  work  that  Mrs. 
Pennell  tells  with  engaging  and  vivacious  pen,  and 
Mr.  Pennell  illustrates  with  that  facile  expression 
of  pictorial   vision   which   has  given  him   so   dis- 
tinguished a  place  among  the  graphic  masters  of 
to-day.     And  as  we  turn  over  his  appealing  litho- 
graphs and   her  interesting  pages,  alive  with  the 
alertness  of  her  observation  and  the  zest  of  her 
memories,  we  realise  that  they  are  jointly  interpret- 
ing for  us  the  very  spirit  of  the  place.     For,  while  he 
shows  us,  through  his  artistic  visions,  the  outward 
and  visible  form  of  the  Philadelphia  of  his  early  re- 
membrance as  well  as  his  latest  impressions,  she 
gives    us  a  vivid    insight    into   the    very    life  and 
character  of  the  city  through  the  changes  of  the 
years  since  first  she  began  to  know  it,  with  all  its 
traditions,    prejudices,    idiosyncrasies    and    ideals. 
The  earlier  chapters  are  especially  delightful,  for 
they  show  us  with  the  girl's  gradually  expanding 
outlook  the  beautiful  city  that  William  Penn  planned 
with  so  sound  and  logical  a  sense  of  practical  needs 
as  well  as  of  the  ordered  beauty  and  dignity  of  life. 
We  feel  as  the  writer  and   the  artist  felt  in  their 
impressionable  youth  and  still  feel  after  their  many 
wander-years,  the  gentle  charm  of  the  old  streets 
with  their  red-brick  houses  and  (juiet  gardens,  all 
of  a    simple   and  gracious   dignity,  as   they  were 
before  the  modern  hustling  spirit  began  to  make  a 
new  Philadelphia,  and  the  sky-scrapers  rose  in  its 
midst.     Mrs.   Pennell   brings  back,  with  many  a 
vivid   personal  touch    and   curious  memory,    the 
74 


human  atm()S[)luTe  that  gives  these  old  Phila- 
delphian  streets  and  houses  a  character  of  their 
own.  Equally  interesting  are  her  records  and 
impressions  of  her  native  city  in  its  relations  to 
literature  and  art.  To  have  been  a  favoured  niece 
of  the  author  t)f  "  Hans  Breitmann,"  and  to  have 
been  privileged  to  meet  and  talk  with  Walt  Whitman 
at  street  corners  and  on  horse-cars,  were  surely 
sufficient  justification  for  reminiscences,  for  their 
interest  is  not  bounded  by  the  Philadelphia  of 
whicJi  she  writes  so  attractively. 

The  Glory  of  Belgium.  Illustrations  in  colour 
by  W.  L.  Bruckman.  (London :  Hodder  and 
Stoughton.)  20S.  net. — With  such  a  title  and  at 
such  a  time  as  this,  this  volume  needs  no  further 
recommendation ;  but  were  any  necessary  the 
name  of  the  artist  whose  drawings  of  Belgium  are 
thus  opportunely  brought  together  would  be  a 
guarantee  of  its  interest  and  charm  for  all  who 
have  followed  Mr.  Bruckman's  work  at  the  various 
exhibitions.  The  twenty  reproductions  in  colour 
are  after  drawings  by  the  artist  executed  for  the 
most  part  upon  brown  paper  with  a  sympathy  ot 
line,  and  embellished  with  body-colour  in  an 
attractive  manner  entirely  characteristic  of  his 
work.  The  medium  is  used  always  with  a  restraint 
and  skill  which  preserve  the  freshness  and  spon- 
taneity of  the  sketches,  while  they  yet  lose  nothing 
of  their  value  as  topographical  records.  And 
since  the  subjects  comprise  such  places  as  Brussels, 
Louvain,  Bruges,  Antwerp,  Lierre,  Malines, 
Oudenarde,  Ypres  and  others,  they  possess  to-day 
an  additional  and  a  melancholy  significance.  Mr. 
Roger  Ingpen  in  the  letterpress  gives  an  account  of 
the  history  and  of  the  artistic  treasures  and  mediaeval 
relics  which  constitute  the  glory  of  Belgium. 

SoutJiern  India.  Painted  by  Lady  Lawlev. 
Described  by  Mrs.  F.  E.  Penny.  (London  :  A. 
and  C.  Black.)  20s.  net. — The  authors  have  here 
a  most  fascinating  subject  and  one  to  which  they 
have  done  full  justice.  By  virtue  of  her  residence 
in  Madras  during  the  period  of  hei  husband's 
Governorship  from  1906-191T,  Lady  Lawley  has 
enjoyed  exceptional  opportunities  for  collecting 
material  for  this  book,  and  has  been  able  to  make 
drawings  of  subjects  which  other  artists  would 
have  probably  found  it  difficult,  if  not  impossible, 
to  secure.  Apart  from  the  artistic  qualities  of 
these  admirable  water-colours,  they  have  a  par- 
ticular interest  documentarily,  and  the  pictures  of 
single  figures  especially  may  be  commended  for 
their  technical  and  illustrative  merits.  The  letter- 
press, by  a  writer  whose  novels  of  South  Indian 
life  are  well  known,  is  full  of  interest,   for  Mrs. 


Reviews  and  Notices 


Penny's  painting  of  the  native  life  and  customs  is 
as  graphic  and  vivid  in  words  as  is  Lady  Lawley's 
in  pictures ;  and  the  book  should  be  read  by  all 
who  are  desirous  of  acquainting  themselves  with 
this  important  part  of  a  great  country  which  has 
displayed  towards  the  Empire  in  these  stirring 
times  a  fealty  and  love  upon  which  Great  Britain 
must  dwell  with  pride  and  gratitude. 

Etching:  A  Practical  Treatise.  By  Earl  H. 
Read.  (New  York  and  London  :  G.  P.  Putnam's 
Sons.)  loi'.  dd.  net. — Mr.  Read's  treatise  answers 
m  all  respects  to  its  title,  and  meets  a  need  which 
has  long  been  felt  for  a  text-book  suited  to  the 
requirements  of  the  student  who  has  little  or 
no  practical  acquaintance  with  the  implements, 
materials,  and  methods  employed  in  etching. 
There  are  in  existence,  it  is  true,  some  excellent 
handbooks  on  this  subject,  but  they  are  either  out 
of  print  and  very  difficult  to  obtain  or  their  scope 
goes  a  good  deal  beyond  the  needs  of  those  for 
whom  this  treatise  is  intended.  The  author  con- 
fines himself  here  to  the  subject  of  etching  in  the 
strict  sense  of  the  word,  and  to  dry-point  and  soft- 
ground  etching,  and  does  not  include  mezzotint 
and  aquatint  or  the  photo-mechanical  processes 
within  the. scope  of  his  book.  He  sets  forth  and 
illustrates  by  means  of  clearly  drawn  diagrams 
where  necessary  the  numerous  items  of  equipment 
employed  by  the  etcher,  and  then  proceeds  to 
describe  step  by  step  the  various  operations  usually 
or  occasionally  performed  in  the  production  of  a 
finished  plate,  such  as  the  preparation  of  the 
metal-plate  itself,  laying  the  ground,  smoking,  the 
execution  of  the  drawing,  reversing  and  transferring, 
biting  and  re-biting,  proving,  and  so  forth.  He 
then  explains  the  methods  used  for  making  ad- 
ditions and  corrections,  and  finally,  after  giving  an 
account  of  dry-point  and  soft-ground  etching,  he 
deals  with  the  all-important  problem  of  printing 
which,  as  he  truly  remarks,  is  an  art  in  itself. 

Pottery  :  for  Artists,  Craftsmen  and  Teachers. 
By  Geor(;e  J.  Cox,  A.R.C.A.  (New  York  and 
London :  Macmillan  and  Co.)  ^s.  dd.  net. — 
Books  galore  have  been  published,  and  very  many 
have  we  reviewed  in  these  pages,  which  deal  interest- 
ingly and  exhaustively  with  the  productions  of  the 
potter  from  the  standpoint  of  their  appeal  to  the 
collector  and  amateur  of  ceramics.  This  excellent 
work  by  an  author  who,  if  we  mistake  not,  had 
until  quite  recently  a  pottery  at  Mortlake  at  which 
he  produced  some  very  beautiful  ware,  is  a  model 
text-book  to  this  fascinating  and  useful  handicraft ; 
and  it  mnst  be  commended  whole-heartedly  for  the 
true  spirit  of  artistic-craltsmanship  in  which  it  is 


written,  for  the  interesting  and  thorough  manner  in 
which  the  subject  is  handled  as  well  as  for  the 
admirable  arrangement  of  material  in  the  book, 
which  is  further  well  supplied  with  appendices 
giving  all  details  as  to  equipment  necessary  and  a 
glossary  of  terms,  materials,  (S:c.  Whether  tracing 
rapidly  the  history  of  this  ancient  and  noble  craft, 
or  discussing  various  processes  and  methods  of 
practice,  Mr.  Cox  writes  with  the  assurance  and 
enthusiasm  of  the  earnest  craftsman,  and  he  em- 
bellishes his  interesting  and  convincing  letterpress 
with  useful  explanatory  illustrations  and  diagrams 
which  have  a  value  and  a  decorative  beauty  pecu- 
liarly their  own,  and  very  rarely  found  in  drawings 
in  a  technical  handbook. 


^Ve  have  received  from  Mr.  Anthony  R.  Barker 
a  set  of  six  original  lithographs  of  Belgium  which 
we  commend  to  the  notice  of  connoisseurs  and 
collectors,  not  solely  because  the  entire  net  pro- 
ceeds of  sale  will  be  handed  to  the  Duchess  of 
Vendome's  Belgian  Relief  P^und,  but  because  their 
artistic  merits  deserve  recognition.  The  subjects 
included  in  this  "  First  Belgian  Portfolio  "  are  of 
particular  interest  at  this  moment,  and  comprise  a 
view  of  Antwerp  with  its  cathedral  from  across  the 
Scheldt ;  an  exceedingly  picturesque  view  oiDinant 
seen  through  the  trees  from  the  opposite  bank  of 
the  Meuse ;  an  equally  attractive  view  of  the 
Chateau  de  Valzin  in  the  Ardennes,  and  another  of 
Namur  at  the  confluence  of  the  rivers  Meuse 
and  Sambre  ;  a  typical  Flemish  landscape  ;  and, 
finally,  a  full  view  of  Malines  Cathedral.  All  these 
subjects  have  been  drawn  direct  on  the  stone  by 
the  artist,  who  has  felicitously  used  a  delicate 
sanguine  tint  in  conjunction  with  black  on  a  buff 
ground.  The  edition  is  strictly  limited  to  one 
hundred  copies  at  five  guineas  each,  and  one  proof 
in  each  set  is  signed  by  the  artist.  The  portfolio 
measures  i8  by  15  inches  and  is  published  by  the 
artist  at  491  Oxford  Street,  London. 


Collectorsof  the  "Poster""  stampswhich  have  been 
coming  into  use  of  late,  should  not  omit  to  secure 
two  sets  which  have  been  specially  designed  by 
Mr.  Frank  Brangwyn,  A.R.A.  and  Mr.  Edmund 
Dulac  respectively,  for  the  Red  Cross  Fund  organ- 
ised by  the  "Daily  Mail"  and  "Evening  News." 
Those  of  Mr.  Brangywn  are  an  elocjuent  testimony 
to  the  services  rendered  by  the  institution  for  whose 
benefit  they  are  published,  while  those  of  Mr. 
Dulac  consist  of  classical  figures  symbolising 
"  Faith,"'  "  Hope,"  "  Courage,"'  "  Assistance," 
Each  set  of  six  stamps  is  published  at  bd. 

75 


The  Lay  Figure 


T 


HE  LAY  FIGURE:  OX  THE 
TREATMENT  OF  MEMORIAL 
SCULPTURE. 


"  I  HA\  K  an  idea  that  there  is  a  very  great 
opportunity  coming  directly  for  sculptors,"  said  the 
Art  Oitic.  "  I  am  wondering,  though,  whether 
they  realise  how  great  it  will  be  and  whether  they 
will  be  etjual  to  it,  when  it  does  come." 

"  You  mean,  as  a  result  of  the  war,  I  suppose  ^  " 
returned  the  Man  with  the  Red  Tie.  "  You  ex- 
pect an  unusual  demand  for  statues,  memorials, 
and  so  on,  when  things  begin  to  settle  down 
again  ?  " 

"Yes,  there  will  be  great  deeds  to  be  com- 
memorated, great  men  to  be  honoured,  great 
national  events  to  be  recorded  as  reminders  to 
future  generations,"  agreed  the  Critic;  "and  most 
of  this  work  will,  I  expect,  fall  to  the  sculptors. 
How  will  they  deal  with  it  ?  " 

"  In  the  same  way  that  they  have  dealt  with  the 
same  sort  of  work  before,  of  course,"  broke  in  the 
Plain  Man.  "  We  shall  have  rather  more  statues 
about  our  streets — that  is  all  that  is  likely  to 
happen." 

"Is  that  all  ?"  asked  the  Critic.  "  I  am  hoping 
for  something  more  than  that.  Great  events  should 
have  great  results,  and  among  these  results  should 
be  a  definite  development  of  the  art  of  memorial 
sculpture." 

"What  development  can  there  be?"  demanded 
the  Plain  Man.  "  A  statue  is  a  statue  ;  how  can 
you  make  anything  else  of  it  ?  " 

"  Well,  you  might  make  it  a  work  of  art,  just  by 
way  of  a  change,"  suggested  the  Man  with  the  Red 
Tie.     "  Has  not  that  occurred  to  you  ?  " 

"Is  a  statue  not  a  work  of  art?"  encjuired  the 
Plain  Man.  "  Surely  anything  done  by  an  artist 
counts  as  a  work  of  art,  and  I  suppose  you  would 
call  a  sculptor  an  artist,  would  you  not  ?  " 

"  Oh  yes,  I  would  call  the  sculptor  an  artist," 
laughed  the  Critic,  "  because  if  he  were  not  I 
should  not  count  him  as  a  sculptor.  But  how- 
many  chances  does  he  get  of  proving  what  sort  of 
artist  he  is  ?  " 

"  He  has  his  chance  whenever  he  does  a  piece 
of  work,"  asserted  the  Plain  Man.  "When  he 
gets  a  commission  for  a  statue  people  expect 
him  to  do  it  just  as  well  as  he  can.  If  he  is 
an  artist  he  produces  a  work  of  art — that  is 
obvious." 

"  Not  so  obvious  us  you  seem  to  think,"  declared 
the  Critic.  "  The  conditions  under  which  a  work 
of  art  is  produced  are  bound  to  affect  its  quality. 
76 


If  the  artist  does  not  have  a  free  hand  he  cannot 
be  expected  to  make  the  best  of  his  capacities. 
The  more  he  is  hampered  the  less  likely  he  is  to 
do  himself  justice." 

"  And  of  all  artists  the  sculptor  is  the  most 
persistently  hampered  and  the  most  constantly 
denied  a  free  hand,"  commented  the  Man  with  the 
Red  Tie. 

"  Just  so,"  said  the  Critic.  "  He  has  to  work  in 
a  vast  number  of  cases  under  the  dictation  of  a 
local  committee  which  surrounds  him  with  restric- 
tions and  interferes  in  all  the  details  ol  his  pro- 
duction. Does  that  give  him  a  fair  chance? 
Does  it  allow  him  to  prove  what  sort  of  artist  he 
is?" 

"But  the  local  committee  you  are  talking  about 
gives  the  sculptor  the  order  for  the  work,"  pro- 
tested the  Plain  Man  ; "  so  it  has  the  right  to 
insist  that  the  work  shall  be  done  in  a  suitable 
manner.     That  is  simple  business." 

"  Simple  business  and  great  artistic  achievement 
are  often  quite  incompatible,  I  am  afraid  ;  and  to 
this  incompatibility  is  due  the  failure  of  much 
of  our  memorial  sculpture,"  replied  the  Critic. 
"  If  the  members  of  the  committee  allowed  the 
sculptor  to  please  himself  a  little  more,  and  them 
possibly  a  little  less,  I  am  confident  that  the  result 
would  in  the  majority  of  cases  be  more  accept- 
able artistically." 

"  But  if  we  let  the  sculptor  please  himself,  how 
shall  we  ever  know  whether  he  is  giving  us  good 
work  or  not  ?  "  asked  the  Plain  Man.  "  ^^'ho  is 
to  be  the  judge?" 

"  Trust  the  artist  and  believe  that  he  will  give 
you  the  best  of  which  he  is  capable  ;  choose  a 
sculptor  of  ability  and  give  him  a  free  hand.  That 
is  the  best  advice  I  can  offer  you,"  returned  the 
Critic. 

"And  you  think  we  should  get  better  results  that 
way  !  "  sighed  the  Plain  Man. 

"I  am  certain  of  it,"  cried  the  Critic;  "and  I 
want  to  see  that  position  established  as  soon  as 
possible  because  I  am  anxious  to  make  the  most 
of  the  coming  opportunities.  I  want  the  memorial 
sculpture  that  must  be  produced  as  a  commemora- 
tion of  the  great  events  of  the  present  day  to  be 
fully  worthy  of  the  occasion.  It  must  be  the  best 
of  which  our  artists  are  capable.  It  must  have 
the  highest  qualities  of  thought  and  accomplish- 
ment. It  must  be  free  from  the  smallest  taint  of 
ihe  commonplace.  It  must  be  finer  and  nobler 
than  anything  we  have  ever  done  before.  In  that 
way  alone  will  it  do  us  justice  and  earn  for  us  the 
respect  of  posterity."  Thk  L.w  Figure. 


The  Edmund  Davis  Collection 


T 


HE   EDMUND  DAVIS  COLLEC- 
TION.    BY  T.   MARTIN  WOOD. 

(First  Art ide.) 


Before  beginning  to  write  in  detail  of  this 
collection  it  may  not  be  out  of  place  to  say  some- 
thing generally  as  to  the  position  of  collectors 
to-day  in  relation  to  the  art  of  their  own  period. 
This  may  be  done  here  the  more  appropriately 
since  the  collector  whose  possessions  we  are  to 
pass  in  review,  is  recognised  as  one  of  the  few 
whose  influence  has  been  an  agent  in  stimulating 
the  art  production  of  their  time. 

Every  one  who  is  interested  in  modern  art  is 
conscious  that  in  the  midst  of  excited  attempts  to 
attain  originality  confusion  reigns,  and  artists  are 
baffled  by  a  loss  of  certainty  as  to  the  very  nature 
of  the  mission  of  art.  Remedies  for  a  state  of 
indecision  which  is  reacting  upon  the  artist  to  the 
deterioration  of  art  are  constantly  being  put  forward 
in  new  theories  about  painting,  which  are  acted 
upon  without  success.  But  we  have  not  seen  it 
suggested,  at  least  not  in 
print,  that  everything  might 
be  put  right  if  the  artist 
would  show  more  willing- 
ness to  receive  some  direc- 
tion from  outside — in  the 
shape  of  a  definite  order 
from  some  one — instead  of 
waiting  for  a  voice  "from 
within "  which  has  lost  its 
imperativeness  from  ex- 
haustion. For  it  is  quite 
true  that  in  these  days  there 
are  artists  who  tremble  at 
the  receipt  of  an  order  lest 
its  execution  should  in- 
volve some  damage  to  their 
artistic  constitution.  Now 
art,  we  believe,  has  much 
more  to  fear  from  all  this 
self-consciousness  of  the 
artist  than  he  himself  has 
to  fear  from  any  outside  in- 
tervention. The  modern 
artist's  horror  of  receiving 
direction  from  any  source 
but  his  own  impulse  is  not 
a  sign  of  wealth  of  genius. 
He  complains  of  the  ab- 
sence of  the  patron  while 
his  own  vain  attitude  has 
made  the  position  an  almost 

LV.   No.  2iS. — ArKii.  19 15 


impossible  one.  And,  with  the  withdrawal  of 
patronage,  there  is  no  longer  any  reason  for  finish- 
ing anything.  It  becomes  convenient  to  say  that 
"a  work  of  art  is  finished  from  the  beginning." 

It  may  be  true  that  some  of  the  most  perfect 
results  in  art  have  resulted  from  the  sudden  re- 
lease of  faculties  which  have  been  confined  to  tasks 
not  self-imposed.  But  the  special  vitality  of  work 
of  this  kind — in  which  the  discipline  from  con- 
forming has  remained  with  the  hand  that  has  no 
longer  to  conform — cannot  be  sustained  or  re- 
peated except  under  the  same  conditions.  It  is 
the  artist  who  is  adversely  affected  by  the  with- 
drawal of  the  patron  he  has  scared  away. 

This  state  of  things  appears  to  have  arisen  from 
laying  too  much  stress  upon  only  one  aspect 
of  the  phenomenon  of  self-expression.  The  large 
part  that  mere  receptivity  plays  in  the  process  of 
creative  art  has  been  ignored  ;  also  the  fact  that  it 
is  the  quality  of  the  mind  at  work,  and  not  the 
method  pursued,  that  determines  results.  Genius 
implies  the  possession  of  a  more  sensitive  mental 


l.ADY    OKMONDIi    ANU    CHILD 


BY    SIR   JOSHUA    RKY.NOI.nS,     P.R.A. 
79 


The  Rihinnni  Davis  Collection 


mirror  ;  the  impression  received  from  life  by  genius 
is  truer  to  life  than  that  received  by  ordinary 
minds.  But  however  rich  the  resources  thus  stored 
up,  a  distinct  command  from  without  is  often 
awaited  by  the  artist  before  he  can  release  them, 
since,  as  Rossetti  has  written,  warning  the  creative 
mind  against  its  inevitable  tendency  to  indolence — 

"  Unto  the  man  of  yearning  thought 
And  aspiration,  to  do  nought 
Is  in  itself  almost  an  act, — 
Being  chasm-fire  and  cataract 
Of  the  soul's  utter  depths  unseald." 

What  we  have  written  thus  far  amounts  then  to 
this,  that  instead  of  seeking  any  longer  for  the 
reason  of  the  ineffectiveness  of  so  much  work  of 
to-day  in  the  theories  which  the  artists  have 
embraced,  we  should  seek  it  in  the  unreality  of 
their  working  environment.  '\o  ensure  a  great 
destiny  for  art  in  any  period  patronage  is  as  neces- 
sary as  the  artist  himself. 

Now  to  come  to  the  im- 
mediate subject  of  this 
article.  One  characteristic 
predominates  in  the  Davis 
Collection — the  ascendency 
of  the  human  interest.  A 
definite  type  of  life  asserts 
itself  in  the  canvases  in  this 
house — that  vivid  type  in 
the  creation  of  which  such 
names  as  Rembrandt  and 
Daumier  have  acquired  their 
significance.  Understand- 
ing the  spirit  of  this  collec- 
tion we  do  not  miss  the 
leaders  of  the  Barbizon 
school,  who  are  no*^  repre- 
sented, but  it  is  difficult  to 
understand  the  absence  of  a 
Goya. 

The  Davis  Collection  is 
the  most  animated  that  we 
have  seen.  The  collector 
is  host  to  an  immortal  com- 
pany, variously  assembled 
within  frames,  no  one  of  the 
company  a  stranger  to  the 
others,  or  even  to  us  the 
visitors  who  come  into  the 
rooms. 

Rembrandt's     Saskia    at 

her  Toilet  is  more  than  any 

picture   present    to    the 

writer's  thoughts.     A 

80 


presence  diffusing  warmth  of  the  heart  is  felt  in 
the  room  in  which  it  hangs.  Rembrandt  was  the 
most  intimate  of  painters.  From  his  portraits  that 
truth  which  only  lately  philosophy  has  confidently 
uttered  could  always  be  received — that  Mind  forms 
Body,  that  it  is  wrong  to  say  it  is  in  the  body  ; 
that  the  body  is  in  the  mind — and,  we  might  add, 
without  exaggeration,  the  clothes  are,  too,  in  every- 
tliing  that  refines  them  in  the  direction  of  personal 
expression.  It  is  not  for  nothing  that  art  has 
fi\stened  upon  costume  in  portraiture  with  as  much 
delight  as  Reynolds  showed  in  his  portrait  of  the 
Earl  of  Suffolk.  Reynolds  received  real  inspira- 
tion from  emblems  of  social  rank.  He  was  awake 
to  the  glamour  of  the  associations  of  badges  and 
decorations,  as  well  as  to  their  importance  in 
design.  \\'ith  his  temperament  it  would  have 
been  impossible  fi)r  him  to  adopt  the  chilly  attitude 
from  which  such  detail  can  be  regarded  merely  as 


"  LADY    CLARGES" 


BY    THOMAS    GAINSBOROUGH,    R.A. 


•MISS    INDIANA    (  Dl  )    TALBOT."    FROM    THE 
PAINTING  BY  THOMAS  GAINSBOROUGH,  R.A. 


The  Edmund  Davis  Collection 


an  excursion  in  "still-life."  Reynolds's  mind  was 
almost  as  typically  eighteenth  century  in  type  as 
the  writer  Gibbon's.  He  had  the  power  to  sug- 
gest, by  his  handling  of  the  accessories  we  have 
described,  the  historical  perspectives  in  which  his 
sitters  should  be  viewed. 

Of  peculiar  beauty  are  the  two  Gainsboroughs 
in  this  collection.  The  charm  of  a  Gainsborough 
portrait  seems  to  reside  so  far  within  and  near  the 
soul  of  the  sitter  that  it  appears  to  underlie  rather 
than  to  animate  gesture  and  expression.  Towards 
this  order  of  attainment  the  art  of  portraiture  has 
ever  striven  ;  to  this  end  it  has  often  passed  with 
a  fierce  rapidity  over  the  points  of  costume  that 
fascinated  early  painters. 
It  would  seem  at  times 
almost  to  desire  to  pass 
behind  the  face  itself  and 
the  surface  of  expression, 
to  the  very  "  sea  and  sky- 
line of  the  soul." 

If  the  Piano  picture  in 
the  Davis  Collection  seems 
to  us  by  far  the  most  im- 
portant of  the  three  fine 
examples  of  Whistler's  oil 
paintings  there  —  the  two 
others  being  the  Symp/iony 
in  White,  No.  Ill,  and 
Old  Battersea  Bridge — it  is 
because  it  foreshadows  a 
power  of  emotional  re- 
sponse which  he  was  to 
lose  for  a  time  in  the 
manufacture  of  effects  in 
the  Japanese  manner  in 
which  ever)thing  is  sacri- 
ficed, with  a  milliner's  zeal, 
to  "an  arrangement." 

Alfred  Stevens,  the  Bel- 
gian petit  tnaitre,  of  whose 
paintings  this  collection 
contains  five  examples  of 
single-figure  subjects,  was 
particularly  susceptible  to 
the  charm  of  surfaces  in 
quiet  interior  lighting.  But 
the  pleasant  beauty  of  his 
art  is  of  external  character. 
He  does  not  divine  the  soul 
of  a  room  much  lived  in. 
His  pictures  have  not  the 
power  to  suggest,  as 
Whistler's    At  the   Piano  "la  lavkuse' 


does,  that  the  universe  has  progressed  only  to 
bring  us  to  the  moment  of  stillness  and  enchant- 
ment arrested  in  his  picture.  Stevens  is  just 
beginning  to  adopt  the  uninteresting  point  of  view 
which  is  now  general  with  artists — from  which 
everjbody  is  regarded  as  a  "  model "  and  no  one 
apparently  in  relation  to  the  circumstances  and 
surroundings  of  his  life.  This  attitude,  adopted, 
we  suppose,  in  opposition  to  the  story-tellers  in 
paint,  equally  with  them  betrays  incomplete  sym- 
pathy with  life  and  absence  of  the  ability  to  bring 
about  in  art  that  sensation  of  a  continuation  of 
life  there  which  is  the  achievement  of  the  greatest 
masters,  even  in  fantastic  art. 


BY    UONORfe    nAUMIER 


83 


The  Rcfiiiiiiicl  Davis  Collection 


"  rilK    STAYMAKKR  " 


liV    WILLIAM    HOGARTH 


Mr.  Davis's  house  is  planned  for  the  display  ot 
his  pictures  to  their  advantage  without  departure 
from  the  principle  of  living  with  them.  We  encounter 
masterpieces  in  every  room,  hanging  as  naturally 
there  as  the  calendar  on  an  office  wall.  Pictures 
in  private  collections  always  seem  to  possess  the 
power  to  affect  us  more  deeply  than  those  in 
museums.  This,  no  doubt,  is  the  fault  of  the 
system  on  which  museums  are  generally  arranged, 
since  a  work  of  art  can  only  be  appreciated  fully 
when  studied  in  an  environment  favourable  to  the 
intimate  class  of  feelings  it  inspires.  The  human 
note  in  pictures  particularly  has  been  found  to 
affect  us  most  when  we  hear  it  in  the  very  heart  of 
a  home. 

In  forming  his  collection  it  would  seem  that 
Mr.  Davis  has  been  guided  by  the  [)rinciple  of  ac- 
quiring only  those  works  which  have  spoken 
directly  to  him  by  the  particular  character  of  their 
beauty.  And  since  a  principle  of  some  kind  must 
be  observed  if  a  collection  is  to  have  any  unity  of 
spirit,  there  could  be  none  better  than  this  where 
taste  and  judgment  are  sufficiently  sure.  In 
writing  of  such  a  collection,  however,  it  is  im- 
jjossible  to  systematise.  So  far  we  have  remarked 
84 


on  the  paintings  in  the  order  in  which  they  have 
appealed  to  us,  thus  carrying  out  at  least  the 
tradition  in  which  the  collection  was  formed.  It 
is,  however,  obviously  necessary  that  anything  we 
have  to  say  on  the  works  selected  for  reproduction, 
as  the  basis  of  this  first  article  of  three  proposed, 
should  accompany  their  appearance.  But  this 
condition  does  not  allow  an  entirely  free  method 
of  commentary.  We  must,  therefore,  take  the 
illustrations  which  still  remain  to  be  brought  into 
the  scope  of  our  remarks  in  this  article  in  para- 
graphs which  make  no  pretence  to  lead  into  each 
other. 

Mr.  Davis  represents  Rossetti's  art  by  two  or 
those  small  but  intensely  executed  water-colours 
in  which  the  true  nature  of  Rossetti's  genius  is 
most  revealed.  They  belong  to  the  very  early 
stage  of  his  middle  period,  about  the  time  of  his 
marriage,  and  of  Ruskin's  encouragement,  when 
the  high  imaginative  import  of  his  subjects  burns 
within  their  rich  design  like  a  flame.  There  had 
been  nothing  like  this  art — in  these  two  water- 
colours  not  much  above  miniature  scale — since 
Florentine  art  of  the  thirteenth  century.  Such 
work  must  have  had  a  force  and  stranyeness  in  the 


'  SASKIA  AT  HER  TOILET."    FROM 
THE    PAINTING    BY  REMBRANDT 


The  Edmund  Davis  Collection 


mid-Victorian  days  that  it  cannot  assume  now.  It 
ranks  with  poetry,  with  Rossetti's  own,  and  with 
Swinburne's  at  its  highest,  affecting  us  by  some- 
thing quite  intangible  beneath  the  rich  material 
symbols  it  employs. 

The  Staymake}-,  by  Hogarth;  It  is  the  fault  of  so 
much  modem  criticism  that  it  attaches  too  much 
importance  to  self-conscious  achievement.  It  is 
not  improbable  that  the  original  and  enduring 
part  of  all  artistic  work  is  that  which  is  so  native 
to  the  constitution  of  the  artist  that  it  appears 
wherever  we  can  trace  his  hand,  as  a  quality,  of 
importance  to  us,  of  which  he  remains  only  super- 
ficially conscious.  He  is  generally  striving  for 
something  else.  Hogarth  was  bent  upon  so  many 
things  that  he  quite  forgot 
to  be  an  artist.  This  he 
was,  however,  "by  the 
grace  of  God,"'  even  in 
moments  when  he  was 
least  concerned  with  the 
attributes  which  would 
give  him  the  title.  Thus 
it  is  impossible  for  us  to 
encounter  a  work  by  this 
painter  without  being  fas- 
cinated by  its  quality  and 
execution.  Hogarth's 
merriness,  so  English,  and 
his  natural  fantasy,  in  the 
vein  of  Shakespeare, 
sparkle  in  everything  from 
his  hand.  His  power  of 
conveying  the  impression 
of  action  without  losing 
the  static  balance  of  his 
composition  revealed  him 
a  stage-manager  of  the  first 
rank  in  the  arrangement 
of  his  satires.  He  could 
hardly  ever  suppress  the 
note  of  satire  in  his  work. 
It  is  not  suppressed  in  The 
Staymake?;  which  merely 
relates  an  incident  and  has 
no  moral.  We  are  not  at 
pains  to  explain  to  our- 
selves the  whole  story  of 
the  incident  depicted  :  this 
can  be  done  at  leisure  by 
any  one  who  is  not  en- 
tirely fascinated  by  the 
dramatic  control  of  light, 
pleasant  riot  of  the  brush,  "la  dame  en  rose" 


the  distribution  everywhere  of  the  charm  that  is 
the  outcome  of  work  enjoyed  to  the  utmost  and  as 
natural  as  breathing. 

Study  from  the  N'tufe,  by  Corot.  Every  painter's 
name  is  associated  with  one  particular  phase  which 
may  be  taken  as  authentic  in  its  testimony  to  his 
artistic  character.  But  it  is  always  interesting  to  be 
able  to  point  to  a  work  in  which  we  seem  to  meet 
the  artist  on  his  way  to  self-discovery.  Work  of  this 
kind  will  sometimes  appear  so  unlike  everything 
implied  by  the  painter's  signature  that  without  the 
strongest  evidence  as  to  its  authorship  we  should 
not  hesitate  for  a  moment  to  give  it  to  another 
artist.  If  there  is  one  thing  we  remember  Corot 
bv  it  is  bv  figures  dancing  in  woods  and  often  so 


BY    AlKREP    STEVENS 


s? 


The  luiftnnid  Davis  Collection 


diaphanous  that  they  seem  hke  apparitions  ;  yet  in 
this  collection  we  have  a  female  nude  as  boldly 
rounded  and  firmly  painted  as  can  be  imagined. 
It  must  be  one  of  the  pleasures  of  a  collector  who 
is  holden  to  no  one  type  of  thing  to  be  able  to  add 
such  an  out-of-the-way  piece  to  our  knowledge  of 
the  work  of  a  painter.  Few  early  Corots  indicate 
the  direction  of  his  later  development,  and  none 
less  than  this  matter-of-fact,  but  lovely,  nude. 

Lady  Orm:uidt\  by  Reynolds.  This  painting  is 
one  of  those  in  which  Reynolds  interprets  a  favourite 
theme.  Painted  about  1770,  it  retains  in  its  present 
state  an  extraordinary  delicacy  of  colour,  the  faint 
rose-red  dress  being  peculiarly  in  harmony  with  the 
mellowed  whites  and  flesh  tones.  It  was  engraved 
by  James  Scott,  in  1865,  as  Maternal  Love. 
Reynolds's  He/trv,  12th  E  irl  oj  Suffolk,  already 
referred  to  above,  was  painted  about  1778.  Of 
this  picture  the  painter  made  two  replicas. 

Miss  Indiana  {^''  Di")  Talbot,  by  Gainsborough. 
This  painting  came  from  the  collection  of  the 
Talbot   family.     It    represents  the   only   daughter 


of  Major-General  Sherington  Talbot  and  grand- 
daughter of  Bishop  Talbot  of  Durham.  The  Ladv 
Clarges  was  formerly  in  the  Sir  Charles  Tennant 
collection.  The  British  Museum  possesses  a 
drawing  of  the  first  idea  for  the  portrait,  also  a 
study  for  it,  in  which  a  dog  is  introduced. 

As  will  be  seen  from  the  reproductions,  Mr. 
Davis  is  the  owner  of  a  perfect  Daumier  and  he 
also  possesses  a  highly  attractive  Boudin,  a  scene 
at  the  seaside,  which  will  be  reproduced  as  a 
colour  supplement  in  a  second  article  on  the 
collection.  A  large  part  of  that  article  we  propose 
to  devote  to  contemporary  paintings  in  the  collec- 
tion, and  a  third  article  to  the  sculptures  and 
drawings,  both  ancient  and  modern. 

In  The  Studio  for  April  1900  an  article  ap- 
peared describing  the  interior  of  Mr.  Davis's 
house,  with  a  description  of  a  bedroom  decorated 
by  Mr.  Frank  Brangwyn,  and  in  the  number 
for  April  1905  the  present  writer  contributed 
an  article  on  the  room  decorated  by  Conder, 
which  forms  a  famous  feature  of  the  house. 


i^ 


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'OLD    BATTERSEA    BRIDGE 

88 


BY   JAMES    MCNEILL    WHISTLER 


ABSENCE"     FROM  THE    OIL 
PAINTING  BY  ALFRED  STEVENS 


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BORGIA."     FROM   THE   WATKR- 
COLOUR   BY   D.  G.   ROSSETTl 


STUDY  FROM  THE  NUDE 
BY  J.  B.  C.  COROT 


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Alfred  Hartley,  Painter  and  Etcher 


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LFRED  HARTLEY,  PAINTER 
AND  ETCHER.  BY  A.  G. 
FOLLIOTT  STOKES. 


It  is  not  often  that  men  look  as  we  expect  them  to 
look,  judging  from  the  works  they  have  produced 
and  the  deeds  they  have  done.  There  is  a  spirit 
of  contrariety  that  seems  to  govern  these  matters. 
Thus  artists  do  not  generally  conform  in  their 
outward  appearance  to  the  ideal  figure  the  world 
has  by  universal  consent  decided  that  they  should 
possess  :  and  prizefighters  have  before  now  been 
mistaken  for  bishops. 

Alfred  Hartley,  whose  work  this  article  is  about 
to  discuss,  is,  however,  an  exception  to  the  above 
rule.  For  no  man  could  be  more  artistic  than  he 
looks.  There  is  a  glint  of  joyful  alertness  in  his 
keen  grey  eyes  which,  combined  with  the  delicate 
contours  of  his  face  and  figure,  would  at  once 
suggest  the  artist  to  the  least  observant.  And  this 
look  of  happy  alertness  is  more  mental  than 
physical.     In    early    manhood    Hartley    met   with 


a  severe  accident  that  lamed  him  for  life.  This 
abrupt  termination  to  an  unusually  athletic  youth 
was  powerless  to  curb  his  spirit,  though  it  exercised 
a  cruel  control  over  his  jjhysical  activities.  This 
control,  as  every  landscape  painter  will  realise, 
must  have  seriously  handicapped  him  in  his  work. 
But  landscape  has  only  been  one  of  the  channels 
through  which  his  artistic  personality  has  en- 
deavoured to  express  itself.  Symphonies  in  colour, 
in  line,  and  in  mass  have  appealed  to  him  with 
equal  insistence.  Few  men  have  been  more 
versatile.  His  landscapes  have  many  admirers 
among  the  cognoscenti.  His  etchings,  both  in 
line  and  aquatint,  together  with  his  colour-prints, 
have  achieved  European  recognition ;  while  as  a 
portrait  painter  he  has  had  considerable  success. 
It  is  not  proposed  to  deal  with  his  portrait  work  in 
this  "article,  but  I  may  be  permitted  to  mention  that 
between  1889  and  1899,  amongst  the  many  notable 
people  painted  and  drawn  by  him,  were  the  late 
Lord  Randolph  Churchill,  the  late  Lord  Russell  of 
Killowen,  and  the  present  Prime  Minister. 


■dL4^-^^ 


*-a6tl 


"  THE    ESTUARY 


KROM    THE    IWINTINi;    HV     Al.I'REl)    HARTIEV,    R.F.A..    K   E 

99 


Aljrcd  Hartley,  Painter  and  lite  her 


W'c  will  now  briefly  consider  his  black-and-white 
work.  On  my  asking  him  to  give  me  a  few  par- 
ticulars of  his  early  struggles  in  this  medium,  he 
smilingly  assured  me  that  nothing  of  the  slightest 
interest  had  ever  happened  to  him,  and  that  there 
were  no  particulars  worthy  of  notice.  From  my 
knowledge  of  his  diflitlcnt  nature  I  had  anticipated 
trouble  in  getting  him  to  talk  about  himself. 
However,  by  sticking  to  my  guns,  and  eventually 
appealing  to  his  good  nature  by  assuring  him  that 
he  owed  it  to  me  as  the  writer  of  this  article  to 
reveal  a  few  glimpses  of  his  personal  methods  and 
mental  standpoints,  I  literally  squeezed  out  of  him 
the  following  jottings  which  I  will  give  more  or  less 
in  his  own  words. 

"  My  first  attempts  with  the  needle  were  made 
some  little  time  before  I -began  an  art  training. 
And  the  first  etching  I  did  was  achieved  under 
conditions  which  might  well  have  excused  failure. 
Fired  by  a  desire  to  try  my  hand,  I  decided  to 
copy  an  etching  of  a  cavalier  by,  I  think,  W.  J. 
Horsley,  R.  A.  one  of  a  number  gathered  together 
in  a  volume  published  by  the  Etching  Club,  if  my 


memory  serves  me  aright.  I  resorted  to  an  old 
encyclopaedia  and  found  out  a  description  of 
methods,  and  also  the  formul.x  for  grounds,  acids, 
«S:c.  Then  I  started  a  brew  of  wax,  and  the  other 
necessary  ingredients  for  a  ground,  over  the  kitchen 
fire  in  my  father's  remote  parsonage  in  Hertfordshire. 
I  stirred  and  stirred  the  compound  and  by  a  miracle 
avoided  burning  it.  Having  procured  a  sheet  of 
copper  three  times  thicker  than  was  needful  I  pro- 
ceeded to  lay  my  ground  and  smoke  it,  luck  at  my 
elbow  !  It  must  have  been  all  right  for  it  took 
the  needle  and  resisted  the  acid.  The  drawing  on 
the  metal,  line  by  line  after  the  original,  took  some 
time  but  went  without  mishap.  This  was  fortunate, 
for  such  was  my  complete  technical  ignorance  that 
any  alteration  would  have  been  impossible.  Then 
came  the  biting,  which  in  the  light  of  subsequent 
experience,  I  must  admit  was  attended  by  the  same 
strange  good  luck.  How  many  times  since  has 
that  luck  been  wanting  !  The  bitten  plate  pre- 
sented an  appearance  which  to  my  ignorant  eye 
gave  no  clue  to  what  it  was  going  to  yield  as  a 
picture.     However,  it  was  sent  to  be  printed  by  that 


rilK   G.VROEX    OF    THK   (IRAND    TRIANON  " 
lOO 


FROM    THE    PAINTING    HV    ALFRED    HARTLEY,    K.B.A.,    K.E. 


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Alfred  Hartley,  Painter  and  Etchet 


VERSAILLES 


FROM    THE    I'AINTING    BY    ALFRED    HARTLEY,    R.B.A.,    R.E. 


master  printer,  the  late  Frederick  Goulding — then 
a  stranger  to  me,  but  destined  to  become  in  after 
years  a  valued  friend.  After  a  few  days  of  suspense 
a  parcel  arrived,  and  there  was  my  work — an 
astonishing  success.  In  view  of  the  innumerable 
failures  that  followed,  that  plate  will  ever  remain  a 
mystery  to  me. 

"  My  acquaintance  with  aquatinting  as  a  method 
dates  from  my  first  attempts  at  colour-etching. 
These  were  made  about  the  time  of  the  appearance 
in  The  Studio  of  an  article  on  French  Colour- 
Prints.  The  method  at  once  made  a  strong  appeal 
to  me  and  does  so  still.  Though  I  first  used  it  for 
colour-etching  alone,  I  now  find  it  avery  sympathetic 
means  of  expression  in  monochrome.  In  colour- 
printing  I  have  hitherto  confined  myself  to  the  aqua- 
tint method,  in  spite  of  the  lure  of  the  wood  block, 
which  has  peculiar  charms  of  its  own.  I  usually 
limit  myself  to  three  plates — a  plate  for  each  colour 
used :  believing  that  the  less  colour  elaborated, 
the  better  the  result  in  this  class  of  work.  Such  is 
my  experience,  though  I  know  that  some  artists 
adopt  a  much   more  comprehensive  plan,  and  with 


success.  I  should  like  to  say  that  I  owe  whatever 
knowledge  I  may  possess  of  the  craft  primarily  to 
Sir  Frank  Short,  whose  knowledge  of  the  subject 
seems  to  be  as  inexhaustible  as  his  kindness.  And 
when  I  acquired  a  press  of  my  own  and  commenced 
to  do  my  own  printing,  Mr.  C.  J.  Watson,  that 
most  accomplished  etcher  and  printer,  kindly 
helped  me  over  my  first  difficulties.  Perhaps  I 
ought  to  add  that  I  studied  for  some  years  at  the 
Royal  College  of  Art,  South  Kensington,  and  also  at 
Professor  Brown's  class  at  Westminster.  Among  my 
fellow  students  at  the  former  were  J.  J.  Shannon  and 
Llewellyn,  and  at  the  latter  Frampton,Greiffenhagen, 
Anning  Bell,  and  many  others  whose  works  are  now 
well  known.  One  of  the  pleasantest  recollections 
of  my  Kensington  days  is  the  many  happy  hours 
spent  in  the  \'ictoria  and  Albert  Museum— a 
Mecca  to  which  pilgrimages  were  constant  and 
always  inspiring." 

