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THE- STUDIO 

An  Illa/tr&ted  A&g&^pe 
of  Fine  #  Applied  Art 


5EPT.  15 

1914 


VOL.  62 
NO.  258 


44Leice/ter  Square 

LONDON  -wc 
Monthly 


THE     STUDIO 

EDITED    BY    CHARLES     HOLME. 


Contents,   Sept.    15,    19 14 

THE  PAINTINGS  OF  F.  C.  FRIESEKE.    By  E.  A.  Taylor.    Nine 

Illustrations-  ........      159 

WHAT  18  A  GARDEN?    By  Thomas  H.  Mawson,  Hon.  A.R.I.B.A. 

Nine  Illustrations     •  .......      a68 

THE  NATIONAL  COMPETITION  OF   8CHOOLS   OF   ART.  1814. 

ByW.  T.  Whitley.     Thirty-one  Illustrations  •  •  •  377 

AMERICAN    ART    AT    THE    ANGLO-AMERICAN    EXPOSITION. 

Nine  Illustrations   ........       393 

STUDIO  TALK  (from  Fur  nun  Ci^yfj/fndrmtl)  : 

London   Nine   Illus.,  30a;    Port   Elizabeth  Two    Illus.,    310; 

Montreal    Four    Illus.,   no;    Toronto,    313;   Winnipfg,    315; 

Melbourne  Two  Illus.,  316  ;  Philadelphia,  Pa.,  318  ;   Bordeaux 

Five  Illus.,  318;  Tokyo  Six  Illus. 3» 

ART  SCHOOL  NOTE8 

London  Five  Illus. 

REVIEWS  AND  NOTICES 

THE  LAV  FIGURE  :  On  the  Record  of  Passing  Events 


3=8 


SUPPLEMENTS  IN  COLOUR: 

"  A  Girl  Sewing."    From  an  Oil  Painting  by  Frederick  C 

Frieseke  .......  Frontisfiitct 

Enclosed   Garden    and    Lily    Pool    at   Galton   Park, 

Surrey  (From  ah  Autochrome  Photograph)       -  -      275 

SUPPLEMENTS  IN  TINT 

"Milan."       From    a    Wood    Engraving    ft    O.    Wynne 

Apperlsy,  R.  I.    -  -  -  -  •  -  305 

"Frost  and  Snow."    From  an  Oil  Painting  by  Maurice 

CULLEN        ........        3n 

"Sketches  op  Market  Lire  in   Madrid."    From  Chalk 

Drawings  bv  J.  P.  Tillac      .....     319 


KOTICE  TO  CONTRIBUTORS.— The  Editor  will  always  be  glad  to  consider  any  articles. 


1  that  may  be  submitted  10  h 


1  and  address  of  the  sender   clearly 


The  Studio  is  registered  for  transmission  to  Canada  by  Canadian  ai  agaiine  Potl 


THE  HIGHEST  AWARDS  atall  INTERNATIONAL  EXHIBITION 


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fARTlSTlC  £ 

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•WEST-ENDSttOW 

REOEJITSIREtT-V/.  -*J 

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Telephone 
Dalston  134 


THEIR  LATEST  WALL  PAPERS 

ARE  ALWAYS  ON  VIEW 

,And  are  to  bo  obtained  of  all  Deoorator.  and  Wall  Paper  Morohan 


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-THE  GREY    DRAWING-ROOM      (1911).    from 
an  oil  painting  by  JOHN  LAVERY.  R.S.A..  A.R.A. 


THE  STUDIO 


T 


HE  ART  OF  JOHN  LA  VERY. 
R.S.A.,  A.R.A,  ETC.  BY  A. 
STODART   WALKER. 


With  the  exception  of  Mr.  Sargent  no  living 
painter  has  been  so  canvassed,  catalogued,  and 
criticised  as  Mr.  John  Lavery.  His  name  and  his 
work  are  known  wherever  Western  art  has  penetrated. 
He  has  been  laureated  in  more  foreign  collections 
than  any  of  his  contemporaries.  The  subject  of  a 
biographv,  of  numberless  criticisms  and  apprecia- 
tions, it  may  seem  an  act  of  supererogation  to 
add  to  his  bibliography.  The  unique  exhibition  of 
his  work  at  the  Grosvenor  Gallery,  in  which  we  are 
able  to  study  his  artistic  output  from  the  early 
Glasgow   days  to    the   present   seems   a  sufficient 


apology  for  one  more  essay  as  to  the  capacities  ol 

the  man. 

The  exhibition  ranges  from  the  year  1879  till  the 
year  1914,  and  represents  the  cream  of  these  thirty- 
ii\t  years.  Of  the  130  pictures,  some  twenty  are 
from  public  collections.  From  the  Luxembourg 
come  the  Father  and  Daughter  and  Spring : 
from  the  National  Gallery,  Rome,  Polymnia  ;  from 
the  Neue  Pinakothek,  Munich.  The  Tennis  Party: 
from  the  Modern  Gallery,  Venice,  A  Lady  in  Pink 
and  Mother  and  Son  :  from  the  National  Gallery, 
Brussels,  A  Lady  in  Black ;  from  the  Diploma 
Gallery  at  Edinburgh,  The  Rocking  Chair;  from 
the  Scottish  Modern  Arts  Collection  Curling;  and 
from  the  Corporation  Gallery  in  Glasgow  R.  B. 
Cunningliame  Grahame,  Esq.     Other  pictures  are 


l-  MS]  IV    "1  ENNIS   1  1  I    1 

I. XII.  No.  254.— Jose  1014 


John  Lavery,  R.S.A.,  A.R.A. 


on  loan  from  the  Senate  House,  Brussels,  the 
National  and  Modem  Galleries  of  Dublin,  the 
Manchester  Art  Gallery,  the  Belfast  Corpora- 
tion Gallery  and  Girton  College,  Cambridge.  The 
rest  of  the  canvases  are  chiefly  from  private 
collections  and  include  many  of  the  portraits  which 
made  the  reputation  of  the  painter,  such  as  the 
Miss  Marv  Burrell  (1891),  the  Sisters  (1891-92), 
Lady  Xorah  Hely-Hutchinson  (1905).  and  Lady 
Evelyn  Farquhar  (1906).  The  collection  also  in- 
cludes The  Night  after  Langside  —  the  famous 
canvas  over  which  Mr.  Lavery  spent  ten  years,  and 
Dawn  after  Langside  lent  by  Mr.  James  Mylne,  two 
pictures  alone  which  might  have  made  a  reputation 
sufficient  for  any  man. 
In    studying     some     of 

these  canvases  what  strikes 

us  most   is   how  well  Mr. 
Lavery   has   gauged  the 

effect  of  time.     Such  a  pic- 
ture as  The  Rot-king  Chair 

from  the  Diploma  Gallery, 

Edinburgh,  painted  twenty- 
two  years  ago,  might  have 

been  finished  yesterday, 

the  paint  is   so  fresh   and 

glowing,  and  so  far  as  we 

have  been  able  to  examine 

the  works  of  the  past,  we 

have   not    discovered    one 

example  of  the  artist's  work 

that  has  not  improved  "in 

the    keeping."      The    fact 

may  be  useful  to  those  of 

our  modems  who  imagine 

that   it   is   necessary    to 

practise  some    unusual 

method  of  painting,  some 

laying  on  of  paint  which  is 

to  earn  the  condemnation 

of  the  present  at  the  price 

of  the  appreciation  of  the 

future.     So  long  as  a  man 

understands  the  medium  in 

which  he  works,  so  long  as 

he   knows  what  paint   is 

likely  to  become  under  the 

processes    of    time,    there 

seems  no  need  for  him  to 

be  greatly  concerned  about 

the  future.     None  of  Mr. 

Lavery's   early  canvases 

were  labelled  "  This  picture 

is  intended  for  thirty  or  fifty 
4 


years  hence."  The  painter  did  not  go  about  apolo- 
gising to  his  critics  that  he  painted  for  the  future  and 
not  for  the  present.  Throughout  his  career  Mr. 
Lavery  never  apologised  at  all.  He  simply  did 
what  he  knew  and  left  it  at  that.  So  to-day  we 
glory  in  that  masterpiece  The  Lady  with  the 
Pearls  from  The  Modem  Gallery  in  Dublin, 
representing  the  painter  more  consummately 
perhaps  than  any  other  canvas,  as  the  critics  did 
when  it  was  first  exhibited. 

There  are  some  things  that  Mr.  Lavery  cannot 
achieve,  though  of  all  living  craftsmen  in  paint  to 
none  can  be  applied  more  honestly  the  statement 
made  by  one  of  his  colleagues  that  "  there  is  very- 
little  he  cannot  do."  A  distinguished  contemporary 


JAPANESE    SWITZERLAND"    (1912 


BY   J<  UN    LAVERY,    R.S.A.,    A.R.A. 


(City  of  Bradford  Art  Gallery) 


THE  GREEN   COAT"  I  1904  .     BY 
jolIN   LAVERY,  R.S.A.,  A.R.A. 


John  Lavcry,  R.S.A.,  A.R.A. 


once  said  to  inc.  "  Lavcry  is  a  wonderful  man. 
nothing  frightens  him."  Mere  courage,  however, 
is  hut  a  hrute  quality  with'out  capacity.  Mr.  livery 
was  once  challenged  with  the  dictum  quoted.  His 
reply,  so  characteristic  of  this  humorous  Irish-Scot 
was,  "  Yes,  I  can  do  a  great  many  things  in  my  own 
way."  Mr.  I.avery  has  proved  the  quality  of  this 
•■  way "  in  more  ways  than  one,  by  his  unerring 
sense  of  style  as  a  portrait-painter,  by  his  splendid 
capacity  for  design  in  those  pictures  which  are  more 
colour  harmonies  than  portraits  and  best  of  all  by 
his  distinguished  methods  as  a  landscape  painter. 
All  these  aspects  of  his  art  are  executed  in  his  own 
way.  Mr.  Laverv  does  not  profess  to  combine 
unerring  insight  into  the  subtleties  of  character  with 
a  fine  sense  of  pictorial  design  as  does  the  man  to 
whom  he  makes  acknowledgment  that  from  him  he 
learnt  most  that  is  good  in  his  portraiture.  I  mean, 
of  course,  Sir  James  Guthrie.  His  landscapes  have 
not  the  poetical  illusiveness  of  Mr.  Walton's.  He 
has  not  the  "solidity"  of  Mr.  Orpen.     One  does 


not  feel  the  figure  under  the  clothes  as  one  felt 
it  with  Sir  George  Reid  :  his  paint  does  not  glow 
with  the  richness  of  Mr.  Sargent.  A  Lavery  por- 
trait is  a  Lavery — a  thing  personal,  quite  distinctive 
and  in  nearly  every  case  distinguished.  It  can 
be  finished  in  a  sitting,  as  in  the  case  of  the 
portrait  of  Lady  Diana  Manners,  and_knowing  the 
circumstance  the  result  is  often  something  which 
arouses  the  onlooker  to  use  the  term  "  miraculous." 
Mr.  Lavery  has  a  faultless  eye  for  the  "  lines  "  of 
his  sitters,  he  has  an  unerring  gTasp  of  whatever 
"  charm  "  they  possess  or  suggest.  His  canvases 
give  you  a  sense  of  "flow,"  of  elegance  and 
grace.  He  is  not  so  richly  gifted  in  the  grand 
manner  as  Mr.  Sargent,  yet  there  is  never 
anything  squat  or  squalid  about  the  portraiture. 
It  is  chic,  debonair,  facile,  dexterous.  Ever 
obsessed  with  the  aim  of  expressing  line  and  colour 
harmony,  there  is  little  need  for  him  to  grope 
for  his  effects.  They  seem  to  come  to  him  as 
a  lyric  came  to  the  pen  of  Robert  Burns — a  study 


BV  JOHN    LAVERV,    K.S.A.,    A.R.A. 


LADY   EVELYN    FARQI  HAR"     1906) 
BY   JOHN    LAVERY,   R.S.A.,   A  R.A. 


'THE   LADY  GWEVDOLIXE   SPEXCER  CHURCHILL 
(1912-1914.     BY^  JOHN  LA  VERY    RS.A.    A.R.A, 


John  Lavery,  R.S.A.,  A.M..  1. 


1  WINTER  "   (1913) 


BY   JOHN    LAVERY,    U.S.A.,    A.K.A. 


of  the  Lady  Gwendoline  ChurcMU,  and  of  his  well- 
known  Hely-Hutchinson  group  convinces  one  of  this. 
There  is  no  fumbling  with  the  brush.  The  pre- 
liminary experiment  has  been  in  the  brain,  not  on 
the  canvas.  The  taste — pictorial,  and  in  its  wider 
meaning — is  unerring.  The  sense  of  tone  is 
delicate  and  fine,  his  flair  for  elegance  more 
marked  than  in  any  other  contemporary  painter 
and  in  his  greater  triumphs,  such  as  the  Princess 
Patricia  and  The  Silver  Turban,  captivates  the 
observer.  Placing  his  sitter  unerringly  on  the 
canvas,  his  delicate  colour  harmony,  his  sense 
of  romance  in  the  presentment,  his  dc  • 
handling  of  tonal  difficulties,  and  his  masterly  sense 
of  pose,  result  in  Mr.  Lavery  being,  if  nothing  else, 
a  great  picture-builder. 

The  delight  which  the  artist  has  shown  in  these 
studies  in  colour  harmony  for  which  he  is  so 
famous,  such  as  Spring  in  the  Luxembourg  I 


tion,  The  Lady  in  Black  in  the  National  Gallery, 
Brussels,  and  The  Green  Coat,  convinces  us  that  Mr. 
Lavery  is  ever  obsessed  by  the  colour  possibilities 
of  his  models.  He  sees  the  colour  m/lier  of  his 
sitters  at  a  glance  and  weaves  them  into  a  harmony 
of  paint  with  unerring  skill.  Being  an  artist  in  love 
with  nature,  careless  of  the  vogue  of  schools  and 
scholastic  traditions,  he  approaches  art  with  "joy" — 
there  is  no  mistaking  that.  It'  there  be  spade  work 
of  the  mind  or  brush  it  isnever  evident  The  sense 
of  spontaneity  and  enthusiasm  is  ever  prevalent. 
However  unpromisin  al,  his  painti 

finds  out  any  quality    i lour  and  gra 

ma)  possess.    Keeping  his  artist's  soul : 
alool  than  most  painters  do— from  the  domii 
assertiveness      of    his    sitter,    hi  fai  tie 

expression  to  hi  ■  >wn  vision.  He  may  In-  - 
with  taking  but  a  superficial  interest  in  the  ; 
logy    of    his    sitter,    allowing    his    decorative  and 

9 


John  Lavery,  R.S.A.,  A.R.A. 


romantic  sense  to  dominate  his  portraiture  at  the 
expense  of  what  we  call  lifeand  character.  All  that 
may  seem  true.  But  this  is  balanced  by  a  pictorial 
elegance,  an  ease  and  fluency  of  brushwork,  and  a 
distinguished  sense  of  values  in  form  and  colour 
which  commands  a  fascination  to  usurp  our 
criticisms  of  the  result. 

In  all  the  attempts  there  is  no  "trickery  "  in 
Mr.  Lavery's  work,  neither  is  there  any  humouring 
of  his  reputation.  He  never  stereotypes  a  conven- 
tion. He  approaches  each  sitter  free  from  precon- 
ceived notions  of  how  the  thing  is  to  be  handled. 
He  does  not  do  his  portraits  by  the  yard  ;  machine- 
made  things  are  not  in  his  line.     The  sitter  must 

bring  a  message  before  the  reply  is  given  on  canvas, 

and,  as  happens  in  all  portraiture,  each  individual 

sitter    cannot    command    an    equally   satisfactory 

response  from  the  painter.     Some  people  are  bom 

to  portraits,  some   achieve   portraits,    others   have 

portraits  thrust  upon  them, 

and  so  many  failures  are  as 

much  due  to  the  "empti- 
ness "  of  the  sitter  as  to  the 

inefficiency   of    the    artist. 