Here  Hartley  smilingly  assured  me  that  there 
was  no  more  he  could  recall.  This,  of  course,  was 
an  ultimatum  which  I  accepted  with,  I  trust,  a 
good  grace. 

103 


Alfred  Hartley,  Pauiter  ami  FJelier 


\\'e  will  n(nv  turn  our  attention  to  sonu'  ol  the 
reproductitins  of  liis  etchings  and  aciualinls  that 
accompany  this  article. 

Monte  Gra/</<a.  When  I  first  saw  this  aciuatiiit 
it  at  once  recalletl  those  lines  of  Byron's  in  "  ("hiUle 
Harold." 

'•  To  me 
High  mountains  are  a  feeling,  but  the  hum 
Of  human  cities  torture." 

Wiiat  i)erfect  sympathy  witli  his  subject  does 
this  simple  sketch  portray.  What  detachment  from 
the  va  et  vicnt  of  everyday  life  must  have  been  his 
to  have  enaliled  our  artist  thus  to  convey  to  our 
minds,  in  a  few  lines  and  tones,  something  of  the 
majesty  of  the  mountain  and  the  dignity  of  the 
vast  silences  that  surround  its  untrodden  snows. 
Obviously  he  did  not  see  in  this  view  merely  a 
good  subject  to  be  etched.  The  joy  whicli  the 
skilful  craftsman  feels  in  the  exercise  of  his  craft 
was  not  the  only,  or  even  the  chief,  joy  that  stirred 
his  pulses  as  he  transferred  this  view  to  paper. 
A\'hat  really  thrilled  him  was  the  possibility  of 
capturing  something  of 
the  God-like  spirit  of  the 
heights,  and  of  the  almost 
prayerful  stillness  of  the 
intervening  plain.  Thus 
this  little  print  affords  us 
an  eloquent  testimony  to 
the  value  of  the  artist's 
vision  in  relation  to  his 
technical  skill.  It  is  the 
difference  between  Art 
and  Craft,  and  that  is  all 
the  difference  in  the 
world.  The  latter  can 
stimulate  the  brain,  but 
only  the  former  can  stir 
the  soul. 

The  Chapel  Stairs, 
Eton  College.  Only  a 
winding  staircase,  a  stone 
portal  and  a  half  open 
door,  but  how  well  seen, 
and  how  truthfully  and 
lovingly  rendered  !  Even 
here,  simple  as  the  sub- 
ject is,  the  human  equa- 
tion reveals  itself  The 
soul  of  the  artist  whisi)ers 
to  us  as  we  gaze,  that 
here  is  something  more 
than  wood  and  stone, 
104 


something  sacrosanct  with  menK)ries,  something 
consecrated  for  all  time  1)\'  the  use  and  wont  of 
the  gav  )oung  spirits  of  the  illustrious  dead. 

At  the  Boathuildei-s.  In  the  reduced  scale  of 
this  reproduction  the  technical  skill  of  the  artist  is 
not  so  apparent  as  in  the  original  drawing.  The 
rendering  of  reflected  lights  in  even  the  darkest 
shadows  is  most  skilfully  managed  ;  and  the  whole 
chiaroscuro  of  the  shed,  lit  up  as  it  is  by  the  con- 
flicting lights  of  many  windows,  has  been  most 
cleverly  portrayed.  No  detail  has  been  shirked 
and  yet  the  general  effect  has  not  been  allowed 
to  suffer. 

The  Bridge.  Here  Hartley's  love  of  natural 
beauty  has  been  able  to  hold  high  festival.  This  is 
a  subject  that  must  have  especially  appealed,  not 
only  to  his  sense  of  form  but  of  colour,  which  latter 
on  this  occasion  he  was,  of  course,  unable  to  inter- 
l^ret.  It  is  a  bridge  spanning  a  ravine  in  Northern 
Italy,  in  the  vicinity  of  Asolo,  so  beloved  by 
Browning.  One  can  imagine  how  the  dainty  grace 
of  the  young  birches,  chequering  with  shadows  the 
sunlit  bridge,  with  the  laughing  stream  below  and 


IN    THE    FOREST 


FROM    Tllli    I'AINTING    BY    ALFRED    HARTI.IIV,    R.P.A.,    K.E. 


( By  permission  of  Messrs. 
Dowdeswells  ) 


'THE  BRIDGE."  AQUATINT  BY 
ALFRED  HARTLEY,  R.B.A.,  R.E. 


THE   CHAPEL    STAIRS.   ETON    COLLEGE" 
AOUATIXT  BV  ALFRED  ILARTLEV.  R.B.A.,  R.E. 


/O 


^■llfrjd  Hartley,   Painter  and  liteJier 


'V 


an  Italian  sky  above,  nui.st  liavc  almost  fulfilled  our  of  the  fecundity  of  the  old  earth  and  of  her 
artist's  inmost  desire.  fostering  maternal  fruilfulness.      Hartley  calls  this 

The  Moorin^i:^  J\)st,  Lake  Como.  This  is  one  of  print  simply  T/ic  Glade.  It  might  well  have  been 
those  subjects  Hartley  has  made  peculiarly  his  own.  named  "  An  Idyll  of  Summer,''  for  it  has  been  seen 
l'"ew  living  men  can  convey  so  simply  and  yet  so      with  a  poet's  vision. 

effectivciv  in  aquatint  the  subtle  spell   of   Italian  An  Essex  Stream.     A  rather  flat  and  not  very 

scenery.  Slight  as  is  this  sketch,  how  wonderfully  exciting  county  is  Essex  for  the  most  part.  But 
it  has  caught  the  sun-kissed  radiance,  the  brooding  its  villages  and  homesteads  are  as  dear  to  the 
peace  of  an  Italian  summer's  day  !  In  other  of  his  hearts  of  its  people  as  the  more  obviously  beauti- 
etchings,  for  which  there  is  not  space  in  this  article,  ful  ones  in  Devon  or  Somerset.  And  here  it  all 
Hartley  has  perhapsi caught  still  more  effectively  is  portrayed  with  that  sympathetic  vision  which 
the  pomp  of  Italian  sunlight,  and  the  unique  grace  characterises  Hartley's  work.  The  fine  old  church, 
of  her  towns  and  villages,  so  exquisitely  punctuated,  the  clustering  cottages,  the  mill,  the  spacious 
as  they  usually  are,  by  the  massive  silhouettes  of  meadow  dear  to  the  heart/s  of  the  children  at 
her  cvpresses,  which  cast  deep  pools  of  purple  shade  cowslip  time,  and  the  sluggish  stream  full  of 
athwart  her  dust-white  roads  and  her  still  whiter  infinite  possibilities  to  every  right-minded  boy 
walls. 

At  Low    Tide.      Here 
we  have    the    dignity    of 

the    clouds    and    the  '  ' 

spaciousness  of  the 
Atlantic  conveyed  to  our 
minds  with  unmistakable 
fidelity.  And  yet  how 
simply  I  Three  or  four 
flat  tones,  but  there  it 
all  is.  Those  towering 
cumuli  have  the  majesty 
of  Alps.  There  is  a 
latent  power  in  the  dark 
ribbon  of  water.  A\'e 
know  it  has  an  ocean's 
strength,  though  at  the 
moment  it  is  toying  with 
the  level  sand  in  mere 
ripples  of  lace-like  foam. 
Only  great  accuracy  of 
proportion  could  convey 
this  sense  of  space  and 
elemental  power.  What 
cockleshells  are  the 
fishing-boats !  what  pig- 
mies the  bathers  in  this 
great  drama  of  sea  and 
sky  ! 

The  Glade.  In  the 
repetition  of  form  and 
mass  in  the  trees,  together 
with  their  stately  height 
and  the  designed  sim- 
plicity of  land  and  sky, 
we  realise  something  of 
the  glory  of  a  still  sum- 
mer's evening,  something 
1 08 


-■(£!) 


01. 1)    ARCllWAV,    ASOI.O 


AQUATINT  BV    ALFREO    HARTI.KV,    R.B.A.,    R.K 


(  By  permission  oj  Messrs.  Dowdeswclls ) 


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Alfred  Hartley,  Painter  ami  Etcher 


THE    FLAG-STAFK 

FROM    AN    ETCHING    IN    COLOUR    BY    ALFKKD    HARTLEY,    R.B.A.,    R.E. 


over  six  years  ui  age.  Yes,  it  is  all  here,  though 
recorded  with  a  very  few  lines.  But  it  is  a  record 
of  love.  And  I  am  inclined  to  think  that  in  all 
creative  art  love  and  genius  are  very  nearly,  if  not 
quite,  synonymous  terms. 

Unfortunately  limitation  of  space  precludes  me 
from  doing  little  more  than  just  enumerating 
Hartley's  landscape  paintings  which  are  here  repro- 
duced in  black  and  white.  They  may  be  taken  as 
fairly  representative,  though  they  do  not,  of  course, 
give  any  hint  of  their  colour-schemes,  which  in  all 
his  oil  paintings  are  refined  and  very  personal. 

The  Estuary  is  a  scheme  of  blue  and  gold.  It 
was  painted  in  St.  Ives  Bay  where,  as  those  who 
know  it  are  aware,  the  colour  in  fine  weather  is  of 
almost  Italian  intensity. 

Versailles.  Bright  and  gay  as  the  spirit  of  the 
people  who  created  it.  It  is  one  of  her  spacious 
terraces  that  Hartley  here  depicts.  He  tells  me 
that  this  unique  palace  always  strangely  affects 
him.     He  feels  it  is  so  instinct  with  the  genius  of 

112 


France  and  so  closely 
connected  with  the  death 
knell  of  her  kings. 

The  Garden  oj  the 
Grand  Trianon  is  a 
dignified  composition. 
It  is  a  symphony  of 
blue,  green,  and  yellow 
\italised  or,  as  it  were, 
tuned  up  to  concert 
pitch  by  the  brilliant 
note  of  red  in  the  fore- 
ground parasol. 

///  the  Forest  is  full 
of  rich  warm  browns, 
and  the  spirit  of  a  wood- 
land solitude. 

Silvery  lYight.  Here 
the  colour-scheme  is 
very  subtle,  and  the 
veiled  moonlight  is  most 
poetically  realised. 

A.  G.  F.  S. 
[As  various  works  by 
Mr.  Hartley,  other  than 
those  which  have  been 
reproduced  to  illustrate 
the  foregoing  article, 
have  appeared  in  these 
pages  from  time  to  time, 
the  following  list  may 
prove  useful  to  readers. 
A  sketch  in  oils  was 
reproduced  in  the  fifth  number  of  the  magazine 
(August  1894);  a  painting  entitled  The  Belated 
Flock,  in  May  1 899  ;  a  lithograph,  Alan's  Head,  in 
November  1895  ;  a  decorative  panel  for  a  Rose- 
wood riano,  as  a  supplement  to  the  February 
number,  1903;  two  etchings.  Chateau  de  Blouay 
and  On  the  Tees  appeared  in  April  1894  and 
May  1897,  respectively;  The  Drooping  Ash,  an 
etching  in  colours,  as  a  supplement  in  May  1910, 
and  Herring  Boats,  St.  Fves,  an  aquatint,  also 
reproduced  as  a  supplement,  in  April  19 14.  The 
Special  Winter  Number  for  191 2-13  on  "  Modern 
Etchings,  Mezzotints  and  Drypoints,"  contained 
a  colour  reproduction  of  Silverv  Xight,  an  etching 
in  colours  corresponding  in  composition  to  the 
painting  with  the  same  title  now  reproduced.] 


The  Brighton  Corporation  has  purchased  for  its 
permanent  collection  the  picture  by  Mr.  Frederic 
Whiting,  R.B.A.,  called  The  Amateur  Rider,  which 
was  reproduced  in  our  issued  of  March  19 14. 


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silvp:ry  night."    from  the  painting 
by  alfred  hartley,  r.b.a.,  r.e. 


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"A   CORNISH    FISHERMAX."     ETCHING 
BY   ALFRED   HARTLEY,   R.B  A.,  R.E. 


J\(rc//f  /)('s/o//s  ill  Domestic 


4ychitccfiire 


R 


ECENT  DESIGNS  IX  DOMESTIC 
ARCHITECTURE. 


On  several  occasions  during  the  past  four 
or  five  years  we  have  given  illustrations,  both  here 
and  in  Thk  STunio  Year  Book  of  Decorative  Art, 
of  houses  designed  by  Mr.  Robert  F.  Johnston,  a 
young  architect  who  practised  at  i  lirook  Street^ 
Hanover  Square,  London.  In  now  giving  some 
further  illustrations  of  his  designs  of  more  recent 
date,  we  have,  much  to  our  regret,  to  [)rLlace  our 
description  of  them  with  an  intimation  of  his  death, 
which  took  place  after  a  very  brief  illness  ir. 
November  last.  Though  only  a  few  years  had 
elapsed  since  he  began  to  practise  independently, 
Mr.  Johnston  had  gained  for  himself  an  assured 
position  in  the  profession  as  an  architect  of  sound 
ideas  and  good  taste.  He  was  especially  successful 
with  country  houses  of  moderate  proportions ; 
simplicity  and  convenience  were  the  qualities  which 
he  kept  in  view  in  his  planning,  and  a  dignified 
simplicity  was  the  keynote  of  his  elevati(jns,  while 


throughout  his  i)ractice  he  laid  great  stress  on  sound 
workmanship  and  good  (juality  of  materials. 

The  two  hou.ses  we  now  illustrate  were  among 
the  last  to  be  designed  by  Mr.  Johnston,  that  at 
Chorley  Wood,  of  which  two  views  are  given,  having 
been  completed  only  a  few  weeks  before  his 
death.  This  house  is  situated  in  a  beautiful  old- 
world  orchard  at  Chorley  Wood,  Herts,  known  as 
"The  Cherry  Orchard."  The  house  is  designed  in 
sympathy  with  its  setting,  the  elevations  being  treated 
in  roughcast,  while  the  chimneys  are  built  of  small 
hand-made  red  bricks,  and  the  roof  covered  with 
rough  hand-made  tiles.  The  other  house,  Burwood 
Ash,  is  designed  on  a  much  larger  scale.  Its  site  is  in 
the  beautiful  neighbourhood  of  the  Chalfonts,  and 
gives  extensive  views  to  the  south  and  south-west. 
The  house  is  symmetrical  in  design  and  is  girt  about 
on  the  garden  front  by  extensive  terraces,  lawns,  and 
a  pool,  and  depends  very  largely  for  its  efifect  on  the 
grouping  of  the  masses  in  relation  to  the  solids  and 
voids,  so  that  a  proportionate  light  and  shade  effect 
may  be  obtained  with  the  sombre  colouring  of  the 


"THE    ORCn.^RD,"    CHOKLKY    WOOIJ,    UKRTS 
I  20 


K.     1'.     lOIINSTON,    AKCUITKCT 


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brickwork,  which  is  treated 
with  small  luintl-madc  red 
bricks  of  uniform  colour, 
but  varying  texture,  the  roof 
being  covered  witii  rough 
hand-made  tiles.  The  formal 
gardens  were  also  designed 
by  Mr.  Johnston,  who  made 
a  feature  of  garden  design 
in  his  practice. 

The  bungalow  of  wliich  we 
give  an  illustration  opposite, 
was  recently  completed  at 
Nuwara  Eliya,  Ceylon, 
where  it  stands  on  a  fine 
site  6000  feet  above  sea 
level,  commanding  some  of 
the  most  magnificient  views 
in  the  island.     The  planning 


r*^I/T(?e 


I'l.AN    OF    "the   orchard, 
HERTS 


THE    ORCHARD,"    CHORl.KV    WOOD:    ENTRANCE    FRONT 

R.    F.    JOHNSTON,    ARCHITECT 


of  the  house  was  largely 
influenced  by  these  views, 
and  by  the  direction  of 
the  monsoon.  The  plan 
consists  of  a  hall,  iS  feet 
by  17  feet,  entered  through 
a  loggia,  a  drawing- 
room,  18  feet  by  15  feet, 
and  a  dining-room  of  similar 
dimensions.  There  are 
three  bedrooms,  one  being 
arranged  en  suite  with  a 
dressing-room  and  bath- 
room. The  servants'  com- 
pound with  the  kitchen  is 
at  the  rear  and  is  approached 
by  a  covered  way.  The 
walls  are  built  of  local  stone, 
quarried  near  the  site,  and 
the  external  joinery  is  finished 
white.  The  internal  details 
and  decorations  are  simple 
in  character,  the  prevailing 
colour  of  the  walls  and  wood- 
work  being  French  grey. 
The  open  fireplaces  were 
designed  in  local  stone  left 
rough.  The  work  has  been 
carried  out  from  the  designs 
of  Mr.  H.  Stratton  Davis 
(Messrs.  Trew  and  Davis), 
Architect,  of  Gloucester. 


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SOME  EAST  ANGLIAN  SKETCHES 
BY  A.  E.  NEWCOMBE 


.'  Remains  of  Monastery,  Andley  End' 
124 


Lead  Pencil  Draiving  by  A.  E.  Navccnhc 


J0 


'  'J'lic  Galc'vay  of  Long  Mcljord  Hall."     /.cad 
Pciuil  Drar^ving  by  A.  E.  Nnviombe 


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"  'I'haxted.''     Lead  Pencil  Drawiii}; 
by  A.  E.  Newcoiiihe 


' '  Flatjord  Uyk. "     Ltad  Peiuil 
DraiL'im;  hy  A.  E.  Newcombe 


'  Old  Cotlas^es  on  the  Road  from  Halstead  to  Pebmarsh." 
Lead  Pencil  Drawini^  by  A.  E.  Newcombe 


Saffron  Wahiiiir     Lead  Pencil 
Diaivin:^ by  A.  E.  Newrombe 


\><t 


Still-Life  Paiuti)igs  by  Sibyl  Meugens 


DKCORATIX'K  S  r  I  LL-LI  !•  E 
V  A  I  N  r  I  N  G  S  BY  SIB  Y  L 
MKUGENS. 

Ok  all  the  various  branches  of  the  art  of  the 
painter  it  has  always  seemed  to  me  that  Still  Life 
affords   the  artist  the  most  untrammelled  occasion 
for  the  exercise  of  his  skill.     In  every  kind  of  art 
we  can  distinguish  between  subject  and  technique, 
between  the  thing  done  and  the  manner  of  doing 
it,   no  matter  whether  listening  to  a  musician   or 
looking  at  a  picture.     The  highest  form   of  art  is 
surely  that  in  which  we  tind  a  noble  and  inspiring 
theme  handled  in  a  fine  and  worthy  manner  ;  but 
a  picture  which,  though  great  in  subject  is  poor  in 
technique,  still  arouses  our  interest,  as  also  does  the 
work   in  which  subject   is  nothing,  the  craftsman- 
ship all.     I   venture   the   opinion,   therefore,   that 
Still  Life  will  be  in  the  main  always  a  "painter's  " 
art,    appealing   chiefly    to  the  student  and   to  the 
amateur   of    fine    artistry, 
for  in  pictures  of  this  kind 
the    subject   is    often    of 
minor   significance,   while 
the  handling  and  the  tech- 
nique   are    of   paramount 
importance.     The    motifs 
are  a  matter  of  absolutely 
free  choice  of  the  artist, 
the   arrangement    of    the 
composition     is     for    the 
most  part  purely  artificial 
and    the    outcome    of    a 
personal    predilection   for 
certain  schemes  of  colour, 
certain    forms,    certain 
effects   of  light  upon  sur- 
faces  of   different    kind.s, 
but  the  craftsmanship,  the 
technique,  it  is  that  gives 
to   a    sometimes    strange 
and  unexpected  agglo- 
meration of  heterogeneous 
objects   its    meaning  and 
quality   as    a   work    of 
art. 

.Still  Life  is  often  merely 
imitative  and  to  some 
extent  rightly  so,  for  all 
questions  of  selection  and 
composition  are  capable 
of  being  dealt  with  by  the 
artist  when  handling  the 
objects  in  actuality,  and 
130 


need  not  to  be  settled  in  the  mind  or  upon  the 
canvas,  as  is,  for  instance,  the  case  in  landscape 
painting.  But  the  more  personal  the  outlook  of 
the  ])ainter,  and  conse(juently  the  more  indi- 
vidual his  craftsmanship,  the  less  will  the  picture 
approach  to  that  faux  ideal  of  bald  realism,  and 
the  nearer  will  it  become  to  being  worthy  to  rank 
as  fine  art. 

There  is  a  subtle  (jualily  of  paint  about  these 
little  decorative  still-life  pieces  by  Mme.  Sibyl 
Meugens  which  constitutes  their  chief  beauty. 
She  depicts  with  rare  skill  and  cunning  the  interest- 
ing objects,  china,  glass,  jewels,  silks,  and  embroid- 
eries with  which  she  loves  to  compose  these 
delightful  "arrangements"  of  form  and  colour; 
but  she  also  contrives  to  give  to  her  paint  a  texture 
and  liquid  quality  which  it  is  difficult  to  do  justice 
to  in  words,  but  very  pleasant  to  appreciate  and 
enjoy  whilst  looking  at  her  work.  Her  sense  of 
colour  is  extremely  refined,  and  very  charming  are 


llIE   OWl.    CANDLESTICK 


BY    SIBYL. MEUGENS 


(In  the  Colleclioii  of  Edniuni  Davis,  Esij. ) 


(In  the  Collection  of  Williatn  Caine,  Esq.) 


(In  tih-  Co//trtion  of  Lady  Rcl'^-hJ 


m 


"THE    GREEN    JA  R."  and 

"SHADOWS."        FROM      OIL 

PAINTINGS  BY  SIBYL  MEUGENS. 


still- Life  Paintings  by  Sibyl  Meugens 


"black    and    white"  by    sibyl    MliUGENS 

(In  the  Collection  of  Dr.  Banks) 

the   harmonious     effects — strangely    attractive     at 
times — which  she  attains. 

In  these  decorative  panels  (and  the  fact  that  she 
paints  upon  wood  may  account  in  a  measure  for 
the  beautiful  fluency  of  her  brushwork),  in  the  trace 
of  virtuosity  in  their  arrangement  and  in  their 
exquisite  colour,  there  are  haunting  memories  of 
many  sources  of  inspiration  ;  but  the  whole  of 
Mme.  Meugens'  work  is  so  transfused  with  the 
individuality  of  the  artist  that  it  has  a  character 
peculiarly  its  own.  For  several  years  Mme. 
Meugens  studied  in  Paris,  attending  the  cro(juis 
classes  at  Colarossi's,  but  in  the  main  she  has 
worked  out  her  artistic  creed  unaided  ;  and  an 
interesting  point  is  the  development  in  her  art 
which  she  feels  was  the  outcome  of  three  or  four 
years'  abstention  from  its  practice  owing  to  ill- 
health,  during  which  time  she  continued  to  paint 
pictures  in  her  mind,  and  on  resuming  her  painting 
found  that  the  idleness  of  her  hands  had  been,  not 
only  no  hindrance,  but  rather  a  help  towards  the 
further  progress  and  the  strengthening  of  her 
artistic  powers.  Mme.  Meugens  is  a  very  rapid 
worker  and  invariably  carries  through  a  painting 
from  start  to  finish  without  a  break — it  is  never 
put  aside  to  be  taken  up  and  worked  over  on  a 
later  occasion. 


The  pictures  which  are  reproduced  here  formed 
part  of  an  attractive  exhibition  of  thirty  of  Mme. 
Meugens'  paintings  shown  some  few  months  a,go 
at  the  Ryder  Galleries,  and  these  eight  reproductions 
give  a  good  idea  of  the  admiration  she  expresses  in 
her  art  for  the  artistic  productions  of  the  makers  of 
china,  glass,  and  all  manner  of  rare  and  beautiful 
things.  Especially  noteworthy  are  the  virtuosity  and 
skill  she  displays  in  the  treatment  of  the  multi- 
farious reflections  in  lustre  ware  in  such  pieces  as 
Silver  Lustre  and  Rose  Nhion,  the  latter  a  delight- 
ful scheme  of  black  and  rose  colour  with  a  string 
of  bright-hued  beads  hanging  out  of  the  bowl  at 
the  foot  of  the  picture.  Very  subtle  is  the  colour- 
scheme  in  The  Owl  Candlestick^  with  its  harmonies 
of  old  gold  and  blue  and  black,  somewhat  re- 
miniscent of  the  dull  richness  of  certain  old 
Japanese    prints ;   and   in    the    other  pictures    re- 


"  ROSK    NINON"  BY   SIBYL   MEUGENS 

(In  the  ColUitioii  of  William  Caine,  Esq.) 

'33 


Sfiidio-  Talk 


produced  we  can  appreciate  to  a  like  degree  tlie 
artistry  with  which  Mire.  Meiigcns  arranges  heauti- 
ful  objects  to  form  a  sclunie  which  she  transcribes 
in  these  decorative  still  life  i)iccts. 

Concurrently  with  the  exhibition  at  the  Ryder 
Gallery,  the  artist  had  on  view  three  works  in  the 
recent  Autumn  Exhibition  at  the  GoupH  Gallery, 
and  in  these  pictures,  particularly  in  Black  Soap- 
stone  and  The  Lotus,  the  refined  surface  (luality  of 
her  paint,  and  the  rare  skill  with  which  she  com- 
poses her  pictures,  were  very  worthy  of  note. 

Her  fondness  for  china  and  glassware  is  evinced 
in  such  works  as  the  beautiful  Study  in  White,  La 
Theiire  Anghxise,  and  The  Green  Jar ;  while  her 
sensitiveness  to  beauty  of  pattern  may  be  appre- 
ciated in  Black  ami  White  and  in  Shadows,  with  its 
subtle  harmonies  of  tone  and  colour  echoed  in  the 
shadows  and  reflections. 
It  is  this  accent  of 
feminine  attraction  to  beau- 
tiful  stuffs,  rare  china, 
jewels,  and  ornaments  of 
all  kinds,  together  with  the 
highly  trained  sense  of 
graceful  decoration,  that 
gives  to  Mme.  Meugens'  art 
its  sympathy  and  charm; 
then,  too,  are  not  these 
things,  these  "articles  of 
bigotry  and  virtue,"  which 
she  depicts  with  such  affec- 
tion and  delight,  her  own 
lares  et penates,  familiar  to 
her  by  their  presence  in 
her  rooms  and  cherished 
as  possessions  gradually 
acquired  with  the  instincts 
■of  tne  true  and  discrimin- 
ating collector  of  objets 
d'art  ? 

Still-life  I  have  referred 
to  as  being  often  merely 
imitative,  at  times  it  is 
nothing  more  thiin  a  prhis 
in  paint  of  the  salient  visual 
characteristics  of  the  ob- 
jects depicted  ;  but  the  art 
is  seen  at  its  best  when  the 
painter  succeeds  by  sym- 
pathetic feeling  and  insight 
in  infusing  a  touch  of 
poetry  into  the  composition 
and  in  giving,  as  Mme. 
Meugens    has    so    well 

134 


succeeded  in  doing,  something  of  the  delicate  grace 
and  charm  of  a  sonnet  to  what  might  be  merely  a 
piece  of  careful  prose.  Akhhk    Rkddik. 

STUDIO-TALK. 

(From  Our  Own   Correspondents.) 

LONDON.  — The  Professional  Classes  War 
Relief  C^ouncil  has  recently  formed  a  very 
strong  Arts  in  War  Time  Committee  to 
-^  consider  what  policy  should  be  adopted 
to  create  a  market  during  the  War.  The  Committee 
consists  largely  of  members  of  the  Imperial  Arts 
League  War  Committee,  with  whom  close  touch 
is  maintained,  the  two  Committees  adopting  a 
joint  policy  and  working  in  co-operation.  Among 
members  of  the  new  Committee  are  :  Mr.  Edwin 


"  I.A   TUfelKRE    ANGL 
(In  tht 


AISE"  HY    SinVI.    MEUGENS 

Colled  ion  of  C.  G.offrey  Holme,  Esj.,  R.B.A.) 


Stiidio-Talk 


"study    in    white"'  by   sibyl    MELGEN5 

(In  the  Collection  of  Lady  Roberts. — See  opposite  t>age) 


A  scheme  which  the  London 
Society  has  undertaken  with  a  view 
to  finding  employment  for  a  certain 
number  of  professional  men  who 
have  had  their  ordinary  work  en- 
tirely stopped,  or  seriously  inter- 
fered with,  by  the  war,  has  for  its 
object  the  preparation  of  a  develop- 
ment plan  upon  which  future  im- 
provements for  Greater  London 
may  be  based.  Since  the  begin- 
ning of  the  year  work  on  the 
preparation  of  this  plan  has  been 
proceeding  in  earnest  under  the 
guidance  of  a  powerful  committee, 
with  Sir  Aston  ^Vebb,  R.A.,  as 
chairman,  and  it  has  been  decided 
to  divide  the  area  of  operations 
into  six  sections,  each  in  charge  of 
a  gentleman  with  a  special  know- 
ledge of  the  locality.  As  the  survey 
work  involves  a  considerable  out- 
lay, the  society  is  appealing  for 
funds  to  carry  on  this  important 
undertaking.   

As  the  result  of  the  sale  at 
Christie's  on  February  5  of  over  a 
hundred  water-colour  drawings  by 


Bale,  R.L,  Mr.  W.  R. 
Colton,  A.R.A.,  Mr.  John 
Lavery,A.R.A.,  Mr.  David 
Murray,  R.A.,  Mr.  E. 
Newton,  R.A.,P.R.LB.A., 
Mr.  Reynolds  -  Stephens, 
Mr.  Harold  Speed,  Mr. 
Paul  Waterhouse,  and 
Sir  Aston  Webb,  R.  A.  It 
has  been  decided  that  the 
main  scheme  of  the  Com- 
mittee will  be  to  arrange 
for  exhibitions  of  artists' 
work  to  be  held  from 
time  to  time  as  occasion 
offers,  and  also  to  open 
shortly  a  permanent  e.xhi- 
bition  at  13  and  14  Prince's 
Gate,  S.W.,  which  Mr.  G. 
Pierpont  Morgan  has  very 
generously  placed  at  the 
service  of  the  Council  for 
the  transaction  of  its 
affairs. 


"SILVER    lustre"  KV    SIKVL    MEUGENS 

(In  the  Collection  of  William  Cainc,  Esg. — Sec  pa^c  /jjj 

135 


Studio-  Talk 


members  and  associates  of  the  Royal  Society  of 
Painters  in  A\'ater  Colours,  the  funds  of  the  Red 
Cross  Society  and  the  St.  John  Ambulance  Associa- 
tion have  been  augmented  to  the  extent  of  more  than 
two  thousand  pounds.  After  being  on  view  at  the 
society's  galleries  in  Pall  Mall,  where  preliminary 
bids  were  received,  the  drawings  were  shown  for 
more  than  a  week  at  the  sale  rooms  of  Messrs. 
Christie,  by  whom  the  entire  proceeds  of  the  sale 
have  been  handed  over  to  the  funds  mentioned 
without  any  deduction. 


^^'e  produce  three  charcoal  drawings  by  Miss 
Stella  Langdale  in  which  the  use  of  the  medium 
for  the  purpose  of  j)ictorial  expression  is  effectively 
exemplified.  As  a  student  at  the  Brighton  School 
of  Art  the  artist  acquired  facility  in  handling  it, 
but  not  until  she  came  in  contact  with  the  work  ot 
Mr.  A.  F.  Palmer,  R.B.A.,  did  she  become  fully 
alive  to  the  range  of  its  possibilities. 


Owing  to  the  fact  that  some  of  its  most  important 
members  are  at  present  serving  in  the  army,  the 
Modern  Society  of  Portrait  Painters  felt  the  neces- 
sity of  making  its  exhibition  this  year,  at  the  Insti- 
tute of  Oil  Painters,  retrospective  in  character.  This 
afforded  an  opportunity  for  gauging  the  merits  of 
the  Society  as  a  whole,  and  of  forming  an  authori- 


tative impression  of  its  attainments.  No  one  could 
fail  to  be  struck  by  the  eagerness  and  modernity  of 
its  spirit,  which  so  well  justifies  its  name,  or  by  the 
great  amount  of  real  talent  in  the  younger  men, 
which  promises  much  for  the  future  of  portraiture  in 
England.  But  the  visitor  was  also  regrettably  made 
conscious  of  an  intense  note  of  self-consciousness, 
a  straining  to  appear  clever  at  all  costs.  It  almost 
seemed  as  if  no  artist  in  the  exhibition  was  himself, 
and  that  hardly  any  sitter  was  allowed  to  appear 
himself.  Some  of  the  people  who  sat  for  the 
portraits  must  have  the  most  charming  dispositions 
in  the  world  to  have  tolerated  the  treatment  they 
received  at  the  artist's  hands.  One  artist  in  par- 
ticular, a  painter  of  indisputable  talents,  seemed 
to  have  taken  advantage  of  a  good-natured  sitter 
to  present  him  with  a  caricature ;  for  a  painting  can 
be  a  caricature  in  spirit  without  gross  exaggeration. 
The  best  of  Mr.  Lambert's  portraits  was  Mrs.  G. 
Crmvley,  a  work  possessing  every  beauty  except 
naturalness — one  could  almost  picture  the  painter 
arranging  the  sitter's  fingers  on  the  crystal  globe 
which  she  holds  on  her  lap.  Going  round  the 
exhibition  generally  the  painters  seemed  to  us  to  be 
always  coming,  so  to  speak,  obtrusively  between  us 
and  the  sitter,  with  every  conceit  and  mannerism  it  is 
possible  to  imagine.  This  is  a  pity  since  it  alienates 
the   public    from    our  modern  artists,  who  reduce 


FISHING-BOAT    O.N    LAKE     CO.MO 


136 


KROM    A    CHAKCOAI.    DKAWINC    BY    STEI.IA    I.ANC.DAI.K 


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studio-  Talk 


their  sitters  to  the  status  of  studio  models.  A 
feature  of  the  exhibition  was  the  reappearance  of 
Mr.  Glyn  Phi'lpot's  La  Zarzarrosa,  a  group  of 
three  Spanish  people,  painted  in  the  manner  of 
Manet,  which  some  years  ago  practically  announced 
the  "  arrival ''  of  this  interesting  artist.  Mr.  W.  B. 
E.  Rankens  Mrs.  Kehey  was  anotlier  work  of  im- 
portance. The  best  of  Mr.  Fiddes  ^^'att's  contri- 
butions was  Dr.  Shadwell.  This  picture  in  its 
increased  refinement  will  do  much  for  his  reputation. 
The  fantastic  little  group  of  two  children  and  a  cat 
on  a  sofa  by  Mr.  Philip  Connard,  a  non-nieml)er, 
itself  considerably  strengthened  the  exhibition. 
Mr.  Gerald  Kelly  was  most  successfully  represented 
in  A  Mandalay  Lady.  The  more  direct  in  inten- 
tion and  the  less  he  yields  to  after-thoughts  the 
finer  this  artist  is.        

The  exhibition  of  the  Friday  Club,  held  at  the 
Alpine  Club  last  month,  was  of  interest,  perhaps 
more  for  its  endeavour  to  pioneer  post-impres- 
sionism in  England  than  for  any  artist's  outstand- 
ing achievement.  Certain  theories  were 
to  be  seen  applied  here  most  con- 
scientiously which  have  yet  to  justify 
themselves  to  those  interested  in  the 
development  of  painting,  logical  and 
attractive  as  they  may  seem  in  writing 
when  put  forward  by  an  able  critic. 
^^'e  found  ourselves  most  in  sympathy 
with  paintings,  both  in  oil  and  water- 
colour,  of  English  landscape  by  Mrs.  N. 
Munro  Summers  and  Mr.  Walter  F. 
Burrows.  Recognising  the  neighbour- 
hood from  which  several  of  these  were 
taken,  we  were  the  better  able  to  ap- 
preciate structure  of  hills  and  formation 
of  flat-land  admirably  adapted,  with 
preservation  of  essential  character,  to 
landscape  design.  We  have  here  an 
art,  not  without  pleasant  topographical 
.sentiment,  which  recovers  much  of  the 
tradition  of  Paul  Sandby  and  the  Eng- 
lish water-colourists  ;  where  a  difference 
is  to  be  perceived  is  in  the  failure  of  the 
modern  artists  to  retain  the  peculiar 
truth  to  English  atmosphere  which  gave 
spirituality  to  the  effects  of  the  early 
masters.  This  fault  seems  to  lie  with  a 
choice  of  colouring,  which  aims  rather 
at  introducing  fresh  elements  to  the 
landscape  palette,  as  used  in  this  country 
to-day,  than  at  that  most  subtle  of  all 
resemblances  which  it  is  in  the  power 
138 


of  the  poetically  disjiosed  landscai)e  painter  to 
command.  A  gem-like  interior  piece  by  Mr.  F.  H. 
S.  Shepherd,  a  Study  for  I\xml  by  Mr.  C.  L.  Colyn 
Thomson,  the  River  Tiveed  by  Mr.  I).  Muirhcad, 
the  Decoration  for  Blue  Room  at  j  S/oa/ie  Court 
by  Mr.  Harold  Scjuire,  and  the  hand-painted 
pottery  of  Alfred  H.  and  Louisa  Powell  were 
interesting  features  of  the  exhibition. 

Ln'ERPOOL.— The  authorities  of  the  Town 
Hall  at  Liverpool  have  recently  developed 
a  loyal  ambition  to  have  portraits  of  our 
— ^  monarchs  on  the  walls,  in  continuation  of 
a  series  of  full  -  length  pictures  by  Lawrence, 
Ploppner,  Shee,  and  Phillips  of  Ceorge  HI, 
(leorge  IV,  William  IV,  and  the  Duke  of  Vork, 
which  have  come  down  to  them  from  the  early 
part  of  last  century.  Two  or  three  years  ago  they 
accepted  against  advice  and  because  it  was  a  gift  a 
portrait  of  King  Edward  VII,  but  it  is  not  now  on 
view.  Recently  they  acquired  replicas  of  the  por- 
traits by  Sir  Luke  Fildes  and  Mr.  Llewellyn  of  the 


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DRAWING    BY    SI  EI. LA    LANGDAI.K 


In  the  possession  of  the 
Liverpool  Corporation) 


LA    DAME    AUX    FOURRURES 
NOIRES."     BY  PILADE  BERTIERI 


studio-  Talk 


j)rtsont  King  and  (^)ueen,  andjheir  latest  prize  is  a 
copy  of  the  llaniboyant  pcrtrait  of  (^)uecn  Victoria 
by  Sir  George  Hayter  in  the  National  Portrait 
Gallery,  itself  a  late  replica  of  his  original. 

The  Liverpool  Arts  Committee  in  spite  of 
depressing  conditions  have  plucked  up  courage  to 
spend  some  money  in  purchases  from  their  Annual 
Exhibition.  They  have  bought  Sea  and  Sunset 
Glow,  by  Julius  Olsson,  A.R.A.,  and  La  Dame 
aux  Fourntres  Noires,  by  Pilade  15ertieri,  a  full- 
length  portrait  of  a  lady.  Also,  with  the  small 
income  ot  a  bequest  by  the  Earl  of  Derby,  "  for  the 
encouragement  of  rising  artists,"  they  secured 
James  Quinn's  A  Japanese  Lady  and  Cattle  in  a 
Meadow,  by  Andrew 
Douglas.  In  the  Black 
and  ^Vhite  Section  twenty- 
four  etchings  [and  litho- 
graphs, selected  by  the 
Curator,  were  taken. 
These  included  work  by 
E.  L.  Lumsden,  Oliver 
Hall,  W.  Lee  Hankey, 
Henry  Rushbury,  Francis 
Dodd,  Hamilton  Hay,  C. 
J.  ^^'atson,  David  \\'ater- 
son,  Percival  Gaskell,  J. 
Walter  West,  Dorothy 
\Voollard,Hanslip  Fletcher. 
Other  items  among  the 
Committee's  acquisitions 
were  a  miniature  of  the 
Lord  Chief  Justice  by  Chris 
Adams,  and  keramics  by 
Doulton,  Pilkington,  Wil- 
kinson, and  Howson 
Taylor.  The  exhibition, 
though  the  best  in  recent 
years,  suffered  as  regards 
attendance,  and  still  more 
in  the  matter  of  sales, 
which  apart  from  Corpora- 
tion purchases  amounted 
to  considerably  less  than 
the  total  of  prizes  declared 
by  the  local  Art  Union — 
^{^650 ;  a  small  sum  cer- 
tainly but  it  will  be  ex- 
tremely welcome  to  the 
artists  whose  pictures,  &:c., 
have  been  selected  by  the 
prize-winners.  This  sum 
remained   after    the   Art 


Union  Committee  had  patriotically  given  10  per 
cent,  of  their  takings  to  the  Prince  of  Wales's 
Fund.  '  T.  N. 


M 


O.SCOW. — Among  various  exhibitions 
which  have  lately  been  held  here  in 
aid  of  sufferers  from  the  war  one  of 
the  most  successful  was  that  of  the 
scul[)tress,  Anna  Golubkina.  One  advantage  it 
had  over  the  other  exhibitions,  where  in  the  cause 
of  charity  a  good  deal  of  mediocre  work  made  its 
appearance,  was  its  unity,  for  practically  the  entire 
life  work  of  the  talented  artist,  comprising  some- 
thing like  a  hundred  and  fifty  pieces  of  sculpture  in 
plaster,  marble,  stone  and  wood,  was  represented. 


PORTRAIT    BUST   OK    M.    Rli.MEZOKF    (PLASTER) 


KV    ANNA    GOl.lBKINA 


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Stiidio-Talk 


TWO    HEADS    (MARBLE) 

As  a  result  the  impression  communicated  was  that 
of  a  strong  artistic  personaUty  endowed  in  a  high 
degree  with  individual  traits. 


Anna  Golubkina,  who  was  born  in  1864,  comes 
from  a  peasant  family.  In  1891  she  entered  the 
Moscow  School  of  Art  and  then  for  a  term  attended 
the  Imperial  Academy  of  Arts  in  Petrograd,  after 
which  she  studied  for  a  while  in  various  Paris 
studios.  Here  her  work  aroused  the  interest  of 
Rodin,  and  although  the  young  Russian  sculptress 
never  really  worked  under  the  immediate  super- 
vision of  the  great  French  master,  he  exercised  a 
strong  influence  on  her  development,  which  is  seen 
chiefly  in  numerous  productions  of  her  first  period, 
particularly  those  of  a  figural  nature,  and  it  is  also 
plainly  visible  in  her  work  of  a  later  date.  But 
Miss  Golubkina  has  never  become  an  imitator  of 
Rodin  ;  she  was  not  long  in  finding  that  path  of 
her  own  which  she  has  pursued  down  to  the  present 
time  with  striking  success. 


only  rarely  has  she  suc- 
cessfully essayed  figure 
compositions  of  large 
dimensions  and  designs 
of  a  symbolic,  abstract 
character.  She  has  by 
preference  devoted  her- 
self to  the  portrait  bust, 
and  here  too  it  is  not  so 
much  the  bust  proper  that 
has  engaged  her  attention 
as  the  countenance  and 
its  characteristic  linea- 
ments. Side  by  side  with 
this  specifically  feminine 
trait  there  goes  an  alto- 
gether masculine  vigour 
of  conception  ;  a  strength 
o{  fact  lire  which  is  often 
distinctly  unfeminine,  and 
it  is  this  trait  that  gives 
to  Miss  Golubkina's  busts 
and  heads  a  quite  indi- 
vidual cachet.  Two  types 
of  countenance  constantly 
recur  with  variations  in  Miss  Golubkina's  xuvre. 
On  the  one  hand  we  have  a  delicate,  frail  type  of 
woman  and  child  with  heavy  eyelids  and  mouths 
that  wear  an  expression  of  suffering  ;  and  then  as  a 
contrast  to  this  type  we  have  a  sensual,  satyric  cast 
of  countenance  with  thick  lips,  projecting  cheek 
bones  and  chin,  representing  the  Dionysiac  ele- 
ment in  man.  The  two  types  are  seen  together  in 
the  pair  of  heads  here  reproduced. 


BY    ANNA   GOLUBKINA 


The  strength  of  Miss  Golubkina's  talent  lies  in 
that  domain  of  art  in  which  the  chief  women 
artists  past  and  present  have  gained  distinction — 
namely  portraiture.  The  treatment  of  the  human 
body,  the  plastic  rendering  of  its  phases  of 
movement  and  the  play  of  its  muscles — all  this 
has  comparatively  little  interest  for  this  artist,  and 


Miss  Golubkina's  productivity  is  not,  however, 
restricted  to  creations  of  this  kind.  In  addition 
to  a  number  of  other  compositions  of  diverse 
sorts,  she  has  executed  numerous  portrait  busts  of 
prominent  Russian  personages,  which,  besides 
being  of  undoubted  artistic  value,  are  also  worthy 
of  notice  as  iconographic  documents.  She  has 
been  particularly  successful  with  works  of  this 
nature  since  wood  has  become  her  favourite  medium. 
The  somewhat  hyper-sensitive  lyricism  of  her 
marble  heads  has  found  a  desirable  counterpoise 
in  this  sturdy  material,  which  also  affords  scope  for 
a  great  diversity  of  colour  treatment,  and  her  whole 
facture  has  assumed  a  more  virile  appearance. 
Her  collective  exhibition  contained  some  striking 
examples  of  her  work  in  wood,  in  the  shape  of  some 
portrait  busts  of  elderly  ladies,  notably  a  head 
of  truly  Rembrandtesque  fervour  from  the  collec- 
tion of  Mr.  A.  Brocard  ;  and   her   busts   of  two 

145 


Studio-  Talk 


COREAN    TKA    HOWL    (K.OKAI    KficiIMK.) 

( Priihc  Li's  Colhction) 

literary  men,  Mr.  A.  A.  Reme/off  and  Count  Alexis 
Tolstoy,  in  the  same  material,  must  also  be  counted 
among  the  clous  of  the  show.  Both  these  works 
have  been  accjuired  for  the  Tretiakoff  Gallery. 


In  an  earlier  number  of  this  magazine  I  have 
spoken  of  the  work  of  Stanislaw  Noakowski,  an 
architect  who  has  made  a  special  study  of  Russian 
native  architecture.  Ardently  pursuing  this  line 
of  work,  he  has  in  the  meantime  executed  a  large 
number  of  drawings,  and  it  is  from  these  that  the 
two  now  reproduced  have  been  selected. 

P.  E. 

TOKYO. — One  of  the  most  interesting 
collections  of  art  objects  recently  shown 
in  Tokyo  comprised  the  treasures  of 
Prince  Li,  a  former  King  of  Corea, 
which  were  exhibited  in  the  Corean  Building  of 
the  Taisho  Elxhibition.  One  of  the  most  valuable 
exhibits  was  an  eight- panelled  screen  with  a 
painting  representing  a  naval  review  which  took 
place  after  a  Corean  victory  over  Japan  in  the 
Bunroku  era.  The  ceramic  ware  constituted  a  most 
interesting  part  of  the  collection.  There  were  a 
number  of  pieces  of  earthenware  of  the  Shiragi 
period  including  bone  jars  of  interesting  shapes. 
Among  the  exhibits  was  a  "  sucking  "  jar,  said  to 
have  been  dug  up  in  Southern  Corea,  and  bearing 
a  striking  resemblance  to  jars  found  in  old  Japanese 
tombs  and  now  preserved  at  the  Imperial  University 
at  Tokyo  and  in  the  Antiquarian  Museum  at 
Vamada.  It  may  be  remembered  that  a  number  of 
pieces  of  pottery  discovered  in  Kiushyu  and  in 
Southern  Corea  were  found  to  be  so  much  alike 
146 


as  to  point  to  a  close  intercourse  be- 
tween the  two  countries  in  early  times. 
This  "  sucking  "  jar,  therefore,  was  re- 
garded as  of  great  value  from  an  archaeo- 
logical standpoint,  as  well  as  an  evidence 
of  the  standard  of  artistic  attainment  in 
the  Shiragi  period.  The  use  of  the  jar 
is  not  very  explicitly  known,  but  it  ap- 
pears to  have  been  used  to  hold  wine 
and  other  drinkables  to  be  sucked  by  a 
long  tube  inserted  into  the  small  hole. 
There  were  also  some  porcelain  jars, 
some  with  and  others  without  a  glaze 
of  dull  colours.  Most  of  the  ceramic 
products  of  this  period  were  of  a  dark 
colour. 


Prince   Li's   collection    also   included 

some  fine  specimens  of  the  product  of  the 

Korai  period.  They  showed  fine  workmanship,  most 

of  them  having  some  carving  on  the  ground  with  a 

transparent  glaze  over  it.     A  few  pieces,  such  as 


COREAN    I'l.OWER    VASE    (KORAI    R^CIME) 

(Prince  Li's  CoUiction) 


Stitdio-  Talk 


COREAX    BRONZE    BUDDHISTIC    IMAGE    (KUDARA 
REGIME) 

(Prince  LCs  Collection) 

bottles,  jars,  bowls,  incense  burners,  were  of  a  soft 
and  exquisite  green.  A  water  jar  of  fantastic  shape 
was  particularly  interesting  as  a  technical  triumph 
in  blue.  There  was  also  a  beautiful  tea  bowl  in  the 
viishimade  style,  so  highly  valued  by  connoisseurs. 
The  inside  of  the  bowl  was  marked  with  the  name 
of  the  bureau  which  supervised  the  manufacture  ot 
such  articles  as  oil  and  paper.  In  the  great  variety 
ot  mishimade  ware  only  a  few  articles  can  be 
compared  with  this  one  in  workmanship.  There 
was  also  a  large  Korai  flower  vase  in  the  mishimade 
style,  although  this  style  is  generally  confined  to 
small  articles.  The  upper  part  of  the  vase  was 
decorated  with  the  characteristic  design  of  the 
mishimade^  and  the  lower  part  with  karaki/sa  /novo 
(floral  design),  while  the  central  part  was  adorned 
with  dragons  and  clouds.  There  were  also  other 
interesting  wares  in  black  tenwioku,  persimmon 
colour,  blue,  &c. 


Corea  has  produced  stone  carvings  of  unusual 
merit,  especially  in  the  Shiragi  and  Korai  periods, 
when  this  art  seems  to  have  reached  its  zenith. 
Master  stone-carvers  were  brought  from  China  and 
contributed  much  towards  the  development  of  this 
branch  of  art  in  the  country  once  known  as  the 
Hermit  Kingdom  of  the  Far  East.  Buddhism  was 
introduced  into  Corea  in  the  fifth  century  of  the 
Christian  era — about  two  hundred  years  before  it 
crossed  over  to  Japan  and  about  three  hundred 
years  after  it  was  introduced  into  China.  The 
toleration  extended  to  this  religion  did  much  to  stir 
the  artistic  aspirations  of  the  Corean  people.  There 
are  some  examples  of  plastic  art  belonging  to  the 
Shiragi  period,  especially  the  earlier  part  of  it,  but 
far  better  are  those  of  the  Sangoku  period,  though 
these  are  extremely  rare,  even  in  Corea. 


The  exhibits  comprised  ten  bronze  Buddhistic 


COREAN    rORCELAIN    WINE  JAR    (KORAI   REGIME) 

(Prince  Lis  Collection) 


.7r/  School  Notes 


^ 


a  realistic  tendency,  with  finer  designs  for  the 
dress,  a  fuller  countenance,  and  better  proportioned 
limbs.  Harada  Jiko. 


OI.D   COREAN    KARTHENWARE    (SHINRA    REGIME) 

(Prince  I.i's  Collection) 


images,  including  some  splendid  examples  of  the 
Sangoku  period  of  Corean  history,  which  began 
about  two  thousand  years  ago  and  lasted  for  some 
seven  centuries.  One  was  an  Amida  Nyorai  with 
an  enormous  head,  mouth  forcibly  shut,  and  eyes 
expressing  calm  tranquillity,  and  another  was  a 
Vakushi  Nyorai  also  with  a  large  head  and  long 
drooping  ear-lobes,  rather  rigid  garments,  and  the 
figure  as  a  whole  somewhat  stiff.  A  small  gilt 
Kwanzeon  Bosatsu  had  a  head  rather  more  pro- 
portionate with  the  body  but  hands  altogether 
too  large ;  the  facial  expression  was  exquisite. 
A'ery  different  from  these  three,  though  of  the  same 
period,  was  a  Nyoirin  Kwannon,  a  slender  figure 
seemingly  almost  naked,  sitting  on  a  stool  with  its 
right  leg  crossed  over  the  left,  the  attitude  being 
one  of  peaceful  quietude. 


The  other  examples  of  bronze  Buddhistic  sculp- 
ture, six  in  number,.belonged  to  the  Shiragi  period.  A 
well-modelled  gold  image  of  Amida  Nyorai  attracted 
much  attention.  There  was  also  a  Kwanzeon,  a 
well-proportioned  figure  if  it  were  not  for  the 
slightly  large  head  and  hands.  Another  example 
of  the  period  was  a  well-proportioned  and  finely 
modelled  figure  of  Yakushi  Nyorai  with  a  flowing 
robe  hanging  from  well-developed  shoulders,  but 
with  enormous  ears.  There  were  two  other  figures 
of  Amida  Nyorai  and  another  Kwanzeon.  Generally 
speaking,  the  products  of  the  Shiragi  period  show 
148 


ART  SCHOOL  NOTES. 

CDONDERRY.— All  who  have  at  heart  the 
development  of  the  arts  and  crafts  in 
Ireland  must  have  learned  with  regret  of 
the  death  of  Mr.  Harry  Houchen, 
A.R.C.A.,  late  Headmaster  of  the  Municipal 
School  of  Art,  Derry.  His  father  came  of  yeoman 
stock  in  Norfolk,  and  his  mother  was  a  grand- 
niece  of  the  great  landscape  painter,  John  Constable. 
At  school  he  distinguished  himself  by  his  drawing, 
and  during  a  three  years'  studentship  at  the  Royal 
College  of  Art,  South  Kensington,  he  gained  many 
distinctions  and  prizes.  In  1 903  he  was  appointed 
Art-master  under  the  Cork  County  Council  for 
their  schools  at  Fermoy,  Midleton,  and  Youghal. 
Here  he  at  once  made  his  mark  as  an  inspired 
and  inspiring  teacher,  and  the  schools  grew  tenfold 
in  attendance  under  his  direction.  Practically  all 
crafts  and  all  materials  came  easy  to  his  hand — 
wood,  metal,  leather,  gesso,  stencilling — and  he  did 
good  work  with  every  one.  At  Derry,  whither  he 
came  two  years  ago,  he  took  up  enamelling  and  jewel- 
lery, and  also  made  designs  for  cabinet-makers  and 
laceworkers.  His  etchings,  worked  off  on  an  old 
clothes-wringer,  for  the  most  part  as  Christmas 
greetings  to  his  friends,  will  be  treasured  not 
merely  for  their  associations.     As  a  painter,  the 


\\*M^ 


x: 


oi.d  corean  earthenware  (siiinka 

r6(;ime) 

( Princt  Li's  Collection) 


Reviews  and  Notices 


love  of  landscape  was  in  his  blood,  and  the  weird 
leafless  trees  of  the  Munster  countryside  in  winter 
appealed  very  strongly  to  him.  Many  of  his 
paintings  have  been  exhibited  in  the  Royal 
Hibernian  Academy.  His  appointment  at  Derry 
was  a  signal  success.  The  school  had  from  one 
cause  or  other  been  languishing  for  years  past,  but 
immediately  after  Mr.  Houchen  took  charge  the 
numbers  rose  as  they  had  done  in  Cork  :  when 
he  came  in  February  191 3  there  were  thirty-five 
students,  and  last  December  there  were  about  two 
hundred.  Like  every  Saxon  who  becomes  a 
denizen  of  Ireland,  he  felt  the  keenest  sympathy 
with  Celtic  art.  In  Harry  Houchen  Ireland  has, 
indeed,  lost  a  good  and  faithful  servant,  whose 
place  it  will  be  hard  to  fill.  O.  B. 

REVIEWS  AND   NOTICES. 

Samuel  F.  B.  Morse  :  His  Letters  and  journals. 
Edited  and  supplemented  by  his  son,  Edward 
LiND  Morse.  Illustrated  with  reproductions  of 
his  paintings  and  with  notes  and  diagrams  bearing 
on  the  invention  of  the  telegraph.  2  vols.  (Boston 
and  New  York :  Houghton  Mifflin  Company  ; 
London:  Constable  and  Co.)  t^\s.  dd.  net. — The 
name  of  Morse  is  so  universally  associated  with 
the  invention  of  the  electric  telegraph,  and  even 
more  in  these  "  wireless "  days,  perhaps,  with  the 
code  employed  in  the  transmission  of  messages 
throughout  the  world — that  the  reference  to  his 
"  paintings  "  on  the  title-page  will  no  doubt  cause 
surprise.  He  had,  however,  passed  his  forty-first 
year  when  the  first  inspiration  of  the  invention, 
which  was  to  prove  so  fniitful  to  mankind,  came  to 
him  "  like  a  flash  of  the  subtle  fluid  which  after- 
wards became  his  servant,"  and  had  already  risen 
to  a  position  of  considerable  distinction  as  a 
painter  of  figure-subjects  and  portraits,  of  which  a 
number  are  reproduced  as  an  accompaniment  to  the 
records  of  his  life,  now  given  to  the  world  by  his 
son  more  than  a  hundred  and  twenty  years  after 
his  father  first  saw  the  light.  The  first  volume  of 
these  "Letters  and  Journals"  is,  in  fact,  almost 
wholly  concerned  with  his  career  as  an  artist,  and  it 
contains  a  great  deal  of  interesting  reading,  par- 
ticularly the  pages  recording  his  experiences  in 
England  during  the  four  years  1811-15.  His 
father,  Jedediah  Morse,  a  Congregational  Minister 
at  Charlestown,  Massachusetts,  had  decreed  for 
him  a  business  career  after  the  completion  of  his 
studies  at  Yale,  but  the  son,  who  had  already 
evinced  a  strong  taste  for  art,  succeeded  in  over- 
coming parental  opposition.     Reaching  London  in 


181 1,  in  company  with  his  mentor,  Washington 
Allston,  a  painter  of  note  in  those  days,  though  now 
almost  forgotten,  he  soon  made  headway,  and  two 
years  later  exhibited  a  large  canvas  which  was 
singled  out  for  praise  by  the  critics,  while  shortly 
afterwards  he  was  awarded  a  Society  of  Arts  gold 
medal  for  a  model  of  the  same  subject,  a  Dying 
Hercules.  In  his  letters  home,  soon  after  his  arrival, 
he  refers  to  the  taste  for  art  which  then  prevailed  in 
England  : 

"I  was  astonished  to  find  such  a  difference  in  the 
encouragement  of  art  between  this  country  and  America. 
In  America  it  seems  to  lie  neglected,  and  only  thought  to 
be  an  employment  suited  to  a  lower  class  of  people  ;  but 
here  it  is  the  constant  subject  uf  conversation,  and  the 
exhibitions  of  the  several  painters  are  fashionable  resorts. 
No  person  is  esteemed  accomplished  or  well  educated 
unless  he  possesses  almost  an  enthusiastic  love  for 
paintings." 

Morse's  companion  during  his  sojourn  in  London 
was  Charles  Robert  Leslie,  "a  very  estimable  young 
man  "  from  Philadelphia,  who  remained  in  England 
after  Morse  returned  home  and  was  a  few  years 
later  elected  to  the  Royal  Academy,  of  which  his 
son,  Mr.  G.  D.  Leslie,  is  now  a  veteran  member. 
The  two  young  men,  both  filled  with  a  passion 
for  art,  occupied  the  same  lodgings .  Those  were 
days  of  great  social  unrest ;  murders  and  robberies 
were  of  frequent  occurrence,  and  the  two  deemed 
it  prudent  to  prepare  for  emergencies.  Hence  we 
find  Morse  writing  home  in  181 2  :  "Leslie  and 
myself  sleep  in  the  same  room  and  sleep  armed 
with  a  pair  of  pistols  and  a  sword  and  alarms  at 
our  doors  and  windows."  Trouble  was  brewing, 
too,  between  Britain  and  America  that  same  year 
under  circumstances  analogous  to  those  which  now, 
more  than  a  century  later,  have  been  the  subject 
of  diplomatic  correspondence  between  the  two 
countries.  The  good  people  at  Charlestown,  like  the 
rest  of  Massachusetts,  were  friendly  to  Britain,  but 
young  Morse  was  ardently  patriotic  throughout,  and 
his  letters  home  throughout  this  critica.1  period  were 
strong  in  their  denunciation  of  the  English.  He 
remarks  more  than  once  on  the  contempt  shown  in 
England  for  Americans,  but  his  pious  mother  gives 
as  the  reason  for  their  being  despised  and  hated, 
that  "a  large  portion  of  those  who  visit  Europe  are 
dissipated  infidels."  It  was  partly  to  "  the  virulence 
of  national  prejudice  "  that  the  young  painter  attri- 
buted the  utter  failure  of  a.  visit  to  Bristol,  where 
he  spent  some  months  hoping  to  get  commissions 
in  fulfilment  of  promises  made  to  him,  but  another 
reason  assigned  was  "  the  total  want  of  anything 
like  partiality  for  the  fine  arts  in  that  place  ;  the 
people  there  are  but  a  remove  from  brutes." 
The  letters  written  from    London   show  that  the 

M9 


Reviews  and  Notices 


young  man  kept  well  in  touch  with  current 
events.  He  was  on  friendly  terms  with  various 
men  of  distinction,  such  as  /achary  Macaulay, 
Coleridge,  and  U'ilherforce,  and  wa<s  dining  with 
the  last  named  at  his  house  in  Kensington  (iore 
when  the  park  guns  announced  the  capture  of 
Napoleon,  Macaulay  being  also  present.  Re- 
turning \.o  America  shortly  afterwards  he  pursued 
his  aireer,  first  in  his  native  town  and  later  in 
New  York,  where  some  years  later  he  was  instru- 
mental in  foundidig  the  National  Academy  of 
Design.  But,  though  as  a  young  man  he  declared 
that  it  was  his  ambition  "  to  be  among  those  who 
shall  revive  the  splendour,  of  the  fifteenth  century  ; 
to  rival  the  genius  of  a  Raphael,  a  Michael  Angelo, 
or  a  Titian,"  and  though  he  liad  told  his  father  that 
his  passion  for  his  art  was  so  firmly  rooted  that  he 
was  confident  no  human  power  could  destroy  it, 
he  was  destined  ere  a  few  years  passed  to  drop  the 
brush  for  ever.  For  all  that  he  retained  to  the 
end  a  keen  interest  in  art  and  always  strove  to  foster 
a  taste  for  it  in  the  land  of  his  birth. 

Decoration  in  England,  from  1660  to  lyyo.  By 
Francis  Lenvcon.  (London :  B,  T.  Batsford, 
Ltd.)  jQ2  net. — In  this  volume  of  Messrs.  Batsford's 
Library  of  Decorative  Art,  Mr.  Lenygon  deals  in- 
terestingly and  comprehensively  with  the  magnifi- 
cent productions  of  the  architect  designers  and  the 
highly  skilled  craftsmen  who,  at  the  end  of  the 
seventeenth  century,  rose  for  the  first  time  to  full 
dominance  over  the  decorative  arts.  From  nothing 
so  much  as  the  interior  economy  and  embellish- 
ment of  the  dwelling,  may  we  glean  some  hint  of 
the  tastes  and  foibles  of  those  who  inhabit  them  ; 
and  in  treating  his  subject  Mr.  Lenygon  is  sympa- 
thetically alive  to  this  human  aspect,  arid  does  not 
approach  the  matter  merely  from  the  somewhat 
detached  standpoint  of  the  purely  architectural 
expert.  In  the  first  three  chapters  entitled 
'•  Historical,"  he  gives  an  entertaining  survey  of  the 
period,  and  follows  this  with  a  discussion  in  detail 
of  the  various  branches  of  the  architect's  and  crafts- 
man's work.  The  bulk  of  the  book,  however,  con- 
sists of  a  series  of  excellent  illustrations  numbering 
three  hundred  and  fifty-four,  many  full  page,  in 
which  we  have  a  record  of  some  of  the  best  achieve- 
ments in  all  forms  of  interior  decoration  which  the 
enlightened  patronage  of  the  day  and  the  scholarly 
artistry  of  contemporary  architects  and  craftsmen 
combined  to  produce.  The  period  covered  by  the 
book  was  an  age  of  great  luxury  and  si)lendour. 
In  the  early  part  of  the  eighteenth  century,  the 
Grand  Tour  became  the  modish  completion  to  the 
education  of  the  man  of  fashion,  and  the  practice 


spread  to  such  an  extent  that,  as  a  contemporary 
observer  wrote  in  1772,  "where  one  Englishman 
travelled  in  the  reigns  of  the  first  two  Georges,  ten 
now  go  on  the  Grand  Tour."  From  the  familiarity 
whioh  people  of  wealth  and  taste  thus  gained  with 
the  great  examples  of  architecture  and  decoration 
they  met  with  on  their  travels  ensued  the  patronage 
and  encouragement  extended  to  English  architects 
and  to  the  many  foreigners  who  were  induced 
to  come  and  practise  their  art  in  England  The  sub- 
ject-matter of  the  volume  is  systematically  arranged 
under  various  heads :  following  the  opening 
chapters  on  decoration  there  are  chapters  on 
Woodwork  and  Panelling,  the  English  School  of 
Wood-carving,  Doorcases,  Chimney-pieces,  the 
Hall  and  Staircase,  Decorative  Painting,  Plaster- 
work,  Wall  Hangings,  Carpets,  Fireplace  Acces- 
sories, etc.,  Door  Furniture,  and  the  Lighting  of 
Rooms.  Very  interesting  is  that  in  which  he  treats 
of  the  decorative  paintings  of  the  period ;  and  in 
this  connection  it  is  instructive  to  note  that  archi- 
tects were  wont  to  use  their  client's  pictures  as 
part  of  a  decorative  scheme,  as  is  admirably  shown 
in  the  dining-room  at  Kedlestone  arranged  by 
Robert  Adam,  and  that  thirteen  of  the  famous 
Canalettos  now  at  ^^'indsor  Castle  were  particularly 
described  in  an  old  catalogue  as  "  Door  Pieces  "  ! 
When  we  call  to  mind  some  of  the  famous  archi- 
tects and  designers,  such  as  Wren,  Inigo  Jones, 
Vanbrugh,  Thornhill,  Kent,  Grinling  Gibbons,  the 
brothers  Adam,  Chambers,  and  many  others  whose 
work  is  comprised  within  the  period  of  which  Mr. 
Lenygon  treats,  the  importance  of  such  as  a  work 
as  this  will  be  manifest  to  all  students  of  the  sub- 
ject of  Decoration  in  England. 

The  Renaissance.  By  Count  Goiuneau.  (Lon- 
don :  Wm.  Heinemann.)  loi'.  net.  —  Count 
Gobineau's  Renaissance  was  written  in  the  early 
part  of  the  last  half  of  the  nineteenth  century,  and, 
with  his  "  Essay  on  the  Inequality  of  Human 
Races,"  it  has  worked  cjuietly  as  an  influence  on 
European  thought.  Dr.  Oscar  Levy,  who  edits 
the  translation,  tells  us,  indeed,  that  Germans 
have  elevated  the  Frenchman  Gobineau,  who 
claimed  descent  from  a  German  medii^^val  house, 
into  a  kind  of  national  hero.  By  means  of  their 
poetical  interpretation  they  have  been  able,  under 
the  guidance  of  their  princes  and  profesK)rs,  to 
claim  his  system  for  themselves,  and  apply  it  to 
their  own  history,  past  and  present.  According 
to  that  system  the  destinies  of  people  are  governed 
by  a  racial  law.  If  a  nation  goes  dowm,  the  reason 
is  that  its  blood,  the  race  itself,  is  deteriorating. 
"  Neither  irreligion,  nor  immorality,  nor  luxurious 


Reviews  and  Notices 


living,  nor  weakness  of  government  is  causing  the 
decadence  of  civilisations."  Dr.  Levy  profoundly 
admires  the  Roman  Catholic  Gobineau,  and  there- 
fore in  his  editorial  introduction  to  the  translation 
seems  to  experience  some  difficulty  in  making 
him  serve  the  anti-Christian  propaganda  which  he 
himself  has  at  heart.  The  Doctor's  own  method 
is  as  naive  as  it  is  unconvincing.  He  simply 
furnishes  a  list  of  qualities  that  are  repugnant  to 
him  personally,  and  heads  it  "Christianity."  But 
Gobineau's  work  is  capable  of  delivering  its  own 
message,  or  it  would  not  be  the  book  it  is.  It  paints 
a  great  picture  of  the  Renaissance,  with  Raphael, 
Titian,  Michael  Angelo,  Leonardo,  Botticelli, 
Machiavelli,  Cardinal  Bembo,  Aretino,  the  Sforzas 
and  the  Medicis  in  the  scene.  The  chapters  take 
the  form  of  a  series  of  dialogues,  and  they  are 
embellished  with  portraits  by  the  half-tone  process. 
Home  Interiors.  A  Practical  Work  on  Colour, 
Decoration  and  Furnishing.  By  R.  Goulburn 
LovELL,  A.R.I.B.A.,  M.S.A.  (London:  Caxton 
Publishing  Co.)  Five  sections,  155-.  per  section. 
The  demand  for  practical  advice  in  the  decoration 
and  furnishing  of  the  home  is  responsible  for 
the  numerous  books  on  the  subject  which  have 
appeared  during  the  last  few  years.  A  few  of  them 
fulfil  to  some-  extent  their  purpose,  but  the 
majority  leave  the  seeker  after  hints  wholly 
unsatisfied,  if  not  entirely  bewildered.  The  large 
folio  work  we  are  noticing  here  cannot  be  included 
in  the  latter  category,  for  it  contains  much  lucid 
and  helpful  information.  The  author  is  chiefly 
concerned  with  colour-schemes,  and  accompaaiying 
the  letterpress  are  several  large  plates  in  colour, 
each  room  being  represented  by  two  drawings  ;  and 
in  addition  there  are  diagrams  of  details  which  add 
to  the  value  of  the  illustrations.  Though  some  of 
the  colour-schemes  are  not,  to  our  mind,  entirely 
agreeable,  it  is  possible  to  obtain  from  Mr.  Goulburn 
Lovells  drawings  a  useful  basis  on  which  to  build 
up  a  pleasing  and  harmonious  effect. 


The  Medici  Society  has  recently  brought  out  a 
popular  edition  of  Charles  Kingsley's  The  Heroes 
with  twelve  delightful  illustrations  in  colour,  after 
water-colour  drawings  by  Mr.  W.  Russell  Flint, 
whose  romantic  vein  is  seen  at  its  best  in  his 
interpretations  of  these  old  Greek  fairy  tales.  The 
volume  is  printed  in  the  beautifully  clear  type  of 
the  Riccardi  press  and  is  published  at  is.  (yd.  net. 


now  made  available  for  a  larger  public  in  the  shape 
of  a  folio  volume  which  Messrs.  Stanley  Paul  and  Co. 
have  published  at  2s.  net  with  a  foreword  by  Mr. 
H.  G.  Wells,  who  testifies  to  the  artist's  "  extreme 
distinction  of  personality "  and  "  simplicity  and 
cleanness  of  mind." 


The  new  volume  of  The  Year's  Art  (Hutchin- 
son and  Co.  :  ^s.  net)  has  been  brought  well 
up  to  date  by  Mr.  A.  C.  R.  Carter,  in  whose  hands 
this  annual  has  become  such  a  veritable  mine  of 
information  concerning  art  institutions  in  the  British 
Empire.  Though  a  complete  list  of  practising 
artists  who  have  responded  to  the  call  of  duty  in 
the  great  crisis  through  which  we  are  passing  is 
reserved  for  a  future  occasion,  he  has  been  able  to 
include  a  roll  of  members  of  the  Fine  Art  Trade 
who  are  serving  with  the  Imperial  Forces,  the  list 
filling  thirteen  pages.  Besides  portraits  of  leading 
representatives  of  the  Fine  Art  Trade  Guild,  the 
illustrations  include  three  reproductions  of  sculpture 
shown  at  the  recent  Arts  and  Crafts  exhibition  in 
Paris,  one  of  them  being  a  silver  statuette  of  Victory 
by  Mr.  Alfred  Gilbert.  A  rumour  was  current  in 
London  lately  that  this  distinguished  sculptor,  who 
for  some  years  past  has  been  living  at  Bruges,  had 
died  there  shortly  after  the  outbreak  of  war,  but  as 
his  name  does  not  appear  in  Mr.  Carter's  obituary 
list,  and  no  other  confirmation  of  the  rumour  has 
been  received,  there  is  some  ground  far  hoping 
that  the  report  is  untrue. 


The  Committee  of  L'CEuvre  du  Vetement  des 
5oldats  Beiges,  an  organisation  which  has  been 
started  in  London  to  provide  warm  clothing  and 
comforts  for  Belgian  soldiers  at  the  front,  have 
recently  published  two  sets  of  picture-postcards 
specially  designed  by  prominent  Belgian  artists — 
Baertsoen,  Opsomer,  Jean  Delville,  A  Bastien, 
Victor  Rousseau,  among  others — which  are  on 
sale  at  the  Sackville  Gallery,  28  Sackville  Street, 
London,  W.,  at  c)d.  per  set  of  six  cards. 


The  "  Kultur  Cartoons"  by  Mr.  Will  Dyson  which 
were  recently  on  view  at  the  Leicester  Galleries 
and  were  referred  to  in  our  London  Studio-Talk  are 


BRITISH  ARTISTS  AND  THE  WAR 

We  are  compiling  a  second  list  of  British  artists 
who  are  serving  with  the  Imperial  forces  at  home 
or  abroad,  to  supplement  the  list  published  in  our 
December  issue,  and  should  be  glad  if  secretaries 
of  art  societies  and  other  institutions  would  send 
us  particulars  of  any  professional  artists  known  to 
them  whose  names  are  not  included  in  this  first 
list.  We  are  not  including  in  our  record  the  names 
of  architects,  as  full  lists  of  these  have  been 
published  in  the  professional  journals. 


The  Lay  Figure 


T 


HE  LAY  FIGURE:  ON  MU- 
SEUMS OF  MODERN  DECORA- 
TIVE  ART. 


"  Is  there  any  reason  why  nuiscuni  collections 
should  be  made  up  only  of  things  which  belong  to 
the  past?"  asked  the  Art  Critic.  "It  has  always 
seemed  to  me  a  little  odd  that  the  work  of  our  own 
times  should  be  considered  less  worthy  of  preserva- 
tion than  that  produced  a  century  or  so  ago." 

"  Of  course  it  is  odd,"  agreed  the  Man  with  the 
Red  Tie  ;  "  but  then  most  of  the  things  we  do  are 
odd  if  you  judge  them  impartially.  We  are  not 
guided  in  our  actions  bv  reason  so  much  as  by 
custom  and  prejudice.  A  fashion  once  estab- 
lished, persists,  whether  it  is  sensible  or  not." 

"That  is  all  very  well,"  returned  the  Critic;  "but 
there  can  be  no  excuse  for  maintaining  a  fashion 
which  we  know-  to  be  bad.  ^^'e  ought  to  try  to 
substitute  for  it  something  more  rational." 

"  Don't  you  think  you  would  be  attempting  a 
task  quite  beyond  your  powers?"  suggested  the 
Designer.  "To  upset  a  fiishion  you  would  have 
to  alter  the  whole  trend  of  popular  conviction — and 
that  is  a  hopeless  job." 

"You  think  it  is  a  conviction  of  the  public  that 
all  old  things  must,  as  a  matter  of  course,  be  better 
than  any  new  ones,"  said  the  Critic  ;  "and  that  this 
conviction  is  too  deeply  rooted  to  be  easily  disposed 
of.  \\'ell,  to  some  extent  you  are  right ;  but  never- 
theless I  believe  it  is  always  possible  to  remove  a 
prejudice  if  you  attack  it  in  the  right  way." 

"Are  you  anxious  to  lead  a  forlorn  hope?" 
laughed  the  Man  with  the  Red  Tie.  "  I  admire 
your  courage,  but  you  have  small  chance  of  success." 

"  I  wish  most  sincerely  that  your  chances  were 
greater,"  sighed  the  Designer  :  "because  I  feel  very 
deeply  that  the  popular  worship  of  the  antique  has 
a  pernicious  effect  upon  many  forms  of  modern  art. 
It  makes  our  art  workers  followers  of  dead  ideas 
instead  of  supporters  of  new  beliefs  :  it  compels 
them  to  become  copyists  and  imitators." 

"All  this  and  more,"  returned  the  Critic. 
"  Where,  I  feel,  it  does  most  harm  is  in  creating  a 
false  standard  of  accomplishment.  The  art  workers 
of  to-day  ought  to  be  striving  to  express  the  spirit 
of  to-day,  not  to  revive  the  sentiment  of  an  age 
which  is  past  and  gone  for  ever." 

"  Of  course  they  ought,"  broke  in  the  Man  with 
the  Red  Tie  :  "  but  what  has  that  to  do  with  the 
collections  in  our  museums?" 

"A  very  great  deal,"  replied  the  Critic.  "The 
museum  is  an  educational  institution  which  exists 
primarily  for  the  training  of  students,  and  they  arc 


supposed  to  go  to  an  art  museum  to  learn  some- 
thing about  the  arts  they  wish  to  practise.  If  the 
jiublic  insist  that  the  museum  shall  be  filled  only 
with  antitjuitics  the  students  will  probably  accjuire 
(juite  a  lot  of  historical  information  but  they  will 
get  no  idea  of  what  is  being  attempted  by  the  few 
original  spirits  among  their  contemporaries." 

"Yes,  that  is  the  real  trouble!"  cried  the  De- 
signer. "The  student's  mind  is  swamped  with 
examples  from  the  past,  which  are  often  of  more 
interest  historically  than  artistically,  and  the  works 
of  the  modern  masters,  which  emphatically  he 
ought  to  study,  aje  withheld  from  him.  His 
education  is  one-sided." 

"  Would  you  then  give  the  modern  work  as  much 
space  in  the  museum  as  the  old?"  asked  the  Man 
with  the  Red  Tie. 

"  Why  not  ?  "  returned  the  Designer.  "  In  its 
own  way  it  is  quite  as  significant,  and  if  it  has  a 
real  connection  with  its  own  period  it  is  from  the 
educational  point  of  view  of  even  greater  value. 
The  decorative  arts  ought  always  to  respond  to  the 
conditions  of  the  times  in  which  they  are  being 
practised,  but  how  can  they  if  the  artists  are  per- 
petually having  a  dead  tradition  forced  upon  them  ?" 

"And  how  can  there  be  progress  if  we  are 
always  looking  backwards?"  added  the  Critic. 
"  All  forms  of  art  are  kept  alive  and  vigorous  by 
the  new  blood  that  is  brought  into  them,  not  by 
mumbling  dry  bones." 

"So  you  want  to  turn  the  dry  bones  out  of  the 
museums  and  to  put  new  blood  there  instead," 
laughed  the  Man  in  the  Red  Tie.  "It  sounds  nasty, 
but  I  will  give  you  credit  for  good  intentions." 

"  No,  I  do  not  want  to  get  rid  of  the  examples 
of  ancient  art,"  declared  the  Critic,  "for  they 
illustrate  history  and  they  are  in  many  cases  things 
of  great  beauty ;  but  I  would  like  people  to  have 
the  chance  of  studying  them  under  proper  con- 
ditions and  in  the  right  proportion.  Let  the  best 
modern  work  be  associated  with  them,  so  that 
the  new  can  be  instructively  compared  with  the 
old,  or  if  this  would  make  the  collection  too  un- 
wieldy, let  us  have  besides  the  museums  of  ancient 
art,  other  museums  filled  with  modern  work,  juid 
let  the  students  go  from  one  to  the  other  to  find 
the  atmosphere  which  suits  them  best.  Anyhow, 
give  the  art  of  to-day  an  equal  opportunity  of 
making  its  influence  felt." 

"If  you  had  your  way,  I  am  afraid  there  would 
be  some  funny  things  in  the  museums,"  remarked 
the  Man  with  the  Red  Tie. 

"Are  there  none  in  them  now?"  asked  the 
Designer.  Thk  L.w  Figure. 


T 


The  Fragoiiards  of  Grasse 


HE  FRAGONARDS  OF  GRASSE. 
BY   D.  CROAL  THOMSON. 


Pictures  representing  the  romance  of 
love  and  youthful  affection,  treated  charmingly 
and  artistically  by  a  great  painter,  and  moreover 
themselves  possessing  an  unusually  romantic 
story,  are  certain  to  become  even  more  interesting 
whenever  there  is  a  new  chapter  to  add  to  their 
history.  Such  are  the  fourteen  pictures  by 
Fragonard  (i  732-1806)  which  have  recently 
changed  hands  for  the  second  time  since  they  left 
the  villa  at  Grasse  where  they  had  remained 
hidden  for  over  a  hundred  years.  By  a  combina- 
tion of  circumstances,  fortunately  unusual,  these 
famous  pictures,  constituting  the  artist's  most 
notable  achievement,  were  practically  unknown 
for  a  century  after  his  death,  and  no  complete 
series  of  reproductions  of  them  has  hitherto  been 
published,  except  in  a  semi-private  way. 

The  Fragonards  of  Grasse  were  painted  towards 
the  end  of  the  eighteenth  century,  the  first  of  the 
series  having  been  begun  in  1772.  Until  1898 
they  remained  in  the  possession  of  the  family  with 
whom  the  painter  passed  the  last  decade  of  his 
life,  and  at  the  end  of  that  year  they  were  ex- 
hibited in  London  by  Messrs.  Agnew,  who  had 
acquired  them  from  the  family.  This  was  the 
first  time  they  were  seen  by  the  public,  and  up  to 
the  present  they  have  not  been  exhibited  in  Paris. 
From  Bond  Street  they  passed  to  Mr.  Pierpont 
Morgan,  who  hung  them  in  his  double  house  in 
Princes'  Gate  until  only  a  few  years  ago,  when 
they  were  taken  over  to  New  York.  There  they 
were  displayed  in  the  Metropolitan  Museum  of 
Art,  and  it  was  there  I  saw  them  again  last  June, 
looking,  perhaps,  more  gorgeous  in  colour  and 
complete  in  decorative  quality  than  ever  before, 
as  they  had  ample  space  to  be  properly  seen. 

It  is  now  announced  that  the  Morgan  family 
has  allowed  these  pictures  to  pass  into  the 
galleries  of  Mr.  Henry  Glay  Frick,  and  they  were 
sold  by  Messrs.  Duveen  to  that  great  collector  for 
the  decoration  of  his  new  home  in  Fifth  Avenue. 
There  Mr.  Joseph  Duveen  will  have  a  second 
opportunity  of  arranging  a  room  for  their  custody. 

Every  one  who  knows  the  remarkable  series  of 
masterpieces  which  Mr.  Frick  has  already  gathered 
round  him  will  understand  the  delight  this  new 
purchase  will  give.  And  it  will  set  a  seal  of 
enhanced  greatness  to  his  palatial  new  residence 
far  up  in  Fifth  Avenue.  When  I  saw  his  collec- 
tion— then  in  the  old  Vanderbilt  house — with 
its  noble  English  portraits,  its  Corots  and  its 
LV.  No.  219. — May  1915 


Daubignys  and  Whistlers,  all  of  the  first  rank, 
with  its  Rembrandts  and  Hals  and  Goya,  and 
many  others  of  the  older  schools,  I  realised  once 
more  that  the  soul  of  the  old  collectors  is  not  dead 
but  lives  again  in  him  and  other  kindred  spirits. 

The  group  of  pictures  receives  the  title  "  Fra- 
gonards of  Grasse"  because  the  artist,  disappointed 
at  not  selling  the  first  four  pictures,  took  them  to 
his  native  place  after  having  kept  them  in  his 
studio  in  Paris  until  the  Revolution  in  1789. 
When  that  trying  time  arrived  he  went  to  Grasse 
to  visit  some  old  family  friends.  The  principal 
salon  of  the  villa  where  he  was  made  welcome  was 
of  a  dimension  that  made  Fragonard  think  it 
suitable  to  contain  his  pictures,  and  he  had  them 
conveyed  from  Paris.  When  the  pictures  reached 
Grasse  they  well-nigh  filled  this  apartment,  but 
the  artist  added  L' Abandon  and  Le  Trwjnphe  de 
r Amour,  together  with  the  other  four  square 
panels  used  for  over-doors. 

Of  the  fourteen  pictures  forming  the  Fragonards 
of  Grasse  these  ten  are  of  capital  importance,  the 
remainder  being  only  decorative  schemes  of  sky 
and  foliage,  without  figures,  and  executed  just  to 
fill  corners  in  the  salon  where  the  series  lay  hidden 
for  so  many  years.  Of  these  ten  we  are  fortunate 
in  being  able  to  render  reproductions  through  the 
courtesy  of  Messrs.  Agnew.  Four  of  them  are  very 
large  canvases,  measuring  ten  and  a  half  feet  by 
nearly  eight  feet  wide,  and  they  are  the  most  im- 
portant part  of  the  group.  Our  frontispiece, 
L' Abandon,  which  is  the  fifth  of  the  series,  is  equal 
in  height  but  much  less  in  width,  while  of  the 
remaining  five,  four  are  only  about  five  feet  by  four 
feet,  while  the  last,  Le  Triomphe  de  V Amour,  is 
of  about  the  same  dimensions  as  L' Abandon. 

The  four  large  pictures  were  painted  by 
Fragonard  for  the  extravagant  mistress  of  Louis 
XV,  Madame  du  Barry,  who  ordered  them  for  the 
new  pavilion  of  Louveciennes  begun  in  1770,  but 
they  were  never  hung  there.  It  was  quite  plainly 
conveyed  to  Fragonard  that  for  once  the  restraint 
he  had  exercised  against  his  usual  sensuousness 
had  been  over-done,  in  the  estimation  of  his  too 
sprightly  patroness,  and  his  pictures  were  "too 
decent"  for  the  temple  of  Terpsichore  for  which 
the  lady  designed  them. 

These  first  four  are  entitled.  La  Poursuitt\ 
L Escalade  (or  le  Rendez-vous),  Les  Souvenirs,  and 
L Amant  Couronni.  On  examining  these  pictures 
it  will  be  felt  that  they  are  the  work  of  an  artist 
who  has  not  yet  trusted  himself,  although  already 
a  great  master,  to  allow  his  brushwork  absolute 
freedom ;  or  at  least  has  found  it  advisiible  to  resist 

155 


The  Fragonards  of  Grasse 


the  least  tendency  to  let  himself  go  in  the  painting. 
They  are  careful  in  arrangement  and  execution, 
and  there  may  even  be  discovered  a  certain  tendency 
to  timidity,  but  the  colour  is  unift)rmly  rich  and 
fine,  and  the  ciuality  of  work  in  the  third  and  fourth 
is  produced  with  a  powerful  and  flowing  brush. 

1.  In  La  Poursiiite  the  idea  is  of  a  young  lover 
offering  a  rose  unexpectedly  to  the  object  of  his 
affections  who,  with  a  companion,  is  overtaken  in  a 
bower  surrounded  by  trees  and  flowers.  The 
sur[)rised  but  far  from  displeased  look  on  the 
young  girl's  face  is  the  chief  point  in  the  drama. 
The  attendant,  still  more  youthful,  appears  more 
knowing  in  her  expression,  while  the  very  youthful 
lover  presents  his  rose  with  all  the  grace  in  the 
world.  High  up  in  the  picture  two  Cupids  are 
seen  resting  on  a  sea  monster  ornament.  One 
Cupid  is  asleep,  but  the  other  rouses  himself  to 
observe  the  actions  of  the  group  below. 

2.  L'Escalade  is  much  less  rich  in  composition 
and  altogether  not  so  mature  a  work,  and  it  is 
sometimes  said  to  have  been  originally  the  first 
of  the  series.  Here  the  lover  has  ascended  to  his 
young  mistress  by  means  of  a  ladder,  and  as  he 
attains  the  top,  the  young  girl  looks  hurriedly 
round,  not  with  the  idea  of  escape  but  rather 
to  ascertain  that  no  onlookers  are  likely  to  in- 
trude. The  piece  of  statuary  above  carries  a  small 
Cupid  holding  up  his  hands  with  a  quaint  ex- 
pression of  delight  which  is  pleasantly  accepted  by 
the  Venus. 

3.  Les  Souvenirs.  This  is  the  most  attractive 
picture  in  the  series,  being  painted  with  a  sympa- 
thetic grace  which  is  in  every  way  delightful, 
and  here  are  the  lovers,  accepted  and  radiantly 
happy,  looking  over  their  love-letters  in  the  beauti- 
ful glade  to  which  they  have  wandered.  The 
parasol  is  daringly  pink  in  the  original,  but 
entirely  suited  to  the  tone  of  the  picture,  although 
it  forms  a  curious  object  in  the  reproduction.  The 
painter  has  again  introduced  a  group  of  statuary 
above,  and  in  this  a  little  Cupid  seeks  to  touch 
the  heart  which  Venus  visibly  holds  in  her  hand. 
For  in  the  picture  the  lovers  show  their  hearts 
openly  to  each  other,  and  are  happy  in  their 
confidences. 

4.  L'Amant  Couronne  forms  the  final  piece  of 
the  group  as  first  expressed  by  the  painter,  and  re- 
presents the  crowning  of  the  lovers  by  wreath  and 
garland.  "Frago"  himself  is  seen  in  the  fore- 
ground, richly  attired  and  youthfully  portrayed. 
He  draws  a  scene  where  music  and  song  have 
combined  with  the  fragrance  and  beauty  of  flowers 
and    foliage    to   render   everything   in   happy  har- 

156 


mony.  Even  the  Cujjid  above  is  asleep,  for  he 
knows  his  work  is  done,  and  the  lovers  are  finally 
crowned. 

5.  L Ahandon,  the  fifth  of  the  series,  was  certainly 
painted  long  after  the  preceding  four,  and  tradition 
is  that  this  and  the  remaining  compositions  were 
painted  by  Fragonard  after  he  had  conveyed  the 
first  four  to  his  friend's  house  at  Grasse.  The 
method  of  painting  is  broader  in  touch  and  more 
masterly  in  execution  ;  the  colour  also  is  different, 
for  whereas  the  first  four  are  painted  with  brushes 
full  of  variegated  colour,  this  subject  is  produced 
in  what  is  nearly  a  monotone.  Artistically  this  is 
a  more  acceptable  picture  than  the  others  because 
of  its  simplicity  of  composition,  its  breadth  of 
execution,  and  direct  charm  of  subject.  Here  the 
girl  lover  is  abandoned  and  she  finds  herself 
deserted  in  the  woods  where  her  joy  had  previously 
been  complete.  In  despair  she  has  thrown  herself 
at  the  foot  of  a  pillar  where  her  late  friend  Cupid 
has  set  himself  aloft,  but  with  the  warning  : 

Plaisir  d'amour  ne  dure  qu'un  moment, 
Chagrin  d'amour  dure  toute  la  vie. 