I  am  convinced  no  painter 

has  felt  this    so   much  as 

Mr.  Sargent.     But   Mr. 

Lavery    has    so  much    re- 
source   that    even    if    the 

model  carries  no  colour  or 

form  in  itself,  yet  he  over- 
comes this  handicap  more 

courageously  and  efficiently 

than  most. 

Turning   from    Mr. 

Lavery's     portraits    and 

studies  in  colour  harmony 

— imaginative  portraits   in 

the  romantic -spirit — to  his 

work  in  landscape,  we  find 

the  same   qualities  and 

quantities.     The  romantic 

and    decorative    elements 

dominate   the   poetic  and 

intimate.      Subtle    search- 

ings  for  delicate  contrasts 

and    co-related    notes    of 

colour    as   practised    so 

admirably     by     William 

McTaggart    and    by    his 

friend   Mr.    L.   A.    Walton 

are    not    in    Mr.    Lavery's 

metier.   But  in  his  capacity 

for  design,  in  the  propor-  ••  princess  Patricia 


tions  of  his  "  planes,''  and  his  magnificent  sense  of  the 
tonal  quality,  Mr.  Lavery  need  not  fear  comparison 
with  the  masters  of  British  landscape  painting.  The 
decorative  sense  is  unfailing  and  there  ever  exists 
that  romantic  sense  which  is  the  dominant  asset  of 
his  artistic  inventory.  There  is  no  muddiness 
of  texture,  everything  is  crystal  clear,  "  singing  "  with 
light  and  scintillating  colour.  Taking  his  work  as  a 
whole  I  would  place  his  landscape  work  in  Tangier 
and  Switzerland  as  the  most  significant  things  that 
Mr.  Lavery  has  done.  The  "charm"of  his  landscapes 
is  undeniable.  The  power  of  realising  time  and  place 
is  masterly.  Early  dawn  is  early  dawn,  not  high  noon, 
high  noon  is  high  noon,  not  twilight.  Every 
landscape  is  a  clock  telling  its  own  time  to  an  hour. 
As  for  place  there  is  no  danger  of  confusing  a 
Tangier  coast  with  Machrihanish,  or  a  skating 
scene  in  Switzerland  with  one  in  Scotland,  as  may  be 
seen  in  that  picture  of  Miss  Marv  Mond  Skating 


OF   COXNAVGHT"   (1913).      BY  JOHN    LAVERY,    U.S.A..    A.R.A. 


■AUGUSTE    RODIN"     C913).      BY 
JOHN    LAVERY,   R.S.A.   A.R.A. 


John  Lavery,  R.S.J4.,  A.R.A. 


which  some  critics  consider  Mr.  Lavery's  greatest 
achievement.  His  landscapes,  like  his  sitters, 
bring  their  own  message  and  Lavery  gives  the 
answer  on  the  spot.  His  power  of  grasping  a 
passing  mood  of  nature  is  little  short  of  astounding. 
In  his  Skating,  where  the  first  breath  of  the 
coming  snow  wraps  a  delicate  envelope  of  grey 
white  on  the  landscape,  he  not  only  captures 
the  moment  and  gives  it  its  true  values,  but  he  is  able 
to  translate  the  change  in  the  values  of  snow,  ice  and 
hillside  in  the  terms  of  the  metamorphosis.  All  this 
is  placed  on  the  canvas  without  hesitation  and  with 
a  knowledge  of  the  capacities  of  paint,  which  in  Mr. 
Lavery's  case  never  fails.  Like  all  artists  he  is 
selective,  but  not  in  the  sense  of  avoiding  an  essential 
which  presents  an  intricate  problem.  Carrying  his 
own  artistic  distance  with  him,  the  problems  of 
perspective  present  no 
dilemma.  Nature  may 
weave  a  tangled  web — but 
he  is  quick  to  unravel  it. 
And  in  blending  figure 
studies  into  landscape  he 
homologates  his  distin- 
guished powers,  and  pro- 
duces such  a  thing  of 
charm  &s  Japanese  Switzer- 
land, one  of  the  most 
poetically  conceived  things 
that  modern  art  has  pro- 
duced. 

Of  other  aspects  of  the 
painter's  genius  we  may 
make  a  passing  note  of  his 
effective  interiors  such  as 
The  Grey  Drawing-Room 
and  The  Greyhound.  Apart 
from  all  other  qualities 
fit  for  our  admiration  the 
great  Royal  group  brings 
out  the  painter's  greatness 
as  an  interior  painter.  Note 
the  subtle  blending  ol 
colour  in  the  atmosphere, 
the  full  grasp  of  the  per- 
spective values,  the  un- 
erring chiaroscuro.  Thi 
same  is  seen  in  his  great 
studio  group  now  on  exhi- 
bition at  the  Royal 
Academy,  which  only  the 
ineffectiveness  of  Burling- 
ton House  to  display  to 
advantage    such    a    large  "lady  diana  man 


canvas   prevents  the   "rough"  observer  from  ade- 
quately appreciating. 

Mr.  Lavery's  output  has  been  so  generous  that 
this  summary  of  his  achievement  may  seem 
inadequate  and  cursory.  It  cannot  profess  to  be 
anything  else.  One  would  like  to  dwell  on  well- 
remembered  canvases,  such  as  his  study  in  the 
nude  from  Mr.  Robert  Strathern's  collection  and 
called  Ariadne,  a  delicately  treated  study  of  a 
female  facing  the  waves  on  a  wind-swept  shore. 
Primarily  a  painter  of  women,  one  cannot  forget 
some  of  his  male  portraits,  of  w^hich  Mr.  P.  J. 
Ford  as  a  Royal  Archer  is  a  notable  example,  while 
quite  recently  he  has  given  us  his  friend  and 
admirer,  Auguste  Rodin ;  but  of  all  his  portraits  of 
men  none  can  compare  with  his  superb  R.  B. 
Cunninghame     Graham,    which    is     one     of     the 


BY  JOHN    LAVERY.    R.S.A..    A.R.A. 


"THE   MARKET-PI  A(  I  .  TANGIER— EVENING" 
i  oi  4  .      BY   JOHN    LA  VERY,   R.S.A.,  A.RA 


John  Lavery,  R.S.A.,  A.R.A. 


treasures  of  the  Glasgow  Corporation  Gallery.  His 
equestrian  study  of  Mr.  Graham  may  also  be  re- 
called. But  of  this  latter  aspect  of  the  painter's 
talent  the  greatest  tour  de  force  is  The  Amazon,  a 
portrait  of  his  daughter  on  a  superb  Arab,  dominat- 
far -flung  Moorish  landscape.  We  have  also 
the  Equestrienne  which  the  artist  has  long  retained 
in  his  own  possession,  out  of  legitimate  affection 
for  an  effort  of  which  he  ought  to  be  rightly  proud. 
In  the  picture  In  Morocco  we  have  also  another 
study  of  a  horse,  which  in  its  drawing  and  colour 
treatment  reveals  graphically  Mr.  Lavery 's  power  of 
escaping  from  the  dead  formalism  so  long  associated 
with  animal-painting.  Like  ,  Mr.  Crawhall,  Mr. 
Lavery  not  only  portrays  animal  life,  but  the 
personal  equation  of  each 
individual  animal. 

Mr.  Lavery's  work  has 
been,  with  one  exception, 
entirely  confined  to  oils. 
That  one  exception  is  a 
water-colour  done  in  the 
far-off  Glasgow  days,  and 
he  has  not  used  that 
medium  since.  One  thing 
remains  for  him  to  do — 
that  is,  to  paint  a  purely 
Scottish  landscape.  He 
must  approach  the  country 
in  which  he  was  trained 
as  he  has  approached 
Morocco  and  Switzerland, 
and  the  result  we  are  con- 
vinced would  be  a  valuable 
and  interesting  contribu- 
tion to  the  country  of  land- 
scape painters. 

Beginning  with  Guthrie, 
Walton,  Roche,  Crawhall, 
I ).  V.  Cameron  and  others 
of  the  Glasgow  School  as 
a  revolutionary  against  a 
stereotyped  academic  tra- 
dition, Mr.  Lavery  has 
never  allowed  himself  to 
run  riot  in  extravagances. 
Fully  aware  of  the  serious- 
ness of  the  art  of  which 
he  is  a  disciple  as  well  as 
a  master,  he  has  neither 
humoured  his  reputation, 
nor  played  pranks  with  it. 
He  has  expressed  himself 
not  only  in  terms  of  himself, 
M 


but  with  reverence  for  the  great  craft  in  which  he 
has  been  hailed  as  an  accredited  expositor.  He 
has  not  attempted  what  Matthew  Arnold  called  "a 
laborious  moral  deliverance,"  but  he  has  in  all 
seriousness,  with  a  sense  of  responsibility,  delivered 
his  message  in  paint  without  selling  his  artistic  soul 
either  to  an  academy  or  to  a  coterie.  Though 
he  has  passed  the  halfway  house,  yet  there  is  youth 
in  his  brush,  which  is  emphasised  by  his  rare 
canvas  In  Morocco,  the  veritable  apotheosis  of  all  he 
feels,  knows  and  thinks  of  life  and  colour  in 
Tangier.  It  is  a  fitting  monument  for  his  long 
artistic  career  and  an  earnest  of  what  we  may 
expect  in  the  future,  a  future  as  full  of  promise  as 
in  the  springtime  "at  the  golden  gates  of  morning." 


'.MRS.    KENNARD 


BV    IOHN    LAVERY. 


'•THE  GREYHOUND      .1911i     troi.' 
painting    by   JOHN    LAVERY.  R.S.A.,  A.R.A. 


Stephan  Sinding 


A 


NORWEGIAN  SCULPTOR: 
STEPHAN  SI  N  DIN  G.  BY 
GEORG    BROCHNER. 


Stephan  Sinding  is  a  native  of  Drontheim  and 

a  brother  of  the  late  Otto  Sinding,  the  painter,  and 
Christian  Sinding,  the  composer — a  famous  trio. 
The  Sindings  hail  from  a  time  when  Norway  was 
prolific  in  bringing  forth  great  men  in  art,  in  music, 
in  literature,  most  of  whom,  however,  found  it 
expedient  to  leave  for  a  while,  and  some  for  a  long 
while,  their  own  country,  in  order  to  get  into 
closer  touch  with  the  movements  that  stirred  their 
brethren  in  the  luring  centres  of  the  great  world. 
But  on  the  whole  the  strength  of  these  Norsemen 
remained  unsubdued,  their  pronounced  individuali- 
ties passed  unscathed  through  those  mental  conflicts 
which  at  least  in  some  cases  were  bound  to  ensue. 
Stephan  Sinding  can  speak  of  this  ;  he  has  more, 
perhaps,  than  any  of  his  great  compatriots,  been  a 
rolling-stone,  having  alternately  studied  and  worked 
and    lived   in    several    large   cities — Berlin,    Paris, 


Rome,  Copenhagen.    Thoughmu     |tha1  confronted 

him  when  he  first  studied  in  Paris  proved  repugnant 
to  him,  the  French  sense  of  beauty  in  contours  has 
left  some  trace  in  Sinding's  work,  as  against  the 
more  severe  and  stringent  constructive  rules  which 
prevailed  in  Germany  when  as  .1  young  student 
Sinding  was  initiated  into  the  fundamental  canons 
of  his  art  in  Berlin. 

Stephan  Sinding,  however,  has  mostly  sought  out 
his  own  ends,  has  walked  in  solitude  along  his  own 
path.  His  mind,  his  imagination,  has  worked 
silently,  often  for  many  years  with  some  motif 
which  had  taken  his  fancy — in  the  case  of  the 
W'alkiire  almost  a  generation  lapsed  between  its 
first  vague  conception  and  the  ultimate  consum 
mation.  Over  and  over  again  one  sketch  might 
be  discarded  for  another  until  some  incidental 
occurrence  brought  the  coveted  and  final  solution. 
Here  again  the  Walkiire  may  serve  as  an  example. 
His  first  conception  was  of  the  war-maiden  riding 
u[>  a  mountain,  but  this  idea  was  abandoned. 
Sinding   felt   that,    like   a   storm,   she  must  come 


-  IK  II !  w    SINDINI 

'7 


MOTHER   EARTH."      BY 
STEPHAN   SINDING 


Stephan  Sinding 


"  THE   JOY    OF    LIFE" 


BY   STEPHAN    5INDINI 


sweeping  down  the  mountain,  the  fierce,  joyous 
anticipation  of  battle  speeding  her  furious  steed. 
For  this  purpose  the  artist  took  a  studio  in  the 
Boulevard  de  Raspail,  halfway  up  the  hill,  where 
with  the  aid  of  a  telescope  he  could  from  his 
window  study  the  horses  going  downhill,  and  he 
spent  hour  after  hour  observing  these  unconscious 
models.  One  day  six  powerful  Normandy  stallions 
had  pulled  up  close  to  Binding's  window,  when 
suddenly  one  of  them  became  restive,  giving  Sinding 
an  opportunity  of  modelling  there  and  then  from 
life  the  bared  teeth,  the  drawn-up  upper  lip,  and  the 
whole  peculiar  expression  of  the  horse. 

Several  of  Stephan  Sinding's  most  important 
works,  among  them  Man  and  Woman  and  the 
Walkiire,  have  already  been  reproduced  in  this 
magazine.  The  former  is  probably  Sinding's  best 
known  work.  That,  too,  attained  its  consummation 
only  after  much  futile  sketching  and  modelling.  The 
problem  of  rendering  man  and  woman  wrapt  in 
love,  of  rendering  them  in  the  beauty  of  natural 
love,  equally  far  removed  from  sickly  sentimentality 
and  offensive  sensualism,  has  always  intensely 
interested  Sinding,  and  he  has  varied  the  concep 
tion  of  this  motif  m  several  works. 


The  Barbarian  Mother  was  Sinding's  first  great 
work  -the  most  important  milestone,  1  suppo 
his  career  as  an  artist  (Rome  1S.S2).  as  Man  and 
Woman  was  the  second.  The  former,  on  thi 
of  it,  is  much  more  northern  in  spirit,  but  neverthe- 
less it  also  allows  traces  of  sinding's  sojourn  in 
France,  as  well  as  of  his  Teutonic  studies. 

Sinding's  artistic  imagination,  always  sustained 
by  his  creative  power,  spans  over  a  wide  field  ;  at 
the  one  pole  The  Eldest  of  Her  Kin,  at  the  other 
T/u  Joy  of  Life.  The  former  has  run  her  race  ;  life's 
weal  and  tear  have  told  their  tale,  and,  with  the 
wisdom  of  many  years  enshrined  in  her  mind,  she 
serenely  awaits  the  end  ;  and  then  the  contrast, 
the  young  maiden,  hi  r  whole  body  singing  out  her 
ife,  her  open  arms  ready  to  welcome  all  the 
happiness  it  has  in  store  for  her. 

The  line  monument,  reproduced  among  our  illus 
trations  (p.  20)  is  by  no  means  the  only  one  from 
Sinding's  hand  ;  it  is  possessed  of  great  plastic- 
beauty  and  destined.  1  believe,  to  carry  its  maker's 
fame  to  some  distant  isle  ovi  1  the  sea. 


THE    BARBARI  \N    MOTHEI 


I'll  \\    SINDINI 


GRAVE   MONUMENT   OF  THE   ISENBERG 
FAMILY.     BY  STEPHAN   SINDING 


T 


The  Royal  .  icademy  Exhibition,  rgi4 


HE    ROYAL    ACADEMY   EXHI- 
BITION,  191  4. 


It  cannot  be  said  that  there  are  any  sur- 
prises in  the  Royal  Academy  exhibition  this  Spring 
or  that  it  differs  to  any  perceptible  extent  from  its 
predecessors  in  the  last  few  years.  It  is  a  quite 
characteristic  show,  solid  and  respectable  and  well 
up  to  the  average  ;  it  has  all  the  familiar  Academy 
features,  and  it  makes  it--  appeal  to  the  public 
in  the  way  that  has  been  sanctified  by  long  custom. 
There  is  not  much  work  in  it  that  can  be  reckoned 
as  absolutely  of  the  first  rank  ;  there  is  little  that 
can  be  dismissed  as  wholly  bad  ;  for  the  most 
part,  the  things  shown  are  examples  of  the  applica- 
tion of  sound  technical  principles  to  the  treatment 
of  material  which  was  not  particularly  worthy  of 
artistic  consideration.  To  the  seeker  after  sensa- 
tions the  exhibition  no  doubt  seems  dull  and 
uninspiring,  but  for  the  student  of  art  it  has  a 
real  technical  interest,  though  he  will  learn  from 
it  lessons  in  craftsmanship  rather  than  new  and 
fruitful  ideas  of  the  way  in  which  his  craft  should 
be  applied. 

But  to  blame  the  Academy  because  the  work 
it  has  brought  together  is  what  it  is  would  be 
unfair.  The  exhibitions  at  Burlington  House  are, 
after  all,  only  summings-up  of  what  the  artists 
throughout  the  country  are  doing,  and  the  Academy 
is  in  many  ways  the  most  catholic  and  tolerant 
art  society  we  have.  The  exhibition  this  year 
includes  adequate  examples  of  almost  all  the 
schools  of  practice  that  count  as  in  any  way  worth) 
of  recognition ;  nearly  all  the  ways  of  using  artists' 
materials  are  illustrated,  except  the  devices  of 
those  extravagant  cliques  which  by  their  foolish 
affectations  and  want  of  sanity  have  put  themselves 
outside  the  pale.  If  the  exhibition  is  dull  the 
fault  lies  with  the  artists  who  have  submitted 
their  work  for  selection,  and  if  their  work  is  dull 
the  ultimate  blame  must  be  laid  upon  the  public, 
which  does  not  encourage  originality  or  freshness 
of  effort. 

So  when  people  profess  to  find  an  Academy 
exhibition  unsatisfying  they  had  better  take 
Ives  to  task  for  having  forgotten  to  pro- 
vide the  artists  throughout  the  country  with  any 
inducement  to  break  new  ground.  If  then 
a  demand  for  a  more  personal  type  of  production 
there  are  many  men  who  would  be  only  too 
glad  to  supply  it  ;  and  the  works  of  these  men 
would  give  character  and  interest  to  the  various 
art  exhibitions  and  would  certainly  find  their  way 
to    the     Academy,     which    aims     consistently     at 


What    the 
majority    is    content  to    accept    will    always    make- 
up tin-  bulk  of  the  collection  at  Burlington    I 
— the   Academy   lives   by   being   popular  and    must 

Do!     lead,     tin-     t.: 

obvious,    then,    that   the   critics  who  condemn    an 
bow   as   a    dull   thing,    without   vitality 
01    vigorous    initiative,   are   actually    n 
themselves  for  having  failed  to  fulfil  their  obligations 
to  the  art  of  the  country. 

That  the  Academy  is  not  so  v..  dent 

a-  to  lie  unwilling  even  to  attempt  experiments 
is  shown  by  certain  changes  which  have  been 
made  this  year  in  the  arrangi  mi  nt  of  the  exhi- 
bition. The  most  obvious  alteration  is  the 
transference  of  the  water-colours  and  black  anil 
white  works  from  the  rooms  specially  built  for 
them  a  few  years  ago  to  two  of  the  galleries 
previously  allotted  to  oil  paintings,  and  the  placing 
of  the  more  moderate-sized  canvases  in  the  water- 
colour  and  black-and-white  rooms.  The  most 
significant  one  is  the  hanging  of  Gallery  [V.  with 
some  regard  for  right  spacing  and  for  the  correct 
relation  of  the  pictures  one  to  the  other.  The 
first  change  is  not  particularly  to  be  comn 
but    the    other    is    unquestionably    full    of    great 

lilities.  If  the  whole  exhibition 
in  the  same  way  the  improvement  in  it--  app 
would  be  surprising;  and  though  this  sort  of 
spacing  might  involve  a  reduction  in  tin-  number 
of  works  shown,  the  sacrifice  would  be  worth 
making  for  the  sake  of  those  which  would  be 
chosen  to  represent  the  art  of  the  year. 

of  the  pictures  which  have  a  right  to  be 
remembered  as  salient  features  of  the  show  are  by 
men  of  well-established  reputation  tl 
spectacular  first  appearances  of  unknown  artists,  and 
there  are-  few  instances  in  which  the  younger  men 
who  are  coming  to  the  front  have  made  an 
advance.  Mr.  Sargent,  who  was  reported  to  have 
given  up  portrait  painting,  has  triumphantly  re- 
in this  field  with  two  remarkable 
examples,  of  which  one  only,  the  portrait  of  Lady 
Rocksavage,  now  appears  on  the  wall,  the  other  and 
important  work,  a  portrait  of  Henry  James, 
/■'.si/.,  having  on  the  very  first  day  of  the  exhibition 
fallen  a  prey  to  thi  iale  suffragist. 

In    addition    Mr.    -  brilliant 

open-air  studies.    Cypr  tses  and  Pirns.    Sketchers, 
and  San  Geretnia.     Mr.  Sims  shows  delightfully  his 
imaginative  and   executive   powers   in   his   fai 
The  Little  Archer,  \  1    ""■»' 

Amours  ;  Mr.  Wati  himself  full 

with  his  delicately  treated  Annunciation,  his  \  ig 


The  Royal  Academy  Exhibition,  1914 


colour-note    The   1  ,  ,  and   three  portraits 

the  most  memorable  of  which  is  a  charming  paint- 
ing of  a  child  ;  and  Mr.  Aiming  Bell  fully  justifies 
his  reeent  election  to  thi  Associateship  by  the 
power  and  dignity  of  his  picture   The  Man. 

Cd/ld. 

Then  there  are  landscapes  of  importance  from 
Mr.  Hughes-Stanton,  Sir  E.  A.  Waterlow,  Mr.  Alfred 
Parsons,  Mr.  Walter  Donne.  Mr.  Mark  Fisher.  Mr. 
J.  S.  Hill.  Mr.  Claude  Hayes,  and  Mr.  K.  \V. 
Allan  :  three  magnificent  studies  of  atmospheric 
,  Mr  \i in  -1  >\  Brown,  and  a  group  of 
attractive  colour  fancies  by  Mr.  David  Murray,  who 
me  to  Venice  for  most  of  his  subjects.  There 
are  some  characteristic  ami  representative  canvases 
by  the  late  Sir  Alfred  East  :  and  there  is  a  finely 
i  omposed  study  of  wide  distance,  Ben  Ledi ;  Early 
Spring,  by  Mr.  D.  Y.  Cameron.  Mr.  Terrick 
Williams  shows  two  admirable  pictures,  Sunset 
St.  Ives,  and  After  Vespers:  Brittany;  Mr. 
Albert  Goodwin  a  lovely  twilight  effect.  -/  Winter's 
Talc:  Hastings;  Mr.  Moffat  Lindner  a  wonderful 
Approaching  Storm:  Holland;  and  Mr.  A.  J. 
Black  a  fresh  and  luminous  landscape.  Primrose 
Time  in  Switzerland;  and  there  are  other  note- 
worthj  things  from  Mr.  Wynford  Dewhurst,  Mr. 
CouttS  Mil  hie.  Mr.  X.  M.  Lund.  Mr.  Yeend  King, 
Mr.  \V.  Wells.  Mr.  J.  Walter  West.  Mr.  Robert 
Little.  Mr.  James  Henry,  Mr.  Campbell  Mitchell. 
Mr.  A.  Fricdenson,  and  Mr.  Briton  Riviere. 

Among  the  more  noteworthy  figure-pictures  are 
Mr.  ( 'adc  igan  ( 'c iwper's  g<  irge<  IUS  coll  iur  arrangement. 
Lucretia  Borgia  reigns  in  the  1  'atiean  in  the  absence 
of  the  Pope  Alexander  1  I,  and  Mr.  Greiffenhagen's 
Women  by  a  I.ake.  both  of  which  have  been  pur- 
chased  for  the  Chantrey  Lund  collection:  and  of 
particular  interest,  too,  are  Mr.  Charles  Shannon's 
Embroidered  Shawl,  Mr.  lames  ('lark's  A 
Su  miner  Idyll,  Mr.  Edgar  Bandy's  Antonio  Stradivari 
and  Idlers  and  Workers,  Sir  J.  D.  Linton's  Check. 
Mi.  Melton  fisher's  The  Coming  of  Spring,  Mr. 
Shaw  ;  design  foi  the  acl  drop  at  the  London 
Coliseum,  in  which  he  has  portrayed  a  host  of 
celebrities  connected  with  the  drama  ;  the  two  finely 
treated  interiors  Reflections  and  The  Master,  by 
Mr.  Richard  Jack  ;  Slumber,  by  Mr.  F.  W.  l.lwell  ; 
Violets  for  Perfume,  by  Mr.  La  Thangue ;  The 
Dreamer,  by  Mr.  Harold  Speed  :  The  End,  by  Mr. 
A.  Maclean  ;  the  decoration,  Hawking,  by  Mr. 
Gerald  Moira  :  A  Greek  Water-carrier  in  Egypt, 
by  Sir  VV.  B.  Richmond  ;  In  Silk  Attire,  by  Mr. 
W.  E.  Webster  ;  and  the  water-colours,  77k 
Judgment,  by  Mr.  Russell  Flint,  and  Beauty  Tricks 
her  Finger,  by  Mr.  J.  I).  Batten.     There  are  some 


excellent  rustic  and  fisher-life  subjects,  too,  by  Mr. 
Stanhope  Forbes. 

In  portraits  of  real  note  the  exhibition  is  certainly 
quite  as  strong  as  usual.  Mr.  George  Henry  sends 
several  which  deserve  high  praise  ;  Mr.  W".  Llewellyn, 
Mr.  Hacker,  Mr.  de  Laszlo,  Mr.  Spencer  Watson, 
Mr.  I.  J.  Shannon,  Mr.  Solomon  J.  Solomon,  Sir 
James  Guthrie.  Mr.  Frank  I  )icksee,  Mr.  Fiddes 
Watt.  Mr.  H.  A.  Olivier,  Mr.  Jack,  Mr.  Harold 
Speed,  and  Mr.  F.  0.  Salisbury  are  all  remarkably 
well  represented  ;  and  there  are  three  splendidly 
robust  paintings  by  Mr.  W.  Orpen.  Mr.  Melton 
Fisher's  portrait  study,  Winifred,  is  one  of  the  most 
charming  things  in  the  exhibition  :  and  there  is  an 
attractive  picture,  The  Coral  Necklace,  by  Mr.  F.  M. 
Skipworth. 

The  best  of  the  other  paintings  which  ought  not 
to  be  overlooked  are  A  Stack  Barge,  Essex,  by  Mr. 
Leslie  Thomson  ;  the  clever  study,  The  Don  Carlos 
Palace,  Venice,  by  Mr.  A.  Ludovici  ;  the  large  in- 
terior. The  Studio  of  the  Painter,  by  Mr.  La  very  : 
Hell  Bay,  Bryhcr,  by  the  Hon.  Duff  Tollemache  ; 
The  Waterway,  by  Miss  KempAVelch  ;  The  Toast 
is  England,  an  able  work  by  Mr.  Fred  Roe  ;  The 
Shadowed  Hill,  by  Mr.  W.  Lee  Hankey  :  the 
interiors.  Room  at  James  Prydes,  by  Mr.  Oswald 
Birley,  and  Ante-room  to  the  Studio  :  Ardilea,  by  Mr. 
P.  W.  Adam  :  The  Mistletoe  Bough,  by  Mr. 
Mouat  Loudan  ;  and  the  huge  group  of  the  directors 
of  the  Krupp  Company  by  the  late  Sir  Hubert  von 
Herkomer,  one  of  those  monumental  compositions 
which  he  could  handle  better  than  any  artist  of  our 
times.  It  is  a  great  achievement,  though,  perhaps, 
it  does  not  quite  equal  the  wonderful  picture  of  the 
Academy  Council  which  he  painted  a  few  years 
ago  and  which  now  occupies  a  place  on  the  walls 
of  the  Tate  Gallery  at  Milbank. 

There  is  in  the  rooms  devoted  to  sculpture  a  fair 
amount  of  work  which  claims  serious  consideration, 
though,  on  the  whole,  the  collection  there  is  a  little 
below  the  average.  Mr.  Drury,  however,  Mr. 
Derwent  Wood,  Mr.  Thornycroft,  Mr.  Colton,  and 
Sir  Thomas  brock  are  all  well  represented  ;  there 
is  a  delightful  little  portrait  statuette  by  Mr. 
Bertram  Mackennal.  and  there  are  things  of  im- 
portance by  Sir  George  Frampton,  Mr.  Gilbert 
Bayes,  Mr  Reid  Dick,  Sir  W.  Goscombe  John, 
Mr.  Havard  Thomas,  Mr.  F.  W.  Pomeroy,  Mr. 
Lanteri,  Mr.  C.  L.  Hartwell,  Mr.  S.  N.  Babb,  Mr. 
Toft,  Mr.  H.  Pegram.  and  Mr.  Reynolds-Stephens, 
whose  Recumbent  Monument  to  the  late  Viscount 
Ridley  is  very  characteristic  in  its  decorative 
qualities.  But  in  the  sculpture  rooms,  as  in  the 
rest  of  the  exhibition,  there  are  no  surprises. 


"D ORE EN,    DAUGHTER    OF     AX DREW 
S.  LAWSON,  ESQ."    BY  J.  J.  SHANNON.  R.A. 


PRIMAVERA."  BY  GEORGE  CLAUSEN,  R.A. 


'THE   LITTLE   ARCHER."     BY 
CHARLES  SIMS,  A.R.A. 


"ARTHUR   BOURCHIER,   ESQ."      BY  SIR 
HUBERT   VOX   HERKOMER,  R.A. 


RICHARD   B.   FUDGER,   ESQ     I  >F  TOR<  INTO 
BY    WILLIAM   ORPEN,   A.R.A. 


V:i 


'MIDSUMMER."      BY 
ARNESBY  BROWN,  A.R.A. 


THE   DEPARTURE   OF  THE    HOP- 
PICKERS"      BY    A.    J.    MUNNINGS 


"SPRING."     BY  GEORGE   HENRY,  A.R.A. 


SILENCE." 
A   TOMB. 


BRONZE    FIGURE 
BY   W.   REID   DICK 


FOR 


THE  TEMPLE  OF  THE  SUN- 
SICILY."  BY  WALTER  DONNE 


if 


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—  m 


••  INTERIOR   AT  JAMES   PRYDE'S 
BY   OSWALD   BIRI.EY 


THE   WATER   NYMPH  " 
BY   A.  C.   LUCCHESI 


Recent  Enamels  by  Alexander  Fisher 


S 


OME     RECENT     ENAMELS 
ALEXANDER   FISHER. 


Among  the  increasing  though  still  compara- 
tively  small   number   of  artists   who   now  practise 
the  art  of  enamelling  upon  metal  Mr.  Alexander 
Fisher  occupies  a   distinguished   position,   and   to 
him  in  his  capacity  as  a  teacher  and  practitioner 
is  due  in  large  measure  the  revival  of  interest  in 
this    branch    of    art    which    has    taken    place   in 
the    British    Isles  during  the  past  dozen  years  or 
so.     The   articles   which    he   contributed   to   this 
magazine   a   \\w  years   ago,  and  his   more    recent 
book  on  the  subject,  have  been  very  instrumental 
in  encouraging  others  to  devote  themselves  to  this 
fascinating  branch  of  artistic  production,  and  their 
pursuit  of  it   has  been  made   easier   by    his    rare 
knowledge  and  experience  of  the  various  methods 
and  processes — some  of  them  extremely  complex — 
which   are  involved  in  the  art.    His 
own  productions,  diverse  both  in  de- 
sign and    method   of  execution,  are 
familiar    to   all   who  visit   the   Royal 
Academy  exhibitions  and  those  of  the 
Arts  and   Crafts   Society,  as   well  as 
others.     In  the  present  exhibition  at 
Burlington  House  he  has  an  excellent 
portrait  of  a  lady,  in  which  the  flesh 
tints    are  admirably    rendered.     The 
Academy  accepts  but  few  examples  of 
enamelling  each  year,  and  those  which 
find  their  way   into    its  galleries  are 
chiefly  works  in  which  the  medium  is 
employed  for  purposes  of  a  more  or 
less  pictorial  character,  but  one  may 
hope  that  the  time  is  not  far  distant 
when   a    more    ample    representation 
will   be   accorded   to   works   of   this 
character. 