The  remaining  five  subjects  were  all  painted  by 
Fragonard  after  he  had  carried  the  earlier  pieces 
to  his  new  home  in  the  South,  yet  the  subjects 
were  not  then  new  to  the  painter,  as  in  the  fateful 
year  1789  both  L Amotir-Folie  and  H Amour  en 
Sentinelle  were  published  in  Paris  as  engravings  in 
colour.  These  canvases  are  more  suitable  to 
the  present-day  decoration  of  a  salon  than  the  five 
larger  compositions  described,  which,  after  all,  are 
more  pictures  than  decorative  works.  These  later 
subjects  are  all  painted  in  low  tone,  and  I  have  no 
doubt  that  in  Mr.  Frick's  new  residence  they  will 
be  found  in  every  way  decoratively  successful. 

In  the  sixth  of  the  series,  Love  attacks  the  scream- 
ing dove.  The  next,  L Amour- Folie,  the  most 
charming  of  the  group,  shows  Love  with  a  golden 
rattle  amidst  pairs  of  birds  making  love.  In  the 
eighth,  Cupid  pursues  the  dove  with  eager  eyes 
and  outspread  arms,  while  the  next,  the  most 
exquisite  of  all,  shows  Love  as  a  sentinel.  The 
final  picture,  Le  Triomphe  de  V Amour,  is  the  most 
dramatic  piece,  and  forms  a  kind  of  Heaven  and 
Hades  of  the  Cupid  world.  The  triumph  of  Love 
is  personified  by  an  apotheosis  of  Cupid  sur- 
rounded by  emblems  of  music  and  flowers,  with  a 
pair  of  loves  in  the  centre  embracing  each  other. 
Underneath  in  the  darkness,  as  it  were  amidst  fire 
and  mystery,  is  the  Demon  of  Discord  visible  with 
furious  eyes  and  threatening  gesture,  an  obvious 
contrast  to  the  serene  high  Cupid  far  above. 


{Hy  />e}')>tissio}i  of  Messrs.  Thos.  Aj^neiu  &•  Softs, 
Pubiis/wrs  of  the  iar^e  fn^^raving) 


'LA  POURSUITE."    BY 
J.  H.  FRAGONARD 


By  ptrfnission  of  Messrs.  Thos.  A^nrtv  &■  Sons, 
Ptibliihers  oftht  tar^e  tHj^rax-ing) 


••L'ESCALADE.'    or    ■  LE  RENDEZVOUS 
BY  J.  H.  FRAGONARD 


iSj/ermts.n'oft  (f/A/fssrs.  Thos  A^ttrw &•  Sons 
PfitfiisJurs  oftht  lar^e  tn^ravin^) 


'LES  SOUVENIRS." 
J.  H.  FRAGONARD 


BY 


(By  fermission  o/Mtssrs.  Tlws.  ^g^.rw  &■  Sous. 
i^i6ltshers  o/the  large  ensraving) 


LAMANT  COURONNE' 
BY  J.  H.  FRAGONARD 


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By  ptrmissioH  o/Afessrs.  Thos.  Agyiezv  &•  Softs 
Publishers  of  the  large  engraving 


LE  TRIOMPHE  DE  UAMOUR 
BY  J.  H.  FRAGONARD 


Water-Colours  and  Paintings  by  S.  J.  Lanwrna  Birch 


W 


A  T  E  R-C  O  L  O  U  R  S  AND 
OIL  PAINTINGS  BY  S.  J. 
LAMORNA  BIRCH,  RA\'.S. 


We  have  no  reason  to  be  other  than  proud,  as  a 
nation,  of  the  contributions  of  our  painters  towards 
the  world's  art,  and  the  profound  admiration  which 
everv  earnest  student  of  painting  must  have  for 
the  masterpieces  of  the  great  men  of  other  lands 
need  not  arouse  a  feeling  of  despondency  when  he 
turns  to  a  review  of  the  productions  of  the  British 
School.  Both  in  portraiture  and  landscape  paint- 
ing, and  particularly  in  the  latter,  British  artists 
have  borne  their  part  worthily,  and  we  may  make 
proud  boast  of  such  pioneers  in  landscape  art 
as  our  great  Constable,  the  men  of  Norwich,  that 
magician  of  colour  and  wizard  of  sunlight  Turner, 
and  of  all  the  phalanx  of  British  water-colourists 
whose  fine  works  in  this  medium  stand  alone,  un- 
rivalled and  pre-eminent. 

Climatic  conditions  and  the  resulting  subtle 
eftects  of  atmosphere  are  no  doubt  partly  respon- 
sible, but  apart  from  this  there  must  be,  one  would 
imagine,  some  quality  peculiar  to  the  landscape  in 
this  country  of  ours — something  in  the  way  in 
which  farm  and  homestead  nestle  amid  protecting 


trees,  or  the  rivers  wander  pleasantly  whispering 
secrets  to  their  banks  and  murmuring  to  the  over- 
hanging branches,  something  in  the  magic  and 
mystery  of  the  rolling  downs  as  they  melt  in  the 
distance  into  atmospheric  blues  and  purples — 
which  breeds  in  us  a  deep-rooted  love  of  and 
intimacy  with  Nature.  The  countryside  still  means 
much  to  us  despite  our  fashion  of  crowding  in 
black  and  busy  cities ;  and  this  innate  love  of 
nature  is  revealed  in  the  deep  emotional  qualities, 
in  the  sincerity  and  in  the  strength  of  our  school 
of  landscape  art.  Painters  of  to-day  have  here  a 
noble  and  lofty  tradition  to  maintain  ;  their  love 
for  nature  is,  we  may  imagine,  no  less  profound 
than  that  of  their  predecessors,  whose  fine  example 
is  an  incentive  to  spur  them  on  to  worthy  achieve- 
ment. But  while  the  works  of  the  masters,  a 
very  precious  heritage,  are  of  incalculable  value  to 
those  who'  can  learn  their  message  aright,  they  can 
be  a  veritable  stumbling-block  to  the  conteni- 
])orary  painter  who,  infirm  of  purpose,  mistakes 
the  husk  for  the  kernel  and  losing  himself  in  the 
outward  technical  excellence  misses  the  inward 
emotion  by  which  alone  art  can  become  great. 
That  there  are  very  many  painters  who  are  moved 
by  a  kind  of  caca'thes  scribejidi  without  there  being 


"ST.    LOY    BAY,    NEAR    LAM)'s    END" 


WATEK-COI.OLR    BY    >.    J.     LAMORNA    HIRCH.    R.W.S. 

169 


irato'-ColoiD's  ami  /\n'jifiiigs  by  S.  J.  La  Glioma  Birch 


any  clear  message,  any  real  emotion  underlying 
their  oft-times  technically  capable  work,  the  walls 
of  our  exhibitions  afford  us  sufficient  proof;  but 
we  have  also,  fortunately,  a  number  of  land- 
scapists  who  take  the  highest  view  of  their  responsi- 
bilities and  whose  admirable  works  are  enriching 
the  art  of  our  generation.  Among  these  must 
be  counted  some  who  have  made  their  home  in 
Cornwall — Newlyn,  Penzance,  and  St.  Ives  in 
particular — where  living  and  working  in  close  com- 
munion with  nature  they  are  producing  works 
which,  by  their  truth,  their  unaffectedness,  their 
freedom  from  pose  and  extravagance,  make  a 
distinct  claim  upon  our  attention ;  and  in  the 
warm  and  generous  meed  of  praise  rightly  due  to 
these  painters,  whose  sincerity  and  love  of  nature 
burn  so  brightly  in  their  art,  we  must  not  forget 
to  eulogise  one  whose  share  in  that  praise  deserves 
to  be  no  small  one. 

Although   from    time   to  time  reproductions  of 
Mr.    Lamorna   Birch's  pictures  have  appeared  in 


these  pages,  this  is  the  first  occasion  uj)()n  which 
an  article  has  been  devoted  to  his  work  ;  and  it 
conies  now  appro[)riately  following  close  upon  his 
election  to  full  membership  of  the  Royal  Society 
of  Painters  in  Water  Colours.  In  191 2  he  became 
an  associate,  and  his  promotion  in  November  last 
was  well  deserved.  Born  at  Egremont,  Cheshire, 
in  1869,  Mr.  Birch,  while  at  first  following  an  un- 
congenial career,  used  to  spend  all  his  spare  time  in 
sketching  out-of-doors,  and  in  fishing,  for  which  he 
confesses  he  would  sell  his  soul !  And  as  we  look 
at  his  work  in  general,  and  at  certain  of  the  repro- 
ductions here  given  of  his  pictures,  can  we  not 
recognise,  in  the  skill  with  which  he  gives  the 
impression  of  running  water,  that  knowledge  which 
no  one  but  a  fishermin  could  have  so  fully,  of  all 
the  impetuosity  of  a  rippling  stream  and  all  the 
hidden  and  unsuspected  strength  of  the  swiftly  and 
silently  gliding  river  up  which  the  angler  wades 
waist-high  with  rod  and  line  in  search  of  his  quarry  ? 
Save  for  a  few  months  spent  in  Paris  in   1906  (the 


rilli    RIVER    COURSE,     NEAR    MONTREUIL 
170 


OIL-PAINTING    BY    S.    J.    LAMORNA    BIRCH,    R.W.S. 


^t' 


■THE    VIEW.'        FROM    THE   OIL   PAINTING 

BY    S.  J.    LAMORNA    BIRCH,   R  W  S. 


PVater-Coloiirs  and  Paintings  by  S.  J.  Lamorna  Birch 


greater  part  of  this  time  being  devoted  to  sketching 
up  and  down  the  Seine),  Mr.  Birch  had  no  regular 
artistic  training,  and  has  won  all  his  knowledge  and 
developed  his  interesting  and  personal  art  by  his  own 
close  observation  and  study  of  nature.  At  the  time 
of  his  visit  to  Paris,  when  he  had  a  picture  accepted 
and  hung  at  the  New  Salon,  Champ  de  Mars,  the 
artist  was  greatly  interested  in  the  work  of  Claude 
Monet  and  his  group  ;  the  effect  of  such  admiration 
may  be  traced  in  a  work  now  reproduced  in  which 
is  evinced  something  of  that  fondness  for  broken 
colour,  and  juxtaposition  of  bright  contrasting  pig- 
ment that  gives  such  a  sparkle  and  luminosity,  such 
vibration  and  atmosphere  to  the  work  of  Monet  and 
certain  others  of  the  great  Impressionists.  The 
work  in  question  is  The  River  Course,  near  Montreuil, 
seen  at  the  International  Society's  exhibition  a  year 
ago,  a  painting  of  greater  brilliance  than  one  is 
accustomed  to  find  in  Mr.  Birch's  pictures  ;  and 
yet  the  artist  achieves  a  most  harmonious  result, 
despite  the  bravura  of  brushwork  in  this  richly 
colouristic  canvas. 

As  one  who  has  been  his  own  master  in  his  art, 
Mr.  Birch  is  pledged  to  no  formula  and  to  no 
particular  creed.  One  sees  in  his  work  the  evidence 
of  a  sincerity  which  makes  him  return  again  and 


again  to  nature,  not  as  slavish  imitator,  but  in  order 
by  patient  study  to  acquire,  sub-consciously  it  may 
be,  that  intimate  knowledge  which,  without  unduly 
betraying  its  presence,  is  the  scaffolding  upon 
which  an  artist  builds  his  interpretations  of  nature. 
One  of  the  great  attractions  of  Mr.  Birch's  art 
as  one  sees  it  year  by  year  at  the  Academy,  the  Old 
Water- Colour  Society's  shows,  the  International 
Society  and  elsewhere,  is  its  steady  and  constant 
development,  and  the  feeling  it  gives  one  of  being 
very  much  alive.  Here,  however,  is  not  mere 
tentative  searching  after  something  but  dimly  com- 
prehended by  the  artist,  but  rather  a  sense  of 
problems  tackled  and  solved,  and  of  an  ever  alert 
and  watchful  student  of  nature  constantly  alive  to 
all  phases  of  her  beauty. 

I  have  spoken  of  the  skill  with  which  the  artist 
renders  moving  water — no  doubt  as  a  keen  fisher- 
man he  is  a  ver)'  captious  critic  of  his  own  work 
— and  such  a  picture  as  the  oil  painting  referred 
to.  The  River  Course,  near  Montreuil,  and  to  a  still 
greater  degree  The  River  Lune  from  the  Aqueduct, 
Lancaster,  show  this  to  a  quite  wonderfnl  extent. 
This  beautiful  harmony  of  blues  and  greens  forms 
a  picture  of  varied  and  yet  restrained  colour  ;  the 
composition  is  not  only  interesting  and  attractive 


.MY    HOUSE — LAMOR.NA  " 


WATER-COLOUR    BY    S.    J.    LAMORNA    BIRCH,     R.  W.S. 

I7J 


Jl'afcr-Coloiirs  and  Paint iuf!;s  by  S.  /.  Lamorna  Birch 


"  WATERFAIJ,   ON    THE    RIVER    KENT,    NEAR    KENDAL  " 


WATER-COLOUR    BY    S.    J.    LAMORNA    BIRCH,    R.W.S. 


LANDSCAPE   STUDY 


WATER-COLOUR    BY   S.    J.    LAMORNA    BIRCH,    R.W.S. 


Water-Coloiirs  and  Paintings  by  S.  J.  Lamorna  Birch 


in  its  main  scheme,  but  conveys,  in  its  adroitly 
managed  accents  of  light  and  dark,  a  feeling  of 
distance  and  atmosphere  and  of  detailed  vision 
which  nevertheless  in  no  way  conflicts  with  the 
main  theme,  the  broad  expanse  of  moving  water. 
Less  attractive  to  me  is  the  Waterfall  on  the  Rivet 
Kent,  near  Kendal,  in  which  Mr.  Birch  employs  all 
the  resources  of  the  water-colour  medium,  pure 
colour,  body  colour,  and  the  knife  with  which  the 
high  lights  have  been  boldly  scraped  out.  Yet, 
despite  its  undoubted  cleverness,  this  sketch  has 
far  less  appeal  than  other  and  more  deliberately 
composed  works.  But,  as  we  look  at  it,  do  we  not 
seem  actually  to  hear  the  splashing  of  the  water  as 
it  rushes  between  the  rocks,  and  is  it  not  perhaps 
unreasonable  to  ask  for  more  than  this — in  itself 
no  mean  achievement  ? 

That  Mr.  Birch  delights  in  form  no  less  than  in 
atmospheric  effect  and  colour,  is  shown  by  the  very 
simply  treated  Tregijfian  Cliffs.  Here  with  sensi- 
tive and  sympathetic  lines,  he  has  touched  in  upon 
a  greyish  paper  the  various  planes  of  the  rocks,  and 
with  direct  and  simple  washes  oi gouache,  has  given 
atmospheric  colour  to  the  jagged  cliffs  round  which 
the  sea  laps  with  a  fringe  of  foam.  Another  coast 
study  admirable  in  its  appreciation  of  form  is  St. 


Loy  Bay,  ttear  Land's  End.  Here  the  economy  ot 
means — the  pencil  sketch  is  merely  washed  in  and 
tinted  with  slight  colour — is  surprising  when  we 
consider  the  fine  sense  of  perspective  and  space 
conveyed. 

In  the  Landscape  Study  reproduced  on  page  174 
Mr.  Birch  is  seen  in  a  more  romantic  vein,  and 
much  has  been  subordinated  to  the  purely  decora- 
tive arrangement.  Here  he  uses  an  ink  line  to  give 
stability  and  precision  to  a  delicate  harmony  of 
greys. 

The  Crook  of  Lune,  near  Lancaster,  is  one  of  a 
delightful  series  of  sketches  which  the  artist  has 
executed  in  this  neighbourhood,  but  it  is  hardly 
necessary  to  say  that  a  black-and-white  reproduc- 
tion can  only  give  the  palest  reflection  of  this 
charming  impression,  in  tones  of  blue  and  gold,  of 
the  river  which  Mr.  Birch  has  painted  in  varied 
aspects  but  never  with  more  beauty  than  in  this 
glowing  water-colour. 

Many  are  the  pictures  for  which  the  Cornish 
village  of  his  adoption  has  afforded  him  most 
happy  inspiration,  and  I  remember  particularly  two 
sunny  sketches  of  Lamorna  Quay,  with  the  water 
dancing  and  sparkling  round  the  stone  jetty  ;  and 
in  Mv  House — Lamorna,  we  have  a  drawing  which 


TKliGIKl'lAN    CLIFKS,    iNEAR    I.AN'D's    END 


15V    S.    .1.    I.AMOKNA    lUKCH,    K.  W. 


iratcr-Cvloiirs  a)id  Paint iugs  by  S.  J.  Larnorna  Birch 


is  Hooded  with  sunlight  and  has  an  ahnost  ItaHan 
brilhancy  of  colour,  reminding  us  that  the  phase 
"Cornish  Riviera,"  famiUar  on  the  raihwy  placards, 
is  no  mere  advertising  clap-trap.  Especially  is  this 
drawing  noteworthy  for  the  atmospheric  effect 
obtained  by  the  use  of  blues  giving  a  kind  of 
haze  to  the  shadows,  contrasting  with  the  rich 
greens  under  the  illumination  of  the  intense  sun- 
light ;  an  impression  of  heat  lies  over  the  whole 
scene,  and  a  little  acidity  is  given  characteristically 
to  the  sweetness  of  the  harmonies  of  blue  and 
green  by  the  introduction  of  notes  of  red. 

Of  the  two  works  reproduced  in  colour,  the 
oil-painting.  The  Vieiv,  with  its  fine  sky  and 
the  clear  pale  sunlight  streaming  down  between 
the  banks  of  cloud  over  the  expanse  of  rolling 
landscape,  is  an  admirable  composition,  full  of 
light  and  air,  and  painted  with  a  great  feeling  oi 
style  allied  to  the  utmost  modernity  of  treatment. 
This  is  a  characteristic  in  Mr.  Birch's  work  to  which 
one  responds  with  great  pleasure — this  alliance  ot 
a  sense  of  style,  of  a  manner  that  makes  us  think 
of  him  as  one  whose  iesthelic  sensibilities  are  at- 
tuned to  a  veneration  for  all  that  Constable  revealed 
in  landscape,  with  a  quality  of  paint  and  technical 
methods  which  are  entirely  modern.     Another  work 


similar  to  this  oil-painting,  is  the  large  and  import- 
ant water  colour,  A  Coi-nish  Landscape,  which  the 
artist  has  deposited  as  his  diploma  work  for  the 
Royal  Society  of  Painters  in  AN'ater-colours.  This, 
perhaps  one  of  the  best  things  Mr.  Birch  has  done, 
contains  some  delightful  passages  of  colour,  and 
the  far-stretching  and  expansive  landscape  is  de- 
l)i(ted  with  a  sympathy  and  a  sincerity  revealing 
gradually  a  charm  at  first  unsuspected  in  the  picture. 

His  Scotch  Latidscape,  a  beautiful  impression 
somewhat  Turneresque  in  vision  and  in  colour,  is 
painted  in  gouache  in  a  manner  a  little  reminiscent 
of  Brabazon.  This  belongs  to  a  range  of  works  in 
which  we  find  the  artist  giving  freer  rein  to  his 
moods,  and  as  this  aspect  of  his  work — and  it  is  a 
very  attractive  one — is  more  often  revealed  when 
he  treats  subjects  which  are,  so  to  speak,  off  his 
regular  beat,  it  would  be  interesting  if  some  day 
Mr.  Birch  would  show  us  his  impressions  of  a  foreign 
land.  Not  that  we  are  tired  of  Cornwall — far 
fr(Mii  it !  but  there  is  an  abandoti  about  these 
works — which  appear  to  have  been  done  in  a  some- 
what insouciant  holiday  mood — that  whets  our 
appetite  for  more. 

Lancaster  Castle  from  the  Aqueduct  I  refer  to 
last,  for  in  point  of  actual  size  as  for  other  reasons 


l-y-^'        '-<!»-"'»  >;^..-' 


"THK    KlVEk    I.U.NE    1  KO.M    TlIK    AVLEUI;L1  ,    I.A.NCA^TliK 
176 


WATER-COLOUR    BY    S.   J.    1  AMOR.NA    BIRCH,    R.W.S. 


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//  'ato'-CoIours  and  Paintings  by  S.  /.  Lanioyiia  Birch 


it  is  one  of  the  most  iniporlant  works  Mr.  IJirch 
has  yet  given  us.  Tainted  in  a  range  of  colours 
l)eculiarly  his  own,  it  has  that  reticence  of 
palette  and  a  little  dryness  whicli  one  finds  so 
characteristic  in  his  art.  The  theme  is  handled 
with  dignity,  and  the  artist  has  dexterously  pre- 
served the  unity  of  the  composition  in  a  manner 
that  is  (juite  remarkable  when  we  consider  the 
great  variety  in  the  perspective  and  the  character 
of  the  different  parts  of  the  scene,  in  the  painting, 
of  which  the  cohesion  and  harmony  of  the  whole 
might  easily  have  been  lost.  Here  is  detail 
revelled  in  and  given  most  naturally  and  realistic- 
ally, but  yet  subordinated  all  the  while  to  the 
orchestration  of  the  picture  as  a  whole.  In  many 
ways  one  feels  that  here  Mr.  Birch  is  himself  and 
at  his  best ;  and  the  subject  that  by  reason  of  its 
bigness  and  size  might  have  lent  itself  admirably 
to  oil-painting  is  rendered  wiih  all  respect  for 
the  medium  in  which  the  artist  works  with  such 
assurance,  and  with  a  ciuaiity  of  transparency  and 
delicacy  of  atmosphere  such  as  water-colour  can 
give  par  excellence. 


Appreciation  of  Mr.  Birch's  art  has  been  wide, 
as  is  to  some  extent  seen  fix)m  the  fact  that  he  is 
represented  in  the  Manchester  City  Art  Gallery, 
the  Walker  Art  Gallery,  Liverpool,  in  the  art 
galleries  of  Preston,  Lancaster,  Plymouth,  Brighton, 
and  Rochdale,  in  the  Municipal  Gallery  at 
Wellington,  New  Zealand,  the  National  Gallery  of 
("Canada,  Ottawa,  and  the  Ann  Brown  Memorial 
Gallery  at  Providence,  Rhode  Island,  U.S.A. 

The  reproductions  of  his  works  which  this  article 
accompanies  will  serve  to  show  that  Mr.  Birch's 
contributions  to  contemporary  landscape  art  are, 
indeed,  worthy  of  attention  and  study ;  and  they 
form  an  evidence,  much  more  conclusive  than  any 
words  can  be,  that  this  artist  has  undoubtedly 
earned  an  honourable  place  as  one  who,  working 
quietly  and  earnestly,  unmoved  by  the  alarums 
and  excursions  of  the  mere  sensationalists  in  art 
but  neither  falling  into  the  rut  of  those  whose 
inspiration  has  become  petrified  and  stale  by 
deadly  but  perchance  popular  repetition,  is  playing 
his  part  in  worthily  maintaining  the  fine  traditions 
of  our  art  of  landscape.  Arthur  Reddie. 


"THE    CROOK    OK    LU.NE,    .NEAR    LANCASTER" 
178 


WATER-COLOUK    BY    S.    J.    l.AMORNA    BIRCH,    R.W.S. 


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The  Royal  Society  of  Painter-Etchers 


T 


HE  ROYAL  SOCIETY  OF 
PAINTER  -  ETCHERS  AND 
ENGRAVERS. 


The  recent  exhibition  of  this  Society,  held  as  usual 
in  the  galleries  of  the  Royal  Society  of  Painters  in 
Water  Colours,  afforded  convincing  and  gratifying 
proof  that  the  troublous  conditions  through  which 
we  are  passing  have  not  reacted  unfavourably  upon 
the  work  that  is  being  done  by  our  etchens  and 
engravers.  On  the  contrary  there  is  ample  justifi- 
cation for  asserting  that  taking  the  exhibition  as  a 
whole  the  work  shown  reached  a  higher  level  than 
that  attained  at  any  of  the  Society's  exhibitions 
during  recent  years.  There  was  no  lack  of  diversity 
either  in  subject  or  treatment,  in  the  two  hundred 
and  fifteen  plates  exhibited.  Though  the  bulk  of  the 
exhibits  consisted  of  pure  etchings,  there  was  a  con- 
siderable leaven  of  other  methods  practised  by  the 
members  and  associates,  such  as  dry-point,  soft- 
ground  etching,  aquatint  and  mezzotint. 

Notable  features  among  the  exhibited  prints  were 
SwaJediffit  Gap,  the  sole  contribution  of  the  Presi- 


dent, Sir  Frank  Short ;  a  series  of  Indian  subjects 
by  Mr.  E.  S.  Lumsden ;  Mr.  Niels  M.  Lund's 
Cor/e  Castle ;  Mr.  Oliver  Hall's  IVevmouth  and 
other  plates ;  Mon.  Bejot's  five  plates,  notably  Les 
Chaumieres  and  Le  Quai  de  P Horloge,  Paris  ;  Mr. 
Percival  Gaskell's  Gasternthal,  a  mezzo:int,  The 
Heron's  Pool,  aquatint,  and  Riva  degli  Sc/iiavoni, 
etchmg  ;  Mr.  J.  R.  K.  Duff's  pastoral  themes  ;  the 
Hon.  \\'alter  James's  An  April  Day,  and  Pgglestone 
Bridge,  Teesdale ;  Mr.  Wilfred  Ball's  Sulgrave 
Manor ;  Mr.  William  Monk's  Warwick  Castle : 
Mr.  Fred  Richards's  Antique  Shop,  Venice,  and  his 
mezzotint  Dutch  Gossips  ;  Mr.  D.I.  Smart's  mezzo- 
tint The  Last  Gleam  :  Mr.  Sydney  Lee's  Fishermen's 
Houses  and  The  Church  To7ver,  the  latter  an 
admirable  study  of  masonry  ;  Miss  Winifred  Austin's 
A  Little  Jap ;  Mr.  Hamilton  Mackenzie's  A  Gate- 
7vay,  Rome ;  Mr.  Lee  Hankey's  Luxembourg  and 
The  Shepherdess.  The  pri-nts  of  Sir  Charles  Holroyd, 
Mr.  William  Dawson,  Mr.  S.  Tushingham,  Mr. 
Martin  Hardie,  Mr.  Percy  Robertson,  Mr.  Percy 
Lancaster,  Mr.  C.  H.  Baskett,  Mr.  E.  W.  Charlton 
also  added  materially  to  the  interest  of  the  exhibition. 


ip^gt^^H^ymwp* 


THE   ANTIQUE   SHOT,    VENICE 


BY    KRED    KKlIAKli^,    A.K.E. 
iSl 


"CORFE    CASTLE."     BY 
NIELS   M.   LUND,   A.R.E. 


AN   APRIL  DAY.'     BY   THE 
HON.  WALTER  J.  JAMES,  R.E. 


t'j 


l-V 


::*stJ*^^ 


/r....  ^.  '"'^r.'i^^L 


"RIVA   DEGLI   SCHIAVONI,  VENICE" 
BY   PERCIVAL  GASKELL,  R.E. 


'i^fi^ 


(By  courtesy  of  Messrs.  Dowdeswell 
a 'id  Dowdeswelh  Ltd.) 


MOSQUE  AND  TEMPLE."  BY 
ERNEST  S.  LUMSDEN,  A.R.E. 


ri.i 


A    GATEWAY,    ROME."     BY  J. 
HAMILTON   MACKENZIE,  A.R.E. 


'A    LITTLE    JAP."      BY 
WINIFRED  AUSTEN,  A.R.E. 


"WARWICK  CASTLE."     BY 
WILLIAM   MONK.  R.E. 


Drawings  by  Anna  Airy 


A 


NNA  AIRY'S  DRAWINGS 
OF  FRUIT,  FLOWERS, 
AND   FOLIAGE. 


In  his  first  volume  of  Modern  Painters,  in  the 
section  "  Of  truth  of  vegetation,"  Ruskin  writes  : 
"Break  off  an  elm  bough  ...  in  full  leaf,  and 
lay  it  on  the  table  before  you,  and  try  to  draw  it, 
leaf  for  leaf.  It  is  ten  to  one  if  in  the  whole 
bough  (provided  you  do  not  twist  it  about  as  you 
work)  you  find  one  form  of  a  leaf  exactly  like 
another ;  perhaps  you  will  not  even  have  o?ie  com- 
plete. Every  leaf  will  be  oblique,  or  foreshortened, 
or  curled,  or  crossed  by  another,  or  shaded  by 
another,  or  have  something  or  other  the  matter 
with  it ;  and  though  the  whole  bough  will  look 
graceful  and  symmetrical,  you  will  scarcely  be 
able  to  tell  how  or  why  it  does  so,  since  there  is 
not  one  line  of  it  like  another."  Ruskin  created 
for  the  modern  artist  a  conscience  in  these  things. 
He  likened  the  boughs  in  the  landscapes  of  an 
earlier  period  to  India  rubber  and  the  branches 
to  ornamental  elephants'  tusks  with  feathers  tied 
to  the  end  of  them.  At  the  time  he  was  writing 
there  was  httle  painting  animated  with  the  same 
love  of  natural  forms  that  inspired  his  own  writing. 
The  human  grandeur  of  the  classic  landscape  had 
given  place  to  formal  painting,  which  failed  to 
suggest  the  haunting  sense  of  human  association 
in  which  the  classical  school  succeeded,  or  that 
passion  for  Nature  herself  which  has  since  sup- 
planted this  feeling. 

One  feels  sure  that  the  sympathetically  executed 
sprays  of  Miss  Airy  would  have  fascinated  the 
great  critic.  Miss  Airy  has  told  the  present  writer 
that  in  drawing,  as  she  does,  her  sprays  while  they 
grow  on  the  tree,  the  modes  of  ramification  of  the 
upper  branches  are  so  varied,  inventive,  and  grace- 
ful, that  the  least  alteration  of  them,  even  the 
measure  of  a  hair's-breadth,  spoils  them  ;  and  though 
it  is  sometimes  possible  to  get  rid  of  a  troublesome 
bough,  accidentally  awkward,  or  in  some  minor 
respects  to  assist  the  arrangement,  yet  so  far  as 
the  real  branches  are  copied,  the  hand  libels  their 
lovely  curvatures  even  in  its  best  attempts  to 
follow  them.  There  is  a  peculiar  stiffness  and 
spring  about  the  curves  of  the  wood  which  especially 
defies  recollection  or  invention.  The  artist  will 
bear  us  out  that  we  have  accurately  reported  her 
here,  and  yet  from  the  words  "  the  modes  of 
ramification"  to  "attempts  to  follow  them"  we 
are  quoting  Ruskin  without  the  alteration  of  a 
syllable,  and  in  the  succeeding  paragraph  with 
only  the  omission  of  one  or  two  irrelevant  words. 


We  have  then  in  these  drawings  the  expression 
of  passionate  sympathy  with  the  refinements  of 
leaf  and  stem-forms.  We  have  here  the  realism 
that  alone  can  satisfy  an  eager  love  of  Nature  for 
herself.  What  is  novel  is  the  careful  art,  almost 
Japanese  in  spirit,  with  which  naturalism  is  con- 
trolled and  exploited  on  behalf  of  decoration. 

In  all  Miss  Airy's  pieces  the  background  wash  is 
a  pure  convention.  In  only  one  instance  do  we 
remember  an  attempt  on  her  part  even  to  express 
formally  the  relation  of  detail  to  the  accidentally 
provided  background,  in  nature,  which  might  be 
masses  of  leafage,  a  floor  of  grass,  or  the  blue  of  a 
June  sky.     Personally  we  should  like  to  see  an 


Kl.OWEK    O     THI-:    HKOOM 


I!Y    ANNA    AlKV 


1S9 


Dnr7C'///o-s  by  Anna  .7/>i' 


"the  split  quince" 


BY   ANNA   AIRY 


attempt  to  preserve  this  relationship,  though  such 
perfection  as  Miss  Airy's  studies  would  then  attain 
might  invite  the  anger  of  the  envious  gods  and 
draw  down  upon  them  some  pitiless  process  of 
destruction.  The  artist  herself  has  in  any  case 
her  own  views  on  the  matter,  with  which  many 
with  qualifications  as  critics  will  agree.  She  would 
in  every  picture  throw  her  drawing  into  relief 
against  the  most  carefully  contrasted  light  back- 
gr(jund,  her  intention  being  to  concentrate  our 
attention  on  a  set  of  truths  selected  from  others, 
and  the  negative  background  is  her  only  means  of 
isolating  those  particular  truths,  and  the  beauty 
that  is  peculiar  to  them. 

One  has  to  know  something  of  the  mediums  this 
190 


artist  employs  to  appreciate  to  the  full  the  measure 
of  her  success  in  a  method  of  work  that  is  her  own. 
Few,  indeed,  are  the  artists,  as  is  patent  to  visitors 
to  exhibitions  and  students  of  contemporary  illus- 
tration, who  can  employ  undiluted  black  ink  lines 
over  colour  while  keeping  the  colour  pleasantly 
glowing  through  them. 

An  artist  has  not  such  a  conscience  for  truth  to 
nature  as  Miss  Airy's  for  nothing  ;  not  a  line  is 
drawn  by  her  except  in  the  presence  of  nature. 
The  pen-work  is  done  out  of  doors  direct  from  the 
"  model "  branch  as  it  grows  on  the  tree,  and  the 
colouring  is  done  in  the  same  circumstances.  A 
whole  summer,  with  hours  from  six  until  sunset, 
has  been  spent  in  an  orchard  by  the  artist. 


n 


"MAY-FLOWER.'    from  a  water-colour 
DRAwiNQ    BY    ANNA    AIRY.    R.E.,    R.O.I. 


iiedge-straxglkr;'    watkr-colour 
drawing  by  anna  airy 


Dy(i7c<iiigs  by  A7uia  Airy 


THE    WRONC.    LABEL 


BY    ANNA    AIRY 


It  is  very  seldom  that  people  who  possess  an 
intimate  knowledge  of  trees,  plants,  and  flowers, 
and  have  also  a  love  of  art,  can  look  with  pleasure 
upon  pictures  of  just  those  features  of  nature  with 
which  they  are  best  acquainted,  and  which  they 
would  desire  to  see  represented  before  anything 
else.  They  may  search  far  for  anything  resembling 
Miss  Airy's  work  in  its  reverence  for  life.  She 
brings  to  the  subject  abilities  which  in  other 
branches  of  art  have  already  given  her  name  much 
distinction.  The  series  of  exquisite  nature  studies 
with  which  we  are  concerned  in  this  paper  formed 
I)art  of  an  exhibition  of  the  artist's  paintings,  draw- 
ings, and  etchings  held  at  the  Fine  Art  .Society's 
Gallery  in  Bond  Street  last  month,  and  the  powerful 
"  associations  "  of  field  and  orchard  which  attach 
to  her  favourite  theme  did  not  fail  to  sound  a  con- 
solatory note  in  an  (nershadowed  season. 
194 


Miss  Airy  was  a  scholarship  student  of  the  Slade 
School,  where  she  distinguished  herself  as  the 
holder  of  all  the  first  prizes,  and  for  three  years  of 
the  coveted  Melville  Nettleship  prize.  She  is  a 
member  of  the  Pastel  Society,  a  Fellow  of  the 
Royal  Society  of  Painter-Etchers,  Member  of  the 
Royal  Institute  of  Painters  in  Oils,  and  of  the 
Royal  Society  of  Portrait  Painters.  Her  etchings 
have  been  purchased  in  1908  and  19 14  for  the 
Walker  Art  Gallery,  Liverpool.  The  Royal 
Academy,  the  International  Society,  and  the 
New  English  Art  Club  walls  have  all  placed  her 
work  "on  the  line."  This  professional  testimony 
to  the  brilliance  of  her  execution  in  various  fields 
gives  an  especial  interest  to  the  concentration  of 
her  powers  on  the  laborious  but  sensitive  interpre- 
tion  of  foliage,  fruits,  and  blossoms  of  which  we 
have  written.  T.  ^^'. 


p 


"WAR-TIME."     FROM    A   WATER  COLOUR 

DRAWING  BY  ANNA  AIRY,  R.E.,  R.O.I. 


,ab 


studio-  Talk 


STUDIO-TALK. 
(From  Our  Own  Correspondents.) 

IONDON. — By  reason  of  its  high  quality  and 
interesting  variety  the  collection  of  Mr. 
Edmund  Davis  has  long  been  acclaimed 
-^  by  those  who  knew  it,  and  a  selection  of 
the  more  important  pictures  and  sculptures  recently 
shown  at  the  French  Gallery,  Pall  ■Mall,  provided 
one  of  the  most  notable  exhibitions  held  in 
London  for  some  time.  That  Mr.  Davis  is  a 
collector  of  unusually  sound  judgment  and  broad 
sympathy  will  be  manifest  from  the  series  of 
articles  on  his  collection  now  appearing  in  these 
pages.  But  fully  to  appreciate  the  high  standard 
of  quality  which  alone  satisfies  him  it  is  neces- 
sary to  see  the  splendid  series  of  works  hung 
together  under  such  favourable  conditions  as  they 
were  in  Pall  Mall.  Here,  in  addition  to  the  works 
by  Rembrandt,  Reynolds,  Gainsborough,  ^Vhistler, 
Alfred  Stevens,  and  Daumier  reproduced  in  our 
last  issue,  were  to  be  seen  the  superb  Queen 
Henrietta  Maria  by  ^'an  Dyck  (formerly  in  Lord 
Lansdowne's  collection)  ;  a  fine  male  portrait  by 
Velasquez  ;  two  impressive  examples  of  the  art  ot 
^Vatts — The  Creatioti  of  Eve  and  Denunciation  — 
and  a  study  of  the  nude  from  the  same  brush  : 
together  with  other  works  by  Alfred  Stevens, 
Charles  Ricketts,  Charles  Shannon,  C.  W.  Furse, 
Orpen,  and  Conder,  and,  amongst  the  sculpture, 
eleven  of  Rodin's  masterly  creations.  In  the 
remaining  articles  on  the  collection  we  hope  to 
include  reproductions  of  many  of  these  important 
works.  The  proceeds  of  the  exhibition  were  de- 
voted to  the  Queen's  "  U'ork  for  Women"  Fund. 


The  Eighth  Exhibition  of  the  Society  of  Twelve 
at  Messrs.  Colnaghi  and  Obach's  Galleries  in 
March  was  very  welcome  as  evidence  of  the  con- 
tinued existence  of  this  society  for  the  encourage- 
ment of  drawing.  Four  of  the  eighteen  members 
who  now  constitute  the  society  did  not  exhibit — 
Mr.  Henry  Lamb,  Mr.  William  Nicholson,  Mr. 
Ricketts,  and  Mr.  Charles  Shannon.  The  draw- 
ings of  Mr.  Muirhead  Bone  as  here  exhibited 
showed  a  departure  which  many  will  regret  on 
account  of  a  certain  theatrical  tendency  and  the 
absence  of  the  exquisite  touch  which  has  hitherto 
distinguished  all  his  drawings.  A  retrospective  col- 
lection of  drawings  by  Mr.  Rothenstein  was  a  feature 
of  the  exhibition.  The  earlier  drawings  were  the 
more  interesting,  perhaps,  in  style,  but  bolii  early 
and  late  groups  revealed  the  artist  at  his  best,  as 


one  with  that  interest  in  the  human  mind,  as 
revealed  in  physical  expression,  which  is  a  quality 
to  be  considered  separately,  but  is  indispensable 
to  the  convincing  portrait-painter.  Mr.  John  was 
represented  by  works  in  which  he  allowed  himjelf 
the  greatest  freedom  of  execution.  Mr.  William 
Strang's  silver-points  and  etchings  did  not  depart 
in  any  way  from  work  with  which  he  has  lately 
familiarised  us.  Messrs.  Clausen,  Orpen,  Sturge 
Moore,  Ian  Strang,  Francis  Dodd,  D.  V.  Cameron, 
and  Gordon  Craig  were  also  represented. 


NECKLACE    IN    GOl.P    AND    I'RECIOUS   STONES    (Sl'B- 
JECT  :     THE     C.OI.DKN      KI  EECK).  PESICNEO       BY 

EDWARD  SPENCEK.EXKtrTED  BY  Will  lAM  CI  ENME 
AND    CHARLES  MOXEY   OI-    THE  AKTIl  ICERs'  GI'ILD 


studio-  Talk 


ELECTRIC  SANCTUARY  LAMT  MADE  FROM  A  LARGE 
OSTRICH  EGG  MOUNTED  IN  COPPER  GILT  WITH  PLIQUE  A 
JOUR  ENAMELS,  RED  CORAL,  CRYSTAL  AND  BLUE  JASPER. 
DESIGNED  BY  EDWARD  SPENCER  KOR  THE  GORDON 
CHAPEL,  KHARTOUM  CATHEDRAL,  AND  EXECUTED  BY 
CHARLES    MOXEY    OF    THE    ARTIFICERS'    GUILD 


The  illustrations  we  give  on  this  and  the 
previous  page  are  of  some  recent  work  executed  by 
the  Artificers'  Guild  from  the  designs  of  Mr.  Edward 
Spencer,  under  whose  leadership  this  association  of 
artist-craftsmen  has  attained  a  premier  position 
among  organisations  of  this  kind.  The  Golden 
Fleece  Necklace  is  a  very  elaborate  piece  of  work, 
and  as  in  a  black-and-white  illustration  the  details 
cannot  be  represented  in  their  proper  relation,  the 
designer's  description  will  help  to  that  end.  The 
ship  Argos  forms  the  pendant,  and  it  is  set  upon  a 
sea  of  blue  opal  with  rocks  of  rough-cut  sapphire 
on  either  hand,  while  underneath  is  sea-weed  foliage 
in  gold  set  with  whole  pearls  about  sea  panels  of 
opal.  Over  the  ship  is  a  rainbow  or  sky  of  blue- 
purple  enamel  set  with  seven  golden  stars  and 
over  this  again  hangs  the  Cjolden  Fleece,  framing 
a  fine  star  of  sapphire.  The  chain  is  of  opals  and 
pearls  alternating  with  fine  gold  panels  and  bosses, 
and  there  are  two  subsidiary  pendants  showing 
dragons  (designed  by  Mr.  John  Bonner)  guarding 
the  Apples  of  the  Hesperides,  represented  by  opals, 
sapphires  and  pearls  on  a  tree  of  gold. 
198 


We  reproduce  a  poster  designed  by  Mr. 
Ikangwyn  for  the  Soldiers'  and  Sailors'  'I'obacco 
Fund,  which  claims  attention  not  only  because  of 
its  intrinsic  merits  as  a  poster,  but  also  because  the 
fund  on  behalf  of  which  it  makes  such  an  eloquent 
appeal  is  one  which  deserves  support  in  view  of  the 


GOSPEL  LIGHT  IN  GILT  METAL  AND  OAK.  DESIGNED 
BY  EDWARD  SPENCER,  EXECUTED  BY  CHARLES  MARTEL, 
ERIC  ROSS,   AND  FRANK   JOBE   OF    THE    ARTIFICERS*  GUILD 


YPRES  TOWER."  POSTER  DESIGNED 
BY  FRANK  BRANGWYN.  A.R.A.,  FOR 
THE  S  O  L  D  I  E  R  S'  A  N  D  S  A  I  L  O  R  S' 
TOBACCO  FUND 


Sfiidio-  Talk 


almost  inconceivable  hardships  endured  by  our 
soldiers  and  sailors  in  the  life  and  death  struggle 
now  going  on.  The  offices  of  the  fund  are  at 
(\Mitral  House,  Kingsway. 


We  regret  to  record  the  death  of  Mr.  Ernest 
Brown,  one  of  the  proprietors  of  the  Leicester 
Galleries,  who  died  on  February  uS.  These  gal- 
leries were  opened  by  Messrs.  Phillips  in  1902,  and 
Mr.  Brown,  who  had  for  some  years  been  associated 
with  the  Fine  Art  Society,  joined  them  the  follow- 
ing year.  Mr.  Brown  was  (juick  to  recognise 
undiscovered  talent,  and  he  made  many  friends 
among  artists  by  his  sincere  interest  in  their  aims. 
His  acumen  as  a  judge  of  etching  is  commemorated 
by  a  reference  to  him  in  Whistler's  "  Gentle  Art." 


Two  societies  of  women  artists  have  been 
holding  exhibitions  during  the  past  few  weeks,  the 
Women's  International  Art  Club  at  the  Grafton 
Galleries  and  the  Society  of  Women  Artists  in  the 
Suffolk  Street  Galleries.  A  prominent  feature  of 
the  former  was  an  exceptionally  fine  collection  of 
English  and  foreign   lace,  including  some  dainty 


examples  of  Flemish  lace  brought  over  to  this 
country  by  M.  Paul  Lambotte.  The  pictures  were 
numerous,  and  many  of  our  leading  women  arti.sts 
were  represented,  as  well  as  a  few  of  Belgian 
nationality  who  are  now  domiciled  in  England. 
The  other  exhibition  also  contained  a  large  number 
of  pictures,  all  so  much  on  a  level  that  it  would 
be  difficult  to  single  out  more  than  a  few  as  being 
above  the  average.  On  a  screen  in  one  of  the 
rooms  were  shown  some  drawings  of  a  deceased 
member  of  both  these  societies.  Miss  Jessie  Hall, 
whose  career  was  brought  to  an  untimely  end  by  a 
cycle  accident  a  few  weeks  ago.  This  talented 
artist  specialised  in  animal  painting,  which  she 
studied  under  Mr.  C'alderon,  and  her  drawings  of 
horses  in  particular  gained  for  her  work  many  ad- 
mirers, both  in  this  country  and  far  off  in  Australia 
and  New  Zealand  also. 