The  examples  of  Mr.  Fisher's  work 
which  are  here  illustrated  are  selected 
from  a  number  of  things  executed 
recently  according  to  various  methods. 
The  panel  called  The  Spirit  of  the 
Opal  belongs  to  the  lid  of  a  large 
jewel  casket,  and  here  gold  and  silver 
in  the  form  of  small  pieces  or 
"  paillons  "  are  used  over  copper,  as 
is  also  the  case  with  The  Glorification 
of  the  Nativity,  in  which  the  enamelling 
is  executed  by  the  Limoges  method, 
amplified  and  extended  in  the  treat- 
ment. The  central  idea  in  this  panel 
is  of  a  mighty  event  proceeding  from 
36 


BY  a  seemingly  humble  and  small  beginning.  The 
prayer-book  cover  shown  on  the  same  page  is  in 
bassetaille  enamel  on  silver.  In  this  process  the 
silver  is  carved  in  relief  and  covered  with  trans- 
parent enamels,  the  whole  being  then  "fired."  It 
is  a  process  which  gives  much  brilliancy  and  lustre 
to  the  enamel,  but  it  is  impossible  for  even  a 
colour  reproduction,  however  excellent,  to  convey 
this  lustrous  effect.  The  same  remark,  of  course, 
applies  with  greater  force  to  the  black  and  white 
illustration  on  this  page — that  of  a  panel  executed 
with  translucent  enamels  in  grisaille  over  cobalt. 
The  subject  is  taken  from  a  poem  by  Young,  which 
runs  : 

"Where  do  you  come  from  my  little  dear? 
Out  of  the  everywhere  into  here." 

The  circular  panel  called  Spring  and  the  rect- 
angular one  called  The  Garden  are  both  executed  by 
the  Limoges  method  with  paillons  of  silver  and  gold. 


PANEL     IN 


TRANSLUCENT    ENAMELS,    GRISAILLE    OVER    COBALT. 
ALEXANDER    FISHER 


ENAMEL  PANELS  -SPRING.'  "THE  GARDEN." 
and  "THE  SPIRIT  OF  THE  OPAL."  designed 
and  executed  by  ALEXANDER   FISHER. 


SILVER     PRAYER     BOOK    COVER    WITH 
BASSETAILLE     ENAMEL     PANELS    ON     SILVER. 

ENAMEL  PANEL  ON  COPPER  WITH  GOLD  AN  D  SILVER 
PAILLONS'THEGLORIFICATION  OFTHE  NATIVITY. 

DESIGNED  AND  EXECUTED  BY  ALEXANDER  FISHER. 


The  Salon  of  the  Societe  Nationale 


T 


HE  SALON  OF  THE  SOCIETE 
N  A  T I O  N  A  L 1-:  D  E  S  B  E  A  IX- 
ARTS   IN   PARIS. 

The  Salon  of  the  Societe  Nationale  des  Beaux- 
Arts  is  this  year  one  of  exceptional  importance. 
Many  members  have  felt  that  the  Society  has  not 
kept  up  to  date,  that  it  has  shown  a  tendenc)  to 
'•  the  work  of  the  young  men — in  one  word, 
that  it  has  begun  to  suffer  from  senility.  It  was  there 
fore  decided  that  in  order  to  make  room  for  new 
exhibitors  the  number  of  works  by  each  membei 
should  be  limited  to  four,  and  that  some  of  the 
works  of  decorative  art  should  be  accorded  space  in 
the  best  rooms.  Hence  the  entirely  novel  aspect 
of  the  exhibition  this  year. 

While,  however,  giving  a  chance  to  the  young 
painters,  the  Societe  Nationale  has  striven  this  year 
to  do  honour  to  deceased  members.  The  two 
largest  rooms  are  set  apart  for  the  works  of  Gaston 
La  Touche,  the  regretted  president  of  the  section  of 
Painting,  who  is  here  represented  by  a  number  of 
his  most  important  canvases,  including  various 
decorative  works  lent  by  collectors,  which  have 
obtained  an  unqualified  and  well-merited  success. 
It  is  a  pleasure  to  praise  in  La  Touche  one  of  the 
most  powerful  colourists,  one  of  the  most  original 
dicorateurs,  and  one  of  the  noblest  imaginative 
painters  of  the  French  school.  There  are  also  a 
number  of  works  by  a  painter  who  died  at  a  less 
advanced  age,  and  who  did  not  enjoy  in  his  life- 
time all  the  honour  which  was  due  to  him  —  M. 
Gaston  Hochard,  some  of  whose  works  our  readers 
may  recollect  having  seen  in  The  Studio.  Gaston 
Hochard  was  a  painter,  with  a  very  modern  tem- 
perament, who  depicted  in  pictures,  often  most 
appealing  in  their  charm,  all  the  varied  scenes 
of  everyday  life.  Then  there  is  a  little  retrospective 
exhibition  of  pictures  by  M.  Henri  Havet,  an  artist 
with  a  singular  gift  for  style  and  composition  and 
whose  palette  was  one  of  exceeding  delicacy. 

Large  decorative  works  are  this  year  less  numerous 
than  usual,  but  among  them  are  some  ol  gnat  im- 
portance. M.  Roll,  the  President  of  the  Si 
I  xhibits  a  ceiling  destined  for  the  Petit  Palais,  which 
he  entitles  Poisie-Drame ;  both  in  conception  and 
in  execution  it  is  a  notable  work,  and  certain  passages 
are  without  equal  in  the  ceuvre  of  this  artisl  M. 
Francis  Auburtin  has  earned  many  and  well-merited 
encomiums  from  his  brother  artists  for  his  large 
panel,  here  reproduced,  Comme  arrive  le printemps, 
a  boldly  treated  work  in  tones  of  a  light  and  delii  ate 
greyish  blue;  rarely  has  this  painter's  decorative 
fantasy  expressed  itself   more  happily  than  in  this 


garland   of  little  girls,  extended  across   the  canvas. 
Two  artists  from  the   South.    M.    Montenard  and 
M.  Dauphin,  exhibit  large  sunny  paintings  di 
for  the  decoration  of  the  Chamber  of  Comm 
Toulon.      M.  Gillot,  in  his  large  painting  of  the  Hall 
de  in    Ga/r  .S7.   La-arc,   succeeds   in  wrestii.. 
inasM^  of  smoke  the  most  happy  effects  of  colour. 
M.  Gaston  Guignard  also  has  tackled  a  sub 
vast  dimensions  :    /.' Embarquement  dt  bestiaux. 

I  he  woi  ks  of  Lu<  ien  Simon  and  Ignacio  Zl 
.11  hung  facing  each  other  in  the  same  room. 
1 1  en-,  therefi  ire,  we  find  what  are,  perhaps,  the  mi  >st 
remarkable  paintings  the  exhibition  contains.  /<  < 
marins  sur  le  quai  may  not  appear  at  first  sight  to 
the  general  public  as  one  of  the  most  attractive 
of  this  great  colourist's  productions,  but  it  is  un- 
questionably one  into  which  he  has  put  the  gi 
meed  of  subtlety  and  science.  The  whole  work  is 
marvellously  well  composed. 

Zuloaga    remains  faithful  to  subjects  of  a  lofty 


■<* 


"  MMB.     KAI'M  \l 


41 


The  Salon  of  the  Socictc  Nationale 


character,  and  his  command  of  technique  advances 
more  and  more  towards  forceful  effects,  towards 
powerful  contrasts,  and  towards  the  most  daring 
juxtapositions  of  colour.  Maurice  Barns  devant 
Tolide  is  eminently  characteristic  and  will  take  its 
place  among  the  most  famous  productions  of  the 
Spanish  school  :  nor  need  one  be  a  great  prophet  to 
foretell  the  widest  success  for  Toreadors  de  villages. 

Besnard,  one  of  the  most  eminent  of  our  con- 
temporaries, sometimes  exhibits  in  the  Salon  great 
decorative  works  and  at  others  easel  pictures,  all 
revealing  the  freedom  and  facility  of  the  master  that 
he  is.  This  year  he  sends  four  graceful  portraits  of 
women  in  which  he  once  more  affirms  an  originality 
and  style  ever  free  from  eccentricity. 

Rene  Menard,  to  whom  we  owe  so  many  beautiful 
decorative  paintings,  exhibits  the  panel  he  has  been 
commissioned  to  execute  for  a  hall  of  the  Faculte 
de  Droit  in  Paris.  It  is  a  twilight  effect  and  the 
work  is  one  which  appeals  by  its  harmony  and  its 
beautiful  classicism.  The  same  artist's  Venise,  rue 
du  campanile  de  Saint-Georges-Majeur  is  a  veritable 
landscape  of  light  and  of  water  enveloped  in  a  kind 
of  golden  haze. 

Venice  has  also  been  the  inspiration  of  one  of 
our  most  personal  painters — Raffaelli,  who,  in  some 
bright  and  sparkling  little  pictures  shows  us  a  Venice 
in  winter  which  amazes  and  charms  us  :  San  Giorgio 
sous  la  neige,  le  Quai  des  Esdavons  en  hirer,  and 
other  impressions  equally  faithful  and  attractive. 

The  landscapists  at  the  Nationale  form  a  regular 
pleiades  of  original  and  personal  talent.  M.  Billotte 
is  a  painter  of  delicate  symphonies,  delighting  in 
evening  effects  :  Le  Vieux-pont  aux  A/nlelvs,  En 
Charente,  Avant  Forage  au  Bas-Meudon  are  charm- 
ing impressions  of  nature.  M.  Leon  Lhermitte 
achieves  noble  effects  always  with  the  most  simple 
tones  ;  his  palette  is  invariably  rich  in  blacks  and 
in  varied  greys.  Michel  Cazin  takes  his  place 
among  our  most  eloquent  painters  of  the  sea  :  M. 
Lepere  is  this  year  admirably  represented ;  M. 
Eugene  Clary  has  a  very  fine  view  of  Chateau 
Gaillard  (  Petit- Andely)  ;  M.  Andre  Dauchez 
excels  in  the  use  of  blacks  and  greys,  and  no  one 
renders  better  than  he  or  with  greater  fidelity  and 
character  the  landscapes  of  Lower  Brittany  ;  his 
Epave,  La  ville  close  ( Concarneau ),  and  Cote  de 
Plomarch  are  works  to  be  remembered.  M.  and 
Mme.  Duhem  exhibit  sunny  scenes  and  flowery 
terraces  ;  M.  Louis  Desmoulin  has  found  inspiration 
in  the  colonies  and  Madagascar  in  particular,  for 
landscapes  full  of  character.  M.  Yauthrin  shows 
some  masterly  seascapes. 

The   Salon    contains    a    number    of   memorable 


portraits.  M.  Blanche,  whose  special  exhibition 
this  year  has  achieved  great  success,  shows  the 
portraits  of  Mme.  Henri  Germain,  the  Comtesse  de 
Xoailles,  of  the  Prineesse  J.  de  Broglie.  M.  Jean 
Boldini  is  represented  only  by  two  small  canvases, 
into  which,  however,  he  has  put  all  his  brilliant 
virtuosity.  M.  de  la  Gandara's  portrait  of  Mme. 
Jeanne  Renouardt  is  a  thing  of  charming  grace  and 
fine  execution.  Side  by  side  with  these  portraitists 
other  younger  artists  take  an  important  place  : 
M.  Ablett  especially  figures  with  some  excellent 
work,  and  M.  William  Malherbe  exhibits  the  portrait 
of  Mme.  Raphael  Duflos,  painted  with  a  clear  and 
charmingly  seductive  palette. 

An  entire  room  has  been  set  apart  for  the 
decorative  works  of  Lalique,  who  has  hitherto  shown 
at  the  Old  Salon.  His  appearance  at  the  Nationale 
is  marked  by  a  very  important  manifestation — 
too  important  to  be  dealt  with  here — and  we  must 
therefore  reserve  for  a  future  occasion  a  review  of 
this  artist's  fine  work.  Henri  Frantz. 


"  i  iN'DINE  "    (MARBLE) 


BY    K.    ROCRCOCIN 


PORTRAH     D1-.    MME.   G." 
BY   A.   BESNARD 


D 
EC 


5  o 
<  >« 


>  w 


<  Z 

DC  W 


CREPUSCULE"   (PANNEAU 
DECORATIF).    BY  R.  MENARD 


( Fondle  de  Droit,  Paris) 


MME.    fEANNE   RENOUARDT" 
BY   A.  DE   LA   GANDARA 


<  s 


TOREADORS    DE   VILLAGES 
BY   IGNACIO  ZULOAGA 


.Architectural  Developments  in  Berlin  Suburbs 


TAPISSERIE   EN    LAINES 


( 'Sociiti  Nationait ) 


BY    MADAME    FEKNANDE    MAILI.AND 


A 


RCHITECTURAL  DEVELOP- 
MENTS IX  THE  SUBURBS  OF 
BERLIN. 


The  transforming  spirit  of  our  day  has  given 
Berlin  a  new  physiognomy.  All  the  historical  phases 
of  its  development  under  the  Hohenzollem  dynasty 
are  still  to  be  studied — the  baroque  buildings 
from  the  reign  of  the  Great  Elector  and  the  first  King 
of  Prussia,  the  rococo  of  Frederick  the  Great,  and  the 
classical  style  which  that  monarch  inaugurated 
and  his  successors  continued.  And  now  for  nearly 
twenty  years  the  modem  movement  with  its  prin- 
ciples of  solid  materials,  broad  facade-surfaces  and 
uniformity  of  the  general  street  aspect  has  held 
sway,  and  thus  the  Capital  of  the  Empire  appears 
at  first  sight  to  be  by  no  means  lacking  in  variety 
of  architectural  effect,  though  it  must  impress  the 
visitor  as  utterly  lacking  in  style  in  consequence  of 
the  individualistic  regardlessness  with  which  it  has 
been  built  up.  Yet  its  very  contradictoriness  and 
the  electric  pulse  of  life,  everywhere  perceptible, 
exercise  a  strong  fascination.  Surprises  in  the 
shape  of  interesting  novelties  are  not  rare  even  in 
the  heart  of  the  city,  but  real  revelations  await  us 
in  the  outskirts,  especially  in  the  western  and  south- 
western suburbs,  which,  in  consequence  of  the 
rapid  and  never-ceasing  growth  of  the  capital,  have 
become  organic  constituents  of  it.  A  logical  and 
sane  modernism  has  utterly  transformed  suburbs 
like  Charlottenburg,  Schoneberg,  Friedenau,  Wil- 
52 


mersdorf  and  other  places  in  the  neighbourhood  of 
the  Spandau  forest. 

The  last-named  place  especially  has  quite  lately- 
undergone  a  complete  and  remarkable  metamor- 
phosis. Twenty-five  years  ago  it  was  a  modest 
peasant  settlement  in  the  midst  of  heath  and  swamp, 
but  to-day  it  is  the  favourite  abode  of  the  wealthy 
citizen,  and  the  houses  and  tenements  are  in  great 
demand.  The  new  streets  here  are  broad,  and  the 
blocks  of  flats  are  of  a  distinguished  character  and 
provided  with  every  modern  comfort,  while  special 
features  of  the  suburb  are  the  parks  and  numerous 
fine  "  Platze,"  and  the  charming  garden  terrace 
quarter,  "  The  Rhinegau,"  for  which  the  architect 
Jatzow  has  derived  fruitful  inspiration  from  English 
models. 