GLASGOW. — Though     there    may,     in 
some    cases,     be    merit    in    leisurely 
production,   to  linger  over  a  portrait 
often  robs  it  of  interest.     Miss  Helen 
Paxlon    Brown,    trained   at   the   Glasgow    School 


"A    SUFFOLK    I.ANDSCAI'K" 

200 


BY    JKSSIE    HALL 


Y.^ 


PORTRAIT  OF  MRS.  ARTHUR. 

FROM  A  WATER  COLOUR  DRAWING 

B'.    HELEN    PAXTON    BROWN. 


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studio-  Talk 


of  Art,  is  one  of  the  most  rapid  delineators  ;  she 
literally  dashes  off  her  clever  portrait  sketches, 
seldom  detaining  her  sitters  for  a  longer  period  than 
an  hour  and  a  half :  a  few  deft  studio  touches  to 
drapery  or  setting  serve  to  complete  the  picture. 
Miss  Brown's  regular  medium  is  water-colour,  and 
she  invariably  draws  on  vellum.  She  is  also 
expert  at  needlecraft,  and  examples  of  her  stitchery 
have  appeared  in  these  pages. 


A  controversy  which  broke  out  some  time  ago  in 
connection  with  the  proposed  extension  of  Glasgow's 
water-supply,  has  called  public  attention  to  the 
delightful  charms  of  "the  Braes  o'  Balquhidder," 
and  invested  a  picture  of  the  district,  painted  by 
Tom  Hunt,  R.S.W.,  and  recently  purchased  by  the 
Corporation  for  their  permanent  collection,  with 
special  interest.  It  represents  the  far  famed  Braes, 
the  country  of  Rob  Roy,  in  November  mood,  when 
the  rich  autumn  tints  are  being  dissipated  by  early 
winter  snows.  Tom  Hunt  is  intimately  acquainted 
with  Highland  sketching-grounds,  and  renders  them 
with  unsurpassed  fidelity.  J.  T. 


On  the  occasions  of  his  visits  to  the  Glasgow 
School  of  Art  to  criticise  the  work  of  the  etchingclass, 
Mr.  D.  Y.  Cameron  does  not  bestow  praise  whole- 
sale ;  with  greater  kindness,  the  weak  points  are 
exposed,  and,  in  terms  of  playful  sarcasm  the 
student  is  congratulated  on  the  accuracy  of  the 
drawing  of  a  "Zeppelin"  where  clouds  should  be, 
or,  perhaps,  of  portraits  in  the  trees  1  When  praise 
does  come  it  is  therefore  to  be  highly  valued, 
and  Mr.  Alec  McNeil  has  had  the  good  fortune 
to  win  the  master's  appreciation  on  more  than 
one  occasion.  Mr.  McNeil  made  his  first  ap- 
pearance as  a  professional  etcher  at  the  penul- 
timate exhibition  of  the  Royal  Glasgow  Institute, 
and  the  discriminating  collector  was  not  slow  in 
recognising  that  here  was  an  artist  whose  work  is 
distinguished  by  a  strong  decorative  sense,  and 
much  originality  of  character.  He  has  completed 
more  than  a  dozen  plates,  and  several  of  them 
reveal  a  strong  predilection  for  trees  and  foliage, 
which  he  usually  studies  carefully  on  the  spot  before 
designing  an  original  composition  on  the  plate. 

A.  H.  S. 


'"ST.    THOMAS    HARBOUR      WEST    INDIES''  "V    KKANKIIN    HROWNELl, 

(National  Gallery  oj  Canada, — Sec  Oltawa  Studio-Tall:) 


205 


studio-  Talk 


Ori'AWA. — In  your  issue  of  July  19 14, 
1  gave  an  account  of  some  of  the  more 
important  purchases  made  by  the 
'IVustees  of  the  National  Ciallery  of 
Canada,  in  the  short  interval  since  the  administra- 
tion of  the  Gallery  entered  on  its  new  phase. 
During  the  past  year  a  number  of  fine  works  of  art 
have  been  secured  by  the  Trustees  which  are  well 
worthy  of  notice,  both  as  being  fine  examples  of 
the  masters'  art  in  themselves,  and  as  exemplifying 
some  important  period  in  the  j)rogress  of  art. 


The  first  that  might  be  mentioned  is  J.  F.  Millet's 
CEdipus  taken  from  the  Tree,  a  picture  so  well 
known  as  scarcely  to  need  description.  It  is  illus- 
trated in  Sensier's  Life  of  Millet  and  has  been  re- 
produced and  written  about  times  without  number, 
although  it  is  not  a  painting  that  shows  to  advantage 
n  a  black-and-white  reproduction.     It  was  painted 


in  1847,  the  year  before  The  Wimio7vera.x\d  Millet's 
departure  for  Barbizon,  and  it  clearly  marks  the 
transition  of  his  art  from  the  classic  to  the  peasant 
life  which  was  afterwards  to  immortalise  his  name. 
It  is  interesting  to  remember,  that  beneath  the 
picture  on  the  same  canvas  is  the  artist's  Tempta- 
tion of  St.  Gerome,  which  was  sent  to  the  Salon  and 
rejected,  the  canvas  being  used  again.  The  con- 
junction of  the  classic  theme  with  the  obvious 
j)easant  types  and  setting  is  remarkable. 


The  portrait  of  A  Governor  of  Cadiz  by  Goya 
is  another  acquisition  which  is  valuable  both  in 
itself  and  as  an  example  of  one  of  the  great  periods 
of  Spanish  painting.  The  portrait  shows  the 
artist's  remarkable  insight  into  character,  and  the 
colour-scheme  of  a  golden  brown  suit  trimmed  with 
black  fur  against  the  strong  blue  of  the  Spanish 
sky,  gives  the  picture  great  distinction  and  force. 


"WINTER    MORNING 
206 


(National  Gallery  of  Canada,  Otlawa) 


BY    LAWRKN    HARRIS 


< 


< 


^  7. 


> 


> 


ts 


A   GOVl^KXOR   OF   CADIZ" 
HY  FRANCISCO   GOYA 


(National  G alloy  of 
Canada,  Ottawa) 


studio-  Talk 


The  picture  is  from  Goya's  middle  period  and  his 
later  technical  bravura  is  not  in  evidence,  but  the 
painting  is  superlative  in  its  quiet  sincerity  and 
admirably  conceived'  colour  quality. 


Waterloo  Bridge  :  the  Sim  ift  a  Fog,  by  Monet, 
may  well  come  next.  Unfortunately  it  defies 
successful  reproduction,  but  as  one  sits  and  studies 
it,  it  is  a  revelation  of  atmospheric  painting.  The 
bridge  which  at  first  glance  is  hardly  visible  takes 
form,  and  in  the  eddying  fog  one  begins  to  make 
out  the  traffic  crossing  the  bridge  and  the  boats 
passing  in  the  river  below,  where  the  fiery  reflection 
of  the  red  orbed  sun  gleams  heavily.  The  picture 
is  a  marvellous  impression  of  an  effect  so  elusive 
that  it  is  difficult  to  believe  until  one  has  seen  it, 
that. anything  but  words  could  depict  it.  A  land- 
scape by  Alfred  Sisley,  Laveuses  pres  de  Champagne, 
is  another  example  of  the  same  movement,  and  is 
an  admirable  impression  of  summer  sunshine  on 
river  and  distant  village. 


The  animal  bronzes  of  Antoine  Barye  have  a 
power  and  suggestiveness  hardly  ever  equalled 
except  perhaps  by  those  of  J.  M.  Swan,  R.A.  A 
selection  of  nine  has  recently  been  made  by  the 
Trustees,  and  the  beginning  of  a  very  representa- 
tive exhibition  of  the  master's  work  secured. 
Other  purchases  include  an  exquisitely  spontaneous 
study  by  Corot,  of  a  Street  at  Antwerp ;  a  flower 
piece  by  Fantin-Latour ;  a  small  Monticelli,  Don 
Quixote  afid  Sancho  Fanza ;  a  portrait  of  The 
Countess  of  Guildford  by  Allan  Ramsay,  and  a 
landscape.  Through  the  Corn,  by  W.  McTaggart. 


Canadian  art  is  undergoing  a  great  change,  a 
renaissance  almost.  The  earlier  Canadian  painters, 
trained  entirely  in  Europe,  where  they  worked  for 
many  years,  and  encouraged,  when  they  were  en- 
couraged at  all,  by  Canadians  to  paint  European 
pictures,  or  at  best  to  paint  Canada  according  to 
European  tradition,  are  passing.  A  younger 
generation  is  coming  to  the  fore,  trained  partly  in 


Ri;i)    MAl'I.E 


( Xa/iona!  Gallery  of  Canada,  0//au',i ) 


BY    A.    V.    J.VCKSON 
209 


L'EXCORE."     BY 
ARTHUR    CRISP 


(National  Gallery  of 
Canada,  Ottawa) 


studio-  Talk 


Canada,  believing  in  and  understanding  Canada, 
and  at  least  to  some  extent  encouraged  by 
Canadians.  They  are  painting  their  own  country 
and  realising  its  wonders  and  its  individuality  with 
an  outburst  of  colour  and  strength  which  bids  fair 
to  carry  all  before  it.  The  recent  annual  exhibi- 
tion of  the  Royal  Canadian  Academy  illustrated 
this  movement  more  forcibly  than  ever  before,  and 
the  hopeful  are  convinced  that  they  are  looking 
into  the  dawn  of  an  art  era  in  Canada  which  will 
realise  some  of  the  true  glory  of  the  country  and 
do  much  to  help  the  people  to  an  appreciation  of 
better  things  than  the  exploitation  of  land  values 
and  speculative  money-making. 


Canada  has  at  least  two  seasons  incomparable 
the  world  over,  her  autumn  and  her  winter,  and  it 
is  the  fiery  glory  of  the  one  and  the  white  grandeur 
of  the  other,  which  are  inspiring  her  painters  to 
sincerity  of  purpose  and  simplicity  of  method.  It 
may  seem  almost  unbelievable  to  people  in  England 


that,  within  an  hour  or  two's  railway  journey  from 
Ottawa  and  almost  within  sight  of  it,  lies  a  thinly 
inhabited  land  where  the  lakes  teem  with  fish 
and  the  woods  with  wild  animals,  where  in  the 
autumn  the  scarlet  maples  blaze  among  the  dark 
pines,  and  in  the  winter  wolves  tear  down  the  deer. 
This  is  the  land  the  painters  are  seeking,  and  it 
must  inspire  great  thoughts  and  great  work. 


Some  recent  purchases  from  this  group  of  painters 
include  The  Red  Maple,  by  A.  Y.  Jackson,  a  blood 
red  maple  tree  silhouetted  against  the  blue  and 
brown  of  a  rushing  stream ;  Winter  Morning  by 
Lawren  Harris,  a  study  of  primrose  light  behind 
a  purple  pine  wood;  Fall  Floughinghy  H.  S.  Palmer; 
The  Shining  River  by  J.  E.  H.  Macdonald ; 
Evening  Lights  by  Albert  Robinson,  a  snow  study 
of  exquisite  tone  and  simplicity.  Franklin  Brownell 
and  J.  W.  Beatty,  the  one  in  the  A\'est  Indies  and 
the  other  in  the  Canadian  woods,  contribute 
notable  examples  to  this  colour  movement,  which 


iAAu^XJ^xiikl  ^:''^,^ 


EVENING    LIGHTS 


(Na/ioiiaf  tidHiiy  0/  CiUiada,  0,'<\ni.i>) 


BY    .MUUKT    H.     KOHINSON 
211 


studio-  Talk 


is  breaking  all  the  bonds  of  conventional  picture 
painting.  Mention  must  also  be  made  of  the 
Portrait  of  the  Artist  by  E.  \\'\  ly  Grier,  probably 
Canada's  best-known  portrait-jiainter.  The  picture, 
which  was  commissionetl  by  the  Trustees  of  the 
National  Gallery  in  recognition  of  the  artist's 
consistent  work  of  many  years  in  Toronto,  is  finely 
drawn  and  modelled,  and  is  an  entirely  virile  and 
satisfying  conception  of  the  painter  at  work  in  his 
studio. 

Recently  H.R.H.  Princess  Patricia  of  Connaught 
has  presented  the  National  Gallery  of  Canada  with 
two  of  her  pictures,  one  a  still-life.  Hyacinths  and 
Porcelain,  and  the  other  a  path  through  the  trees 
entitled  A  Woodland  Glade.  Both  are  remarkable 
for  the  force  and  directness  of  their  handling,  good 
in  colour  and  entirely  it  harmony  with  the  modern 
disregard  of  unessentials  and  breadth  of  vision. 


At  the  Canadian  National  Exhibition,  in  Toronto, 
was  exhibited  a  picture,  L Encore,  by  Arthur  Crisj), 
a  young  Canadian  painter  now  living  in  New  York, 
which  strikes  a  new  note  in  Canadian  painting  and 
achieved  a  most  deserved  success,  finally  finding  a 
home  in  the  National  Gallery  at  Ottawa.  It  is  a 
vivid,  spontaneous,  and  altogether  successful  paint- 
ing of  a  most  difficult  theme,  the  last  movement  of 
the  ballet  before  a  theatre  curtain. 

Eric  Brown. 


M 


OSCOW. — The  proceeds  of  the  recent 
annual  exhibition  of  the  Union  of 
Russian  Artists  or  "  Soyouz,"  as  the 
society  is  commonly  called,  have  been 
devoted  to  the  funds  in  aid  of  the  wounded  soldiers, 
and  from  that  point  of  view  the  exhibition  has  been 
a  great  success.  From  the  artistic  standpoint, 
however,  it  cannot  be  said  to  count  among  the 
most  successful  of  the  dozen  or  so  exhibitions 
which  this  group  has  held  since  its  foundation. 
In  point  of  technical  accomplishment  the  work 
shown  was  up  to  the  usual  level,  but  the  exhibits 
as  a  whole  aroused  no  great  interest,  for  in  the  work 
of  most  of  the  artists  represented  one  could  not 
fail  to  discern  a  certain  stagnation  which  manifested 
itself  in  the  repetition  of  well  worn  motives.  The 
poor  impression  which  the  display  as  a  whole  made 
is  in  part  to  be  explained  by  tne  absence  of  con- 
tributions from  some  members  of  the  Union  whose 
work  always  arouses  interestj  such  as  Ryloff, 
Konenkoff,  and  Stelletsky. 


of  the  older  generation  were  an  admirable  study  by 
A.  Arkhipoff  of  the  sunny  interior  of  a  peasant 
homestead,  with  a  group  of  merry  young  women 
arrayed  in  holiday  attire  ;  an  excellent  auto-portrait 
by  L.  Pasternak,  and  an  interior  of  a  country  house 
by  S.  Vinogradoff,  in  which  the  reflections  from  a 
window  of  many  hues  gave  an  opportunity  for  a 
lively  play  of  colour.  S.  Malyutin,  who  began  last 
year  a  series  of  portraits  of  contemporary  Russian 
painters,  has  added  to  it  one  of  Konstantin  Yuon, 
which  is  not  only  an  excell-ent  likeness,  but  is  at 
the  same  time  an  expressive  example  of  the  artist's 
talent.  Yuon  himself,  in  addition  to  some  winter 
landscapes  and  motives  from  Russian  provincial 
cities  handled  with  his  customary  power,  exhibited 
two  very  interesting  designs  of  a  quasi -historical 
content  having  reference  to  the  election  of  the  first 
Russian  monarch  of  the  Romanoff  dynasty — the 
Czar  Michael  Fedorovitch. 


Among  the  group  of  younger  artists  represented 
on  this  occasion,  N.  Krymoff  was  particularly 
interesting  with  his  landscape  studies,  revealing  in 


Notable  contributions  to  the  exhibition  by  artists 


rORTRAIT  OF   THE   PAINTER   KONSTANTIN    YUON 
BY  SERGIUS   MALYUTIN 


Studio-  Talk 


"  RECEPTION   OF   THE   CZAR    MICHAEL    FEDOIVOVITCH    ON    THE   WAY    TO   MOSCOW 


BY    KONSTANTIN    YUON 


'THE   EVE   OF   THE   CORONATION    OC   CZAR    MICHAKI.    KKPOROVITCH     ROMANOFF   AT    THE    KREMLIN,    MOmOW.         BY 

KONSTANTIN    YUON 

(Union  of  Russian  Artists,  Mcsccnv) 


Studio-  Talk 


ability  in  tlie  rendering  of 
movement  and  the  play  of 
sunlight,  while  his  auto- 
portrait,  painted  almost  in 
the  style  of  a  miniature, 
showed  in  this  direction 
also  the  promise  of  mastery. 
It  is  my  firm  conviction 
that  we  may  expect  much 
good  work  from  this 
talented  painter.       P.  E. 


c 


SELK-PORTKAIT 

a  marked  degree  the  individuality  which  charac- 
terises his  work.  Mile.  C.  Goldinger  also  was 
successful  with  her  portrait  of  the  Moscow  pro- 
fessor, M.  Pyrin,  and  the  work  of  A.  Yasinsky  and 
a  few  others  made  a  good  impression.  Sculpture 
on  this  occasion  was  conspicuous  by  its  absence, 
and  the  graphic  arts  were  very  sparsely  represented. 


BY    KEDOK    ZAKHAROKK 


All  the  art  societies  of  Moscow,  irrespective  of 
their  tendency  or  points 
of  view,  participated  in  an 
exhibition  in  aid  of  the 
funds  being  raised  for 
sufferers  by  the  war.  This 
exhibition  revealed  few 
surprises,  for  as  a  matter 
of  fact  a  large  number  of 
the  works  which  figured 
in  it  had  already  been  ex- 
hibited on  various  occa- 
sions during  the  past  few 
years.  Among  the  artists 
whose  work  attracted  par- 
ticular attention  in  this 
display  I  must  mention 
Fedor  Zakharoff,  a  young 
painter  who  not  \ery  long 
ago  finished  his  training 
at  the  Moscow  .School  of 
Art.  In  a  moderate  sized 
painting  of  a  football 
match,  he  showed  himself 
an  impressionist  of  much 
talent,  with  a  marked 
214 


OPENHAGEN. 
— Aage  Roose's 
etchings  show 
him  to  be  a 
singularlyobservant  student 
of  nature,  with  a  preference 
for  moods  and  motifs  bring- 
ing with  them,  to  the 
present  writer  at  least,  a  parting  message  from  a 
Swedish  winter,  which  has  at  last  run  its  long 
course.  Roose  is  not  alone  in  singling  out  this 
distinctly  picturesque  phase  as  an  acceptable  sub- 
ject for  the  brush  or  the  needle,  but  he  has  acquitted 
himself  exceedingly  well  of  the  task  he  set  himself, 
in  his  own  straightforward  manner,  which,  however, 
lacks  nothing  in  the  way  of  susceptible  conception 
and  rendering.     Roose  is  also  an  adept  at  wood 


IN    A    COUNTRY    HOUSE:    S1'RIN(;-TI  ME  "  BY    SERGI    VINOGRADOFF 

(Union  of  Russian  Artists,  Mosiow ) 


I 


'WINTER  IN  VARMLAND, 
SWEDE  N."  FROM  AN 
ETCHING  BY  AAGE  ROOSE 


Art  School  Notes 


engraving,  and  the  accompanying  reproduction  of 
one  of  his  prints  shows  that  in  his  handling  of  the 
implements  appertaining  to  this  technique,  he  is  no 
novice.  G.  B. 

PITTSBURGH.— At  the  close  of  the  last 
Annual  International  Exhibition  of  pic- 
tures at  the  Carnegie  Institute  such  of 
the  works  contributed  by  European 
artists  as  were  not  sold  were  in  the  usual  course 
re-consigned  to  their  respective  places  of  origin. 
The  exhibition  closed  on  the  last  day  of  June, 
and  thus  it  happened  that  a  number  of  these  pic- 
tures were  in  transit  when  war  broke  out.  The 
French  pictures  had  got  as  far  as  Havre,  but 
owing  to  the  congested  state  of  the  railway  to 
Paris,  it  was  impossible  to  forward  them  to  their 
destinations  at  the  time,  and  they  were  brought 
back  to  Pittsburgh  where,  with  a  'number  of 
Italian  pictures  which  had  not  got  beyond 
Hoboken,  they  will  be  kept  in  safety  during  the 
continuance  of  the  war,  or  at  all  events  until  such 
time  as  they  may  be  shipped  to  Europe  without 
risk.  Another  consignment  of  pictures  from  the 
exhibition  was  on  board  a  vessel  seized  by  the 
British  on  its  way  to  Hamburg  and  taken  in  prize 


to  Falmouth,  but  the  release  of  the  pictures  was 
obtained  from  the  Prize  Court  by  representatives 
of  the  Institute,  whither  they  have  since  found 
their  way  once  more.  The  French  artists  who 
sent  works  to  the  exhibition  which  closed  on 
June  30  last  are  Aman-Jean,  J.  E.  Blanche,  Henry 
Caro-Delvaille,  Raymond  Charmaison,  Charles 
Coltet,  Andre  Dauchez,  Georges  Dubois,  Camille 
Dufour,  Le  Sidaner,  Henri  Martin,  Maxime 
Maufra,  Marthe  Moisset,  Claude  IMonet,  Jules 
Pages,  and  R.  Prinet.  There  was  also  a  con- 
siderable contribution  by  artists  in  Germany, 
Holland,  Russia,  and  other  European  countries. 

ART  SCHOOL  NOTES. 

LONDON. — The  general  question  of  art 
school  education  in  this  country  has  given 
rise  to  a  good  deal  of  discussion  from 
-^  time  to  time  during  the  past  few  years, 
and  in  view  of  the  serious  effect  which  the  gigantic 
war  now  being  waged  is  almost  certain  to  have  for 
a  long  time  to  come  upon  many  forms  of  artistic 
production,  we  may  anticipate  that  much  more  will 
be  said  on  the  subject  in  the  near  future.  One  of 
the  complaints  most  frequently  made  against  thes 


CHARCOAL    BURNING,    VARMLANl)" 


IROM    AN    ORU'.INAL    WOOD    KNGRAVlNi.    «Y    AAGK    ROOSK 


"THE  JEWELLER'S  WLNDOW  " 
I' ROM  AN  ORIGINAL  LITHO- 
GRAPH   HV    WILMOT    LUNT 


(  Central  School  of 
Arls  and  Crafts) 


Art  School  Notes 


admit  of  precise  calcula- 
tion—  on  the  general 
artistic  culture  of  the 
nation,  and  this  itself 
goes  far  towards  justifying 
their  existence. 


MODELLED    BY   T.    \V.    TAKFITT 

(  Central  School  oj  Arts  and  Crafts) 


schools  is  that  they  are  largely  responsible  for 
swelling  the  ranks  of  an  already  overcrowded  pro- 
fession with  a  multitude  of  immature  artists.  In 
so  far  as  it  applies  to  the  painters  of  pictures  this 
complaint  is  not  without  justification,  for  there  can 
hardly  be  any  doubt  that  the  number  of 
pictures  painted  year  after  year  is  vastly 
in  excess  of  the  demand.  This  state 
of  affairs  is  of  course  not  peculiar  to 
our  own  country.  Year  by  year  when 
the  big  exhibitions  are  held  in  Paris, 
the  question  invariably  asked  is  :  What 
becomes  of  the  thousands  of  pictures 
hung  upon  the  walls  ?  So,  too,  in  Ger- 
many, whose  census  returns  show  that 
the  number  of  persons  who  follow  paint- 
ing as  a  profession  has  enormously  in- 
creased since  the  beginning  of  the 
century,  the  result,  according  to  Dr. 
Paul  Drey,  who  recently  published  an 
elaborate  study  of  the  economic  aspects 
of  the  profession,  is  that  the  overpro- 
duction of  pictures  has  become  terribly 
great  ("  erschreckend  gross  ").  That  this 
multiplication  of  artists  with  the  conse- 
quent overproduction  of  pictures  is  due 
largely  to  the  abundant  facilities  offered 
by  innumerable  art  schools  is  hardly 
open  to  question,  but  it  is  difficult  to 
suggest  a  remedy.  It  is  well  to  bear  in 
mind  that  even  if  the  schools  are  pro- 
ductive of  comparatively  few  artists  of 
undoubted  talent,  they  must  be  credited 
with  exercising  a  considerable  influence 
— though  an  influence  which  does  not 


The  majority  of  our  own 
art  schools — those  more 
especially  which  are  under 
public  control — were  not 
established  for  the  pur- 
pose of  training  picture 
painters,  but  for  the  ex- 
press or  implied  purpose 
of  bringing  the  influence 
of  art  to  bear  on  the 
national  industries  and 
manufactures.  This  aspect 
of  the  question  is  of  especial  importance  at  the 
present  time,  and  already  it  has  given  rise  to 
discussion  in  various  quarters.  It  was  touched 
upon  quite  recently  in  a  lecture  on  "  The  Decora- 
tive Textile  Industries  and  the  Designers'  Relation 


IN    BRONZED    I'LAS  lER  MODELLED    BY    A.    Bl   LVNER 

(Central  School  of  Arts  ami  Cnt/ts) 

2 1 1) 


THE  JEWKLLKR'S  WINDOW 
FROM  AN  ORIGINAL  LITHO- 
GRAPH   HV    WILMOT    LUNT 


(  Central  School  of 
Arts  and  Crafts) 


I 


Art  School  Notes 


admit  of  precise  calcula- 
tion—  on  the  general 
artistic  culture  of  the 
nation,  and  this  itself 
goes  far  towards  justifying 
their  existence. 


MODELLED   BY   T.    AV.    PAKFITT 

(Central  School  oj  Arts  and  Crafts ) 


<■«>»..   ,.„ 


The  majority  of  our  own 
art  schools — those  more 
especially  which  are  under 
public  control — were  not 
established  for  the  pur- 
pose of  training  picture 
painters,  but  for  the  ex- 
press or  implied  purpose 
of  bringing  the  influence 
of  art  to  bear  on  the 
national  industries  and 
manufactures.  This  aspect 
schools  is  that  they  are  largely  responsible  for  of  the  question  is  of  especial  importance  at  the 
swelling  the  ranks  of  an  already  overcrowded  pro-  present  time,  and  already  it  has  given  rise  to 
fession  with  a  multitude  of  immature  artists.  In  discussion  in  various  quarters.  It  was  touched 
so  far  as  it  applies  to  the  painters  of  pictures  this  upon  quite  recently  in  a  lecture  on  "  The  Decora- 
complaint  is  not  without  justification,  for  there  can  tive  Textile  Industries  and  the  Designers'  Relation 
hardly  be  any  doubt  that  the  number  of 
pictures  painted  year  after  year  is  vastly 
in  excess  of  the  demand.  This  state 
of  affairs  is  of  course  not  peculiar  to 
our  own  country.  Year  by  year  when 
the  big  exhibitions  are  held  in  Paris, 
the  question  invariably  asked  is  :  What 
becomes  of  the  thousands  of  pictures 
hung  upon  the  walls  ?  So,  too,  in  Ger- 
many, whose  census  returns  show  that 
the  number  of  persons  who  follow  paint- 
ing as  a  profession  has  enormously  in- 
creased since  the  beginning  of  the 
century,  the  result,  according  to  Dr. 
Paul  Drey,  who  recently  published  an 
elaborate  study  of  the  economic  aspects 
of  the  profession,  is  that  the  overpro- 
duction of  pictures  has  become  terribly 
great  ("  erschreckend  gross  ").  That  this 
multiplication  of  artists  with  the  conse- 
quent overproduction  of  pictures  is  due 
largely  to  the  abundant  facilities  offered 
by  innumerable  art  schools  is  hardly 
open  to  question,  but  it  is  difficult  to 
suggest  a  remedy.  It  is  well  to  bear  in 
mind  that  even  if  the  schools  are  pro- 
ductive of  comparatively  few  artists  of 
undoubted  talent,  they  must  be  credited 
with  exercising  a  considerable  influence  group  in  bronzed  plaster  modelled  kv  a.  hi  rrsKR 

— though   an   influence  which   docs    not  (Central  School  of  Arts  and  Crafts) 

219 


Art  School  Notes 


thereto,"  delivered  before  [  the  Royal  Society  of 
Arts  by  Mr.  Arthur  Wilcock,  whose  strictures  on 
the  art  school  training  of  designers  in  connection 
with  these  industries  called  forth  some  interesting 
expressions  of  opinion  for  and  against  his  own. 
The  chief  objection  urged  by  those  who  speak  on 
behalf  of  the  manufacturers  is  that  the  art  school 


BOOKBlNniNG 


BY   A.    I..    HACKMAN 


BOOKBINDING  BY    W. 

(Central  School  of  Arts  and  Crafts) 
220 


1> 


A 


KMRROinERY    AND    CUT   LINEN  WORK.       BY  BESSIE  FYSON 


EMBROIDP^RED   TABLE    CENTRE.       BY  JOHANNA   M.   REWER 

(Central  School  of  Arts  and  Crafts) 

training  of  the  designer  is  not  practical — that  it 
does  not  take  into  account  the  actual  conditions 
of  production ;  while  on  behalf  of  the  Schools  it 
is  urged  that  too  many  manufacturers  are  utterly 
indifferent  to  the  value  of  the  work  which  is  being 
done  in  the  schools  and  are  blind  to  the  possibilities 
which  the  Schools  offer  them  of  securing  valuable 
recruits  for  their  industries.  The  truth  seems  to 
be  that,  as  pointed  out  by  Mr.  Paulson  Townsend, 
"there  is  a  lack  of  sympathy  between  the  Schools 
and  the  manufacturers  ;  one  has  an  artistic  standard 
of  its  own,  and  apparently  refuses  to  consider  in  a 
logical  manner  the  calls  of  the  other." 


O   u 

z 


o  a 


(2L-    Q 
a 


§-5 
5-  -d  CD 


"^    ^    i    S^ 


£i    a    ^  "3  "^  "^  -O 

H  ^^ 1 1^^^ 

"^   <^  ^  <  CJ  '?<'  ?^ 


s.  ^   «j:uj>.^  (-M 


4rt  School  Notes 


EMliKOlDICKED    BAG  BY    MARY    M.    RINTOUL 

(Central  School  of  Arts  and  Crafts) 

What  is  needed,  therefore,  is  a  better  under- 
standing between  those  who  have  charge  of  our 
schools  and  the  leaders  of  industrial  undertakings. 
Much  may  be  learnt  in  this  direction  from  Ger- 
many and  Austria,  for  there  is  abundant  evidence 
to  show  that  in  the  remarkable  development  of 
industry  which  has  taken  place  in  those  countries 
during  the  past  decade,  the  arts  and  crafts  schools 
have  played  a  very  significant  part,  but  this  result 
has  only  been  made  possible  by  the  schools 
paying  due  regard  to  the  practical  requirements 
of  the  various  branches  of  industry 
with  which  they  are  concerned  and  the 
encouragement  and  sympathy  shown  to 
them  by  the  manufacturers.  An  in- 
teresting point  in  cc^nnection  with  the 
organisation  of  these  Continental 
schools  of  industrial  art  is  that  our  own 
schools  of  a  kindred  character  have  to 
a  large  extent  served  as  exemplars.  The 
educational  authorities  of  both 
countries  have  paid  special  attention 
to  our  institutions  for  the  training  of 
artist-craftsmen,  and  have  been  quick 
to  turn  to  advantage  what  they  have 
learned  from  them.  If  any  one  of 
them  in  particular  has  yielded  them 
guidance,  it  is  the  Central  School 
of  Arts  and  Crafts  carried  on  under 
the  control  of  the  London  County 
Council. 

222 


The  Central  .School,  which  was  established  in 
1896  "to  provide  instruction  in  those  branches 
of  design  and  nianiiJulation  which  bear  on  the 
more  artistic  trades,"  has  from  the  beginning  dis- 
tinguished itself  by  a  high  standard  of  achievement 
in  its  various  departments  of  activity.  These  are 
arranged  in  certain  more  or  less  cognate  groups, 
each  of  which  is  accommodated,  as  far  as  possible, 
on  a  single  floor  of  the  commodious  building  in 
Southampton  Row,  where  for  the  past  six  or  seven 
years  the  school  has  been  carried  on.  These  groups 
are  :  Architecture  and  the  Building  Crafts,  includ- 
ing stone  and  wood-carving,  art  metal  work,  bronze 
casting,  &c.  ;  Silversmiths'  work  and  Allied  Crafts  ; 
Book  Production,  an  important  group  embracing 
besides  composition,  press  work,  bookbinding,  and 
book  illustration,  the  various  graphic  arts,  such  as 
wood-cutting  for  reproduction,  lithography,  etching 
and  me/zotint,  as  well  as  poster  design,  writing  and 
illuminating,  miniature  painting  and  pastel  paint- 
ing ;  Cabinet  Work  and  Furniture,  comprising  both 
the  structural  and  decorative  aspects  of  the  craft ; 
Decorative  Needlework,  which  includes  dress 
designing  and  making ;  Stained  Glass  Work, 
Mosaic  and  Decorative  Painting.  In  close  relation 
to  all  these  groups  there  is  a  department  for 
drawing,  design  and  modelling,  with  facilities  for 
working  from  the  living  model. 


One  feature  of  the  Central  School  is  worth 
particular  notice  :  the  examination  "  fiend "  does 
not  intrude  here  as  it  does  in  the  majority  of  schools, 
and  the  institution  is  one  of  the  small  number  that 
do  not  take    part    in    the    National    Competition 


BOX    IN    EBONY    INLAID    WITH    MOTHER    OF    PEARL.       BY    A.    RIFAI 

(Central  School  0/  Arts  and  Crafts) 


Reviews  and  Notices 


SILVER     SPORTS     CUP.       WROUGHT    BY    S.    E.     FREE- 
MANTLE    AND    H.     A.     WELCH  ;    CHASED    BY    W.    W. 
MARTIN 

(Central  School  of  Arts  and  Crafts) 


of  Schools  of  Art.  But  if  the  students  have  no 
prescribed  examination  to  face,  their  work  is  never- 
theless closely  but  sympathetically  scrutinised  and 
a  watchful  eye  is  at  all  times  kept  on  their  progress. 
As  most  of  them  are  engaged  in  one  or  other  of 
the  handicrafts  taught  in  the  school,  the  bulk  of 
the  work  is  carried  on  in  the  evening,  but  in  many 
of  the  subjects  instruction  is  given  in  the  day  as 
well,  and  there  are  also  two  Day  Technical  schools 
for  boys,  who  have  finished  their  elementary  educa- 
tion, to  prepare  them  for  apprenticeship  in  book 
production,  or   silversmiths'  and  jewellers'  work. 


All  the  workshops  are  lavishly  equipped  with  the 
necessary  appliances.  Once  a  year  an  exhibi- 
tion of  selected  work  done  by  students  in  the 
various  departments  is  held,  and  it  is  from  the  last 
of  these,  held  at  the  beginning  of  the  current  term, 
that  the  accompanying  illustrations  have  been 
taken  by  courtesy  of  the  Principal,  Mr.  F.  V. 
Burridge,  under  whose  supervision  the  school  has 
been  steadily  progressing.  In  normal  times  the 
number  of  students  is  somewhere  about  two  thou- 
sand, but  the  war  has  been  responsible  for  a  con- 
siderable shrinkage  in  the  ranks  of  the  male 
students,  of  whom  a  large  number  have  responded 
to  their  country's  call,  as  have  also  various  members 
of  the  staff  of  instructors.  R.  N. 

REVIEWS  AND   NOTICES. 

Furniture  in  England  from  i66o-iy6o.  By 
Francis  Lenygon.  (London:  B.  T.  Batsford) 
£2  net. — We  reviewed  last  month  Mr.  Lenygon's 
large  and  important  work  "  Decoration  in  England," 
to  which  this  book  on  the  Furniture  of  the  same 
period  is  a  companion  volume.  The  century  of 
which  the  author  treats  has  been  selected  as  being 
that  in  which  the  Renaissance  spirit  found  its 
highest  expression  in  this  country ;  and  as  in 
the  work  on  Decoration,  Mr.  Lenygon  deals  first 
with  the  historical  aspect  of  the  subject,  tracing  the 
various  foreign  iafluences  which  played  their  part 
in  inspiring  or  modifying  the  drawings  of  con- 
temporary designers.  Four  hundred  and  fifty-seven 
admirable  illustrations,  four  in  colour  and  the 
remainder  reproduced  in  half-tone  from  photographs 
of  fine  examples  in  different  collections,  form  a 
comprehensive  and  valuable  pictorial  survey  of  the 
furniture  of  the  period ;  and  these  are  arranged 
in  chapters  under  headings  :  Chairs,  Stools,  Settees 
with  their  upholstery;  Beds,  Window  Cornices, 
and  Curtains  ;  Tables ;  Bookcases,  Cupboards  and 
Writing-tables ;  Pedestals  and  Brackets ;  Stands 
for  Cabinets ;  Mirrors ;  Clock-cases ;  Veneer  and 
Marquetry ;  Gesso  ;  Silver  and  Silver-mounted 
furniture ;  and  Lacquer. 

Tapestry  Weaving  in  England  from  the  Earliest 
Times  to  the  end  of  the  XVIIIth  Century.  By 
W  G.  Thomson.  ( London  :  B.  T.  Batsford) 
£,\  \os.  net — In  this  third  volume  in  Messrs. 
Batsford's  Library  of  Decorative  Art,  the  author 
gives  us,  what  one  is  surprised  to  find  did  not 
already  exist,  namely  a  book  dealing  exclusively 
with  the  history  of  Tapestry  in  England.  The 
literature  regarding  the  productions  of  Continental 
tapissiers  is  considerable,  but  the  high  quality  of 

223 


Reviews  and  Notices 


the  work  of  craftsmen  in  this  country,  and,  in 
particular,  the  excellence  of  the  tapestries  woven 
on  the  Mortlake  looms,  called  for  a  volume  to  itself, 
and  Mr  Thomson  deserves  our  thanks  for  supplying 
this  want  in  a  volume  in  which  he  gives  us  the 
fruits  of  much  study  and  research.  Although  in 
this  book  he  has  drawn  upon  his  History  of 
Tapestry,  published  in  1906,  and  upon  a  series  of 
articles  he  contributed  to  the  "Art  Journal,"  the 
volume  contains  also  much  fresh  material.  Starting 
with  a  brief  outline  of  the  history  of  weaving  abroad, 
the  author  next  deals  chronologically  with  the 
tapestries  produced  in  England  during  the  different 
centuries,  giving  a  number  of  inventories,  and  some 
account  of  the  various  manufactories ;  and  his 
interesting  text,  bearing  evidence  of  much  careful 
research,  is  illustrated  by  fifty-nine  reproductions 
of  famous  pieces,  four  of  the  plates  being  in 
colour. 

Bernini,  and  other  Studies  in  the  History  of  Art. 
By  Richard  Nortox  (London  :  Macmillan)  2\s. 
net. — Mr.  Norton  has  brought  three  essays  together 
in  this  book,  with  some  seventy  illustrations,  on 
Bernini ;  Aspects  of  the  Art  of  Sculpture  ;  and 
Giorgione.  The  first  essay  is  divided  into  three 
sections,  respectively  containing  an  estimate  of 
Bernini,  a  reference  to  a  collection  of  the  sculptor's 
models  and  to  his  designs  for  the  Piazza  of  St. 
Peter's.  The  second  part  of  the  book  is  again 
divided  into  chapters  on  the  art  of  portraiture  in 
sculpture  ;  Pheidias  and  Michael  Angelo  ;  and  on 
a  head  of  Athena  found  at  Cyrene.  The  conclud- 
ing essay  embraces  two  chapters  on  Giorgione,  one 
on  the  paintings  attributed  to  him,  and  the  other 
on  "  the  true  Giorgione."  The  author  reminds  us 
that  he  disagrees  in  many  points  with  Morelli  and 
Berenson.  His  method  of  approaching  the  subject 
of  Giorgione's  art,  however,  is  not  theirs.  He  feels 
that  Morelli  and  his  followers  are  in  a  large 
measure  satisfied  by  an  analysis  of  external  forms, 
and  believes  it  can  be  shown  that  much  which  the 
earliest  writers  said  of  Giorgione,  and  which  has 
since  been  disregarded,  is  true.  He  examines 
Vasari's  and  Redolfi's  lists  of  Giorgiones,  and  the 
list  of  pictures  attributed  to  Giorgione,  which  the 
Anonimo  Morelli  saw  in  Venice  and  neighbouring 
towns  at  a  time  contemporary  with  the  painter's 
life,  as  the  chief  early  sources  of  knowledge  of  the 
subject.  After  an  exhaustive  criticism  of  the 
several  pictures  now  in  dispute,  he  himself  leaves 
us  with  a  list  of  eighteen,  and  four  copies  which 
must  serve  as  a  standard  for  further  study  of  the 
master.  An  attractive  feature  of  the  first  part  of 
the  book  is  the  series  of  reproductions  of  Bernini's 
224 


pen-drawings  in  the  section  devoted  to  his  archi- 
tectural work. 

German  Culture :  the  Contribution  of  the  Ger- 
mans to  Knowledge,  Literature,  Art,  and  Life. 
Edited  by  Prof.  W,  P.  Paterson.  (London : 
T.  C.  and  E.  C.  Jack.)  2s.  6d.  net. — The  writers 
of  the  nine  papers  which  here  present  in  a  bird's- 
eye  view  the  whole  field  of  German  culture  are  all 
men  of  standing  in  the  Universities  of  England 
and  Scotland,  and  speak  with  authority  on  the 
subjects  with  which  they  deah  So  far  from 
showing  any  disposition  to  belittle  the  achieve- 
ments of  German  thinkers,  savants,  poets,  artists, 
and  other  representatives  of  intellectual  activity, 
there  is  discernible  in  all  the  papers  an  anxiety  to 
give  them  full  credit  for  their  share  in  the  world's 
advancement. 

The  Artisfs  Sketch-Book  Series  (London  :  A. 
and  C.  Black.)  is.  each  net. — Messrs.  A.  and  C. 
Black  are  continuing  this  admirable  series  of  little 
books  which  contain  within  their  agreeable  canvas 
covers  twenty-four  facsimile  reproductions  after 
pencil  drawings  by  various  artists,  and  form  a 
delightful  souvenir  of  the  various  places  indicated 
by  their  titles ;  and  this  for  a  price  comparable  to 
that  of  the  conventional  album  of  photographic 
views.  Under  the  general  editorship  of  Mr.  Martin 
Hardie,  A.R.E.,  sixteen  of  these  little  books  have 
appeared,  and  the  last  five  that  have  reached  us 
are  "Harrow,"  by  Walter  M.  Keesey,  A.R.E.,  who 
also  contributed  "Cambridge"  and  "Canterbury" 
to  the  series,  "Newcastle-upon-Tyne,"  by  R.  J.  S. 
Bertram;  "Rome"  and  "Windsor  and  Eton,"  by 
Fred  Richards,  who  was  responsible  for  previous 
volumes  on  "Florence"  and  "Oxford";  and 
"  Hastings  "  by  H.  G.  Hampton. 

A  History  of  Paintijig in  Italy.  By  J.  A.  Crowe 
and  G.  B.  Cavalcaselle.  Vols.  V  and  VI,  edited 
by  Tancred  Borenius.  (London  :  John  Murray.) 
2\s.  net  each.- — The  first  four  volumes  of  the  new 
edition  of  this  history  were  edited  by  Mr.  Langton 
Douglas,  while  the  task  of  bringing  the  two  final 
volumes  into  line  with  recent  researches  has  been 
entrusted  to  the  able  hands  of  Ur.  Borenius,  who 
not  long  since  succeeded  Mr.  Roger  Fry  as  Lecturer 
in  the  History  of  Art  at  University  College. 
Throughout  the  whole  of  the  new  edition  the 
original  text  and  notes  of  the  authors  have  been 
retained  intact,  such  rescension  as  has  been  found 
necessary  being  embodied  in  additional  footnotes, 
and  it  is  a  striking  testimony  to  the  conscientiousness 
and  care  exercised  by  the  authors  in  the  writing 
of  the  history  that  the  amount  of  revision  and  cor- 
rection called  for  has  proved  comparatively  small. 