The  art  of  the  garden  architect  has  had  ample 
scope  for  display  here  as  well  as  in  the  business 
streets  and  in  the  railway  buildings ;  in  the  stately 
Riidesheimer  Platz,  with  its  majestic  equestrian 
group,  in  the  rustic  idyll  of  the  Nikolsburger 
Platz,  with  its  Goose-Girl  fountain,  in  the  landscape- 
character  of  the  Preussen  Park,  and  the  sunk 
garden  arrangement  of  the  Olivaer  Platz  with  its 
enormous  central  rose-bed,  pergola  and  fountain 
pool,  delightful  effects  have  been  achieved.  Con- 
stantly varying  plans  surprise  the  promenader  and 
show  how  high  art  in  the  shape  of  monuments 
and  fountains,  and  applied  art  in  the  form  of 
kiosks,  pergolas,  garden-houses  and  seats  have 
crowned  utility  with  grace.  Jarxo  Jessen. 


p  u 

2  - 


c/i  O 

<   r_D 

in  s 


<  J 


.  Architectural  Developments  in  Berlin  Suburbs 


OLIVAER    PLATZ,   WILMERSDORF,   BERLIN 


Architectural  Developments  in  Berlin  Suburbs 


KAISER    PLATZ    AND   PREUSSEN 
PARK,   WILMERSDORF,   BERLIN 


Architectural  Developments  in  Berlin  Suburbs 


NIKOLSBURGER  PLATZ  AND   RANKE 
PLATZ,  WILMERSDORF,  BERLIN 


Studio-  Talk 


nVv\\*»  «  , 


PERGOLA,    HOHENZOLLERN    PLATZ,    WII.MEKSI>r>KE,    HEKI.IN 


STUDIO-TALK. 
(From  Our  Own  Correspondents.) 

LONDON. —  Two  Associates  of  the  Royal 
Academy  were  elected  to  full  membership 
of  that  body  at  a  General  Assembly  held 
—/  at  the  beginning  of  last  month  —  Mr. 
George  Adolphus  Storey  and  Mr.  Henry  Scott 
Tuke.  Mr.  Storey  was  elected  Associate  as  long 
ago  as  1876,  and  his  promotion  takes  place  when 
he  has  completed  his  eightieth  year.  A  few  months 
ago  he  was  appointed  Professor  of  Perspecti\e  to 
the  Academy,  a  post  which  was  revived  by  his 
appointment  after  being  extinct  for  more  than  half 
a  century.  As  a  painter  his  speciality  has  been  the 
"subject"  picture  but  he  has  also  executed  some 
excellent  portraits,  a  notable  one  being  the  portrait 
of  the  artist's  mother,  presented  b)  the  National  Art 
'His  Fund  to  the  Tate  Gallery.  Mr.  Tuke, 
« In  is,  pictures  of  boys  bathing  in  the- si -a  are  always 
a  popular  feature  of  the  summer  exhibitions,  was 
born  in  1858  and  elected  Associate  in  1900.  Two 
of  his  pictures  have  been  purchased  undi 
1  liantrey  Bequest. 

The    Old    Water-Colour    Society    has    lust    an 


esteemed  member  through  the  death  ol  Mr.  E.  R. 
Hughes,  a  nephew  of  Mr.  Arthur  Hughes,  and  like 
him  closely  associated  with  the  Pre-Raphaelite 
Brotherhood.  "  Ted  "  Hughes,  as  he  was  known 
among  his  friends,  was  elected  an  Associate  of  the 
Society  in  1891  and  a  full  member  in  1895  ;  he 
made  a  distinguished  place  for  himself  as  a  painter 
of  romantic  subjects. 


Although  there  was  nothing  particularly  exciting 
in  the  exhibition  of  the  International  Society  of 
Sculptors,  Painters,  and  Gravers,  it  deserves  to  be 
remembered  for  its  well -sustained  interest  and  its 

lllj  high  level  of  merit.  A  gnat  deal  0 
work  was  included  in  it  work  sound  in  inb 
and  admirable  in  accompl  md  there  was 

very  little  which  could  be  dismissed  as  merely 
extravagant  or  absurdly  fantastic.  The  pictures 
most  WO  id  were  Mr.   I ).   Y.   (  .111 

1     landscapi . 
Vorlich     Autumn,   Mr.  Janus   l'rvde's   The  Court- 
yard,  Mr.  Henry   Bishop's  delightful  tone  studies, 
Tranquillity    and    Early    Morning:   Tetuan,     Mr. 
Oliver   Hall's   R  'lie    Westmorland    I 

Mr.  Glyn  Philpot's  curiously  treated  fantasy,  The 
Forsaken    Goddess,    .mil    Mr.    E.    II.    Kenninj 

5  7 


'A  STODART-WALKER,  ESQ.,  M.A.,  CHAIRMAN" 
OF  THE  SCOTTISH  MODERN  ARTS  ASSOCIATION" 
BY  SIR  JAMES  GUTHRIE,   P.R.S.A. 


(International  Society's 
Exhibition  ) 


Studio-Talk 


clever  Costermongers  :  and  there  were  other  things 
like  San  Gimignano,  by  Mr.  Alfred  Withers,  Old 
Houses,  Venice,  and  L'art  Feminin,  by  Mr. 
Ludovici,  Sleep,  by  Mr.  Douglas  Robinson,  and 
the  large  Flmverpiece,  by  Mr.  W.  B.  E.  Ranken, 
which  were  of  very  definite  interest.  Of  the  portraits 
and  portrait  studies  the  most  notable  were  Mr. 
Orpen's  brilliant  Mrs.  Carstairs,  Mr.  F.  Whiting's 
The  Amateur  Rider,  Mr.  A.  Jamieson's  77/  • 
Crimson  Cloak,  Mr.  Gerald  Kelly's  The  Black 
Shawl  and  Portrait  Study,  Mr.  G.  W.  Lambert's 
Important  People,  Mr.  Howard  Somerville's  In  the 
Studio,  Mr.  W.  W.  Russell's  The  Shawl,  Mrs. 
Rackham's  The  Strazv  Hat,  and  Sir  James 
Guthrie's  excellent  portrait  of  A.  Stodart  IValkei, 
Esq. ,  painted  for  the  Scottish  National  Collection  of 
Modem  Art,  and  reproduced  among  our  illustrations 
this  month  (opposite).  The  study  A  Young  Girl,  by 
Mr.  W.  L.  Bruckman,  deserves  a  special  note  for  its 
beauty  of  technical  quality  and  its  charm  of  manner. 
A  few  important  paintings  by  deceased  artists  were 
also  shown — among  them  Don  Quixote,  by 
Daumier,  a  fine  Interior  by  Alfred  Stevens,  and  the 
magnificent   portrait   of  Mrs.   Heugh,   by   Millais. 


There  was  sculpture  by  M.  Rodin,  M.  du  Chene  de 
Vere,  Mr.  Glyn  Philpot,  Mr.  Derwent  Wood,  and  a 
few  other  artists  ;  and  there  were  lithographs  by 
Mr.  Pennell,  Mr.  Copley,  and  Mr.  Spencer  Pryse, 
water-colours  by  Mr.  H.  M.  Livens,  Mr.  W.  Monk, 
Mr.  F.  Whiting,  Mr.  Bellingham  Smith,  Mr.  E. 
Dulac,  and  the  late  Joseph  Crawhall,  and  drawings 
in  various  mediums  by  Mr.  A.  S.  Hartrick,  Mr. 
Charles  Shannon,  Mr.  G.  W.  Lambert,  and  Mr. 
A.  McEvoy.  

When  a  painter  has  become  recognised  for  a 
certain  kind  of  work  the  public  at  large  is  inclined 
to  view  with  some  disapprobation  any  departure  he 
may  make  from  the  familiar  ground.  For  a  really 
sincere  artist  it  is  discouraging  to  find  his  efforts 
towards  a  novel  expression  met  with  some  lack  of 
the  appreciation  that  would  inevitably  be  accorded 
him  did  he  continue  to  repeat  the  accustomed 
subjects.  One  of  the  most  interesting  and  versatile 
of  contemporary  artists,  Mr.  W.  Lee  Hankey,  has 
been  gradually  developing  on  lines  different  from 
those  of  the  very  beautiful  low-toned  pictures — 
generally  of  cottage  mothers  and  children — which 


ENTRANCE   TO   GIPSY    QUARTER,    C'.RANADA 


Olt    PAINTING    BY    W.    IKE    HANKEY 

59 


Studio-Talk 


■  \1  ILK  Minx    LIGHT 


OIL    PAINTING    BY    W.    LEE    HANKF.V 


we  used  so  often  to  delight  in  seeing,  and  he  will 
shortly  be  exhibiting  at  the  Baillie  Gallery  a  series 
of  vigorous  and  sunny  impressions  of  outdoor 
life  in  Spain,  France,  and  Belgium.  Rich,  full 
colour  and  bold  pattern  characterise  these  latest 
productions  of  the  artist,  of  which  we  illustrate 
three  admirable  examples.  The  brilliance  and 
movement  of  The  Performing  Bear  make  it  a 
canvas  of  great  interest,  and  both  Afternoon  Light 
and  Entrance  to  Gipsy  Quarter,  Granada,  are 
typical  of  the  joyous  feeling  that  inspires  his  work 
in  general.  An  unusual  composition,  restrained  and 
beautiful  in  colour,  is  The  Shepherdess,  which  will 
figure  in  the  exhibition,  and  another  memorable 
work  is  a  charming  twilight  effect,  a  group  of 
Concameau  fisherwomen.  Besides  oil-paintings 
Mr.  Lee  Hankey  is  showing  a  number  of  most 
attractive  water-colours  on  linen.  Here  we  find 
the  same  charm  of  colour  added  to  a  peculiarly 
beautiful  quality  of  technique,  giving  to  bis  works  in 
this  medium  a  special  attractiveness  of  their  own. 
Mr.  Lee  Hankey  is  a  purist  in  the  use  of  water- 
60 


colour,  and  these  delightful  productions  deserve  a 
great  success.  

The  Society  of  Mural  Decorators  and  Painters  in 
Tempera  has  just  held  its  annual  exhibition  in  the 
new  hall  which  the  Art  Workers'  Guild  has  built  in 
the  rear  of  No.  6  Queen  Square,  Bloomsbury.  The 
hall,  designed  by  Mr.  Troup  primarily  for  the 
periodical  gatherings  of  the  Guild  and  its  offshoot 
the  Junior  Art  Workers'  Guild,  is  excellently  adapted 
for  such  an  exhibition  as  that  which  has  just  been  held 
in  it.  Only  a  comparatively  small  proportion  of  the 
entire  membership  contributed  to  it,  but  the  collec- 
tion comprised  numerous  items  of  unusual  interest, 
such  as  Mr.  Cayley  Robinson's  two  designs  for  the 
entrance  to  Middlesex  Hospital,  Comfort  the  Orphan 
and  Rejoice  with  the  Happy  :  Mrs.  Stokes's  charm- 
ing cartoon  in  tempera,  Ehret  die  Frauen ;  Mr. 
Reginald  Frampton's  Our  Lady  of  Promise  and 
The  Crucifixion,  both  in  spirit  fresco  over  plaster  ot 
Paris  on  wood  ;  Sir  Charles  Holroyd's  Venus 
lamenting  the  death  of  Adonis  ;   Mr.   J.  I ).  Batten's 


2  > 


Studio-Talk 


"THE   TRAVELLING   CIR(  I  S    MOVE! 


(  Three  Arts  Club) 


WATER-I'UI  nl'R     liY    c'.I.AHYS    A.     PINKS 


large  work  Pandora  ;  various  examples  ot  Miss 
Jessie  Haver's  fascinating  art,  including  a  Madonna 
and  Child  of  great  charm  ;  a  pair  of  Censing  Angels 
by  Mr.  Aiming  Bell ;  and  Mr.  Southall's  San 
Gimignano.  Prof.  Image,  Comm.  Walter  Crane, 
Miss  Mabel  Esplin,  Mr.  Maxwell  Armfiekl,  Mr. 
!•'.  ( ).  Salisbury.  Mr.  Bernard  Sleigh,  Mr.  Allan  F. 
Vigers,  and  Mrs.  Bernard  Jenkin  were  among 
other  contributors  of  work  that  claimed  attention. 


Robinson.  Besides  contributions  by  well-known 
artists  like  Orpen,  Nicholson,  Brangwyn,  Short, 
Spencer  Pryse,  James  Pryde,  Frampton,  and 
Prof.  Lanteri,  the  show  contained  good  work  by 
Phyllis  Barron,  Margaret  Dalgleish,  Dorothy 
Jerrold,  Hilda  Kidman,  Mrs.  Kingsley  Tarpey, 
Irene  Ryland,  Dorothea  Sharp,  M.Watson  Williams, 
Ethel  Wright  and  others,  both  painting  and  craft 
work  being  well  represented. 


The  Second  Annual  Exhibition  of  the  Three  Arts 
Club  Exhibition  Society,  which  was  held  at , the 
Muiklox  Street  Galleries  recently,  differed  from  the 
Inaugural  Exhibition  in  one 
important  particular, 
namely,  by  the  inclusion  of 
a  number  of  works  by 
deceased  masters,  kindly 
lent  by  various  collectors. 
While  it  was  a  great  pleasure 
to  see  the  fine  Cazin,  and 
the  beautiful  things  by 
Jai  in.-.  Harpignies,  Fantin, 
Millet,  Whistler,  &c,  the 
unity  and  coherence  of  the 
exhibition  would  perhaps 
have  been  better  maintained 
had  11  been  restricted  solely 
to  works  by  members  of  the 
Society.  We  reproduce 
Miss  Ruth  Hollingsworth's 
Odette,  a  delightfully  painted 
(to  which,  however, 
the  background  affords 
rather  too  insistent  an  ac- 
companiment), The  Travel- 
ling Circus  J  Softs  On,  by 
Miss  Gladys  A.  Pinks,  and 
a  broadly  treated  landscape 
bj     Miss    E.    Fothergill 


The  Spring  Exhibition  at  the  Goupil  Gallery 
consisted  almost  entirely  of  works  by  modern 
French  masters  ;  it  was  very  well  selected,  and  was 


I  ANDSC  Mi:    PAINTING 


.,11     kobINSON 


I  ts  Club) 


63 


Studio-Talk 


(  Three  Arts  Club) 


OIL   PAINTING   BY   Rl'TH    HOLLINGSWORTH 


full  of  canvases  of  memorable  quality.  The  most 
remarkable,  perhaps,  were  the  two  landscapes  by 
Daubigny,  Les  Bords  de  la  Seine  and  Bords  de 
.Riviere,  delightful  examples  of  his  work  at  its  best ; 
but  there  were  as  well  two  very  good  examples  of 
Diaz,  some  characteristic  Corots,  a  charming  colour- 
note  by  M.  Le  Sidaner,  Maisons  sur  la  Riviere, 
Gisors,  a  characteristic  little  Meissonier,  Le  foucur 
de  Guitare,  a  subtle  and  delicate  study,  Port  de 
Fao/i,  Finistere,  by  Boudin,  a  fine  note  of  colour 
and  light,  Les  Berges  de  la  Seine  a  Lavacourt,  by 
Monet,  an  acceptable  Sisley,  Le  Ca/iai  Saint 
Martin,  and  a  typically  expressive  and  accomplished 
picture  by  Lhermitte,  Les  Lavandieres  des  Bords 
de  la  Marne.  The  exhibition  altogether  had  an 
atmosphere  of  quiet  and  serious  mastery  which  was 
very  enjoyable. 
64 


At  the  same  gallery  there  were  on  view  last 
month  a  number  of  water-colours,  drawings,  and 
lithographs  by  Mr.  John  Copley  and  Miss  Ethel 
Gabain.  The  best  things  in  this  collection  were 
Mr.  Copley's  water-colours,  Sanctuary,  Two  English- 
men, and  The  Promenade,  and  his  drawing,  The 
Death  of  Don  Quixote,  and  the  cleverly  expressive 
drawings  by  Miss  Gabain.  The  lithographs  were 
on  the  whole  less  acceptable,  though  among  them 
were  many  by  both  artists  which  showed  a  serious 
appreciation  of  the  technicalities  of  the  art  and  a 
genuine  effort  to  overcome  the  problems  it  presents. 