Reviews  and  Notices 


In  the  Third  Annual  Volume  of  the  Walpole 
Society  the  principal  paper  is  one  by  Mr.  Lionel 
Cust  on  Marcus  Gheeraerts,  who  flourished  as  a 
"picture  drawer"  in  England  under  Queen 
Elizabeth  and  executed  numerous  portraits  of  that 
monarch  and  other  celebrities  of  the  time,  in  all 
of  which  the  details  of  the  costumes  are  represented 
with  extraordinary  punctiliousness.  Gheeraerts, 
whose  name  also  appears  in  contemporary  records 
as  Gerard,  Garret,  and  Garratt,  was  brought  to 
England  when  seven  years  old  by  his  father,  a 
leading  painter  of  Bruges,  who  took  refuge  in 
England  to  escape  the  Spanish  persecution  and  a 
few  years  later  returned  to  Antwerp,  while  the  son 
remained  in  London,  where  he  died  at  the  age 
of  seventy-four.  "  Some  Leaves  from  Turner's 
'South  Wales'  Sketch  Book,"  by  Mr.  A.  J. 
Finberg,  the  Hon.  Secretary  of  the  Society  and 
editor  of  the  annual  volume,  is  another  contribu- 
tion of  interest,  and  the  excellent  full-page  repro- 
ductions of  ten  of  the  sketches  form  a  welcome 
supplement  to  those  from  the  Isle  of  Wight 
Sketch-Book  which  were  given  in  the  Society's 
first  volume.  The  contents  of  the  third  volume 
also  include  illustrated  papers  by  Mr.  J.  A. 
Herbert  on  an  early  thirteenth-century  English 
illuminated  Psalter;  Mr.  G.  C.  Druceon  "Animals 
in  English  Wood-Carvings,"  and  Mr.  E.  W. 
Tristram  on  "A  Painted  Room  of  the  Seventeenth 
Century " — the  room  being  one  belonging  to  an 
old  house,  now  demolished,  in  the  City  of  London 
and  containing  thirty-three  painted  panels.  The 
distribution  of  these  annual  volumes,  the  prepara- 
tion of  which  involves  a  great  deal  of  trouble  and 
expense,  is  limited  to  subscribers,  the  annual 
subscription  being  one  guinea. 


We  have  received  from  Paris  a  copy  of  the  eighth 
edition  of  Le  Livre  d'Or  des  Peintres  Exposants,  a 
quarto  volume  of  more  than  500  pages  containing 
a  record  of  the  work  of  a  large  number  of  painters 
who  exhibit  at  the  Paris  Salons.  The  notices  are 
grouped  under  several  heads,  such  as  Membres  de 
rinstitut,  Prix  de  Rome,  Bourses  de  Voyage, 
"  Hors  Concours "  of  the  Societe  des  Artistes 
Fran^ais,  and  Societaires  of  the  Societe  Nationale, 
and  in  addition  there  is  a  group  comprising  artists, 
French  and  foreign,  who  exhibit  in  Paris  but  do  not 
belong  to  these  categories.  Information  concerning 
various  French  art  societies  and  a  few  sculptors, 
engravers,  &c.,  is  given  at  the  end.  This  useful 
work  of  reference  is  illustrated  by  numerous  re- 
productions of  paintings,  drawings,  &c.,  and  is 
published  at  325  Rue  de  Vaugirard,  price  ^T,frcs. 


BRITISH   ARTISTS   SERVING 
WITH   THE  FORCES 

SECOND  LIST 
Ackermann,  Gerald,  Rifleman  8th  Batt.  Isle  of  Wight  Rifles 
Allen,  Wm.,  Despatch  Rider 

Allingham,  Arthur,  Rifleman  8th  Batt.  Isle  of  Wight  Rifles 
Armitage,  Edward  L. ,  Trooper  Royal  Horse  Guards 
Armitage,  Harold  M.  A.,  Roval  Military  Academy 
Bagshawe,  W.  W.,  Pte.  12th  (Service)  Batt.  Yorks.  &  Lanes. 
Barber,  C.  W.,  Pte.  23rd  County  of  London  Regt. 
Barker,  E.  Vernon,  Corpl. 

Bird,  D.  C. ,  i6tti  Batt.  London  Regt.  (Queen's  Westminsters) 
Boyd,  Gilbert,  Pte.   Royal  Army  Medical  Corps 
Burton,  John,  Sergt.  14th  Batt.  Royal  Irish  Rifles 
Carr,  Alwyn  C.  E.,  28:h  Batt.  London  Regt.  (Artists  Rifles) 
Chambers,  J.  Ac. and,  Royal  Engineers 
Ccrscadden,  Frank,  Lieut.  Royal  Irish  Rifles 
Crisp,  F.  E.  F.,  2nd  Lieut,  ist  Grenadier  Guards  (killed  in  action) 
Dadd,  Gabriel,  Royal  Naval  Division 
Denby,  William,  Pte.  R.A.M.C. 

Dexter,  J.  Evatt,  Lce.-Corpl.  13th  Batt.  Sherwood  Foresters 
Dunster,  Archibald,  Pte.  5th  Batt.  Royal  Sussex  Regt. 
Ferris,  Andrew,  2nd  Lieut.  4th  Batt.  Royal  Irish  Rifles 
Fleming,  W. ,  Royal  Engineers 

Forestier,  Marius,  Royal  Fusiliers,  Sportsmen's  Batt. 
George,  Eric  B. ,  28th  Batt.  London  Regt.  (Artists  Rifles) 
Gore,  W.  C,  R.A.M.C. - 

Goulden,  R.  R. ,  2nd  Lieut.  Royal  Engineers  (T.F.) 
Handiey-Reed,,  E.  Rifleman  8th  Batt.  Isle  of  Wight  Rifles 
Hankey,  W.  Lee,  28th  Batt.  London  Regt.  (Artists  Rifles) 
Hatton,  Brian,  Worcestershire  Yeomanry 
Haward,  Hubert,  Rifleman  8th  Batt.  Isle  of  Wight  Rifles 
Hay  ward,  Alfred,  Artists  Rifles 

Heathcote,  Arthur,  Lieut.  Royal  Naval  Volunteer  Reserve 
Hendry,  Geo.  E.,  Rifle  Brigade 
Henick,  F.  C,  Corpl.  Grenadier  Guards 
Holder,  C.  V.,  2nd  Batt.  London  Regt.  (R.  Fusiliers)  T.F. 
Holder,  I.,  2nd  Batt.  London  Regt.  (R.  Fusiliers)  T.F. 
Holiday,  Gilbert,  2nd  Lieut.  Royal  Field  Artillery 
Huggill,  H.  P.,  28th  Batt. London  Regt.  (.A.rtists  Rifles) 
Hunter,  R.  H.,  R.A.M.C. 
Jenkins,  Will.,  Staff  College 

Johnston,  Herbert,  Pte.  t4th  Batt.  Royal  Irish  Rifles 
Klein,  Adrian,  Artists  Rifles 

Knight,  Cuthbert,  Honourable  Artillery  Company 
Liddell,  T.  Hodgson,  Army  Service  Corps 
Lintott,  H.  Chanien,  28th  Batt.  London  Regt.  (Artists  Rifles) 
Longstaff,  R.,  28th  Batt.  London  Regt.  (Artists  Rifles) 
Lotz,  H.  J.,  28th  Batt.  London  Regt.  (Artists  Rifles) 
Lowinsky,  T.  F.,  Inns  of  Court  Officers'  Training  Corps 
Marcus,  Cecil,  Pte.  14th  Bait.  Royal  Iri^h  Rifles 
Mavrogordato,  A.  J.,  Capt.  2nd  Cadet  Batt.  London  Regt. 
Meehan,  J.,  i4ih  Batt.  Royal  Irish  Rifles 

Mello,  Arnold,  Corpl.  14th  Batt.  London  Regt.  (London  Scottish  ) 
Morris,  Carey,  Rifleman  8th  Batt.  Isle  of  Wight  Rifles 
Nash,  P.,  28th  Batt.  London  Regt.  (Artists  Rifles) 
Netherwood,  Norman,  loth  Batt.  Royal  Welsh  Fusiliers 
Reid,  J.,  R.A.M.C. 

Robertson,  Godfrey  .A..  K.,  Pte.  9th  Batt.  Royal  Scots 
Robertson,  Stewart,  Pte.  14th  Batt.  Cnty.  of  Lond.  (L.  .'Scottish) 
Robinson,  D.  F.,  Major  8th  Batt.  The  Buffs  (E.  Kent  Regt.) 
Sangster,  Alfred,  2nd  Lieut.  4th  Batt.  The  Buffs 
Savage,  W.  B. ,  Public  Schools  Brigade,  Royal  Fusiliers 
Shaw,  Herbert,  Pte.  North  Irish  Horse 
Shewring,  Vernon,  Rifleman  8th  Batt.  Isle  of  Wight  Rifles 
Small,  C.  P.,  28  Batt.  London  Regt.  (.\rtists  Rifles) 
Smith,  A.  Guy,  Hon.  Artillery  Co. 
Smith,  Vivian,  Public  Schools  Brigade,  Royal  Fusiliers 
Smith,  W.  H.,  2nd  Lieut.  R.F.A. 
Smyth,  Harold,  Pte.  8th  Batt.  Royal  Irish  Rifles 
Solomon,  W.  E.  Gladstone,  The  Welsh  Regiment 
Stagg,  Harold,  II..\.C. 
Stoddart,  Wni. ,  Pte.  Royal  Marines 
Streatfield,  P.  S. ,  The  Sherwood  Foresters 
Taylor,  Luke,  Lieut.  Loyal  North  Lancashires 
Thomas,  (j.,  Univ.  of  London  O.T.C. 
Thompson,  Edmund  C. ,  Pte.  Royal  Irish  Rifles 
Thompson,  William,  Pte.  North  Irish  Horse 
Townsend,  A.  G.,  Pte.  14th  Cnty.  of  Lond.  (London  Scottish) 
Underwood,  L. ,  Trooper  Royal  Horsi  Guards 
Ward,  Orlando,  2nd  Lieut.  R.F.,A. 
Waring,  John  K.,  Pte.  Royal  Irish  Rifles 
Webb,  (iilbert,  2nd  Lieut.'Royal  Irish  Rifles 
Webb,  Karl  W.,2nd  Lieut.  Koval  Ciarrison  Artillery 
West,  Walter  H.  J.,  Rifleman  8th  Batt.  Isle  of  \\  ight  Rifles 
Wiles,  F.  E.,  2nd  Lieut.  A.S.C. 
Withers,  Alfred,  Lance-Corpl.  R.A.M.C. 

225 


TJie  Lay  Figure 


T 


HE     LAV     FIGURE:    ON     THK 
VALUE  OF   ELIMINATION. 


"Has  it  ever  struck  you  tliat  there  is  a 
tendency  towards  fussincss  in  modern  decora- 
tion?" asked  the  Art  Critic.  "It  seems  to  me 
that  the  designer  nowadays  is  in  some  danger  of 
forgetting  the  value  of  simpHcity  and  is  inclined  to 
overdo  his  detail." 

"  I  do  not  think  there  is  quite  so  much  of  that 
sort  of  thing  now  as  there  was  a  few  years  ago," 
returned  the  Decorator.  "When  the  Morris  in- 
fluence wasi  at  its  height  it  called  into  existence  a 
great  crowd  of  imitators  and  the  tendency  of  which 
you  complain  was  very  apparent,  but  surely  it  is 
less  evident  now." 

"No  doubt  there  has  been  some  improvement 
latterly,"  agreed  the  Critic  ;  "  but  there  is  still  a 
great  deal  of  work  being  done  which  defeats  its 
decorative  purpose  by  its  restlessness  and  re- 
dundancy. I  take  it  that  reticence  is  a  virtue  in 
all  design  and  that  an  excess  of  ornament  or  an 
exa<Tceration  of  pattern  must  be  more  or  less 
objectionable." 

"  Are  you  craving  for  the  cold  formality  of  the 
classic  style  ?  "  laughed  the  Man  with  the  Red  I'ie. 
"  I  am  afraid  you  will  not  get  modern  people  to  go 
back  to  that.  It  does  not  provide  the  sort  of 
atmosphere  that  is  at  all  likely  to  suit  the  twentieth 
century." 

"  Quite  so,  it  does  not,"  said  the  Critic ;  "  and 
for  that  reason  I  do  not  advocate  a  classic  revival. 
But  I  think  we  might  find  a  style  which  would  be 
as  well  related  to  our  conditions  of  life  as  that  of 
the  Greeks  was  to  their  national  and  domestic 
existence." 

"  Well,  we  live  in  fidgety  and  hurrying  times," 
returned  the  Man  with  the  Red  Tie  ;  "so  is  it  not 
reasonable  enough  that  our  decorations  should 
show  their  agreement  with  the  prevailing  spirit 
of  the  moment  by  being  themselves  fidgety  and 
restless  ?  " 

"  No,  that  is  a  fallacy  !  "  cried  the  Decorator. 
"Art  comes  into  our  lives  as  a  reviving  and  re- 
cuperating agent,  to  calm  nerves  that  have  been 
set  on  edge  by  the  rush  and  turmoil  of  our  daily 
occupations.  If  it  irritates  us  and  keeps  us  in  a 
state  of  excitement  it  is  not  fulfilling  its  purpose. 
It  is  doing  harm,  not  good." 

"That  is  right.  It  is  itself  giving  way  to  the 
bad  influences  by  which  we  are  .surrounded," 
declared  the  Critic.  "  It  is  in  danger  of  degenera- 
tion and  of  losing  its  spirit." 

"How  are  you  going  to  alter  it?"  asked  the 
226 


Man  with  the  Red  Tie.  "  I  suppose  that  the  art 
we  get  is  the  art  we  want.  It  is  the  result  of 
existing  conditions  and  is  produced  in  response  to 
the  popular  demand." 

"Not  necessarily,"  broke  in  the  Decorator. 
"The  designers  themselves  maybe  and,  as  I  think, 
often  are  affected  by  the  world  in  which  they  live. 
They  fall  under  influences  that  are  not  artistic, 
and  these  influences  cause  them  to  forget  the  duty 
they  owe  to  their  art.  They  work  not  as  artists 
but  as  members  of  a  demoralised  and  sensation- 
seeking  public." 

"What  shall  I  do  to  be  saved?"  quoted  the 
Man  with  the  Red  Tie.  "  How  are  they  to  guard 
themselves  from  these  evil  influences  and  in 
what  way  can  they  escape  from  the  turmoil  of  the 
world  ?  " 

"  By  imposing  upon  themselves  self-restraint," 
answered  the  Decorator.  "  By  getting  their  own 
nerves  under  proper  control  and  by  appreciating 
that  though  they  must  be  in  the  world  they  need 
not  be  of  it." 

"  Yes,  and  by  applying  the  same  principles  to 
their  art  that  they  do  to  their  lives,"  assented  the 
Critic.  "  As  they  eliminate  the  rush  and  restlessness 
from  their  habits  of  existence  so  they  must  take 
out  of  their  work  its  want  of  repose.  The  quiet 
moments  they  set  aside  for  reflection  must  be 
paralleled  by  omissions  in  their  designs.  There 
must  be  blank  spaces  in  their  work  as  there  .should 
be  in  their  lives." 

"  Interpreting  your  parable,  you  mean,  I  presume, 
that  there  is  no  more  necessity  or  justification 
for  excess  of  detail  in  a  design  than  there  is  in 
the  daily  habits  of  the  designer,"  commented  the 
Decorator. 

"  Precisely.  The  restless  man  will  always  give 
you  restless  art,"  declared  the  Critic.  "lam  plead- 
ing for  the  decorative  value  of  the  blank  space  and 
for  its  importance  in  any  well  ordered  scheme  of 
design.  Look  at  that  wonderful  nation  of  decorators, 
the  Japanese,  and  sec  in  their  work  how  the  blank 
space  counts.  How  admirably  they  realise  the 
value  of  elimination  !  How  cleverly  they  avoid  the 
danger  of  over-ornamentation  !  We  need  not  copy 
the  details  of  their  art,  but  we  would  do  well  to 
study  its  principles." 

"  By  all  means,"  agreed  the  Man  with  the  Red 
Tie.  "  I  am  no  advocate  for  excess,  I  quite  admit 
that  you  can  have  too  much  even  of  a  good  thing 
and  that  it  is  never  too  late  to  mend.  In  fact  I 
could,  if  you  would  have  the  patience  to  listen, 
quote  quite  a  lot  of  musty  old  proverbs  to  back  up 
your  arguments."  The  Lav  Figure, 


The  Edmimd  Davis  Collection — // 


T 


HE  EDMUND  DAVIS  COLLEC- 
TION.    BY   T.  MARTIN   WOOD. 

(Second  Aiiiclc. ) 

When  a  collector  is  animated  by  sensibility  to 
beauty  in  making  his  collection  it  is  impossible 
that  he  will  not  soon  discover  the  unreality  of  the 
distinctions  generally  drawn  between  ancient  and 
modern  art,  an  unreality  exposed  in  the  fact  that 
the  division  between  the  two  is  hardly  ever  found 
in  the  same  place  by  two  critics.  In  our  first 
article,  writing  of  the  Old  Masters  in  Mr.  Davis's 
possession,  we  referred  to  his  collection  as  a  whole 
as  the  result  of  self-expression.  Works  of  art 
assembled  on  such  a  natural  system  will  not  only 
reveal  the  collector's  mind  but  define  the  character 
of  his  influence  in  his  time.  We  referred  to  the 
artist's  dependence  on  the  patron,  but  of  as  much 
reality  and  importance  is 
the  patron's  dependence 
on  the  artist,  for  the  ex- 
pression of  himself. 

An  artist  by  the  indi- 
vidual quality  of  his  genius 
is  often  destined  to  loneli- 
ness, but  in  the  end  he 
has  experience  to  contrast 
with  common  ones  which, 
if  he  can  but  communicate 
them,  will  increase  the 
range  of  subjective  experi- 
ence possible  to  those  who 
study  him,  and  thus  he  will 
add  to  their  world.  This 
is  creation.  But  the  type 
of  artist  to  whom  so  much 
is  owed  will  be  the  last  who 
can  choose  his  public  ;  his 
public  must  find  him. 

If  there  are  two  artists 
at  this  moment  who  have 
not  made  concessions  to 
win  a  public  which  is  not 
their  natural  one  they  are 
Charles  Ricketts  and 
Charles  Shannon.  We  take 
pleasure  then  in  finding 
their  pictures  confronting 
us  immediately  we  cross 
the  threshold  of  the  house 
containing  the  collection 
we  are  describing. 

As  a  centre  panel  of  the 
hall    of    the    house    hangs 

LV.  No.  220. — June  19 15 


Shannon's  Les  Marmitons — a  painting  of  two  slim 
children  wearing  silk  knee-breeches  and  frilled 
shirts,  one  of  them  wearing  a  white  hat  similar  to 
that  used  by  cooks.  It  is  on  record  that  this 
picture  charmed  Whistler.  It  certainly  reflects 
his  influence,  revealing  the  exceptional  sensitive- 
ness to  quality  in  paint  which  imparted  grace  to 
everything  of  his  own.  The  painting  is  executed 
with  freedom,  and  it  captures  a  beauty  peculiar  to 
the  liquid  method  in  which  the  paint  is  applied. 
The  highest  finish  characterises  it ;  this,  however, 
has  not  been  secured  as  an  after-process ;  it  is  the 
logical  result  of  the  manipulation  throughout. 
The  picture  is  romantic.  The  characteristic  of 
romantic  art  is  that  in  spirit  it  cannot  be  referred 
to  any  particular  time.  The  costume  does  not  in 
any  but  a  superficial  sense  date  the  subject,  and 
the  date  of  execution  is  the  thing  we  think  of  last. 


MOTHER  AND  CHILD 


BY  CHARLES  SHANNON,  A.R.A. 


"THE  DEATH    OF  CLEOPATRA" 
BY   CHARLES   RICKETTS 


"SOLITUDE."     BY  WILLIAM   ORPEN.  A.R.A. 


The  ]id))uni(i  Davis  Collection — // 


It  is  seldom  enoiiu;!!  th;it  a  modern  picture  secures 
this  transcendental  result,  but  in  that  direction  lies 
the  secret  of  the  enchantment  of  costume  as  de- 
picted in  ancient  art. 

From  the  point  of  view  of  strict  criticism  of 
painting  it  may  seem,  at  first,  somewhat  absurd  to 
suggest  that  just  a  little  additional  glamour,  valuable 
to  the  picture  itself,  may  lie  with  the  difference 
between  the  use  of  the  fanciful  title  Les  Marmitoris 
and  its  plebeian  translation.  The  more  fanciful 
sounding  French  is  in  agreement  with  the  qualities 
of  the  picture,  for  there  is  relationship  between  the 
imagery  that  words  evoke  and  forms  made  tangible 
in  painting.  Indeed  apoem^vnd  a  picture  may  be 
related  in  a  sense  in  which  two  paintings  are  not, 
and  to  overlook  relationships  of  this  abstract  kind 
between  the  arts  is  to  lose  the  key  to  everything 
temperamental ;  in  criticism  it  is  to  knock  at  closed 
doors,  and  come  away  only  with  a  report  on  the 
varnish. 

The  title  of  a  picture  counts  for  something  ;  it 
may  induce  the  very  mood 
in  which  the  picture  should 
be  approached.  In  the 
case  of  this  picture  we 
feel  we  should  be  able  to 
identify  the  children  with 
some  romance,  but  find  it 
impossible  to  remember  a 
story  in  connection  with 
them.  They  have  the 
character  of  visitants,  but 
they  do  not  come  from 
another  world. 

In  addition  to  the  above 
work  of  Shannon's  there  are 
the  Mother  afid  Child,  the 
IVood  Nymph  (a  small  ver- 
sion of  a  subject  he  has 
repeated),  the  companion 
portraits  of  Ricketts  and 
himself,  called  respectively 
The  Man  in  the  Black 
Coat  and  The  Man  in  the 
Black  Shirt;  a  painting 
Tibullus  in  the  House  of 
Delia,  and  a  small  study  in 
colour  for  Les  Martnitons, 
in  which  the  figures  are 
altered  in  pose.  This  last 
is  very  pleasant  and  light 
in  execution,  and  exqui- 
sitely fresh  in  colour,  and 
its  spontaneity  gives  it  a 
232 


(jualityall  its  own.  But  we  may  say  of  the  finished 
version  that  it  is  almost  impossible  to  think  of 
another  modern  canvas  in  which  a  quality  of  paint 
that  Whistler  identified  with  work  direct  from 
nature  is  employed  imaginatively  with  only  an 
indirect  reference  to  actuality. 

The  collection  contains  one  of  Charles  Ricketts's 
most  important  pictures,  The  Death  of  Cleopatra. 
In  a  lofty  hall  Cleopatra  falls,  pressing  the  asp  to 
her  breast,  while  two  women  hasten  to  support 
her.  The  scene  is  removed  from  actuality — but 
not  to  "the  stage";  it  is  represented  in  a  place 
of  shadows,  where  the  Queen's  uncovered  flesh 
already  seems  to  glow  with  supernatural  light. 

In  the  art  of  both  Ricketts  and  Shannon  we  find 
truth  to  nature  reverenced  chiefly  because  of  the 
mind's  dependence  on  nature  for  its  imagery.  But 
their  paintings  show  pictorial  logic.  The  experience 
they  reveal  is  more  than  visual,  many  impressions 
meet  in  them  almost  mystically  received. 

Besides  the  room  decorated  by  the  late  Charles 


"girl  in  wihtk 


BY   J.    v..    BLANCHE 


THE  DOCTOR."     BY  JAMES  PRYDE 


"THE  LADY   IN   MUSLIN" 
BY  FRANK    H.  POTTER 


THE  YELLOW  DRESS" 
BY  PHILIP   CONNARD 


The  Eduiinid  Davis  Collection — // 


Conder,  the  house  contains  several  works  on 
silk  and  an  oil  picture  of  the  Esplanade  at 
Brighton  from  his  hand.  Before  his  decorations 
we  are  always  present  at  the  actual  scene  of  his 
thoughts  ;  no  paraphernalia  of  the  studio  is  brouL;ht 
between  us  and  this  immediate  record  of  his  mental 
vision,  and  in  such  art  we  pass  into  the  world  of 
another  and  experience  life  as  it  presented  itself  to 
him.  This  capacity  to  command  the  mood  of  the 
spectator  is  probably  the  quality  that  more  than  any 
other  pertains  to  enduring  art. 

In  a  house  made  dreamy  by  the  work  of  the 
imaginative  artists  whose  paintings  we  have  just 
described,  it  is  not  unpleasant  to  encounter  byway 
of  contrast  the  sharp  definition  of  Philip  Connard's 
picture  The  Yello^v  Dress.  Artists  of  his  kind, 
who  unmask  beauty  in  actuality,  receive  their 
impressions  not  unemotionally,  and  we  must  be  on 
our  guard  against  defining  their  art  as  objective. 
Painting  in  which  feeling  is  apparent  is  subjective  ; 
in  fact  we  may  say.  that  painting  begins  to  be  art 
when  it  begins  to  be  subjective. 

It  is  an  altogether  different  type  of  picture  that 
shows  itself  in  the  painting  by  James  Pryde  called 
The  Doctor.  Like  Hogarth, 
Pryde  can  never  quite  sup- 
press the  note  of  satire  in 
his  work.  His  themes  of 
sombre  title  and  grandiose 
effect  are  comedies.  He 
does  everything  to  dwarf 
human  figures  and  reveal 
their  helplessness  in  con- 
trast with  the  monumental 
and  enduring  architecture 
and  the  substantial  furniture 
which  are  the  work  of  their 
hands.  It  is  in  the  shadow 
of  these  edifices  that 
destiny  seems  to  wait  for 
them  while  it  deceives  them 
with  a  smile. 

As  we  remember  the  can- 
vases, Walter  Sickert's 
Venice  hangs  near  to  the 
Pryde.  Nature  is  always 
seen  by  Sickert  through  the 
temperamental  veil.  With- 
out the  intention  of  depart, 
ing  from  the  scene  before 
him  his  representations 
convey  little  that  is  of 
merely  local  importance  • 
the    most    commonplace 

2j6 


thing  assumes  some   significance   from    liis   inter- 
pretation. 

A  picture  to  be  remembered  is  The  Girl  in 
White  by  J.  K.  Blanche.  In  a  white  pinafore,  she 
leans  back  in  her  chair,  lost  in  reverie,  her  figure 
reflected  in  a  near  mirror.  The  swift  and  sensitive 
description  of  exterior  detail  is  not  weakened  by 
the  almost  literary  mood  that  prevails.  The  collec- 
tion also  contains  a  portrait  from  M.  Blanche's 
hand. 

We  must  not  forget  to  record  the  landscape 
Dieppe,  by  the  Canadian  painter,  James  Morrice,  of 
infinitely  tender  colour,  a  nature-lover's  rendering 
of  coast  atmosphere — and  some  garden  scenes  by 
Miss  Emma  Ciardi,  painted  with  an  air  of  gaiety 
that  is  delightful. 

We  remember  the  music-room  for,  among  other 
things,  some  old  chairs  with  silk  covers  painted  by 
the  collector's  wife.  Those  who  have  seen  Mrs. 
Davis's  fans  have  found  in  them  an  instinct  for  the 
requirement  of  the  fan  only  little  less  certain  than 
was  that  of  Conder.  The  charm  of  the  touch  of 
Mary  Davis  with  a  water-colour  brush  rests  with  its 
feminine  delicacy  :  she  is  to  Conder  what  Berthe 


"  LES    MARMITONS 


BY    CHARLES    SHANNON,    A.R.A. 


¥M 


■•THE  CREATION    OF    EVE. 
BY  G.  F.  WATTS.   R.A. 


••  DENUNCIATION.  • 
byG    F.  watts.  R.A. 


The  Edmund  Davis  Collection — // 


"VENICE  ' 


BY    WALTER    SICKERT 


Morisot  was  to  Manet,  not  an  imitator  but  one 
unconsciously  transforming  the  style  of  a  chosen 
master  to  the  character  of  her  sex.  We  believe 
that  a  woman's  art  cannot  take  high  place  when  it 
can  be  confounded  with  a  man's. 

In  a  passage  leading  from  the  hall  to  the  Conder 
room  a  set  of  coloured  drawings  by  Mr.  Edmund 
Dulac  is  framed  behind  Japanese  lacquer  panels, 
which  open  and  reveal  a  fantastic  story  in  the 
style  of  the  Japanese,  and  in  the  hall  itself  there  is 
a  painting  by  Constance  Halford  which  well  re- 
presents her  exceptional  colour.  There,  too, 
hangs  a  rather  early  painting  by  Orpen,  dei)icting 
a  girl  reclining  in  a  cushioned  chair  near  a  window, 
her  arms  above  her  head  ;  outside  the  window 
twilight  creates    a  deep    blue,    in  contrast  to  the 


glow  of  the  lamp-lit  room.  The  effect  is  peculiarly 
happy  even  for  Mr.  Orpen,  whose  skill  is  unsur- 
passed in  problems  of  the  kind. 

The  collection  contains  a  small  interior  piece 
called  The  Lady  in  Muslin,  by  F.  H.  Potter. 
This  painter  died  in  1887,  and  at  his  death  his 
art  had  not  obtained  the  reputation  it  deserved. 
It  sometimes  approaches  the  work  of  Stevens,  the 
Belgian,  in  its  delicacy.  There  are  two  paintings  by 
G.  F.  Watts  ;  the  Creation  of  Eve  and  Denunciation. 
These  are  reproduced  in  colour  with  this  article. 

Our  colour  reproductions  also  include  La  P/age 
by  Boudin.  Boudin  lived  at  the  moment  when 
Impressionism  was  at  its  height,  and  when  a  re- 
sponsiveness to  the  mood  of  nature  was  cultivated 
as  never  before  or  since.     Nothing  was  then  done 

241 


"L'ETERXEL  PRINTEMPS,"  OR 
"L'AMOUR    ET    PSYCHE."      BY 
AUGUSTE  RODIN 


LES   VOIX."      BY   AUGUSTE   RODIX 


The  Rdunnui  Davis  Collection — // 


l'illusion  bris£e" 


BY    AUGUSTE    RODIN 


for  mere  effect,  and  yet  every  effect  that  nature 
would  suggest  was  studied.  Impressionism  is  art  of 
the  most  animated  kind,  its  soul  is  movement  ;  in 
impressionism  the  effect  is  always  passing.  And 
that  is  why  what  it  recorded  seemed  worth  record- 
ing ;  what  it  arrested  might  never  occur  again,  or 
the  artist  mind  might  not  be  there,  sensitive  as  an 
aeolian  string,  to  receive  the  beauty  that  was  passing. 

Boudin  was  born  at  Honfleur  in  1824.  His 
father  was  a  pilot,  and  he  began  life  as  a  cabin-boy. 
Few  painters  have  shown  a  finer  sense  of  atmosphere. 
When  we  ask  ourselves  by  what  means  other  than 
that  of  impressionism  he  could  have  realised  on 
canvas  that  of  which  he  had  the  secret  we  are  at  a 
loss  what  to  reply.  Every  school  of  painting  i)re- 
serves  some  form  of  truth  which  that  school  only 
preserves. 

The  Queen  Henrietta  Maria  by  A'an  1  )yck,  the 
reproduction  of  which  was  held  over  from  the  first 
article  on  the  collectfion,  came  from  the  collection 
of  Lord  Lansdowne.  It  is  considered  by  several 
authorities  as  the  best  version  of  an  often  repeated 
portrait.  The  Queen's  figure  in  this  pose  also 
244 


appears  with  that  of  Charles  in  the  group  of 
Charles  I  receiving  a  Jtiyrtle  7vreath  from  Henrietta 
Maria. 

With  the  illustrations  to  the  present  article  are 
also  included  three  works  by  Rodin  which  belong  to 
the  collection — L Eternel  Printemps  or  H Amour 
et  Psyche  ;  Les  Voix  ;  and  L Illusioti  Brish  ;  but  we 
propose  to  deal  textually  with  the  sculpture  and 
the  drawings  of  the  collection  in  a  separate  article. 

The  encouragement  that  Mr.  Davis  has  given  to 
artists  must  not  be  estimated  only  by  the  pictures 
in  his  house.  All  that  is  most  representative  of 
the  vitality  of  painting  in  England  at  this  moment 
will  be  represented  in  France,  in  the  Musee  du 
Luxembourg,  by  a  gift  from  this  collector.  'I'his 
present  to  the  French  Government,  to  which  Mr. 
I  )avis  constantly  adds  and  which  now  amounts  to  no 
fewer  than  thirty  pictures,  will  be  hung  in  a  special 
room  at  the  Luxembourg.  It  was  intended  to  open 
a  temporary  exhibition  there  last  December,  pend- 
ing the  preparation  of  the  room,  but  owing  to  the 
unfortunate  conditions  that  now  prevail  on  the 
Continent  this  project  has  been  postponed. 


An  English  Artisf  s  Impressions  of  New   York 


A 


N  ENGLISH  ARTIST'S  IMPRES- 
SIONS OF  NEW  YORK.  BY 
WILLIAM   MONK,  R.E.. 


Great  cities  have  always  appealed  to  me,  and 
when  I  was  offered  a  commission  by  a  well-known 
publisher  to  etch  some  plates  of  New  York,  it  gave 
me  much  pleasure  to  contemplate  a  new  experience. 
Believing  that  architects,  painters,  sculptors  and 
etchers  ought  to  express  their  own  times  if  their 
work  is  to  be  of  value,  I  looked  forward  to  my 
visit  to  a  great  modern  American  city  and  hoped 
to  find  a  comparatively  unworked  mine  of  new 
subjects. 

The  first  glimpse  from  the  bows  of  the  liner  was 
enough  to  convince  me  that  I  had  not  been 
mistaken  in  my  expectations.  The  wonderful  mass 
and  outline,  faint  and  dim  in  the  morning  light — 
opal  grey  on  the  rim  of  the  sea — is  a  sight  that  is 
not  easi-ly  forgotten,  and  makes  one  understand  at 
once  the  proud  New  Yorkers'  title  "The  Greatest 


City  on  Earth."  If  height  means  greatness,  it  is 
decidedly  the  greatest.  The  enormous  buildings, 
soaring  skywards,  have  a  fascination  by  day  and 
night,  and  leave  a  quite  unforgettable  impression. 
The  American  architect  has  great  opportunities 
and  makes  wise  use  of  them.  To  begin  with,  he 
works  on  a  scale  that  is  most  impressive,  even  in 
a  warehouse;  When  these  dignified  masses  of 
apparently  solid  masonry  are  topped  with  a  fine 
arcade,  balcony  or  bold  cornice,  sometimes  gilt, 
there  is  effective  light,  shadeand  colour.  Silhouetted 
or  standing  out  clearly  against  the  luminous  skies, 
there  is  something  which  cannot  be  found  in  any 
other  city  building.  For  instance,  the  Metro- 
politan Tower  (white  marble),  the  Bankers'  Trust 
Building,  the  Liberty  Tower,  and  the  largest  and 
latest  Woolworth  Building,  have  a  dignity  and 
decorative  value  equal  to  any  of  the  old  work  ;  and 
they  also  have  a  character  distinctively  their  own. 
The  Singer  Tower  is  not,  perhaps,  all  that  it  might 
be  in  detail,  but  has  a  slender,  graceful  effect,  and 


■A    NIGHT    EIT'ECT" 


WAIEK-COLOIK    liV    Wli.l.lA.M     MONK,     K.E. 

247 


.-Ill  liiiglish  .-l rfisf  s  I jupvcssions  of  New   York 


is  of  the  greatest  value  in  composing  the  mighty 
mass  of  buildings. 

New  York,  like  a  greater  Venice,  rises  out  of  the 
sea,  and  this  is  another  enormous  artistic  advantage. 
The  pale  blues,  greens,  and  changing  greys  of  the 
sea,  and  the  reflections  of  the  buildings  broken  by 
the  creamy  wakes  of  the  numerous  strange  ferry- 
boats and  other  craft,  together  with  the  wreaths  of 
vapour  and  smoke  against  the  lofty  architecture, 
give  material  for  endless  pictures.  Under  certain 
effects  the  detail  of  the  modern  buildings  is  lost, 
or  becomes  delicate  tracery,  while  the  light  of  the 
sun  reflected  in  the  countless  windows  conveys  a 
gleaming,  jewel-like  effect.  From  a  little  distance 
subjects  may  be  found  as  exquisite  and  beautiful 
in  colour  and  composition  as  in  the  most  poetic 
dreams  of  Turner  in  his  latest  and  best  period. 
Indeed,  the  distant  views  of  the  city  at  once 
recalled  Turner  to  me  and  this  impression  remained 
in  my  mind  during  the  whole  of  my  stay.  It  is 
surprising,  perhaps,  that  so  modern  a  city  should 
suggest  Turner  in  this  way,  but  it  does  so. 

The  various  craft  on  the  .Sound  and  the  Hudson 


River  are  to  British  eyes  most  novel  and  interesting. 
The  huge  liners  are  pushed  and  persuaded  into 
their  berths  by  a  crowd  of  small  tugs,  and  when  at 
rest  they  are  not  unlike  a  line  of  racers  in  their 
stalls.  The  tugs  are  sturdy  and  have  an  unusually 
important  air.  Unlike  similar  ctaft  on  our  water- 
ways, they  are  accustomed  to  take  great  scows  or 
barges  on  either  side  ;  and  to  enable  their  skippers 
to  see  over  their  charges,  these  tugs  have  high  look- 
out cabins  covered  in  with  glass.  Usually  there  is 
a  carved  and  gilt  American  eagle  on  the  top.  The 
sides  are  protected  by  pieces  of  timber  which  look 
rather  like  the  oars  of  an  ancient  galley.  The  well- 
known  American  yachts  and  schooners,  bending 
over  gracefully  and  sailing  almost  in  the  eye  of  the 
wind,  are  of  great  value  artistically.  With  the 
Liberty  Statue,  now  covered  with  a  most  delicate 
green  patina,  or  the  buildings  of  Ellis  Island  as 
background,  many  fine  subjects  are  to  hand. 

My  stay  in  New  York  was  made  most  enjoyable 
by  the  kindness  of  the  late  Thomas  Janvier,  the 
cleverest  writer  and  one  of  the  best  men  and 
companions  it  has  been  my  fortune  to  know.     We 


NEW    YORK    OUAV 
248 


WATIiRCOLOUR    BY    WILLIAM    MONK,     R.E. 


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All  Eiig/is/i  ^Irfisfs  Iiuprcssions  of  New   York 


had  met  some  years  before  when  we  both  lived  at 
Hampstead.  He  was  most  surprised  to  find  me 
in  New  \'ork  and  at  once  insisted  that  I  should  be 
put  up  as  a  visitor  at  his  ckib,  the  Century,  which 
was  for  the  rest  of  my  stay  almost  my  home.  After 
my  somewhat  rough  passage  across  the  Atlantic 
and  my  daily  sketching  in  the  none  too  quiet 
streets  of  New  York,  the  delightful  rooms  of  the 
Club  were  indeed  ''rest  after  stormy  seas."  I  very 
much  appreciated  the  club  and  the  kindness  of 
the  members.  In  the  evenings  Mr.  Janvier  was 
frecpiently  my  companion.  He  was  greatly  interested 
and  amused  by  some  of  my  adventures  and  con- 
versations while  sketching.  The  friendly  interest 
taken  in  my  work  by  dignified  bankers  and  still 
more  dignified  police  was  most  gratifying.  1 
mentioned  this  to  Janvier  as  one  of  the  charming 
points  of  the  American  character.  He  laughed 
and  turned  a  neat  compliment,  to  which  I  replied, 
that  I  might  sketch  for  a  very  long  time  outside 
any  English  bank  before  being  invited  inside  to 
show  the  drawing. 

The  street  effects  in  New  York  are  most  striking 
in  every  way.  No  soft  coal  is  burned  there  and  the 
buildings  remain  bright  and  clean.  Down  town 
the  effects  are  a  little  more  sombre,  as  the  buildings 
are  higher.     In  cold  weather  the  wreaths  of  steam 


from  the  central  heating  boilers  have  a  curious  and 
interesting  effect,  floating  across  the  high  buildings 
and  breaking  the  upright  lines  most  usefully.  "Up 
town,"  which  corresponds  to  our  West  End,  has  an 
almost  Parisian  feeling :  indeed,  one  is  constantly 
reminded  of  Paris  in  Fifth  Avenue.  Here  the 
art  dealers  have  their  palatial  galleries,  showing 
their  works  with  every  advantage  of  setting  and 
lighting. 

The  illustrations  to  this  article  are  representative, 
though  they  suffer  somewhat  from  reduction.  I 
should  have  liked  to  give  more  of  the  distant  views 
but  as  they  depend  a  great  deal  on  colour  they 
are  difficult  to  reproduce.  My  plate  of  Brooklyn 
Bridge  from  below  is  not  included.  The  copper 
was  sold  to  a  German  publisher  just  before  this 
unfortunate  war  and  is  therefore  not  available ; 
but  a  small  sketch  of  the  structure  from  another 
point  is  included  here.  The  bridge  is,  perhaps, 
one  of  the  finest  subjects  in  New  York,  quite  epic 
in  scale  and  grandeur.  The  great  foreshortened 
cables  would  have  appealed  to  Piranesi.  Other 
subjects,  such  as  the  building  of  the  Great  Central 
Station,  the  Woolworth  and  Municipal  Buildings, 
also  remind  one  of  the  older  men  and  suggest 
compositions  in  the  Grand  Manner.  One  sees  a 
huge  Corinthian  capital  hanging  in  mid  air,  with 


"BROOKLYN    BRIDGE" 
250 


.J.\ 


WAi  hK-k_>'i.ul  K    liV    WILLIAM    MONK,    R.E. 


"THE    STOCK    EXCHANGE,  NEW   YORK" 
WATER-COLOUR  BY  WILLIAM   MONK,  R.E. 


All  Eiiglish  Artisf  s  Inipressioiis  of  Neiv   York 


three  or  four  workmen  standing  on  it  in  the  easy 
unconcerned  classic  poses  which  are  perfectly 
natural  to  them  :  and  it  makes  one  wish  that  a 
public  could  be  found  who  would  encourage  artists 
to  record  these  subjects. 

The  night  effects  from  the  Sound  and  the  river 
are  very  beautiful  and  unique.  Nowhere  else  in 
the  world  can  such  a  sight  be  seen  as  the  lighted 
express  lifts  rising  to  the  tops  of  the  dark  sky- 
scrapers like  a  succession  of  rockets.  The  illumin- 
ated advertisements  in  Broadway  are  most  startlijig, 
and  whatever  one  may  think  of  such  means  of 
I)ublicity  it  must  be  admitted  that  they  are  un- 
commonly well  done  in  New  York.  A  great 
chariot  race  is  seen  in  full  colour  with  horses 
galloping  and  cloaks  fluttering.  Above  this,  at 
intervals,  advertisements  flash  out  announcing 
somebody's  revolvers  or  chewing  gum.  Then 
there  is  the  face  of  a  girl  in  outline,  high  up 
in  the  air,  with  a  winking  eye.  Pierrots  throw 
coloured  balls  across  to  each  other  and  there  are 
countless  other  designs.  And  the  searchlights 
suddenly  make  vast  towers  appear  out  of  the 
darkness.  The  problems  of  colour  and  the  bold 
effects  of  light  and  shade  given  by  modern  electric 
lighting  offer  endless  possibilities,  and  the  illumin- 
ated advertisements,  however  nerve  shattering, 
often  come  effectively  into  the  scheme. 


My  impressions  of  New  York  concern  the  archi- 
tecture and  setting,  the  figure  interest  being 
subordinated  ;  but  the  human  side  would  form 
material  for  many  illustrated  articles.  The  types, 
white  and  coloured,  seen  about  the  quays  along  the 
Hudson  River  and  in  the  streets  leading  to  them, 
are  splendidly  picturesque.  Ellis  Island  teems 
with  fine  subjects  and  for  the  man  who  likes  modern 
society  types  there  are  Fifth  Avenue  and  Central 
Park,  almost  ultra-modern. 

Being  so  much  occupied  with  the  City  itself  I 
had  not  the  time  to  see  much  of  the  surrounding 
country.  Mr.  Kenneth  Frazier,  a  portrait  painter 
and  old  Bushey  student,  invited  me  for  a  week-end 
to  his  house  at  West  Point,  and  on  the  way  thither 
I  had  glimpses  of  the  Palisades  and  small  towns. 
West  Point  itself  is  hilly,  with  fine  timber  and  rocky 
streams,  most  promising  for  landscape  work.  The 
Military  College  is  a  fine  group  of  modern  Gothic 
buildings  which  fall  most  happily  into  harmony  with 
the  rocky  Palisades.  The  country  houses  in  the 
district  have  the  old  Colonial  feeling  and  a  great 
air  of  comfort  and  distinction.  I  was  driven  in 
a  "  Buckboard "  and  made  acquaintance  with 
American  country  scenes  which  have  interested  me 
in  American  magazines  for  years  and  I  was  most 
fortunate  to  see  something  of  them  under  such 
pleasant  conditions. 


"from    BROOKLYN    BRIDGE"    (ETCHING) 


BY    WILLIAM    MONK,    R.K. 


{By  permission  of  the  publishers  oj  the  lar^e 

plale,  Arthur  Ackermann  and  Son  Ltd., 

157A  New  Bond  Street  and  New  York) 


"FIFTH   AVENUE,  NEW   YORK" 
ETCHING  BY  WILLIAM  MONK,  R.E. 


"THE  METROPOLITAN  TOWER,  NEW  YORK  " 
ETCHING  BY  WILLIAM   MONK,  R.E. 


{By  fennission  0/ the  publishers  oj  the  large 

plate,  Arthur  Ackermann  and  Son  Ltd., 

157A  New  £ond  Street  and  New  York) 


"WALL  STREET.  NEW  YORK ' 
ETCHING    BV    W.    MONK.  R.E- 


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Belgian  Artists  in  England 


BELGIAN     ARTISTS    IN    ENG- 
LAND.    BY  DR.  P.  BUSCHMANN. 
(Third  A  nick.)* 

BuKLiNOTON  House  opened  its  doors  to  the 
refugee  artists,  and  the  l?elgian  Section  formed  an 
important  part  of  the  ^^'ar  ReHef  Exhibition  held 
tliore  early  this  year.  It  was  a  very  hard  task, 
under  present  circumstances,  to  collect  an  ensemble 
worthy  of  the  contemporary  art  movement  in 
Belgium.  Fortunately  some  excellent  examples, 
chiefly  sculpture,  happened  to  be  in  Great  Britain 
before  war  broke  out,  having  been  lately  on  view  at 
the  Royal  Glasgow  Institute  of  the  Fine  Arts,  the 
Aberdeen  Art  Gallery  and  elsewhere,  and  in  addition 
the  Belgian  Art  Section  of  the  Exposition  Inter- 
nationale Urbaine  at  Lyons  was  available.  The 
Belgian  artists  in  England  contributed  of  course 
their  best  works  at  hand,  and  thus  the  committee, 
assisted  by  the  indefatigable 
M.  Paul  Lambotte,  Direc- 
teur  des  Beaux-Arts,  suc- 
ceeded in  bringing  together 
an  interesting  collection  of 
modern  Belgian  art. 

The  sculpture  occupying 
the  whole  of  the  Central 
Hall  and  also  displayed  in 
the  other  galleries,  formed 
undoubtedly  the  most  at- 
tractive part  of  the  exhi- 
bition, and  reflected,  in 
fact,  one  of  the  most  striking 
features  of  contemporary 
Belgian  art.  In  modern 
times  painting  is  generally 
regarded  as  the  art  par 
excellence.  Painters  are  far 
more  numerous  than  sculp- 
tors and  their  works  occupy 
the  largest  and  best  spaces 
in  the  exhibitions  as  well 
as  in  the  public  interest, 
whilst  many  of  the  "  sculp- 
ture  halls''  are  usually 
avoided  as  places  of  dread- 
ful tediousness — often  with 
good  reason  1 

In  Belgium,  the  relation 
is  not  quite  so.     Certainly 

♦  The  first  and  second  articles 
appeared  in  our  issues  of  De- 
cember 1914  and  February  19 1 5 

respectively.  "  L'lMMORTALiTi" 

260 


the  Flemish  painters  are  upholding  worthily^  the 
traditions  of  their  glorious  ancestors,  but  besides 
them  there  has  arisen  a  school  of  sculptors  who 
deserve  full  attention  and  have  largely  contributed 
to  the  reputation  of  the  national  art.  We  may  say 
indeed  that  Flemish  originality  has  perhaps  ex- 
pressed itself  with  more  strength  in  sculpture  than 
in  contemporary  painting.  Many  of  the  statues  and 
reliefs  adorning  public  places,  cemeteries,  govern- 
ment buildings  and  even  private  houses  in  Belgium, 
are  by  no  means  soulless,  conventional  ornaments 
manufactured  for  ofificial  use  accordirvg  to  academic 
prescriptions,  but  real  works  of  art  admirably  supple- 
menting the  collections  in  the  galleries.  Belgium 
certainly  ranks  next  to  France  in  the  great  evolution 
of  modern  sculpture. 

This  movement  originated  almost  half  a  century 
ago,  when  some  young  sculptors  resolutely  revolted 
against  a  lifeless  tradition  which  still  imposed  upon 


BY    I'AUI.    DE    VIGNE 


"LE    GRISOU"    (FIRE-DAMP^ 
BY  CONSTANTIN   MEUNIER 


Bc/gi(ni 


Artists  in  Rutland 


"  DAVID  " 


BY   CH.    VAN    DER   STAPPEN 


them  as  paragons  of  beauty  the  sculptures  of  the 
late  Roman  period.  They  went  to  Florence,  became 
enraptured  with  the  bronze-casters  of  the  quattro- 
cento and,  what  is  better,  came  to  a  closer  study  of 
nature.  They  thoroughly  regenerated  the  decayed 
art  in  their  country,  and  soon  produced  works  in 
which  their  strong  native  qualities  were  happily 
refined  and  completed  by  Florentine  delicacy  and 
elegance. 

Some  of  these  now  deceased  masters  were  repre- 
sented in  Burlington  House  :  Paul  de  Vigne, 
Charles  van  der  Stappen,  Julien  Dillens,  the  last- 
named  being  somewhat  younger  than  the  others. 
One  cannot  imagine  a  more  idealised  and  refined 
work  than  the  Inimortaliii  by  de  Vigne,  of  which  a 
fragmentary  bronze  cas  was  exhibited.  The  com- 
plete statue,  intended  as  a  funeral  monument  for 
the  painter  L.  de  Winne,  is  in  marble  and  belongs 
to  the  Brussels  Museum.  The  full-length  figure 
262 


with  one  hand  raised  to  heaven,  is  leaning  on  a 
column,  and  admirably  expresses  deep  sorrow 
mitigated  by  resignation  and  confidence  in  eternal 
life.  The  artist's  name  was  to  be  found  on  three 
other  works  in  the  exhibition  :  a  figure  of  Afarnix 
of  St.  Aldegoude — a  prominent  personage  in  Belgian 
history — a  bronze  Victoire  and  a  Portrait. 

Charles  van  der  Stappen  is  perhaps  more  nervous 
and  more  of  a  realist  than  the  extremely  refined 
de  Vigne ;  yet  he  did  not  escape  Italian  influence, 
as  proved  by  his  vigorous  and  slender  statue  of 
the  youth  David,  certainly  one  of  the  best  personi- 
fications of  the  biblical  hero.  A  small  group, 
St.  Martin  and  the  Beggar,  and  a  Portrait  bust  by 
the  same  master  were  also  exhibited. 

The  very  distinctive  art  of  Julien  Dillens  was 
not  sufficiently  characterised  by  the  plaster  models 
of  statuettes  {Lansquenets).  The  bronze  casts 
surmounting  the  gable  of  the  Maison  du  Roi  in 


"  VICTOIRE 


BY    VICTOR    ROUSSEAU 


L'ENCENS."     BY   FERXAND   KHNOPEF 


Belgian 


I.E    I'ROFESSEUR   CHANDELON 


Brussels  are  decoratively  effective  at  this  height, 
but  seen  at  a  short  distance  they  appear  somewhat 
superficial ;  and  the  same  remark  may  be  applied 
to  his  Hcraiit  de  Glide  and  L Art  Flaitiand. 

A   complete   antithesis   to    these   artists  would 
have    been     found    in    their    contemporary    Jef 
Lambeaux,  rather  a  materialist,  untouched  by  any 
spiritual  aspiration,  but  in  his  overwhelm- 
ing   power    of    realisation    one    of    the 
strongest    figu-res    in    Belgian   art.     Un- 
fortunately,   he   was   not  represented  in 
the  exhibition  at  Burlington  House. 

Constantin  Meunier  holds  a  place  ot 
his  own  in  Belgian — and  in  European — 
art.  Although  belonging  to  the  same 
generation,  he  cannot  be  mentioned 
amongst  the  sculptors  just  referred  to. 
He  was  a  painter  for  the  greater  part  of 
his  career,  and  only  began  to  produce  his 
world-renowned  sculptures  at  an  advanced 
age.  He  was  ever  an  enthusiastic  ad- 
mirer of  Greek  and  Italian  masters,  and 
intimately  penetrated  the  secrets  of  their 
art ;  but  no  direct  influence  of  any  kind 
can  be  traced  in  his  work  ;  he  expressed 
his  own  strong  personality,  and  before  all 
his  infinite  pity  for  suffering  mankind. 
As  Millet  did  with  the  peasant  on  the 
field,  Meunier  revealed  us  the  beauty 
and  magnitude  of  the  modern  toiler 
performing  his  daily  task  deep  down  in 
dark  coal-pits  or  in  Cyclopean  ironworks. 
Socialistic  tendencies  might  have  been 
264 


4rtists  ill  England 


discovered  in  his  sculpture,  but,  in 
fact,  his  art  ranges  far  beyond  every 
doctrine  and  appeals  to  eternal 
human  feelings.  Le  Grisou  (Fire- 
damp), here  exhibited,  must  have 
touched  many  a  heart,  especially 
now  when  thousands  of  sturdy  sons 
or  husbands  lie  stretched  on  the 
field,  and  thousands  of  women  are 
heartbroken  in  speechless  grief.  It 
is,  indeed,  a  great  work,  and  one 
that  will  be  eloquent  for  all  time, 
like  the  noblest  Pieta  conceived  by 
any  master  of  the  Renaissance. 

In  the  vigorous  phalanx  of  living 
sculptors  we  note  Comte  Jacques 
de  Lalaing,  the  author  of  the  beau- 
tiful memorial  erected  in  Brussels 
in  honour  of  the  English  soldiers 
who  fell  in  the  battle  of  Waterloo. 
He  was  represented  here  by  three 
busts  :  Gcnle,  Souvenir  de  Florence,  and  a  Portrait. 
Thomas  Vinc^-otte,  an  unrivalled  portraitist,  wonder- 
fully combines  psychological  expression  with 
thorough  study  of  form  and  movement ;  he  ex- 
hibited the  vivid  bust  of  Professor  Chandelon  and 
a  mighty  torso  of  a  Triton,  a  study  for  a  fountain 
in  the  Chateau  d'Ardenne.     We  mention  further  : 


BY   THOMAS    VINCOTTE 


LE  CUR£-POiiTE  II.    verriest' 


BY   JULES    LAGAE 


C/3 


CO 


Belgian 


Artists  ill  Rjnyhijid 


"mother  and  child' 


BY    PAUL    DUBOIS 


Jules  Lagae,  author  ot  the  great  national  Monu- 
ment in  Buenos  Ayres,  who  was  represented  by 
three  busts :  The  scithtor  Julien  Dillens,  his 
master,  Monsieur  Le(iui7tie^  and  the  Flemish  priest 
and  popular  orator,  Hugo  Verriest ; 
Paul  1  )ubois  with  a  group.  Mother  and 
Child,  A  Passing  Shadoiv,  and  Medita- 
tion ;  Godefroid  de  Vreese,  one  of  the 
very  first  Belgian  medallists,  here  repre- 
sented by  a  remarkable  selection  of 
medals  and  plaquettes.  Egide  Rom- 
baux,  Ch.  Samuel,  P.  Braecke,  Rik 
W'outers  and  Aug.  Puttemans  complete 
this  ensemble  with  many  excellent  works 
which  we  cannot  mention  in  detail. 

Several  Belgian  sculptors  who  are 
now  residing  in  England  and  have  been 
already  referred  to  in  the  preceding 
articles,  were  again  in  evidence  at  the 
Academy  ;  before  all  Victor  Rousseau, 
who  besides  his  Girl  with  the  Flower, 
Victoire  and  L0ffra7ide,  exhibited  a 
case  of  clay  sketches  modelled  in  Eng- 
land ;  Frans  Huygelen,  who  showed  the 
Taxander  reproduced  in  our  February 
issue  ;  Jozue  Dupon  a  Samson  ;  George 
Minne  several  strongly  studied  Busts; 
Paul  Wissaert,  medals  and  bas-reliefs. 

As  a  whole,  Belgian  painting  was  not 
266 


so  strikingly  represented  ;  the  absence 
of  some  of  the  leading  masters  was 
sensibly  felt  —  Stobbaerts,  Courtens, 
Frederic,  and  I.acrmans,  to  quote  only  a 
few  names,  being  badly  missed,  while 
other  noted  painters,  such  as  A. 
Baertsoen,  X.  Mellery,  Ch.  Mertens  were 
only  able  to  contribute  some  minor 
works.  Nevertheless  the  section  con- 
tained some  good  pictures  fully  de- 
serving the  interest  of  the  English  public. 
Amongst  the  painters  we  noted  before 
all  l^niile  Glaus,  who  showed  an  im- 
portant canvas,  Apple  Gathering,  painted 
in  rather  a  high  key,  but  full  of  sun- 
shine and  vibrating  atmosphere.  Marcel 
Jefferys'  Fete  des  Ballons,  revealing  the 
influence  of  French  neo-impressionism, 
might  have  gained  by  being  painted 
on  a  more  reduced  scale.  Alexandre 
Marcette  contributed  some  of  his 
masterly  water-colours  from  Flanders, 
Ypres,  Middelkerke,  Westende,  &:c.,  and 
Isidore  Opsomer  views  of  Lierre,  his 
native  town,  which  so  heavily  suffered 
from  bombardment ;  Emil  Vloors  a  sketch  for  a 
wall-decoration  F Age  d'or,  and  a  portrait  of  a  little 
girl  Marie  Louise,  of  sumptuous  colouring  and 
elegant  touch.    Miss  Alice  Ronner,  daughter  of  the 


ROSES  ■ 


HY    ALICE    RONNER 


Belgian  Artists  in  England 


A\AI.    1<:,\     M.ANDRE 


BY    VICTOR   GILSOUL 


late  Henritte  Ronner,  so  well-known  as  a  painter 
of  cats,  has  for  many  years  ranked  amongst 
the  very  first  painters  of  still-life,  and  one  might 
have  expected  that  she  would  simply  continue  in 
the  manner  which  brought  her  so  much  well- 
deserved  success.  But  all  at  once  she  decided 
to  make  a  change,  and  proved  to  have  the  courage 
as  well  as  the  power  to  alter  her  style.  She 
exhibited  only  two  small  works,  in  the  nature  of 
studies  :  Roses  and  le  Plateau  de  laque,  sufficient 
however  to  show  her  new  conception,  tending 
to  extreme  simplification  both  of  harmony  and 
technique ;  composed  on  a  scale  of  two  or  three 
tints  only,  the  effect  is  obtained  by  a  few  broad, 
bold  touches,  rendering  the  very  structure  of  things 
before  the  artist's  sensible  eye. 

Several  artists  exhibited  works  painted  during 
their  exile  on  British  soil  —  Charles  Mertens 
some  landscape-sketches  and  an  English  interior. 
The  Hall ;  Jean  Delville  several  well-studied 
portraits  ;  Pierre  Paulus  some  London  views,  in 
which  he  proved  himself  a  sensible  interpreter  of 
the  special  atmosphere  of  the  Thames.  Amongst 
other  noteworthy  refugee  painters  represented  at 


Burlington  House  were  Maurice  Blieck,  Alb.  Claes, 
Andre  Cluysenaer,  Emiie  Fabry,  M.  Wagemans. 

The  committee  also  succeeded  in  obtaining 
some  works  from  artists  residing  abroad.  Thus 
Victor  Gilsoul,  who  is  now  living  in  Holland  and 
is  one  of  the  most  vigorous  Flemish  landscape 
painters,  contributed  a  view  of  the  Bruges  Canal,  a 
very  good  version  of  one  of  his  favourite  themes. 
Comte  Jacques  de  Lalaing,  already  mentioned 
amongst  the  sculptors,  is  also  an  eminent  portrait- 
painter  ;  his  lively  For/rait  of  the  Comtcsse  de 
Lalai/ig  was  certainly  one  of  the  most  brilliant 
pictures  of  the  exhibition.  Fernand  Khnopff,  well 
known  to  the  readers  of  Thk  Studio,  showed  his 
Encens,  an  idealised  figure  of  high  distinction 
revealing  the  artist's  noble  inspirations  and  his 
unrivalled  skill  in  rendering  precious  materials. 
Alfred  Verhaeren,  the  painter  of  still-life,  had 
only  one  small  work  :  Le  Tapis  rouge ;  Auguste 
Donnay,  one  of  the  leaders  amongst  the  Walloon 
artists,  contributed  several  little  landscapes  from 
the  Meuse  valley,  executed  in  his  particular  tapestry- 
like  style. 

The  scries  of   black-and-white    works    included 

267 


"MME.  LA  COMTESSE  DE  LALAING" 
BY  COMTE  JACQUES   DE  LALAING 


Belgian  Artists  in  England 


several  good  specimens,  especially  the  masterly 
etchings  by  Albert  Baertsoen  and  Jules  de  Bruycker, 
reproduced  in  a  former  issue.  Victor  Gilsoul  like- 
wise proved  his  exceptional  skill  as  an  etcher,  both 
in  black-and-white  and  in  colours  ;  La  Seifte  a 
Hericy,  L Eglise  de  Delft  znA  before  2^\Malities  sous 
la  Niege,  with  the  majestic  cathedral  now  so  badly 
damaged  by  German  shells,  awakened  particular 
interest.  The  beauty  of  the  old  Flemish  towns 
specially  attracts  the  aquafortists  ;  Isidore  Opsomer, 
Marten  van  der  Loo,  and  Julien  Celos  showed  pic- 
turesque views  of  Bruges,  Ghent,  Malines,  Lierre, 
&c.,  whilst  Albert  Delstanche  exhibited  some 
well  -  studied  landscapes,  Mme.  Danse  -  Destree 
excellent  interpretations  of  ancient  sculpture,  and 
Fernand  Verhaegen  carnival  sketches  in  colour, 
influenced  by  Ensor's  well-known  burlesques. 

Whilst  the  exhibition  at  the  Royal  Academy  was 
in  progress  the  Ridley  Arts  Club  also  devoted  a 
section  to  Belgian  art,  in 
which  most  of  the  artists 
named  above  were  repre- 
sented, but  generally  with 
less  important  works.  One 
of  the  principal  exhibits 
was  a  nude  figure  by 
Maurice  Wagemans ;  and 
mention  should  also  be 
made  of  some  vigorous, 
very  broadly  painted  sket- 
ches by  John  Michaux,  an 
Antwerp  marinist,  and 
Studies  by  Dolf  van  Roy, 
F.  Smeers,  Ed.  J.  Claes. 

The  exhibition  of  the 
Women's  International 
Art  Club  also  contained 
some  Belgian  works  :  land- 
scape studies  by  Jenny 
Montigny,  a  pupil  of  Emile 
Claus,  still-lifes  by  Alice 
Ronner,  etchings  by  Mme. 
Danse  -  Destree,  &:c.  A 
most  interesting  feature  of 
this  exhibition  was  an 
extensive  loan  collection  of 
ancient  and  modern  lace, 
including  remarkable 
specimens  of  English, 
Italian,  French  and  Bel- 
gian work. 

We  conclude  the  present 
review  by  mentioning 
an    individual    exhibition  "marie  louise 


of  Marten  van  der  Loo's  etchings  in  colour  at 
Messrs.  Goupil  and  Co.'s  Gallery,  and  the  Belgian 
contribution  to  the  exhibition  of  the  Royal  Institute 
of  Painters  in  Water-Colours,  where  a  dozen  Belgian 
aquarellists  were  represented — H.  Cassiers,  J.  Ceios, 
Ed.  Claes,  A.  Hamesse,  F.  van  Holder,  C.  Jacquet, 
F.  Khnopff,  A.  Lynen,  A.  Marcette,  V.  Uytterschaut 
and  E.  Vloors ;  we  noticed  especially  some  ex- 
cellent studies  of  monks  and  interiors  of  churches 
by  Alfred  Delaunois,  the  painter  of  Louvam. 

The  exhibition  of  the  National  Portrait  Society 
at  the  Grosvenor  Gallery,  and  a  special  Belgian 
exhibition  in  the  National  Museum  of  Wales  at 
Cardiff,  are  very  important  as  containing  contri- 
butions by  eminent  artists  whom  we  have  not 
encountered  elsewhere,  such  as  James  Ensor,  Leon 
Frederic,  Eugene  Laermans,  Th.  van  Rysselberghe, 
and  others ;  but  space  does  not  permit  of  a  fuller 
notice  of  these  on  the  present  occasion. 


BY    KMI1.E    VLOORS 
J  69 


Oil  P(n'//fi//ij^  in  fapaii 


T 


HE  MODERN  DEVELOPMENT 
OF  OIL  PAINTING  IN  JAPAN. 
\\\    PROF.    II RO    IIARADA. 


Tuoic;!!  jjainting  in  oil  after  the  Western  stylewas 
practised  in  Japan  as  long  ago  as  the  seventeenth 
century  by  \amada  Uyemonsakii,  one  of  the  leaders 
of  the  Amakusa  rebellion  of  1637,  and  again  in  the 
following  century  by  Shiba  Kokan,  a  more  popularly 
known  artist  who  was  born  in  1747  and  died  in 
1 S I S,  the  real  history  of  oil  painting  in  Japan  may  be 
said  k)  begin  with  Kawakami  Togai,  who  died  thirty- 
three  years  ago  at  the  age  of  fifty-four.  He  was 
originally  an  artist  in  the  Nanga  style,  though  when 
young  he  acquired  considerable  skill  in  the 
style  of  the  Kano  school,  having  studied  under 
Onishi  Chinnen ;  but  just  before  the  Restoration 
in  1868,  while  engaged  in  teaching  I'^uropean  paint- 
ing from  books  at  the  Bansho  Shirabe-dokoro,  a 
Government  institution  for  imparting  knowledge  in 
things  European,  he  happened  to  visit  a  Dutch  ship 
at  Nagasaki  and  fell  in  with  a  Dutch  artist,  from 
whom  it  appears  he  took  his  first  practical  lessons  in 
oil  painting.  When  he  returned  to  Tokyo,  he  took 
back  with   him  some  oil  colours,  with  which  he  ex- 


perimented, and  by  persistent  efforts  he  soon  gained 
a  considerable  facility  in  the  use  of  the  medium. 
Among  pupils  of  his  who  are  still  living  may  be 
mentioned  Koyama  Shotaroand  Matsuoko  Hisashi, 
both  of  whom  are  members  of  the  Mombusho 
(Department  of  Education)  Art  Committee  and 
have  contributed  much  toward  the  development 
of  oil  painting  in  Japan. 

But  no  less  famed  was  another  pupil  of  Togai 
named  Takahashi  Yuichi.  Takahashi  later  took 
lessons  from  Charles  Wirgman,  who  came  to  Japan 
in  the  Ansei  period  (1854- 1859)  as  a  special 
correspondent  of  the  "  Illustrated  London  News," 
and  remained  for  over  thirty  years  in  Japan,  where 
he  died  in  1891  at  the  age  of  fifty-seven.  Takahashi 
afterwards  went  to  Shanghai,  where  he  became 
acquainted  with  some  painters  in  oil,  and  on  his 
return  he  opened  a  studio  for  teaching  oil  painting. 
He  became  very  famous,  and  it  was  then  that  Kawa- 
bata  Gyokusho,  who  died  a  few  years  ago,  and  Araki 
Kwampo,  who  is  skilled  in  painting  kacho  subjects 
(flowers  and  birds)  in  the  Japanese  style,  became 
Takahashi's  fnonjin,  though  both  subsequently 
returned  to  the  traditional  method,  in  which  they 
became  very  prominent.     After  the  death  of  Yuichi, 


FESTIVAL    OI-     KAMO    SIIKINE 
270 


BV    KANOKOCI    TAKESHIRO 


o 
o 

2 


< 

>< 

<  a; 


(h'l  /\i/ ////// or  ill  Japan 


"PINE   TREES    AT   MAIKO' 


the  Studio  was  conducted  by  his  son  Genkichi. 
Wirgman  also  had  two  ])romising  young  pupils 
named  Goseda  Hosho  and  Yamamoto  Hosui. 
The  former  was  considered  a  genius,  and  was  sent 
abroad  to  study,  but  the  results  fell  far  short  of  the 
expectations  of  his  younger  days. 

Marked  progress  was  made  in  the  new  art  when 
Kunizawa   Shinkuro    returned   in    1875  after  two 
years'  study  of  painting  in  England.     He  welcomed 
pupils  to  his  studio  at  Hirakawa-cho,  Tokyo,  which 
he   called   Eigido.     After   his   death    three  years 
later,  Honda  Kinjiro  took 
his   place  at   the   studio, 
but    his    ability    was    not 
equal    to    that    of    his 
master.   Kawakami  Togai, 
Takahashi    Y  u  i  c  h  i    and 
Kunizawa   Shinkuro  con- 
stitute the  three  stars  in 
the  history  of  European 
painting  in  Japan  in  the 
early    part    of  the    Meiji 
era,  which  began  with  the 
Restoration. 

A  bright  prospect 
dawned  when  Antonio 
Fontanesi,  a  painter  of 
recognised  ability  and 
standing  in  Italy,  who 
painted  after  the  manner 
of  Corot,  was  officially 
appointed  to  teach  at  the 
272 


Art  School  in  Tokyo. 
Hither  the  pupils  of  the 
three  Japanese  artists  just 
named  rushed  with  a  zeal 
that  inspired  the  Italian 
masterwith  no  small  degree 
of  fervour  in  his  endeavour 
to  turn  the  talents  of 
Japan  to  oil  painting.  His 
ardour,  however,  was  short- 
lived. To  his  great  dis- 
appointment, and  no  less 
so  to  that  of  his  pupils,  the 
Government  was  not  able 
to  carry  out  its  original 
plan  to  provide  better 
facilities  for  art  education, 
for  the  civil  war  of  1878 
necessitated  the  curtail- 
ment of  the  school  expen- 
diture. He  resigned  his 
post  and  returned  to  Italy. 
It  was,  indeed,  a  blow  much  lamented  in  later 
years.  Brief  as  was  his  stay  in  Japan,  for  it  lasted 
not  much  over  two  years,  the  earnestness  with 
which  he  taught  and  the  zealous  enthusiasm  with 
which  his  instruction  was  received  left  a  very  deep 
impression  on  the  art  of  Japan.  His  influence 
was  furthered  by  certain  of  his  nwfijifi,  such  as 
Koyama  Shotaro,  who  was  formerly  a  pupil  of 
Kawakami  Togai,  Asai  Chu,  who  died  a  few  years 
ago,  Matsuoka  Hisashi,  Nakamura  Seijuro  and 
Ando  Chutaro,  who  died  not  long  ago. 


BY    KANOKOCa    TAKESUIRO 


iMORNlNG    IN    EARLY    AUTU.MN  " 


BY    YOSIlinA    HIROSIII 


Oil  Painting  in  Japan 


"SPRING    IN    THE    NORTH    COUNTRY" 

After  the  departure  of  Fontanesi,  another  Italian 
artist  named  Ferritti,  who  happened  to  be  in  Japan, 
was  employed  to  fill  the  vacancy.     Ferritti  was  by 
no  means  the  equal  of  Fontanesi,  and  the  inferiority 
of  Ferretti's  art  was   at  once  recognised  by  the 
pupils,  who  rose  against  him.     He  was  succeeded 
in   1 88 1    by  another  Italian  of  the  name  of  San 
Giovanni,  who  taught  for  three  years  ;  but  he  too 
failed  to  obtain  the  same  hold  upon  our  pupils  as 
did   the   first    Italian   master.      So  untiring   and 
earnest,  however,  were  Fontanesi's  disciples  in  the 
art  of  their  adoption,  that 
many     artists     in     the 
Japanese    style    felt  their 
influence   and    discarding 
the    traditional    method 
began  to  practise  oil  paint- 
ing.    A  number  of  young 
artists,  who  did  not  come 
under  the  direct  influence 
of  the  Italian  master  went 
abroad    to    pursue    their 
studies.      Among   them 
may  be  mentioned  Harada 
Naojiro,  KawamuraKiyoo, 
Goseda     Hosho    and 
Yamamoto    Hosui.      So 
great    was    the    rush    for 
the  new  style  of  art  that 
certain    persons    of   in- 
fluence,   such    as    Baron 
Kuki,    thought   they   saw 
an     imminent     danger  "seashoric  in  snow 


threatening    the    national 
art  and  began  proclaiming 
the    urgent    necessity    of 
preserving   the   national 
characteristics  in  the  fine 
arts.      This    opposition 
proved  well-nigh  fatal    to 
the  adopted    medium, 
which  was  as  yet  far  from 
being   firmly    established, 
the  art  world   in  general 
being  very  much  in  a  shift- 
ing condition.  Alarmed  at 
the  warning  cry,  Kawabata 
Gyokusho,  Araki  Kwampo 
and    a    few    others    flung 
down    their   palettes    and 
forsaking  canvas  resorted 
once  more  to  silk  and  the 
traditional   style    of   their 
fathers. 
Then  the  period  known  as  the  "  Dark  Age"  in 
the  modern  history  of  oil  painting  in  Japan  set  in, 
and  was  not  soon  to  terminate.     Kawamura  Kiyoo, 
who  studied  at  Venice,  and  Harada  Naojiro,  who 
returned  after  a  course  of  hard  study  in  Germany, 
were  received  with  cold  indifference.     So  hope- 
lessly depressed,  and  so  pessimistic  some  of  the 
oil  painters  grew,  and  so  indignant  were  they  at 
the  stubborn  partiality  of  those   who  were    in   a 
position   to   encourage  art,   that   one  of  them,   a 
young    oil    painter,    committed    harakiri  at    his 


BY    SOMA    KIICHI 


HV    KOHAVASllI    SHOKIClll 


Oil  /\iijifif/g  IN  Japan 


lodging  in  Kanda,  Tokyo.  However,  llianks  to 
the  persistent  and  persevering  efTorts  of  Koyania 
Shotaro,  Asai  C'hu,  Matsuoka  Hisashi,  \'anianioto 
Hosui,  Harada  Naojiro,  and  Kawamura  Riyoo, 
the  pulse  of  the  new  movement  was  kept  beating 
throughout  this  difficult  period  until  by  a  change 
of  circumstances,  brought  about  mainly  by  the 
adoption  of  the  ^^'estern  style  of  architecture,  the 
eyes  of  the  people  were  opened  and  European  art 
came  to  be  regarded  in  a  more  favourable  light. 

It  was  in  1888  that  the  first  association  of 
painters  in  the  ICuropean  style  was  founded  in 
Japan  under  the  name  of  Meiji  Bijutsu-kai  (the 
Fine  Art  Society  of  Meiji).  About  six  years 
later,  when  Kuroda  Seiki  and  Kume  Keitaro 
returned  from  France  and  became  professors  in 
the  Tokyo  School  of  Fine  Arts,  they  organised 
the  Hakuba-kai  (White  Horse  Society)  in  oi)posi- 
tion  to  the  Meiji  Bijutsu-kai.  Very  soon  the 
Meiji  Bijutsu-kai  was  disbanded,  for  some  of  its  in- 
fluential members  broke  away  from  it  and  organised 
the  Taiheiyoga-kai,  which  held  its  own  against  the 
Hakuba-kai.  The  Taiheiyoga-kai  stood  as  non- 
governmental as  opposed  to  the  Hakuba-kai  which 
had  the  reputation  of  being  bureaucratic,  owing 
mainly  to  the  official  connection  maintained  by  its 


promoters.  From  the  Tokyo  School  of  Fine  Arts 
Kurotla  Seiki  and  Runic  Keitaro  sent  out  such 
artists  of  talent  as  Okada  Saburosuke,  ^V^ada 
ICisaku,  and  Nakazawa  Hiromitsu.  A  large 
number  of  the  Art  School  graduates  were  sent 
abroad  by  the  Government  for  further  study. 
Some  of  the  members  of  the  Taiheiyoga-kai,  not 
to  be  behindhand,  also  went  abroad  by  themselves 
to  actjuire  further  practice  in  the  art  of  oil  painting. 
In  1899  \()shida  Hiroshi,  Kanokogi  Takeshiro, 
Mitsutani  Kunishiro,  and  Nakagawa  Hachiro  left 
Japan  for  France,  where  they  remained  for  a  few 
years,  much  to  the  improvement  of  their  art. 

The  Hakuba-kai  ceased  to  exist  some  four 
years  ago,  and  soon  afterwards  the  Kofu-kai  was 
organised  by  Yamamoto  Morinosuke,  Nakazawa 
Hiromitsu,  Kobayashi  Shokichi,  and  others.  It 
wus  strongly  insisted  upon  at  the  time  of  its 
organisation  that  the  Kofu-kai  was  formed  inde- 
pendently of  the  Hakuba-kai,  but  it  was  generally 
looked  upon  as  its  rebirth  under  a  new  name. 
There  was  some  reason  for  so  regarding  it,  for  its 
promoters  were  for  the  most  part  Mr.  Kuroda's 
monjin.  However,  one  thing  is  to  be  observed  : 
the  new  society  is  free  from  the  bureaucratic  air  of 
its  predecessor.     It  is  natural  that  it  should  be  so. 


'ships    in    the    harbour"    (TEMI'KRA) 

274 


BY    isnil    HAKUTEI 


ID 
O 
pq 
Pd 
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^  o 

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O  V 
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5  '-/^ 


Oil  Paiiifiiig  in  Japan 


^^nn^^^H 

LANDSCAPE 


for  the  Annual  Art  Exhibition  of  the  Mo 
(Department  of  Education)  was  organised 
with  a  definite  governmental  cachet,  and 
it  has  a  section  for  the  European  style 
of  painting.  The  hanging  committee 
for  this  section  were  chosen  from  among 
the  promoters  of  the  Hakuba-kai  and 
the  Taiheiyoga-kai,  both  of  which  were 
then  thriving  societies.  The  works  of 
such  artists  as  Kosugi  Misei,  Minami 
Kunzo,  Ishii  Hakutei,  Ishikawa  Toraji, 
Tsuji  Nagatoshi,  and  Fujishima  Takeji, 
all  of  Tokyo ;  Teramatsu  Kunitaro  and 
Kawai  Shinzo,  of  Kyoto  ;  and  Kato  Seiji, 
of  Nagoya,  have  been  highly  awarded  at 
recent  Mombusho  Art  Exhibitions. 

However,  there  were  some,  as  is 
always  the  case,  who  found  fault  with 
the  Mombusho  Art  Committee.  They 
accused  it  of  being  too  narrow  and 
conservative  for  the  unhindered  progress 
of  the  European  style  of  painting.  Ac- 
cordingly, some  twenty-seven  ambitious 
artists,  including  Kimura  Sohachi,  Saito 
Yori,  Kishida  Ryusei,  Sanada  Hisakichi, 
and  Matsumura  Tatsumi,  organised  the 
"  Societe  du  Fusain,"  which  held  its  first 
exhibition  at  the  close  of  191 2  in  the 
Vomiuri  Shimbun-  Building  in  Tokyo. 
The  paintings  there  exhibited  were  post- 
impressionistic  in  style,  and  created 
some  stir  in  the  art  world  of  Japan  inas- 
much as  they  were  the  first  things  of  the 
276 


kind  to  be  seen  in  Japan, 
but  the  verdict  of  the  critics 
on  the  exhibition  was  far 
from  being  unanimous. 
The  society's  membership 
finally  dwindled  to  seven- 
teen ;  their  second  exhi- 
bition was  held  in  the 
spring  of  191  3,  and  shortly 
afterwards  the  society  was 
disbanded. 

Though  the  "  Societe  du 
Fusain "  had  such  a  brief 
existence  the  movement  it 
inaugurated  still  goes  on, 
and  is  exercising  con- 
siderable influence.  The 
class  of  work  associated 
with  it  has  already  found 
admission  to  recent  ex- 
hibitions  of  the  Kofu- 

mbusho      kai    and    Taiheiyoga-kai,    and    is    coming  to  be 

in  1908      looked  upon  much  more  seriously. 


BY     NAKAC.AWA    HACHIRO 


HEKORK    THK    SHOWER 


BY    NAKACAWA    HACHIRO 


Oil  Painting  in  Japan 


"NET  DRYING,    MORNING*' 

The  most  important  exhibition  of  oil  painting, 
other  than  those  held  in  Tokyo  by  the  societies 
above  mentioned,  is  that  of  the  Kwansai  Bijutsu- 
kai  held  in  Kyoto.  This  society  has  nearly  two 
hundred  and  fifty  members,  about  one-half  of 
whom  are  also  members  of  the  Kwansai  Bijutsu-in, 
the  only  important  art  institution  outside  of  Tokyo 
for  the  study  of  oil  painting.  The  Kwansai 
Bijutsu-in  is  an  outgrowth  of  private  ateliers. 

Upon  his  return  from  abroad,  Asai  Chu,  a  pupil  of 
Fontanesi,  opened  an  atelier  in  Kyoto  for  his  moiijin 
and  christened  it  the  Yoga  Kenkujo.  Four  years 
later  Kanokogi  Takeshiro  returned  to  Kyoto  from 
France,  where  he  studied 
under  Laurens,  and  began 
to  make  his  influence  fel^ 
among  the  oil  painters  o^ 
the  western  capitol  of 
Japan.  Two  years  later 
these  two  masters  com- 
bined their  studios  and 
organised  the  above-men- 
tioned Kwansai  Bijutsu-in 
with  Dr.  Nakazawa,  who 
is  now  the  director  of  the 
Kyoto  College  of  Industrial 
Art,  as  the  counsellor. 
AVhen  Kanokogi  Takeshiro 
went  abroad  for  the  second 
time  in  1907,  the  institute 
was  left  under  the  sole 
management  of  Asai  Chu, 
but  on  the  latter's  death 
two  years  later  Kanokogi 
returned  to  take  charge  of  " takahaka  i.n  s\ 


it,  and  it  is  still  the  centre 
of  influence  in  Kyoto  and 
Osaka. 

Oil  painting  has,  with- 
out doubt,  gained  con- 
siderable popularity  of 
late.  There  are  a  large 
number  of  studios  filled 
with  students  and  the 
number  of  applicants  in 
the  department  of  Euro- 
pean painting  at  the 
Tokyo  School  of  Fine 
Arts  has,  during  the  last 
few  years,  been  far  in 
excess  of  the  available 
accommodation,  \\hile  the 
department  of  Japanese 
painting  has  had  difficulty 
in  finding  enough  students.  This  fact  alone  is 
quite  sufficient  to  show  how  popular  the  European 
style  of  painting  has  lately  become  in  Japan. 

However  short  the  work  of  our  oil  painters  may 
fiiU  of  the  standard  we  insist  on,  it  cannot  be  denied 
that  those  Japanese  artists  who  have  adopted  the 
European  method  of  expression  have  done  much 
for  the  advancement  of  art  in  general.  If  in  nought 
else,  at  least  by  their  boldness  and  freedom  of 
expression  they  have  pointed  out  new  possibilities 
and  given  a  fresh  stimulus  to  those  of  our  artists 
who  have  shown  more  or  less  inclination  towards 
conventionality.    The  approximation  of  artists  who 


BY    KATO   SEI.II 


BY    HASHIMOTO    KUNISUKE 
277 


Sfitciio-  Talk 


"  LEISURE    hours' 


BY    NAGATOCHI    SHU PA 


follow  the  traditional  style  to  the  spirit  of  the  time, 
and  their  close  conformity  to  the  complex  require- 
ments of  the  age,  are  due  mainly  to  those  whose 
effort  it  was  to  convince  others  with  the  art  they  have 
imported  and  adopted.  As  to  the  true  value  of 
Western  influence  on  our  art,  the  present  generation 
is  no  fair  judge.  We  must  wait  awhile  for  the  final 
verdict.  But  inasmuch  as  art  should  reflect  some- 
thing that  lies  deep  in  the  mind  of  the  people,  in 
order  that  the  history  of  art  may  be  a  complete 
record  of  the  ideas  and  ideals  that  change  from 
time  to  time,  and  if  the  changes  that  our  traditional 
art  has  undergone  of  late  is  an  unaffected  reflection 
of  the  condition  of  our  mind  in  this  transitional 
period  of  our  national  life,  is  it  not  a  natural  course 
of  things,  whether  in  itself  desirable  or  no? 

Viewed  in  this  light  the  newly  organised  Kokumin 
Bijutsu  Kyokai  (People's  Fine  Art  Association) 
should  be  an  object  of  great  interest.  It  aims  to 
be  an  amalgamation  of  all  the  artists  throughout 
the  Empire,  regardless  of  the  style  and  the  branches 
of  art  they  follow.  Though  it  is  far  from  being 
firmly  established,  it  has  gathered  within  its  fold 
the  painters  who  practise  the  Western  style, 
sculptors,  literary  men,  and  architects,  as  well  as 
painters  in  the  Japanese  style.  Baron  Iwamura, 
professor  of  the  Tokyo  School  of  Fine  Arts,  has 
been  very  energetic  in  the  organisation  of  this 
278 


association.  It  held  its  first  exhibition  at  Osaka  in 
the  fall  of  1913,  and  the  second  one  at  Uyeno  last 
October.  One  important  project  the  association 
is  now  carrying  forward  is  the  establishment  of  a 
National  Fine  Art  Museum.  It  should  be  men- 
tioned that  the  association  is  the  outgrowth  of  a 
small  society  originally  intended  for  the  yofi^aka 
(  painters  in  the  \\'estern  style )  whose  works 
have  been  accepted  by  the  Mombusho  Art  Exhi- 
bition, and  the  fact  that  the  whole  movement  was 
started  and  furthered  by  our  painters  in  oil  shows 
what  an  active  part  they  are  taking  in  the  move- 
ment for  the  advancement  of  art  in  Japan. 

STUDIO-TALK. 

(From  Our  Ozvn   Correspondents.) 

El )0N.— The  death  of  Mr.  Walter  Crane, 
who  passed  away  suddenly  at  Horsham 
on  March  14  in  his  seventieth  year,  has 
removed  from  our  midst  an  artist  of  dis- 
tinguished and  versatile  attainments  and  one  whose 
influence  on  the  progress  of  the  decorative  arts  has 
been  far  reaching.  More  perhaps  than  any  other 
individual  of  his  generation  he  strove  by  precept 
and  example  to  enhance  the  prestige  of  these  arts 
and  to  bring  about  that  intimate  association  of  art 
and  handicraft  advocated  by  Ruskin  and  William 
Morris,  whose  politico-economic  views  he  strenu- 
ously championed.  As  an  artist  Mr.  Crane's 
fame  rests  principally  with  his  book  illustrations, 
but  as  a  painter  also  his  record,  beginning  some 
years  before  he  was  out  of  his  teens,  when  he  first 
exhibited  at  the  Royal  Academy,  includes  many 
notable  achievements  ;  and  again  as  a  designer, 
more  especially  of  textiles,  he  was  markedly 
successful.  Apart  from  his  work  as  an  artist,  the 
chief  event  of  his  fertile  career  was  the  founding  of 
the  Arts  and  Crafts  Exhibition  Society  in  1888, 
and  as  the  President  of  this  body  he  took  an 
energetic  part  in  organising  its  periodical  exhibi- 
tions in  this  country  and  those  held  on  several 
occasions  abroad,  the  last  being  that  which  the 
Society  held  under  the  auspices  of  the  French 
Government  at  the  Louvre  in  Paris  last  summer 
just  before  the  outbreak  of  war.  Twelve  years  ago, 
in  recognition  of  his  share  in  organising  the  British 
section  of  the  International  I'^xhibition  of  Decora- 
tive Art  at  I'urin  in  1902,  Mr.  Crane  was  made  a 
Commendatore  of  the  Order  of  the  Royal  Crown 
of  Italy.  The  deceased  artist  was  a  member  of 
the  Royal  Society  of  Painters  in  ^^'ater■  Colours, 
which  he  joined  in  1888.  That  society  has  thus 
lost  two  members  since  the  beginning  of  the  year 


Studio-Talk 


— the  other  being  the  veteran  Karl  Haag,  who 
died  in  Germany  early  in  January  at  the  age  of  94 
having  been  connected  with  the  society  for  more 
than  sixty  years. 


the  exhibition  is  more  happy  than  Mr.  Arthur 
Rack  ham's  Biglniry  Bay,  South  Devon,  a  pure 
water-colour  uncompromised  by  the  black  ink  lines 
that  the  artist  sometimes  employs  in  his  water- 
colours,  to  their  detriment  as  such. 