The  Society  of  Graver-Printers  in  Colour  recently 
held  its  fifth  annual  exhibition  of  members'  colour- 
prints  in  the  Galleries  of  Messrs.  Goupil  and  Co. 
Bedford  Street.     The  Society  is  not  a  large  one 


Studio-Talk 


and  the  absence  from  the  exhibition  of  no  fewer 
than  twelve  members,  some  of  them  of  considerable 
prominence  in  the  sphere  of  work  which  has  led 
them  to  associate  together,  might  under  ordinary 
circumstances  have  seriously  affected  the  interest 
of  the  show.  As  it  was,  however,  the  exhibits, 
though  they  numbered  only  sixty-two,  included 
numerous  examples  of  colour-printing  from  both 
wood  and  metal  which  were  very  pleasing  in 
subject-matter  and  also  interesting  on  the  score  of 
technique.  Mr.  YV.  Giles,  who  has  developed  a 
method  of  producing  prints  from  metal  plates  in 
relief,  showed  a  couple  of  prints  by  this  method, 
which  he  has  employed  with  a  very  effective  result 
in  The  Old  Basilica  in  the  Apennines,  and  Mr. 
Giles  also  showed  two  attractive  prints  by  the  same 
process.  Among  other  items  to  be  noted  were  Mr. 
Frederick  Marriott's  sand-ground  etchings,  Archway 
at  Moret  and  Moonrise,  his  mezzotint  Falaise  by 
Night,  and  his  etching  of  The  Chateau,  Montbazon  ; 
Mr.  Alfred  Hartley's  Harvesting  and  The  Glade; 
Mr.  Lawrenson's  aquatint,  Gateway  of  the  House  of 
Rabelais,  Chinon ;  Mr.  Sydney  Lee's  aquatint,  The 
Chunk  Tower;  Mr.  Woolliscroft  Rhead's  The 
Mermaid  and  other  prints  :  the  wood  prints  of  Mr. 
E.  A.  Verpilleux,  Mr.  Hans  Frank,  and  Miss 
Miriam  Deane  ;  Mr.  W.  Monk's  Riclunond  Bridge 
(line  and  aquatint) ;  Mr.  Mackie's  block-print  caprices 
in  the  manner  of  Greek  vases  and  the  prints  of  Mr. 
Theodore  Roussel  and  Mr.  Raphael  Roussel. 


In  a  recent  issue  we  illustrated  an  example  of 
wood  sculpture  by  Mr.  Alec  Miller,  of  Chipping 
Campden  in  Gloucestershire,  in  the  shape  of  the 
statue  of  a  palmer  or  pilgrim,  the  work  being  a 
commission  for  Urswick  Church  in  Lancashire.  In 
the  meantime  he  has  completed  a  carved  oak  door 
for  the  same  church,  and  of  this  we  now  give 
an  illustration.  The  door,  like  the  figure  just 
mentioned,  is  part  of  a  general  scheme  of  restoration 
which  has  been  in  progress  during  the  past  six 
or  seven  years,  under  the  supervision  of  Mr.  D.  J. 
Brundrit,  architect,  of  Ulverston,  who  is  responsible 
for  the  scheme.  The  work  so  far  accomplished  in- 
cludes altar  rails,  choir  stalls,  reredos  and  panelling, 

r 1  Mrreen,   organ-case,  outside    doors,    and    the 

door  here  shown,  the  joinery  being  by  a  local 
artisan,  while  all  the  carving  has  been  done  by  Mr. 
Miller.  The  Annunciation  panel  in  the  vestry  door 
is  carved  in  about  one-inch  relief,  the  rail  below 
with  the  little  angels  being  only  about  a  quarter 
of  an  inch  in  relief.  The  restoration  of  Urswick 
Church  has  been  carried  out  mainly  through  the 
generosity  of  Miss  S.  J.  Petty,  of  Ulverston. 


Chipping  Campden,  where  Mr.  Miller  has  carried 
out  the  work  just  mentioned,  is  an  old  market 
town  situated  about  500  feet  above  sea-level  on  the 
northern  end  of  the  Cotswolds,  and  is  remarkable  as 
being  one  of  the  few  places — if  not,  indeed,  the  only 
place — in  the  kingdom  where  a  Summer  School  of 
Arts  and  Crafts  is  held.  The  school  has  been 
carried  on  since  1906  under  the  auspices  of  the 
public  educational  authorities,  and  usually  starts  the 
second  week  in  August  and  lasts  four  weeks.  The 
subjects  taught  are  goldsmithing,  silversmithing, 
jewellery,    and    enamelling,    and    other   branches 


CARVED   OAK    DOOR  TO   VESTRY    AT    URSWICK 

(  1111:'  11,    I  \\<   ISH1R1  .      Dl  SIGNED    BY    I>.   J. 

BRUNDRIT,      A.R.I. B.A.,      I    IRVED     BY      ALKC 

MILLER 


65 


Studio-Talk 


of  metal-work,   together  with  carving  in  wood  and 
stone,  and  the  instruction,  which  is  intended  mainly 
Cor  the  serious  student,  is  given  by  competent  pro- 
il  craftsmen. 

BRADFORD. — The  two-handled  cup  which 
is  illustrated  on  this  page  is  an  excellent 
example  of  metal-work  by  .Mr.  Ernest 
Sichel,    of  Bradford,   and   was    recently 

shown  at  an  exhibition  in  the  Corporation  Art 
Gallery,  Cartwright  Hall.  1 1  stands  just  over  a  foot 
high  and  has  been  carried  out  partly  in  repousse  and 
partly  in  cast  silver.  The  lid  is  surmounted  by  a 
female  figure  playing  on  double  pipes,  while  the 
handles  are  formed  by  li/ards,  which,  like  their  distant 
relatives  the  snakes,  are  supposed  to  be  susceptible 
to  the  charms  of  music  ;  here  they  are  climbing  on 
arrow-head  leaves,  these  leaves  also  forming  a  band 
round  the  top  of  the  cup.  The  figure  was  cast  by 
the  cire  perdue  process  and  chased. 


and  the  redoubtable  Parisian  concierge — being 
rendered  with  greater  truth  and  fidelity — at  times 
even  with  brutality.  M.  Lucien  Jonas  has  been 
successful  in  underlining  with  mordant  emphasis 
the  faults,  the  weaknesses,  and  occasionally  the 
vices  of  these  professions  as  they  reveal  themselves 
in  the  human  physiognomy.  This  artist  ranks 
among  our  most  bitter  and  accurate  humorists. 


Rene  Seyssaud,  one  of  that  modern  Provencale 
school  which  is  so  rich  in  picturesque  and 
vigorous  talents,  has  been  showing,  after  months  of 
seclusion  and  efforts  towards  the  ideal,  some  figure 
paintings  "as  beautiful  in  expression  as  they  are 
powerful  in  technique,"  to  quote  the  words  of 
M.  Arsene  Alexandre  in  his  preface  to  the  catalogue 
of  this  interesting  artist's  work.  "  A  great  painter 
passes  among  us  ; "  he  adds,  "  let  us  not  store  up 
for  ourselves  the  regret  of  not  knowing  and 
honouring  him."  H.  F. 


PARIS. —  In  mentioning  at  random  the 
names  of  distinguished  artists  most 
popularly  known  in  France  by  drawings 
of  a  humorous  nature,  that  of  Auguste 
Roubille  will  unhesitatingly  be  included.  Despite 
the  jesting  character  of  his  drawings  on  the  covers 
as  well  as  the  inside  of  various  jocular  journals,  he 
is  nevertheless  an  artist  with  a  profound  sincerity 
of  thought,  and  his  work  perhaps  gets  nearer  to 
the  true  relation  of  art  to  life  than  much  which 
pedantically  poses  with  a  superficial  seriousness  in 
massive  gold  frames.  The  accompanying  coloured 
reproduction  is  an  excellent  facsimile  example  of 
one  of  his  characteristic  sketches.  E.  A.   T. 


One  of  the  most  important  pictures  in  this  year's 
Salon  of  the  Societe  des  Artistes  Francais  is  the 
portrait  group,  reproduced  on  p.  69,  by  Paul  Michel 
Dupuy,  one  of  the  most  noteworthy  pupils  of 
Bonnat.  The  natural  pose  of  these  three  young 
girls,  whose  light  dresses  stand  out  against  the  azure 
of  the  Basque  sky,  combined  with  the  delight- 
ful modelling  of  the  faces,  gives  a  most  happy 
impression  of  freshness  and  harmony  among  the 
multitude  of  other  works  often,  alas  !  so  conventional 
in  manner.  

One  of  the  most  vigorous  realists,  Mons.  Lucien 
Jonas  has  just  been  exhibiting  at  the  Galerie  Allard 
a  series  of  two  hundred  and  fifty  scenes  of  pro- 
vincial or  popular  life.  One  cannot  conceive  of 
the  physiognomies  and  popular  types  in  France — 
the  lawyer,  the  doctor,  the  Academician,  the  notary 
66 


SILVER   CI'!'.       DESIGNED   AM)    EXECUTED   BY   ERNEST 

SICHEL 

(  The  property  of  H.  Behrens,  £.«/..  Bradford) 


SKETCH   BY  A.  ROUBILLE 


(Sou'<!/<!  des  Artistes  Fi  an,  ai 
Salon,  n)i  i) 


PORTRAIT  GROUP.     BY 
PAUL  MICHEL  IH'PUY 


Studio-  Talk 


COPENHAGEN.  —  The  movement  in 
1  >anish  ceramics  inaugurated  some  time 
ago  by  Arnold  Krogh  still  continues 
because  of  its  power  and  beauty.  It  is, 
however,  none  the  less  interesting  to  notice  how 
younger  and,  if  one  may  use  the  expression,  "  newly 
discovered,"  artists,  carried  along  by  the  same 
impetus,  are  at  the  present  day  striking  out  in  new 
directions,  though  still  embodying  in  their  work 
the  best  traditions  of  the  Royal  Copenhagen 
Porcelain  Factory.       

One  of  the  most  conspicious  of  these  younger 
artists  is  undoubtedly  Gerhardt  Henning,  and  the 
story  of  his  first  connection  with  Danish  ceramic  art 
is  highly  interesting.  Of  Swedish  ancestry,  he 
received  his  artistic  training  in  Copenhagen. 
While  staying  in  Rome  some  five 
or  six  years  ago,  he  saw  in  a  shop 
window  a  figure  of  a  nodding 
mandarin  which  had  taken  his  fancy. 
Being  unable  to  afford  the  high  price 
demanded  by  the  shop-keeper,  he 
resolved  to  make  a  similar  figure  for 
himself.  An  artist  connected  with 
the  Royal  Copenhagen  Porcelain 
Factory,  who  by  chance  saw  this 
figure,  persuaded  Henning  to  send 
it  to  the  factory,  where  it  was  at 
once  recognised  as  an  artistic  work 
of  rare  merit,  and  negotiations  were 
at  once  opened  to  enlist  his  services. 


long  been  working,  representing  a  centaur  clothed 
in  a  scaberac,  was  destroyed  by  him  one  night  in 
desperation  at  not  being  able  to  embody  what  he 
considered  the  right  expression.  The  design  was 
conceived  with  rare  imagination,  and  unfortunately 
it  is  lost  to  the  world.  One  of  his  last  pieces  is  a 
group  representing  a  semi-rococo  figure  with  a  nude 
girl,  alluring  by  reason  of  its  beautiful  modelling 
and  the  decoration  in  harmonious  combination. 
His  over-glaze  decoration  inaugurates  a  new  style 
and  is  surely  destined  to  make  its  mark  in  the 
future. 

Gerhardt  Henning  strikes  out  a  new  path  for 
himself,  actuated  by  his  knowledge  of  modern  art 
and  past  triumphs.  His  visits  to  many  of  the 
European  collections  have  set  before  him  standards 


Gerhardt  Henning's  productions 
are  inspired  by  the  passionate  love 
which  he  bears  for  his  work.  Rarely 
has  an  artist  shown  such  exquisite 
refinement  of  expression,  such  con- 
scientiousness in  technique  and  such 
reverence  and  love  of  his  art.  The 
fact  that  he  is  not  particularly  pro- 
lific is  hardly  surprising,  but  on  the 
other  hand,  the  artistic  value  of  his 
work  is  so  much  the  greater. 


Following  his  early  figure  of  the 
mandarin,  the  next  work  which 
Henning  created  was  the  well-known 
Nymph  and  Faun,  and  this  was 
succeeded  by  the  little  Weeping 
Faun,  the  Girl  with  a  Mirror, 
Chinaman  and  Woman,  and  last  but 
not  least  The  Princess  and  the 
Pea.  A  figure  on  which  he  had 
70 


"GIRL   WITH   A   MIRROR. 


MODELLED  AND   PAINTED   BY   GERHARDT 
HENNING 

(Royal  Copenhagen  Porcelain  Factor}') 


(Royal  Copenhagen 
Porcelain  Factory) 


NYMPH   AND   IAIN.'     MODELLED   AND 
PAINTED  BY  GERHARDT   HENNING 


Studio-Talk 


^. „ 

> 

■^Sfk 

-"■ — 

^^Jfc 

PORCELAIN    GROUP    MODELLED   AND    PAINTED   BY 
GERHARDT    HENNING 

(Royal  Copenhagen  Porcelain  Factory ) 

of  excellence,  and  in  striving  to  emulate  the  master- 
pieces of  the  world,  he  has  yet  been  able  to  impress 
unmistakably  on  each  piece  of  work  his  own 
individuality.  He  is  a  master  of  his  technique  and 
his  skill  in  decoration  is  in  no  way  inferior  to  his 
masterful  modelling.  The  highest  achievement  of 
the  craftsman  is  to  govern  the  material  in  which  he 
works,  and  Gerhardt  Henning  has  accomplished 
this  in  such  a  way  that  one  cannot  imagine  that  the 
«  lay  and  the  fire  can  be  other  than  subjected  to  his 
will.  A.    ('. 

BRUSSELS. — Since  the  publication  of  the 
Special  Winter  numbers  of  The  Studio 
of  1 900- 1  and  1902,  respectively  devoted 
to  Modern  Pen  Drawing  and  Modem 
Etchings,  the  art  of  Black  and  White  in  Belgium 
has  achieved  a  considerable  importance.  Certain 
of  the  artists  whose  work  was  illustrated  in  those  two 
volumes  have  developed  or  have  altered  the  direc- 
tion of  their  efforts,  while  others  have  come 
forward  bringing  new  perfections  of  technique  or 
novel  interpretations  of  what  the  great  poet  Emile 
Yerhaeren  calls  the  Multiple  Stletideur. 


of  L'Estampe,  so  admirably  organised  by  Robert 
Sand.  The  founding  of  the  tercle  bearing  this 
title  has  been  a  happy  event  for  Belgian  art,  for  it 
has  grouped  together  the  isolated  efforts  of  several 
artists  of  first  rank,  of  whom  the  public  at  large  was 
entirely  ignorant,  for  the  reason  that  in  large  exhi- 
bitions the  Black  and  White  section  is,  as  a  rule, 
relegated  to  an  unimportant  position. 