The  Summer  exhibition  of  the  Royal  Society  of 
Painters  in  Water- Colours  has  proved  one  of  the 
best  of  the  society's  exhibitions  in  the  interest  of 
the    work    shown.     It   is   Mr.    Sargent's    habit    to 
reserve  some  of  his  best  work  in  water-colour  for 
the  society's  summer  shows,  and  his  two  pieces  on 
this  occasion,  Boats  on  the  Lake  of  Garda  and  In 
Tyrol,   are    both    rare  examples   of  his   art.     Mr. 
Lamorna  Birch  is  responsible  for  some  very  notable 
landscapes  this  season,  and  the  flower-painter,  Mr. 
Francis  James,  shows  no  falling  off  in  his  delicate 
skill.     Mr.    A.   S.   Hartrick  as  usual  is  individual 
and  brilliant  in  his  technique.     The  president,  Mr. 
Alfred  Parsons,    R.A.,    is 
best    represented    by    the 
tranijuil    rendering    of    a 
river.  The  Ouse  at  Milton 
Er/iest.     Quite  one  of  the 
most   original   and  attrac- 
tive exhibits  is  Miss  Laura 
Knight's  The  Magpie.  The 
red  jacket   of  the   central 
figure  of  a  child  and  the 
face  in  shadow  of  a  second 
child    behind    her    are 
treated  with  subtlety  and 
charm.     Mr.    Robert    W. 
Allan's    Winter—  U.S.A. 
solves   a  very  difficult 
snow-scene    problem   with 
commendable    artistic 
assurance.      The  Echo,  by 
Mr.   Robert  Anning  Bell, 
is  an   important    imagina- 
tive design,  simple  in  its 
chief    motive    and    made 
atmospheric  in  feeling  by 
the  impressionism  of  the 
painter's   style.     Miss    A. 
M.    Swan's    The    Quarry, 
Mr.     D.     Y.     Cameron's 
Perthshire  Hills,    Mr. 
Byam  Shaw's   When  there 
tvas   Peace,    Mr.    Harry 
Watson's  Evening   Light, 
Mr.    Charles    Sims's  Love 
in  Anger  and  The  Basket 
of  Flowers  remain  in  the 
memory,    but    nothing    in  "  unk  bonne   iiistoikk 


The  1 06th  exhibition  of  the  Royal  Institute  of 
Painters  in  Water  Colours  differs  hardly  at  all  from 
the  general  standard  the  institute  has  long  since  set 
itself.  The  President's  (Sir  James  Linton's)  per- 
fections in  an  old-fashioned  convention  serve  to 
raise  pictures  in  the  same  genre  as  his  own  to 
something  like  his  own  level  ;  while  with  some  few 
exceptions  "impressionism"  falls  into  unskilful 
hands.  The  exhibition  is  greatly  strengthened  by 
twenty-four  works  by  Belgian  artists  contributed 
through  M.  Paul  Lambotte.  Among  pictur<2s  in  the 
English  section  which  deserve  particular  mention 


>.-TiijkA*u>lk1 


DRAWINC.     IN    COI-OURF-n   CHALKS    BY    R.    SNOW-GIBBS 


studio-  Talk 


are  the  following  :  Greenivich  Park,  by  Mr.  C.  Ross 
Burnett;  Venice — The  Break  of  Day,  by  Mr.  Moffat 
Lindner :  The  Message — St.  Valentine' s  Day,  by 
Sir  James  Linton  ;  A  Daughter  of  Jairus,  by  Miss 
D.  W.  Havvkesley  ;  From  a  Roof  in  Tatigier — 
Evening,  by  Mr.  Edward  Walker  ;  Playmates,  by 
Mr.  Wynne  Apperley ;  A  Place  in  the  Sun,  by  Mr. 
David  T.  Rose ;  The  Sands  of  Morar,  by  Mr. 
Herbert  Coutts  ;  The  Source  of  the  River— Jardin 
de  la  Fontaine,  Nimes,  by  Mr.  W.  B.  E.  Ranken ; 
and  The  lVate?--pot,  by  Mr.  John  Hassall. 


The  spring  exhibition  of  the  Royal  (Society  of 
British  Artists  showed  more  than  some  of  the  other 
exhibitions  the  effect  of  a  state  of  war  in  depressing 
artistic  output.  But  there  were  many  canvases 
calling  for  remark,  and  the  following  are  entitled 
to  reference  by  name,  for  the  possession  of  merit 
— The  River  Cuckmere,  by 
Mr.  H.  C.  Clifford ;  In  the 
Shadow  of  the  Tree,  by 
Helen  McNicol;  The 
Clairvoyatit,  by  Mr.  W.  A. 
Wildman  ;  Abandoned,  by 
Mr.  D.  Murray  Smith  ; 
Noon,  by  Dorothea  Sharp  ; 
Mending,  by  Mr.  Hall 
Thorpe  ;  The  Old  \]\'ir, 
Dunster,  by  Mr.  A.  Car- 
Euthers  Gould  ;  Outside  the 
Ramparts,  Bruges,  by  Mr. 
John  Muirhead,  and  Boys 
Bathing,  by  Mr.  Charles 
W.  Simpson.  Mr.  Frank 
Brangwyn,  the  President, 
was  not  represented  in  the 
exhibition. 


"Comedie  Humaine,"  and  the  Artistes  Humour- 
istes,  of  which  last  he  is  a  member.  Having 
studied  in  Paris"  at  the  Ecole  des  Beaux- Arts  for 
several  years,  Mr.  Snow-Gibbs  was  fortunate  to  win 
a  fellowship  entitling  him  to  pursue  his  studies  in 
three  different  Art  Schools  of  the  gay  city.  Though 
his  outlook  has  attracted  him  toward  the  comical 
and  whimsical  side  of  life,  his  art  nevertheless 
shows  a  keen  eye  for  truth  as  well  as  a  sense  of 
decorative  realism,  and  when  he  essays  portraiture 
his  shrewd  observation  of  character  produces  work 
having  a  delightful  fascination. 


Leopold  Pilichowski,  who  has  been  described  as 
the  painter-laureate  of  the  world  of  Judaism,  has  been 
sojourning  in  London  during  the  past  few  months. 
By  birth  a  Russian  Pole,  he  spent  his  early  years 
in   that  tragic  city  of   Lodz,    the  mercantile   and 


London  has  perhaps 
hardly  awakened  yet  to  the 
number  of  artists  who  in 
these  turbulent  times  have 
drifted  int  her  midst. 
Amongst  the  new-comers 
is  Mr.  R.  Snow-Gibbs,  one 
of  the  younger  American 
group  from  the  Mont- 
Parnasse  quarter  of  Paris. 
His  work,  of  which  we 
reproduce  some  typical 
examples,  has  been  much 
appreciated  in  the  annual 
Salons  of  the  Societe 
des  Artistes  Frangais,   the 


"the    VEGETAHI.E   stall."       drawing  in  COLOUREU   chalks    HV  R.    SNOW-r.IBH^ 

281 


Stndio-Talk 


industrial  metropolis  of  Poland,  for  which  the  hosts 
of  Russia  and  dermany  have  striven  so  terribly. 
He  was  brought  up  in  those  devout  circles  of 
Polish  Judaism  which  have  preserved  their  form 
and  essence  more  purely  in  Russia  than  anywhere 
else.  For  the  last  twenty  years,  however,  he  has 
made  his  home  in  Paris,  and  many  exhibitions  of 
his  work  have  been  given  there  as  well  as  in  other 
continental  cities.  Driven  to  London  after  the 
destruction  by  the  French  military  authorities  of 
his  villa  on  the  outskirts  of  Paris,  he  is  now  prepar- 
ing an  exhibition  of  some  of  his  most  characteristic 
canvases  for  the  English  public.  A  pupil  of 
Benjamin  Constant,  he  confined  himself  at  first  to 
portraits,  and  so  successful  was  he  in  this  direction 
that  he  was  urged  to  devote  himself  entirely  to 
portraiture,  but  something  which  would  embody 
not  only  the  soul  of  the  individual  but  the  soul 
of  a  nation  and  a  people  haunted  him  even  then. 
Later,  he  returned  to  his  native  Poland,  where  once 
more  the  love  of  the  shadowy  and  the  nocturnal 
awoke  in  him  ;  but  by  degrees  he  shook  off  the 
haunting  of  the  native  soil  and  yielded  to  the 
deeper  instincts  of  the  native  soul,  the  cry  of  his 


race,  the  pageant  of  his  co-religionists  as  it  unfolded 
itself  tragically  before  his  eyes,  and  to  this  resolve 
the  world  owes  the  numerous  epic  paintings  which 
have  flowed  from  the  brush  of  this  Russian- 
Polish  master.  He  has  drawn  many  powerful 
motives  from  the  ghettos  of  the  Continent,  and 
since  his  arrival  in  London  he  has  been  closely 
studying  the  milieu  of  ^\'hitechapel.  He  has  already 
contributed  a  number  of  portraits  of  famous  Jews 
to  the  Jewish  Museum  at  Jerusalem,  and  it  is  his 
ambition  to  add  to  this  steadily  by  painting  the 
famous  lews  of  every  land  for  this  collection. 


The  three  etchings  by  Mr.  Francis  Osier, 
A.R.LB.A.,  here  reproduced,  are  noteworthy  by 
reason  of  the  evidence  they  afford  of  a  genuine 
appreciation  of  the  possibilities  and  character  of 
the  copper-plate  and  of  a  sympathetic  under- 
standing of  the  true  (juality  of  the  etched  line — 
the  more  so  because  these  plates  are  practically 
the  artist's  initial  efforts  in  the  medium.  There 
is  no  trace  of  that  somewhat  mechanical  rigidity 
of  draughtsmanship  which  occasionally  betrays 
itself  in  the  etchings  of  an  architect,  but,  rather 


"THE    WEARY    ONE" 

2S2 


BY    I.EOI'OI.D    I'lLICIIOWSKI 


"THE  READIER."      lU'   1..    riLlCIIOWSKI 


THK   BOBBIN   SHOP."     FROM   AN   ETCH- 
INCx    HY    FRANCIS   OSLER,   A.R.I.B.A. 


"OLD   SHIPBUILDING   YARD,  IIIISWICK."     FROM 
AN   ETCHING   BY   FRANCIS   OSLFK.   A.R.I.l^.A. 


n 

THE  TIMBER-YARD."     ETCHING 
BY    ERANCIS  OSLER,  A.R.I. B.A. 


studio-  Talk 


is  there  a  nervous  vitality  in  the  handling  of  the 
needle  which  has  enabled  the  artist  to  extract  an 
interest  and  beauty  from,  in  two  cases  at  any  rate, 
unpromising  and  rather  prosaic  subjects.  These 
three  plates,  together  with  another  one  or  two, 
including  a  delightful  study  of  an  Oriel  Windoiv 
at  Cerne  Abbas,  comprise  at  present  the  artist's 
entire  a-i/vre  as  an  etcher,  but  as  he  has  already 
shown  even  in  these  earliest  efforts  an  ability  to 
manipulate  the  etching  needle  with  expressive  effect 
his  further  development  should  be  interesting. 


The  National  Portrait  Society's  tourth  annual 
exhibition,  recently  held  at  the  Grosvenor  Gallery, 
has  been  an  outstanding  one  from  the  inclusion  of 
the  President,  Mt.  Augus- 
tus John's  portrait.  Miss 
Iris  Tree,  and  Mr.  Am- 
brose McEvoy's  large 
painting  Madame.  Both 
of  these  works  have  at- 
tracted much  comment  in 
the  critical  press,  the 
former  by  its  learned  sim- 
plification and  originality 
of  design,  the  latter  by  a 
haunting  literary  sugges- 
tiveness  which  almost 
places  it  outside  the  cate- 
gory of  portraiture  proper, 
and  the  subtleties  of 
shadow  and  reflection  of 
a  figure  artificially  Hghted. 
Mr.  Philip  Connard  is 
another  artist  who  by  his 
Williajn  Cleverly  Alex- 
ander Esq.  and  Portrait  oj 
a  Child  has  advanced  his 
reputation.  Mr.  W.  Strang 
contributed  The  Mirror 
and  The  Red  Fez  —  re- 
painted works  calling  for 
comment  in  their  new 
aspect.  The  exhibition 
was  enriched  by  the  art 
of  three  interesting  Bel- 
gians, J.  Ensor,  Van 
Rysselberghe,  and  the 
sculptor  Victor  Rousseau. 
Among  other  exhibitors 
with  whom  the  strength 
of  the  exhibition  generally 
rested,  Mr.  John  Lavery, 
A.R.A.,     Mr.     Walter 


Sickert,  Mr.  W.  B.  E.  Ranken,  Mr.  G.  F.  Kelty, 
Mr.  Howard  Somerville,  Mr.  P.  A.  de  Laszlo  and 
Miss  Flora  Lion  should  be  mentioned. 

DUBLIN. — The  eighty-sixth  Exhibition 
of  the  Royal  Hibernian  Academy  of 
Arts  now  open  in  Dublin,  the  proceeds 
of  which  will  be  given  to  the  P)elgian 
Relief  Fund,  is  chiefly  noteworthy  for  the  many 
interesting  works  shown  by  local  artists.  The 
younger  painters,  especially,  are  well  to  the  fore, 
and  the  stimulating  effect  of  Mr.  William  Orpen's 
influence  as  professor  of  painting  at  the  Dublin 
Metropolitan  School  of  Art  is  evident  in  their 
work.     There  is,  indeed,  a  wave  of  keen  enthusiasm 


PORTRAIT    OK 


C.ICORliK    BIRMI.NGIIAM  "    (lANON    J. 

DKRMOn  o'rrien,    P.  R.H.A. 
( Koval  Hihtiitiait  Aiadiviy) 


UA.NNAVI.       i;v 


2S7 


studio-  Talk 


"THE    BROTHERS."      BY  OLIVER    SHEI'PARD,   R.H.A. 

(Royal  Hibernian  Academy) 


for  painting  at  present  passing  over  Dublin,  and 
more  than  one  of  the  younger  painters  bids  fair  to 
be  a  "  coming  man."   

The  members  and  associates  of  the  Academy 
are  all  well  represented  at  this  exhibition.  Mr. 
Nathaniel  Hone,  Ireland's  greatest  landscape 
painter,  has  sent  eight  works— none  of  them,  we 
fancy,  painted  very  recently.  The  subjects  are 
those  familiar  to  all  who  know  Mr.  Hone's  work- 
cattle  in  a  lush  meadow,  waves  beating  upon 
rocks  beneath  a  stormy  sky,  peaceful  river  scenes. 
Mr.  Dermod  O'Brien,  the  President,  is  represented 
by  one  portrait  only — that  of  the  Rev.  Canon 
Hannay,  better  known  as  "George  Birmingham" 
— a  scholarly  work  in  which  the  humour  of  the 
sitter  is  admirably  portrayed.  Mr.  Leech,  one  of 
the  younger  Academicians  and  the  latest  member  of 
the  National  Portrait  Society,  has  sent  his  beauti- 
ful portrait  of  a  lady  in  rose  and  grey  which  was 


shown  at  last  year's  Royal  Academy,  as  well  as 
several  landscapes  in  which  his  sense  of  finely 
modulated  tonal  harmonies  is  expressed  with  a 
delicate  precision.        

Mr.  \Villiani  Orpen's  presentation  portrait  of 
Sir  William  Goulding  is,  as  might  be  expected,  an 
admirable  portrait  de  a'r^nionie,  brilliantly  painted 
with  an  unwavering  brush.  Mr.  Gerald  Kelly,  who 
confines  himself  to  portraits  of  Pnirmese  men  and 
women,  shows  a  very  personal  feeling  for  the 
beauty  of  line.  Miss  Purser  is  represented  by 
four  portraits,  all  vividly  painted  with  swift  insight 
and  certainty  of  touch  ;  Mr.  J.  M.  Kavanagh  by 
three  landscapes,  of  which  Chapelizod  is,  perhaps, 
the  most  attractive.  Miss  S.  C.  Harrison,  whose 
work  is  distinguished  by  its  sincerity  and  high 
technical  achievement,  shows  four  portraits,  the 
most  notable  being  that  of  "  Father  Stafford "  ; 
while  Mr.  Lavery  shows  but  one,  an  accomplished 
portrait  of  H.R.H.  Princess  Patricia  of  Connaught. 


The  work  of  two  young  men — Mr.  James  Sleator 
and  Mr.  John  Keating,  the  latter  being  the 
holder  of  the  Taylor  Art  Scholarship  for  this  year, 


SEI.E-I'OKTRAIT  BY   JAMES    S. 

(  Royal  Hibernian  Academy) 


studio-  Talk 


WALNUT    WRITINC-TABLE    AND    VITRINE 

calls  for  special  mention.  Mr.  Sleator  exhibits 
four  portraits,  in  all  of  which  one  recognises 
"quality"  of  a  very  unique  kind.  His  rapidly 
executed  head  of  a  man  in  a  red  coat  and  his 
self-portrait  are  full  of  distinction  and  beauty  of 
tone.  Mr.  Keating's  Annushka,  a  seated  portrait 
of  a  lady  in  a  black  dress,  is  a  vivid  piece  of 
painting,  and  in  another  large  canvas,  Pipes  and 
Porter,  he  exhibits  a  clear  vision  and  brilliant 
incisiveness  of  touch  which  promise  well  for  his 
future  work.  Amongst  the  other  Irish  painters  re- 
presented are  Mr.  Jack  Yeats,  Miss  Clare  Marsh, 
who  shows  a  clever  portrait  of  a  lady,  Mr.  W. 
Crampton  Gore,  Mrs.  Clarke,  Miss  Maude  Ball, 
and  Mr.  R.  C.  Orpen,  whose  water-colour  interiors 
are  full  of  charm.  The  sculpture  section,  a  small 
one,  includes  three  finely  modelled  statuettes  by 
Mr.  Oliver  Sheppard.  E.  1). 

MILAN. — Eugenio  Quarti,  whom  I  count 
it  my  good  fortune  to  be  permitted  to 
present  to  the  readers  of  The  Studio, 
plays   at  the  present  moment  a  role 
apart  in  the  Italian  decorative  art  movement.     He 


DESIGNED    AND    EXECUTED    liY    EUGENIO   QUARTI 

is  at  once  a  precursor  and  a  master  ;  amateurs  and 
critics  alike  are  to-day  unanimous  in  recognising  his 
undeniable  superiority  in  this  field  of  work,  and  the 
crowd  of  imitators  who  have  followed  in  his  wake 
may  in  itself  be  regarded  as  a  proof  of  his  eminence. 
Despite  this,  however,  I  do  not  think  that  even 
in  Italy,  with  all  the  commendation  Quarti  has 
received,  his  art  is  as  yet  adequately  appreciated 
or  understood.  In  the  course  of  time,  however, 
this  constructor  of  furniture  will  assuredly  be  ranked 
with  the  most  remarkable  in  the  group  of  those 
who  carry  on  the  Lombard  tradition — a  tradition 
lacking  neither  value  nor  honour. 


Eugenio  Quarti,  who  is  to-day  at  the  full  tide  or 
his  artistic  power,  is  a  native  of  the  province  of 
Bergamo,  and  comes  of  a  family  in  which  the  art  of 
working  in  wood  is  hereditary.  He  recognised  from 
the  very  earliest  his  vocation  and  soon  found  his 
metier.  So  he  devoted  himself  from  his  youth  to 
cabinet-making,  not  remaking  or  counterfeiting  the 
antique,  but  following  out  his  own  ideas  boldly 
and  bravely,  with  all  the  fresh  enthusiasm  of  a 
young  and  gifted  man  and  that  spirit  of  hope  which 

289 


studio-  Talk 


becomes  almost  a  presentiment  of  success.  In  his 
own  circle  he  was  one  of  the  first  in  point  of  time, 
and  incontestably  the  first  in  point  of  merit,  to 
venture  along  the  untrodden  way.  His  early  efforts 
were  attended  witli  difficulty,  for  his  robust  in- 
dependence of  character  awakened  traditional 
prejudices,  exciting  the  sceptical  distrust  of  some 
and  the  ill  will  of  others.  At  this  stage  of  his 
career,  Vittore  Grubicy,  who  aided  him  with  an 
almost  paternal  protection,  oft-times  cheered  on  his 
young  friend,  and  lavished  upon  him  encourage- 
ment and  advice.  During  this  period  Quarti  was 
much  influenced  by  the  genius  of  the  Jap.uiese, 
whose  inexhaustible  fecundity  in  decoration 
charmed  his  soul  athirst  after  a  new  beauty. 


Years  passed  on  and  this  untiring  seeker  worked 
unceasingly  in  isolation  and  want,  ignored  by  all, 
one  may  say,  save  his  enemies.  At  the  Paris 
Exhibition  of  1900  his  talent  was  revealed.  It 
was  the  delegates  of  Japan  and  Great  Britain  who 
discovered,  amid  an  accumulation  of  old-fashioned 
productions  in  the  feeble  light  of  a  room  in  which 
they  were  all  huddled  together  anyhow,  this  ex- 


(luisite  furniture  ot  elegant  and  slender  delicacy, 
and  hastened  to  bring  it  to  the  notice  and  to  invite 
the  approbation  of  the  other  members  of  the  Jury, 
with  the  result  that  (^)iKirti  obtained  the  (irand 
Prix  International.  This  was  his  first  public  victory, 
and  it  elicited  a  well-merited  eulogy  from  the 
architect  Luca  Beltrami,  who  while  understanding 
the  beautiful  works  of  antiquity  and  cultivating 
tradition  with  an  almost  religious  sentiment,  can  at 
the  same  time  appreciate  and  enjoy  modern  aisthetic 
manifestations,  provided  they  are  worthy  to  be  so 
described.  

(Juarti  himself  had  not  dreamed  of  such  a  result, 
which  by  making  him  appreciated  outside  his  own 
country  at  once  enlarged  the  circle — till  then 
infinitely  restricted — of  his  admirers.  He  was, 
however,  not  content  to  rest  on  his  laurels  ;  he 
wished  to  do  better,  to  progress,  to  transform 
himself.  Still  quite  young,  having  gained  at  one 
bound  the  premier  place  among  Italian  makers  of 
furniture,  and  moreover  disdainful  of  rivalry  and 
competition,  he  abstained  from  taking  part  in 
competitions,   even   in   that  of  the   Exhibition    ot 


SMAI.I.    WRrPI\(;TAHI.E    AND    COM  MODK    IN    CITRON    WOOD 
290 


DESIGNED    AND    EXECUTED    BY    EUCENIO    QUARTI 


2   X 

OS   H 
D   Q 


studio-  Talk 


Decorative  Art  at  Turin  in  1902,  where  he  exhibited 
hors-coticours.  For  several  years  he  remained 
sequestered  in  the  solitude  of  his  atelier,  devoting 
himself  to  his  ambitious  ideal — the  search  for  per- 
fection. It  was  only  in  1906  that,  yielding  to  the 
ad\"ice  of  his  friends,  he  again  made  an  appearance, 
this  time  at  the  Milan  ICxhibition.  His  rare  gifts 
manifested  themselves  now  even  more  clearly  than 
before :  and  here,  as  in  Paris,  he  was  awarded  the 
Grand  Prix  International.  No  hindrance  could 
avail  to  turn  this  man  of  ardent  will  from  the  path 
marked  out  for  him,  and  his  art  continued  to 
develop  with  an  astonishing  fulness. 


I  think  I  can  divine  one  of  the  secrets  of  such  a 
constancy  of  aim,  and  that  is  the  unswerving  faith 
of  this  silent  revolutionary  in  the  rights  of  modernity 
— a  modernity  the  exigencies  of  which  make  them- 
selves more  felt  every  day.  Not  that  Quarti 
ignores  the  past  or  despises  it,  but  he  has  no 
thought  of  it  when  he  designs  and  composes  ; 
ancient  and  modern  masterpieces,  both  Italian  and 
foreign,  are  not  unfamiliar  to  him,  but  without 
allowing  himself  to  dwell  too  much  upon  them  he 
has  instinctively  grasped  their  essentials.  It  may 
be  that  he  owes  to  this  transient  comprehension 
the  mobile  facility  of  inventiveness 
and  the  vivacity  of  accent  which 
render  more  certain  and  impart 
greater  breadth  to  his  own  indi- 
vidual methods.  Nevertheless 
there  remains  a  definite  originality 
which,  possessing  itself  of  essential 
principles,  is  incapable  of  enthral- 
ment  by  them,  but  improves  upon 
or  mayhap  forgets  them  in  the  pro- 
duction of  a  new  realisation.  There 
is  also  in  the  compositions  of  Quarti 
no  evidence  of  a  juxtaposition  of 
heterogeneous  elements  nor  that 
medley  of  reminiscence  and  bor- 
rowed traits  which  makes  what 
should  be  a  synthetic  creation 
merely  a  work  of  fastidious  com- 
pilation. The  immediate  influence 
of  this  style  or  that  school  is 
nowhere  apparent  in  his  art.  All 
is  invented,  even  to  the  smallest 
details,  and  with  an  abundance 
of  variety  of  which  only  one  who 
has  seen  his  entire  production 
can  adequately  take  stock. 


always  very  practical  and  of  irreproachable  execu- 
tion, are  logical  organisms.  An  inward  and  inherent 
necessity  creates  the  form,  of  which  the  decorative 
masses  are  disposed  with  a  perfect  e(]uilibriuni, 
and  are  developed  with  an  almost  austere  sobriety. 
Nothing  is  sii[)erad(led,  nothing  is  superfluous, 
but  the  whole  design  flows  naturally  from  a  single 
conception — all  is  subordinated  to  a  generative  idea, 
like  a  body  supported  by  its  vertebrae.  Besides 
retaining  in  his  contours  an  admirable  plastic 
fulness  and  a  comfortable  solidity,  Quarti  exer- 
cises a  sensitive  discrimination  in  questions  of 
harmony  of  tone,  of  the  combination  of  diverse 
materials  and  the  employment  of  various  kinds  ot 
woods.  These  woods  are  fashioned  in  perfect 
accord  wi-th  their  intrinsic  characters  and  the  result 
is  that  all  the  constructive  and  pictorial  ([ualities  of 
which  they  are  susceptible  are  realised  to  the 
utmost.  Then  the  addition  of  ingeniously  con- 
trived incrustations  (he  was  the  first  in  our  country 
to  adopt  this  device,  in  the  use  of  which  no  one 
has  surpassed  him)  of  coloured  glass,  flashing 
crystal,  ornaments  in  chased  or  cast  metal,  and 
lastly  little  architectural  motifs  which  now  reveal 
themselves,  now  modestly  shrink  back  in  the 
total  concordance,  make  the  works   of  this  crafts- 


Quarti's   pieces  of   furniture 
294 


PORTKOLIO    STAND    IN    WAI  NUT    AM)    OAK 

DKSUiNKI)    AND    KXKCUTED    HV    KUGENIO   ()UARTI 


studio-  Talk 


BEDROOM    IN    GREY    MAPLE  AND    CITRON    WOOD. 


DESIGNED  AND  EXECUTED  BY  EUGENIO  QUARTI 


COMMODE    AND    DRESSINC-TAHI.K    IN    CITRON    WOOD 


DESIGNED    AND    KXElTTED    liV    Kr<;i MO    (.lUARTI 


Art  School  Notes 


NEKDI.KWi   KK     I'ANEl.    WdKKKD    WnilOr  T     rREl.lMINAKV     DKAWl.Ni;     liV    A    STUDENT    AT     THE     CENTRAL     SCHOOL    OK 

ART,    BIRMINGHAM 


man  a  joy  to  people  of  refined  taste.  The  rare 
qualities  he  possesses  are  revealed  better  and  more 
thoroughly  in  an  entire  interior  or  series  of  interiors 
than  by  a  single  piece  of  furniture,  for  besides 
being  masterly  ebetiiste,  Quarti  is  a  decorator  of 
vast  conceptions.  Those  who  have  visited  the 
Kursaal  of  San  Pellegrino  can  bear  me  out  in  this, 

GUSTAVE    BOTTA. 


B 


ART  SCHOOL  NOTES. 

IRMINGHAM.— Many  readers  of  this 
magazine  will  no  doubt  remember  some 
interesting  notes  contributed  some  three 
years    ago  {see 


be  more  and  more  recognised.  In  the  art  schools  oi 
Birmingham  the  methods  inculcated  and  practised 
by  Mr.  Catterson-Smith  have  in  the  meantime 
been  pursued  with  gratifying  results  not  only 
at  the  Central  School,  of  which  he  is  principal, 
but  also  in  other  schools  under  his  supervision  as 
Director  of  Art  Education  for  the  City.  At  the 
exhibition  of  students'  work  on  the  occasion  of 
the  distribution  of  prizes  early  in  February,  these 
results  wer-e  demonstrated  by  numerous  designs 
and  drawings,  some  of  which  are  shown  in  the 
accompanying  illustrations.  These  are  worthy  ot 
attention  as  showing  the  possibilities  of  a  training 
in     memory    drawing    and    visualisation.       The 


The  Studio  for  February 
191 2,  pp.  74-79)  by  Mr. 
R.  Catterson-Smith  on 
the  subject  of  "  Memory 
Drawing  and  Mental 
Imaging  in  Art  Teach- 
ing," his  observations 
being  accompanied  by 
illustrations  of  drawings 
made  by  young  students 
in  pursuance  of  the 
method  of  training  de- 
scribed by  him.  These 
observations  attracted 
considerable  attention  at 
the  time  among  teachers 
in  art  schools  and  as  a 
result  the  value  of 
memory  training  and 
visualisation  is  coming  to 
296 


UESir.N    BY    BOV    STUDENT    AT   THE  CENTRAL    ART    SCHOOL,    BIRMINGHAM,    AS   THE 
RESULT  OK    A    TRAINING    IN    MEMORY-DRAWING    AND    VISUALISATION 


Art  School  Notes 


aided  them  in  the  reahsation  of  their  memory  ot 
the  animal  (a  horse  being  familiar),  and  excited 
the   imagination,   the   result  being    freshness  and 


DESIGN    BY    BOY    STUDENT   AT   THE   CENTRAL    ART 
SCHOOL,    BIRMINGHAM 


modelled  panels  shown  on  this  page  were  done  by 
boys  who  attend  in  the  evening  at  the  Vittoria 
Street  School  for  Jewellers  and  Silversmiths.  They 
had  had  very  little  experience  in  modelling.  The 
teacher  gave  them  some  information  as  to  the 
structure  of  the  horse  on  the  blackboard.  They 
were  then  asked  to  shut  their  eyes  and  to  visualise 
a  horse  in  any  position  they  chose  and  to  make  a 
sketch  of  what  they  saw,  still  keeping  their  eyes 
closed,  and  lastly  they  modelled  what  they  had 
imaged  or  visualised.     This  method  of  procedure 


DESIGN    BY  BOY    STUDENT  AT   THE   CENTRAL    ART 
SCHOOL,    BIRMINGHAM 


■^t 

,:\1 


PANELS    MODELLED    KROM    MEMORY    BY    BOY    STUDENTS    AT    THE    VITTORIA    STREET    SCHOOL     FOR     'EWELI  EKS    AND 

SILVERSMITHS,    BIRMINGHAM 

297 


Reviews  and  Notices 


NECKLACE   AND    1'E.NDANT  BV    1 

(  Central  School  df  Art,  Birmingham) 

individuality,  qualities  which  would  never  be  lost 
if  a  nice  balance  were  kept  between  the  acquiring 
of  knowledge  and  the  habit  of  inventive  expression. 
Three  designs  shown  on  the  preceding  pages  were 
made  by  boys  in  their  third  and  fourth  year  in  the 
Central  Art  School.  They  were  first  imaged  in  the 
mind's  eye  and  drawn  with  the  eyes  closed,  the  com- 
plete drawings  being  afterwards  made  with  the  eyes 
open.  With  these  illustrations  are  produced  a  neck- 
lace and  piece  of  needlework  executed  by  students  in 
the  Central  School.  The  latter  was  schemed  as  it 
proceeded,  no  preliminary  drawing  being  made. 
It  is  urged  that  this  method  trains  the  student  in 
the  drawing  peculiar  to  the  needle,  and  gives  the 
fancy  more  freedom  than  where  a  prescribed 
design  is  carried  out.  As  shown  by  the  exhibits 
generally  the  work  of  the  Birmingham  Art  Schools 
reaches  a  high  level,  and  although  metal  work, 
jewellery  and  kindred  crafts  naturally  claim  a 
large  share  of  attention,  it  is  gratifying  to  see 
other  crafts  cultivated  with  avidity  and  commend- 
able results. 
298 


REVIEWS  AND 
NOTICES. 

Chinese  Pottery  a  tin 
Porcelain.       By     R.     L. 
HoHSON.     (London  :  Cas- 
scll  and   Co.    Ltd.)     Two 
volumes.     <S4.c.  net. — It  is 
only  within    recent    times 
that    reliable    information 
has    been    obtainable    re- 
specting   the    pottery  and 
porcelain  of  China.     The 
work    of   M.    Jacquemart, 
published  in  1875,  was  for 
some  years  the  chief  guide 
for  the  amateur  collector. 
But,    in    later    days,    the 
researches    of   1  )r.   G.    E. 
Bushell,      Captain      F. 
Brinkley,  Mr.  Burton,  and 
others  have  done  much  to 
rectify    the    mistakes    of 
previous     writers     and 
materially  to   enlarge   our 
knowledge  of  this  fascinat- 
ing subject.     The  transla- 
tion  of    various    Chinese 
treatises  has  been  of  inesti- 

II.SS    A.    M.    CAMWELL  ,  ,  •  j     .       .1  .     j        ^ 

mable  aid  to  the  student, 
and  Mr.  R.  L.  Hobson,  in 
the  preparation  of  his  im- 
portant work  on  "Chinese  Pottery  and  Porcelain," 
has  been  fortunate  in  being  able  to  avail  himself  of 
much  direct  information  from  Chinese  sources  as 
well    as    from    the    works    of  previous    European 
writers  on   the   subject.     The  sifting   of  the   oft- 
times  confusing  details  of  the  native  historian  or 
connoisseur  and  the  co-ordination  of  essential  facts 
is  a  task  of  no  mean  order,  and  Mr.  Hobson  has 
approached  his  subject  with  much  acumen,  and 
accomplished  a   work   which   cannot   fail    to    be 
appreciated  by  all   those  who  may  be  genuinely 
interested  in  this  great  art.     Of  the  rough  pottery 
of  the  Primitive  Periods,  of  the  mortuary  and  other 
pottery,  of  which  examples  have  only  lately  been 
seen  in  the  West,  dating  from  the  Han  Dynasty 
(206    li.c.   to    A.D.    220)    and    the    Tang    Dynasty 
(a.d.  618-906),  some  account  is  given  in  the  text, 
with  typical  illustrations.     Many  excellent  examples 
of  wares,    which    date    from     the    Sung   Dynasty 
(a.d.  960-1279),  notable  for  their  beautiful  glazes, 
celadon,  ivory  white,  blues,  purples,  lavender,  and 
ciair  de  lufte,  are   figured  in   colours  and    "  half- 


Reviews  and  Notices 


tone."  Reference  is  also  made  to  the  Temmoku 
tea  bowls  of  this  period  so  much  admired  at  a 
later  time  by  the  tea  masters  of  Japan.  To  the 
varied  types  of  porcelains,  the  manufacture  of 
which  is  now  generally  believed  to  date  back  to 
the  Han  Dynasty,  the  larger  portion  of  Mr. 
Hobson's  work  is  devoted.  He  methodically 
reviews  the  characteristics  of  the  early  wares,  of 
the  notable  productions  of  the  Ming  Dynasty 
{a.d.  1 368-1644),  and  of  the  later  periods  of 
K'ang  Hsi,  Yung  Cheng,  and  Ch'ien  Lung,  of 
which  numerous  examples  from  important  collec- 
tions in  Europe  and  America  are  figured.  The 
author  disclaims  any  pretensions  to  having  treated 
his  subject  exhaustively.  To  do  so  would  require 
access  to  the  numerous  important  collections 
existing  in  China,  which  up  to  the  present  time 
are  but  little  known  to  the  Western  amateur,  but 
Mr.  Hobson  may  be  congratulated  on  the  result 
of  his  researches.  His  volumes  cannot  fail  to  be 
admired  and  treasured  by  the  numerous  lovers  of 
what  are  by  far  the  most  distinguished  productions 
of  the  Ceramic  Art  which  the  world  has  ever  seen. 
Dedications  and  Patron  Saints  of  English 
Churches.  By  Francis  Bond,  M.A.  (Oxford 
University  Press.)  ']s.6d.  net. — Some  hundreds  of 
saints  figure  tn  this  latest  of  Mr.  Bond's  ecclesio- 
logical  works,  which  is  made  interesting  by  the 
liberal  introduction  of  history  and  legend  pertinent 
to  the  subject.  The  number  of  those  whom  one 
has  never  heard  of  before  is  extraordinary  ;  they 
are  mostly  early  Celtic  Saints  with  one  or  perhaps 
two  dedications  to  their  names.  In  addition  to 
the  lore  relating  to  the  better  known  saints — for  as 
to  a  large  number  nothing  is  now  known — the 
volume  contains  interesting  matter  concerning  bell 
dedications,  calendars,  the  consecration  and  dedi- 
cation of  churches,  ecclesiastical  symbolism  and 
the  emblems  of  the  saints,  and,  like  the  other  works 
by  the  same  author,  it  is  plentifully  illustrated. 

Giuseppe  de  Nittis :  L  Uomo  e  f  Artista.  By 
Vittorio  Pica.  (Milan  :  Alfieri  and  Lacroix.)  In 
this  substantial  and  well-produced  volume  Sgr. 
Pica  renders  homage  to  the  memory  of  an  Italian 
artist  whose  work  until  last  year,  when  two  rooms 
at  the  Venice  International  Exhibition  were  set 
apart  for  a  special  exhibition  of  his  pictures,  was 
but  little  known  and  appreciated  in  his  own 
country.  His  career  terminated  in  1884  before  he 
had  reached  his  fortieth  year,  but  the  fact  that 
nearly  two  hundred  of  his  works — paintings  chiefly, 
with  a  few  etchings  and  drawings  interspersed — are 
reproduced  in  this  volume,  affords  evidence  of  his 
activity  during  his  brief  manhood.     The  last  few 


years  of  his  life  were  spent  in  Paris  and  London, 
and  many  of  the  pictures  reproduced  are  records 
of  his  observations  of  the  social  life  of  these  places 
at  the  time.  He  was  especially  fond  of  depicting 
animated  street  scenes,  race-meetings  and  subjects 
of  a  kindred  nature,  and  as  he  appears  to  have  taken 
pains  to  render  faithfully  the  figures  which  largely 
enter  into  these  compositions,  the  pictures  have 
a  value  as  contemporary  records  apart  from  their 
artistic  interest.  He  also  displayed  a  considerable 
talent  in  rendering  atmospheric  effects,  and  among 
the  best  things  he  did  are  those  in  which  these 
effects  form  the  chief  motive — notable  examples 
being  two  in  which  he  depicts  the  approach  of  a 
storm  and  a  gale  on  the  sea-coast.  The  illustra- 
tions also  include  an  interesting  series  of  Vesuvian 
subjects  painted  during  the  early  years  of  his 
career  when  completing  his  studies  at  Naples. 


"The  Cairn  "is  the  name  of  the  magazine  of 
the  Edinburgh  College  of  Art,  and  its  fourth  number 
made  its  appearance  at  Easter,  with  a  colour 
reproduction  of  a  sketch  by  Mr.  Brangwyn  as 
frontispiece,  and  numerous  monochrome  illus- 
trations, mostly  representing  work  done  by  students, 
supplementing  an  interesting  budget  of  letterpress. 
The  college  has  made  a  splendid  response  to  the 
call  to  arms,  and  the  list  given  in  this  number  of 
"  The  Cairn  "  of  members  of  the  staff  and  students 
who  have  joined  the  colours  comprises  over  a 
hundred  names.  The  profits  on  the  sale  of  the 
number  are  to  be  devoted  to  the  Belgian  Artists' 
Relief  Fund. 


Though  for  obvious  reasons  the  new  issue  of 
Photograms  of  the  Year  does  not  contain  the  usua^l 
representation  of  pictorial  photography  from  the 
Continent,  Mr.  Mortimer  has  succeeded  in  bringing 
together  an  international  collection  of  prints  which 
in  diversity  of  subject  and  technical  procedure  is 
exceedingly  interesting.  There  are  special  articles 
on  pictorial  photography  in  Canada,  Australia,  the 
United  States,  Scandinavia,  and  Spain.  This 
annual  review  is  published  at  2s.  bd.  net.  by  Messrs. 
Hazell,  Watson  and  \'iney. 


We  are  requested  by  Mr.  Arnold  Thornam  of 
Steindal,  Christiania,  to  state  that  the  piece  of 
tapestry  reproduced  in  the  January  number  of  this 
magazine,  p.  3og,  and  there  stated  to  have  been 
designed  and  executed  by  Ulrikka  Gieve,  was 
designed  by  him,  and  also  that  the  tapestry  did  not 
form  part  of  the  Norwegian  Home  Industry  Asso- 
ciation's exhibition. 

299 


T 


The  Lay  Figure 


IIK     LAY     FIGURE:     ON     THE 
OFFICIAL    PORTRAIT. 


"  Dii  you  tliink  an  artist  is  ever  able  to 
show  the  best  side  of  iiis  cajiacity  when  he  is 
obhged  to  work  under  orders  ?  "  asked  the  Young 
Painter. 

"  I  should  say  most  decidedly  not,"  replied  the 
Art  Critic  ;  "  and  I  think  most  artists  would  agree 
with  me.  In  fact  I  have  known  more  than  one 
instance  of  men  refusing  commissions  to  paint  a 
prescribed  subject  on  the  ground  that  they  would 
not  be  able  to  do  themselves  justice  under  such 
conditions  if  they  accepted  them.  But  why  do  you 
ask  ?  " 

"  Because  it  seems  to  me  that  a  great  many 
people  do  not  realise  how  seriously  they  hamper 
the  artist  by  imposing  conditions  upon  him,  or  that 
they  spoil  the  quality  of  his  work  by  limiting  his 
freedom  of  action,"  explained  the  Young  Painter. 
"  Look  at  modern  portraiture  especially.  I  cannot 
help  thinking  that  for  much  of  the  dull  and  poor 
stuff  one  sees  nowadays  the  client  should  be  blamed 
rather  than  the  painter." 

"  Do  you  mean  that  a  dull  sitter  makes  a  dull 
picture  ?  "  asked  the  Man  with  the  Red  Tie.  "  The 
artist  cannot  very  well  pick  and  choose,  and  it  would 
not  be  reasonable  for  him  to  expect  every  person 
who  wants  his  likeness  painted  to  be  brilliantly 
inspiring." 

"  No,  it  is  not  quite  that,"  returned  the  Young 
Painter.  "  There  are  some  people,  of  course,  in 
whom  the  artist  could  never  feel  the  slightest 
interest,  and  whom  he  never  could  make  anything 
but  commonplace.  What  I  had  in  my  mind  was 
the  persistent  badness  of  what  I  should  call  the 
official  portrait.  How  often  do  you  see  a  painting 
of  this  type  that  can  be  said  to  be  even  passably 
interesting,  except  perhaps  to  the  sitter  and  those 
who  are  personally  acquainted  with  him  ?  " 

"Not  often,  I  am  afraid,"  agreed  the  Critic. 
"  In  work  of  that  class  there  is  a  convention  which 
nearly  every  one  follows." 

"A  convention!  Yes!  But  who  is  responsible 
for  that  convention  ? "  cried  the  Young  Painter. 
"  Not  the  artist,  I  am  sure,  for  even  the  bigger  men 
seem  to  be  as  much  cramped  by  it  as  the  struggling 
beginner.  I  lay  the  blame  upon  the  people  who 
give  the  commissions  for  these  stupid,  irritating 
performances." 

"You  blame  them  for  insisting  that  the  work 

shall   be  done  in  a  particular  way,  and  that  this 

way  is  not  the  one  that  the  artist  would  choose  ii 

he  were  left  to  himself,"  said  the  Critic.      "  Well, 

300 


there  is  a  good  deal  in  that.  The  official  portrait 
is,  as  a  rule,  commissioned  by  a  committee  which 
represents  the  subscribers,  and  the  members  of  this 
committee,  being  dressed  in  a  little  brief  authority, 
are  anxious  to  prove  their  importance  by  bullying 
some  one — and  that  some  one  is  usually  the  artist 
to  whom  the  commission  is  given." 

"  And  how  they  bully  him  ! "  sighed  the  Man 
with  the  Red  'I'ie.  "  How  they  criticise  his  work  ! 
How  they  lay  down  the  law  as  to  what  he  must  do 
and  what  he  must  not  do  !  I  know  the  ways  of 
those  committees." 

"  Yes,  and  so  do  I,  unfortunately,"  returned  the 
Young  Painter;  "and  I  can  tell  you  that  they 
understand  nothing  but  the  official  convention  and 
that  they  hold  it  like  a  pistol  to  the  artist's  head. 
For  their  money  he  has  to  sacrifice,  or  at  all 
events  to  jeopardise,  if  not  his  life,  at  least  his 
artistic  reputation." 

"  It  is  always  open  to  him  to  rebel,  however, 
and  to  do  the  work  in  the  way  he  thinks  right," 
suggested  the  Critic. 

"  What  is  the  good  of  that  ?  "  asked  the  Young 
Painter.  "  I  know  a  man  who  rebelled  and  who, 
ignoring conventionand  relyingon  hisown  judgment 
painted  a  public  personage  as  he  saw  him,  and 
made  a  jolly  good  portrait  of  him  too.  What  was 
the  result  ?  The  portrait  was  refused  with  absolute 
abuse,  and  the  committee,  which  happened  to  have 
the  power  to  commission  othei  portraits,  passed  a 
series  of  resolutions  which  will  make  the  lives  of 
all  artists  who  do  anything  for  it  in  the  future  an 
absolute  misery — that  is,  if  they  are  artists  worthy 
of  the  name." 

"  Yes,  it  seems  pretty  hopeless,"  admitted  the 
Critic.  "  In  art  matters,  as  in  most  others,  there 
are  no  people  who  know  so  much  as  those  who  know 
nothing,  and  the  committeeman's  vast  and  monu- 
mental ignorance  is  like  nothing  else  on  earth. 
Perhaps,  some  day  the  ordinary  member  of  the 
public  will  acquire  knowledge  enough  to  discover 
that  there  are  other  kinds  of  art  besides  the  one 
which  the  committee  recognises  and  insists  upon 
having,  and  then  the  artist  will  have  the  chance 
he  does  not  get  now." 

"  Perhaps,  some  day  pigs  may  fly,"  scoffed  the 
Man  with  the  Red  Tie  ;  "  but  I  do  not  think  we  are 
likely  to  live  to  see  it.  The  only  cure  of  the  evil 
would  be  for  all  artists  to  agree  among  themselves 
and  to  refuse  one  and  all  to  paint  portraits  in  the 
official  manner.  But  when  all  artists  agree  on  any 
subject  we  shall  have  reached  the  millennium  and 
official  portraits  will  no  longer  be  required." 

The  Lav  Figure. 


N  International  studio 

1 

16 

V.  55 


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