The  cercle  of  L'Estampe  maintains  an  excellent 
custom  of  exhibiting  each  year,  side  by  side 
with  the  works  of  its  members,  the  productions 
of  certain  of  the  masters  of  the  past  or  of  some 
of  the  eminent  contemporary  foreign  artists.  This 
year  two  names  were  inscribed  at  the  head  of 
the  catalogue — J.  B.  Corot  and  J.  Pennell.  The 
etched  work  of  Corot  is  but  little  known  to  the 
public,  yet  nevertheless  it  is  equal  to  his  painting — 
with  which  all  are  familiar — in  elegance,  in  style 
and  even  in  colour.  It  is  through  the  Salons 
of  L'Estampe  that  connoisseurs  in  Brussels  have 
become  acquainted  with  that  great  artist  Joseph 
Pennell.  Following  upon  his  series  of  factories 
and  great  industrial  enterprises,  and  his  views 
of  modern  cities,  he  showed  on  this  occasion 
visions  of  an  epic  and  grandiose  archaism. 


It  would  be  unjust  not  to  refer  in  the  first  place 
to  the  important  part  which  has  been  played  in  this 
remarkable    development    by   the    annual    Salons 
72 


I  Royal  Copenhagen  Porcelain  Factory) 


Studio-Talk 


•  l.ES    PINS    HI      HAVRE    I'K    ROTHENEI 


KTClIINe.    IIY     \1  HKK  I     1  >  I .  I  -  I   \M    ill 


In  the  forefront  of  those  artists  whose  work  in 
this  branch  has  not  already  been  dealt  with  in  the 
articles  in  the  Special  numbers  of  The  Studio,  we 
must  mention  De  Bruycker,  Delstanche,  Mignotand 
I  hiriau.  The  contributions  of  the  Ghent  etcher,  De 
Braycker,  were  remarkable.  "  His  large  plate  Sous 
U  chateau  des  (.'mutes  a  Gaud"  wrote  the  regular 
critic  of  1' Art  Moderne,  "is  one  of  his  mosl  surpris 
ing  and  most  impressive  achievements.  With  this 
amazingly  gifted  artist  his  handling  of  the  medium 

lias     rapidly     increased     in    dexterity,     up    to    such 

a  point  as  to  become  concealed;  it  disappears 
beneath  the  impression  which  emanates  from  the 
work  as  a  whole,  and  one  forgets  to  scrutinise 
the  technique  in  complete  abandonment  to  the 
extraordinary  charm  which  radiates  from  these 
Strange  and  moving  positions."      Di    Bn 


seems  at  times  to  draw  inspiration  from  the 
picturesque  romanticism  of  Gustave  I  lore,  and  in 
his  way  of  magnifying  portions  of  architecture  he 
adopts  something  of  the  Brangwyn  manner,  but  by 
his  own  natural  gifts  this  Ghent  artist  dominates 
these  reminiscences  and  his  individualit)  seems  to 
be  more  apparent  in  ea<  h  wi  irk, 

The  large  plates  by  Albert  Delstanche,  his  Pins 
du  hdvre  de  Rotheneuf  in  particular,  show  the 
great  pi  is  made,  as  do  also  his  ,  hai  m 

ingly  ingeniou  i  i  loured  wood  prints.  The  contri 
bution  of  V.  Mignot  was,  as  usi  ed  of  a 

ot  works.  Few  Belgian  etchers  possess 
his  familiarity  with  different  techniques  and  so  wide 
a  choice  of  styles  ani 

that    Le  Bassin  de  Versa  p  rhaps  the  finest 

73 


"SOUS  LE  CHATEAU  DES  COMTES 
A  GAND."  FROM  AN  ETCHING  BY 
DE  BRUYCKER 


Studio-Talk 


its  luminous  distances,  and  Ter/i 
gave  us  a  portrait  and  one  of  his 
brilliant  nude  studies,  painted  in 
the  divisionist  method.  In  the 
next  room  we  found  Arturo  Noci, 
a  brilliant  Roman  artist,  \\  hose- 
work  at  the  Secession  I  had  oc- 
casion to  mention  last  year :  he 
had  this  year  a  portrait  study 
and  landscapes  of  Burano  and 
Terracina.  Uiscovolo's  landscape 
here,  with  its  exquisitely  finished 
drawing,  and  Nicola  D'Antino's 
little  bronzes  of  dancing-girls  called 
for  notice ;  but  the  finest  painting 
of  the  room,  and  I  would  almost 
say  ot  the  exhibition,  was  the 
Chiesa  d'Oro,  a  wonderful  view  ot 
S.  Marco  at  Venice  by  the  Venetian 
Pietro  Fragiacomo. 


"the  enchanted  sea' 


BY    UMBERT 


colour  etching  produced  in  Belgium.  Lastly,  one 
of  the  best  pupils  of  the  master-graver  A.  Danse, 
the  etcher  Duriau,  collected  a  large  ensemble  of 
works,  comprising  portraits  drawn  with  care  and 
Italian  scenes  selected  with  discernment,  proving 
the  talent  and  sincerity  of 
this  meritorious  artist. 

F.  K. 


ROM  E.  — The 
second  exhibi- 
tion of  the 
Secession  at 
Rome,  opened  by  the  King 
in  person  on  March  21, 
more  than  maintained  the 
standard  of  the  inaugural 
display  of  last  year.  It  was 
rather  cleverly  arranged  in 
a  "crescendo'  of  modernity. 
In  the  first  room  one  found 
some  excellent  work  by  such 
world-known  Roman 
painters  as  Mancini  (The 
Sewing-Girt)  and  Onorato 
Carlandi  (two  fine  studies 
of  the  Campagna).  Paolo 
Ferretti  in  the  same  room 
treated  the  Campagna  with 


The  third  and  fourth  rooms  were 
set  apart  for  the  Austrian  Seces- 
sionists. One  of  them,  exquisitely 
draped  and  carpeted  in  deep  rich 
blues,  was  devoid  of  paintings  ;  but  in  the  room 
beyond,  framed  by  the  doorway,  emerged  a  delicious 
bit  of  colour — the  portrait  of  a  young  girl  by 
Gustav  Klimt.  The  fifth  room,  however,  provided 
the  greatest  attraction  of  the  exhibition  ;  for  this 


BY   C.    T.    i 

75 


Studio-Talk 


"THE    WINNOWERS 

was  entirely  devoted  to  the  paintings  ot  Camillo 
Innocenti,  an  artist  of  whom  we  have  seen  little 
at  Rome  during  recent  years — for  Paris  has  now 
claimed  him.  Gabriel  Mourey  wrote  of  him  in 
Paris :  "  It  may  be  that  you  are  at  first  surprised, 
almost  disconcerted,  by  the  lyrical  passion  of  his 
language ;  but  I  cannot  believe  that  if  you  lend  him 
a  little  attention  you  will  be  long  before  you 
are  conquered  by  the  new  sonority  of  the  vocabulary 
which  he   uses,    and   attracted   by  the   music,  so 


grandly  suggestive,  so 
fecund  in  hitherto  un- 
known expressions,  which 
escapes  from  all  his  works." 
This  passage  exactly  illus- 
trates the  effect  which  I 
have  found  created  by 
these  works.  Innocenti  is 
a  colourist  of  the  first  rank, 
whose  works,  even  if  they 
suggest  the  influence  of 
Anglada  (though  Mancini 
was  actually  his  first  direct 
inspirer),  are  absolutely 
and  individually  original. 
Among  the  pictures  just 
exhibited  The  White  Room 
and  the  Black  Ribbon  re- 
newed those  cool  Whist- 
lerian  silver-greys  which  we 
noted  at  Rome  in  his 
pictures  of  1 9 1 1 ;  but  in  the 
Pearl  Dress,  in  which  Mme. 
Innocenti  is  his  model,  in 
the  Emeralds,  an  Arabian 
Nights  motive,  Tlie  Sultana,  the  Evening  in  Paris 
and  Yellow  Light,  we  had  a  series  of  works  which, 
set  in  their  dull  gold  frames  against  a  background 
of  primrose  yellow,  were  astonishing  in  their 
beautv  and  richness  of  colour. 


."ARI.O    PETRUCCI 


In  the  sixth  room  one  encountered  the  work  of 
Lionne,  a  colourist  of  no  mean  order,  as  his  painting 
of  a  Trastevere  Girl  proved,  the  Venetian 
Scattola,  Frieseke,  Grassi  and  Laurenzi.     In  Sala 


BY   PAOLO   FERRETTI 


Studio-Talk 


"  DEER  BY    MORI     I  KIM  /!AN 

(Sold  in  the  recent  tan /ion  sale  at  the  Hongiaanji 
Temple,  Kyoto,  for  8500  yen) 

IX  Umberto  Prencipe  had  an  admirable  and 
poetic  sea-piece,  The  Enchanted  Sea  ;  and  Signora 
Amalia  Besso,  who  has  just  been  exhibiting  in 
London  at  the  Ryder  Gallery,  another  sea-piece, 
The  Return  of  the  Boats. 


In  sculpture,  we  had  this  year  among  representa- 
tives  from  across  the  Alps,  Rodin,  Bartholome, 
Bourdelle,  and  Victor  Rousseau,  who  shewed 
an  admirable  little  bronze  of  a  nude  lad  called 
Summer  ;  while  prominent  among  the  Italian 
i  xhibitors  were  Arturo  Dazzi  with  a  marble  portrait 
bust,  D'Antino,  already  mentioned,  and  Amleto 
Cataldi  with  a  Dancing  Girl,  which  showed  all  this 
artist's  feeling  for  grace  in  the  finely  modelled 
torso.  A  young  sculptor  of  promise,  obviously 
influenced  by  Rodin,  Mario  Montececa,  appeared  as 
a  new-comer  in  the  exhibition. 


even  Russia  look  part  with  the  nanus  o)  Matisse  and 
Cezanne  as  protagonists  in  this  artistic  movement. 
Boldini  and  Petrucci  appeared  in  these  rooms,  the 
former  with  all  his  wonted  brilliance,  the  latter 
always  admirable  in  his  de<  orative  feeling.  Anion" 
the  Tuscans  Plinio  Xomcllini  was  scarcely  at  his 
best  this  year,  but  Chini  had  an  Eastern  Dancing 
Girl  which  was  delicious  in  its  colour.  S.    I!. 

KYOTO,  lb.-  fourth  public  sale  of  the 
treasures  of  Count  Otani,  the  Lord 
Abbot  of  the  Nishi  Hongwanji.  took 
place  recently  in  the  main  temple 
building  in  Kyoto.  There  were  seven  hundred  and 
!ill\  items,  more  than  fifty  of  which  were  classified 
as  Hongwanji  meibutsu,  meaning  thereby,  the 
historical  or  special  treasures  of  that  temple.  There 
was  ,1   great   variety   of    art   objects:   paintings  and 


The  remaining  rooms  brought  one  in   the   midst        ^^m 
of  the  art  of  revolt,  in  which  "  young  Etruria  "as       "  peacock  on   \  rock  "  by  m  itsumura  g 

well  as    Bologna,  Yenetia,  groups  from    Rome  and  tle,23<30yenj 

77 


Studio-Talk 


■'  DAKUMA  BY    BOKKEI 

I  On,  of  the  'pedal  treasures  [M,  i- 
hutsii]  of  the  Hengwanji  Temple  : 
sold  in  the  recent  auction  sale  for 
50.000  yen  =  nearly  £^oooj 


works  of  calligraphy,  lat-quer  and  bronze 
ware,  accessories  for  the  tea  ceremony 
(cha-no-yu),  masks  and  dresses  for  the  No 
drama,  a  collection  ofnetsuke,  &c. 


The  Nishi  Hongwanji  has  long  been 
famous  for  the  possession  of  a  most  mag- 
nificent collection  of  masks,  costumes  and 
other  accessories  of  the  Xo  drama.  In 
splendour  and  completeness,  as  well  as  in 
its  historical  interest,  the  collection  was 
hardly  surpassed  by  any  other  in  the  world. 
A  substantial  part  of  it  has  been  handed 
down  from  Taiko  Hideyoshi,  under  whose 
military  supremacy  the  art  of  Japan 
flourished,    embellishing  its   his  tor  v   with 


the  rich  legacy  of  the  splendid  art  of  the  Momoyama 
court.  Therefore,  it  was  not  to  be  wondered  at  that  a 
petition  was  sent,  though  without  the  desired  effect,  to 
the  Government  to  provide  means  for  purchasing  the 
whole  collection  of  No  masks  and  costumes  that  it 
might  be  kept  in  its  entirety  in  a  national  museum. 
Indeed,  there  was  a  tragic  silence  on  the  two  No  stages 
that  stood  looking  into  the  temple  halls  where  the 
us  brocade  and  expressive  masks  by  ancient 
masters  lay  scattered  for  sale.  That  glorious  collection 
ot  rich  brocade  has  now  been  scattered  all  over  the 
world  never  to  be  brought  together  again  —  scattered 
even  like  the  crimson  leaves  of  the  maple  of  Arashiyama. 
famous  for  its  autumn  tints,  when  the  mighty  blasts  of 
November  "seize  them  and  whirl  them  aloft  and  sprinkle 
them  "  over  the  hills  and  the  River  Katsura. 


There  were  thirty  sets  of  Xu  masks,  consisting  of 
one  hundred  and  eighty-eight  pieces,  most  of  which 
were  carved  by  master  artists.  Among  the  seven  sets 
of  omote   or   riotnen  (the  No    masks)  which  have    been 


St-  r,  t*  i)  l 

,»  ! 

*.      '-  L 

f     ■ 


BY    MARUYAMA   OKVO 
(Nishi  Hongwanji  sale,  3700  yen  J 


Studio-  Talk 


Zeigan,  Kantan-otoka,  Yase-onna,  Skakumi,  Dq/i, 
Kogasshiki  by  Zekan  :  Suji-otoko  and  Mikazuki  by 
Tokuwaka  ;  Yama-uba,  Old  Woman,  Zeigan  and 
Thin  Man  by  Higoori,  and  Naki-zo  by  Iseki. 
There  were  also  other  cawm/V  by  such  mask-carvers 
as  Fukurai,  Bunzo,  Manko,  Deme,  Tenjo,  Chuko, 
Naito,  Sanboko,  and  Konoye. 


c  ARVEP    RED    1  ACQUER     I  ABLE 

( Nishi  Hongwanji  tale,  ij8g  yen) 

handed  down  from  the  Great  Hideyoshi,  there 
were  Yorimasa,  Okina,  Kotenjin  and  Otenjin  by 
Tatsuemon  ;  Yama-uba,  Hawk,  Sho  jo,  Tobide, 
O-beshime,    Ko-beshime  and  Heida   by   Shakuzuru  ; 


CARVED    RED    LACQUER     I  Alii  E 

I  Nishi  Hongwanji  sale,  iSXaym) 


COMPl  !•.  II.    BET 


(Nishi  Hongwanji  sale.  131 1  yen  ) 


Of  twelve  pieces  of  No 
costume  descended  from 
Hideyoshi  six  were  labelled 
isho  (costume),  four  kari- 
ginu  (hunting  costume) 
and  two  han-giri  (brocade 
trousers).  There  wi  re 
besides  more  than  two 
hundred  pieces  of  No 
costumes,  all  rich  with 
gold  and  silver  yet  with 
their  g<  irgei  msness  subdued 
by  harmonious  colour  and 
him  sted  with  that  deep 
aristocratic  tone  whii  h  \m- 
find  exclusively  in  the  besl 
of  old  No  costumes.  There 
was  also  a  complet 
dresses  for  the  Chinese 
rs.  It  is  said  thai 
this  was  one  of  the  three 
sets  that  were  donated  by 
the  King  of  <  !orea  to 
79 


Studio-  Talk 


DRESSES    WORN    BY    PERFORMERS    IN    Till:    "No"    PLAY    (TEMP.    TAIK0    HIDEYOSHI,    16TH    CENTURY   A.D.) 
(Nishi  Hongwanji  sale,  778  and  1SS5  yen) 


Hideyoshi,  one  now  being  in  the  possession  of  the 
Marquis  Inouye  and  the  other  of  Marquis  Kuroda. 


There  were  some  magnificent  examples  of  lacquer 
ware  with  exquisite  mature  in  gold,  boxes  decorated 
with  landscapes  and  there  were  also  various 
excellent  carved  red-lacquer  tables  and  tray.--.  As 
in  the  former  sales,  there  were  on  this  occasion 
some  fine  paintings  on  silk.     That  which  attracted 


the  greatest  attention  was  a  small  kakemono,  a 
Daruma  by  Bokkei.  It  had  once  been  in  the 
possession  of  Shogun  Yoshimitsu,  who  is  said  to 
have  admired  it  greatly.  Among  a  number  of 
excellent  paintings  by  Chinese  and  Japanese  artists 
may  be  mentioned  :  Fugen  Bosatsi/  by  Chang  Ssu 
Kung,  Dragon  Arhat  by  Xan-Chung,  a  waterfall  by 
Okyo,  Peacock  on  a  Rock  by  Matsumura  Goshun, 
screens  handed  down  from  Hidevoshi  and  others 


01    rSIDE    AND    INSIDE   OF   THE    LID   OF   A   GOLD-LACQUERED    BOX 
(A  pair  of  these  boxes  sold  for  io,$00yen  in  the  Nishi  Hongwanji  sale) 


So 


Reviews  ami  Notices 


"NO       DRESS.      TEMP.    HIDEYOSHI 
(  Xishl  Hongwanji  sale,  1400  yen  ) 

painted  by  Sanraku,  all  of  which  have  been  well 
known  as  Hongwanji  meibutsu,  or  special  treasures 
of  the  temple.  There  were  a  number  of  other 
paintings,  among  which  the  following  may  be 
mentioned  :  landscapes  by  Tannyu,  Deer  by  Mori 
Tetsuzan,  Carp  and  other  subjects  by  Maruyama 
Okyo,  and  A  Pheasant  by  Hoitsu  by  Sosen. 

Harada  Jiro. 

REVIEWS   AND   NOTICES. 
Oriental  Rugs,  Antique  ami  Modern. 
By  Walter  A.  Hawley.    (New  York  : 

John  Lane  Company.      London:  John 
I. am.)     425.  net. — This  well  illustrated 
volume  will  be  found  of  great  value  in 
enabling  students  and  collectors  to  ap- 
praise  the   especial    characteristics    in 
design   and   make   of   the   varied    pro 
ductions  of  Eastern  carpet 
looms.      Chapters   are    de- 
voted   to    such    informing 
subjects   as    Materials    and 
Wea\  ing,    1  (esigns   and 
Symbols,     Persian,    Asia 

Minor,    Caucasian,    Central 

Asian,  Indian  and  Chinese 

rugs,  and  to  the  purchasing 

and  distinguishing  of  various 

makes.       The     illustrations 

ini  lude    many    charming 

examples,    chiefly    from 

American    collections,    and 

among  them   are   eleven 

plates  in  facsimile  colours. 
ially  beautiful  and 


full  of  suggestion  is  Plate  VI  representing  a  six 
teenth-century  Persian  "garden"  carpet.  It  is 
thus  described  :  "The  pattern  represents  a  Persian 
garden  divided  into  four  sections  by  two  intersecting 
streams  which  are  bordered  by  cypress  trees  alter 
nating  with  bushes  on  which  are  birds.  These 
sections  are  similarly  divided  by  smaller  streams 
that  meet  at  the  four  pavilions  of  each  side  into 
plots  containing  trees  and  flowering  bushes.  Four 
peacocks  rest  above  the  central  basin."  The  manner 
in  which  the  subject  has  been  conventionalised 
so  as  to  render  it  thoroughly  satisfactorj  as 
a  decorative  scheme  for  carpet  weaving  is  really 
marvellous  :  the  carpet  is,  in  short,  a  consummate 
work  of  art.  The  Colour-plate  IX,  which  is 
supposed  to  illustrate  a   Samarkand   rug,  requires 


••  NO"    M  \nKs    forming    part  of   a  ■in'-    ' 

HONGWANJI    TEMPLE,    KV .AM     SOLD  IN    rHE  RECEN1    5AL1    "I    ITS  TR1 

THE    ABOVE    BEING       VMONG     rHOSE      DATING     FROM     THE    TIME    OF    THE    GREAT 
HIDEYOSHI 

8l 


Reviews  and  Notices 


some  comment.  The  rug  was  made  in  Khoten  to 
the  south  of  Yarkand.  Examples  of  this  type  are 
frequently  described  in  error  as  Yarkand,  Kashgar 

or  Samarkand.  They  are  particularly  interesting  in 
design  as  the)  combine  motifs  which  may  be 
traced  to  China,  Tartary  and  India.  These  rugs 
may  be  easily  distinguished  from  other  Central 
Asian  kinds,  apart  from  the  designs,  the  pile  being 
shorter  and  more  closel)  woven.  Silk  rugs  also  come 
from  this  district,  but  are  very  rarely  obtainable. 

The  Inner  Life  of  the  Royal  Academy,  By 
George  Dunlop  Leslie,  R.A.  (London:  John 
Murray.)  lo.f.  6d.  net. — Mr.  Leslie,  who  is  now  in 
his  eightieth  year,  was  elected  an  Associate  of  the 
Royal  Academy  forty-six  years  ago:  eight  years 
later  he  became  a  full  member,  and  in  that  capacity 
has  five  times  served  on  the  Council,  or  ten  years 
in  all.  His  father,  who  died  in  1859,  joined  the 
Academy  in  1S21,  and  was  an  R.A.  for  over  thirty 
years.  Both  father  and  son  were  students  in  the 
schools,  and  thus  their  successive  association  with 
the  Academy  covers  an  entire  century.  Mr.  Leslie 
can  therefore  lay  claim  to  an  acquaintance  direct 
or  indirect  with  the  "  Inner  Life "  of  that  body- 
such  as  probably  no  other  member  has  enjoyed 
since  its  foundation  in  1768.  His  book  teems 
with  reminiscences  of  distinguished  artists  with 
whom  from  the  days  of  his  boyhood  onwards  he 
h  is  ciiinc  into  touch,  and  having  drawn  freely  upon 
his  father's  stock  of  recollections  he  gives  many 
interesting  glimpses  of  others  who  departed  before 
his  time — such  as  Fuseli,  who  as  Keeper  had 
charge  of  the  school  when  Wilkie.  Mulreadv,  Ettv, 
1  .andseer,  Haydon  and  Leslie/<"w  were  students  and 
benefited  by  his  policy  of  "wise  neglect."  In  the 
opening  chapters  the  author  sketches  in  a  pleasant 
way  the  vicissitudes  through  which  the  schools  have 
passed  from  these  early  days  until  the  present  time, 
but  those  which  follow  on  the  annual  exhibitions 
will  perhaps  appeal  to  a  wider  circle  of  readers  and 
1  spec  ially  to  that  very  numerous  throng  of  artist-- 
who.  in  the  early  days  of  spring  submit  their  works 
to  the  scrutiny  of  the  Council  often.  Mr.  Leslie,  as 
may  be  expected,  warmly  defends  the  system  of  selec- 
tion which  he  fully  describes.  It  is  evident,  he  says, 
"that  the  academicians  possess  the  confidence 
of  the  general  body  of  artists  of  all  denominations 
from  the  ever-increasing  number  of  works  that  are 
yearly  submitted  for  their  adjudication."  There  may 
be  some  who  will  demur  to  this  inference,  but  no 
one  will  deny  that  the  task  of  selection,  always 
an  arduous  one,  is  conscientiously  discharged. 
Portraiture,  as  he  points  out,  is  almost  the  only 
branch  of  art  in  which  a  livelihood  can  be  obtained 
82 


in  these  days,  and  it  is  hardly  fair  for  critics 
to  blame  the  Council  of  the  Academy  for  not  having 
more  works  of  poetic  and  imaginative  character  on 
its  walls.  "  If  these  grumblers  could  only  see  the 
material  with  which  the  Councils  have  to  deal,  and 
hear  the  unfeigned  cheers  of  delight  with  which  any 
work  of  more  than  ordinary  originality  or  imagination 
when  it  comes  before  them  is  hailed,  they  would  at 
least  allow  that  these  members  of  the  Academy  were 
doing  their  very  best  to  render  the  ensuing  exhibition 
as  fine  and  as  interesting  as  they  possibly  could."  Of 
varnishing  days  at  various  periods  Mr.  Leslie  has 
much  to  say  that  will  be  read  with  interest.  His 
first  experience  of  them  was  in  the  forties,  when  as 
quite  a  young  boy  he  was  allowed  to  be  present  as 
his  father's  assistant ;  he  remembers  seeing  Turner 
on  several  occasions  painting  on  his  pictures,  and 
once,  in  1844,  the  great  painter  spoke  to  him.  In 
later  years  he  was  on  good  terms  with  Whistler,  who 
exhibited  a  large  number  of  paintings  and  etchings 
between  1859  and  1878 — among  them  the  famous 
portrait  of  his  mother  :  and  he  emphatically  denies 
that  he  was  ever  badly  treated  by  the  Academy. 
Of  various  eminent  Academicians  with  whom  he 
has  been  closely  associated  Mr.  Leslie  talks 
frankly  and  freely.  He  speaks  in  high  terms  of 
Leighton,  though  he  thinks  that  "  the  gradual 
denationalisation  which  is  so  observable  in  the 
character  of  the  works  of  the  British  artists  of 
the  present  day  undoubtedly  originated  during 
Leighton's  Presidency" — and  he  owns  to  a  feeling 
of  regret  that  Millais  was  not  elected  to  succeed 
Sir  Francis  Grant.  To  the  memory  of  Abbey  lie 
pays  a  glowing  tribute.  "Intimately  acquainted 
with  Americans  of  every  sort  and  variety  all  my 
life,"  he  says,  after  mentioning  his  own  descent 
from  Americans.  "  I  never  met  any  who  displayed 
to  greater  advantage  the  best  and  brightest  of  their 
national  characteristics  than  Edwin  Abbey."  Abbey 
lived  for  many  years  at  a  little  country  town  in 
Gloucestershire,  but  he  told  Mr.  Leslie  that  his 
neighbours  did  not  begin  to  respect  him  until  he 
brought  down  from  London  a  team  of  artist- 
cricketers  who  beat  the  local  eleven  in  one  innings. 
Such  is  fame  !  Written  in  a  pleasant,  chatty  vein. 
Mr.  Leslie's  book,  conveying  as  it  does  a  good  deal 
of  reliable  information  about  the  Royal  Academy 
.mil  its  proceedings  of  which  outsiders  are  ignorant, 
will  prove  a  popular  accompaniment  to  the  more 
serious  histories  of  that  institution. 

Sion  Longley  Wenban  ( 1848-1897).  Kritisches 
Verzeichnis  seiner  Radierungen  mit  einer  bio- 
graphischen  Einfuhrung  von  Otto  A.  Weigmann. 
Mit  einem    Bildnis   und  76  Abbildungen  auf  30 


Reviews  and  Notice. 


Lichtdrucktafeln.     (Leipzig  :   rClinkhardt  und  Biei 

maim).  30  Mk.--  Wenban's  name  is  little  known  to 
amateurs  of  etching  in  England.  He  was  the  son 
of  English  parents,  and  born  at  Cincinnati,  U.S.A.. 
in  184S.  The  earlier  part  of  his  life  was  devoted 
to  drudging  in  the  studios  of  various  photographers 
in  Cleveland  and  Chicago,  retouching  photographs, 
and  <lrawing  the  crayon  portraits,  in  the  photo 
grapher's  manner  popular  in  the  latter  part  of  tin- 
nineteenth  century.  Happily  he  joined  his  friend 
Otto  Bacher  in  a  pilgrimage  to  Europe  in  1878, 
and  thereafter  remained  in  Munich  or  the 
neighbourhood  for  the  rest  of  his  life.  He  kept 
almost  exclusively  to  landscape,  both  as  painter, 
draughtsman,  and  etcher,  but  secured  little  recog- 
nition until  quite  the  end  of  his  life,  and  then  only  a 
limited  circle.  He  cannot,  we  think,  be  regarded  as  a 
great  individuality,  nor  take  high  rank  as  an  etcher. 
Occasionally  his  etching  fails  through  overloading 
with  detail,  through  a  certain  prettiness,  which 
shows  some  kinship  with  the  weaker  kind  of 
Seymour  Haden's  etchings,  such  as  the  Rivers  in 
Inland.  Wenban's  Lake  with  Swans  (No.  343, 
Plate  \\i)  is  one  of  these.  But  in  general  he  uses 
a  free  and  flowing  line  with  great  clearness  and 
simplicity,  somewhat  in  the  manner  of  Corot. 
Excellent  examples  are  Nos.  54  (Plate  iv),  113 
(Plate  ix),  128  (Plate  xviii),  and  227  (Plate  \  1, 
while  an  occasional  plate  such  as  No.  145  (Plate 
xxviii)  shows  a  sense  of  atmosphere  almost  worthy 
of  Camille  Pissarro.  The  catalogue  by  Dr. 
Weigmann,  which  contains  the  descriptions  of  371 
etchings,  76  reproductions,  and  a  biographical 
and  critical  introduction,  is  an  exemplary  pie<  e  ol 
work,  and  purports  to  be  the  first  of  a  series  devoted 
to  modern  painters  and  etchers. 

Survey  of  London.  Vol.  V.  The  Parish  of  St. 
Giles-in-the-Fields  (Part  II).  Edited  by  Sir 
Laurence  Gomme  (London:  London  Count) 
Council)  jQi.  is.  net. — This  new  volume  of  the 
Survey  of  London  forms  part  of  the  series  which  is 
being  issued  by  the  Joint  Publishing  Committee 
representing  the  London  County  Council  and  the 
Committee  for  the  Survey  of  the  .Memorials  ot 
Greater  London  under  the  general  editorship  of 
Sir  Laurence  Gomme  and  Mr.  Philip  Norman. 
The  illustrations  consist  of  over  a  hundred  plates 
and  numerous  illustrations  inserted  in  the  text,  which 
occupies  over  two  hundred  pages  and  is  replete 
with  information  relating  to  the  buildings  illustrated, 
the  historical  notes  being  supplied  by  Sir  Laurence 
Gomme  and  the  architectural  descriptions  by  Mr. 
W.  E.  Riley,  the  Council's  architect,  The  chiel 
interest  of  the    volume  from   the  point  of  view  of 


modern  domestic  an  hitecture  lies  in  the  matter 
dealing    with   Bedford  Square,    which    though   not 

wholly  in  the  parish  of  St.  Giles  is  here  treated  as  a 

whole.  This  square  was  laid  out  between  1775  and 
17X0  as  part  of  a  general  scheme  lor  developing  the 
I  Hike  of  Bedford's  Bloomsbury  estate,  which  is  rightly 

referred  to  as  an  excellent  example  of  early  town  plan- 
ning and  as  affording  an  illustration  of  the  advantages 
gained  by  the  community  when  a  large  area  such  as 
this  (112  ai  res)  is  dealt  with  on  generous  lines  In 
the  owner.  Thomas  Leverton  is  said  to  havi  I"  1  n 
the  author  of  the  general  scheme  and  designer  of  the 
houses — not  the  Brothers  Adam  as  one  authority 
has  stated,  though  the  style  associated  with  their 
name  was  adopted  by  Leverton,  who  also  employed 
many  of  the  designers  who  worked  for  the  brothers. 
Numerous  illustrations  of  these  houses  and  details 
therein  are  given. 

The  Architectural  Association  Sketch-Book  for 
1 913  contains  72  plates,  and  the  chief  contributors 
are  Mr.  Alan  Binning  and  Mr.  James  MacGregor, 
both  of  whom  possess  an  eye  for  artistic  effect  in 
addition  to  that  precision  of  draughtsmanship 
which  is  called  for  in  measured  drawings  like  most 
of  those  in  the  volume.  More  than  half  the  plates 
are  concerned  with  British  edifices,  and  most  of 
these  are  of  an  ecclesiastical  character,  the  chief 
being  St.  Mary's  Church  at  Finedon,  Northants, 
an  interesting  fourteenth-century  structure.  The 
Sketch-Book  is  issued  in  four  quarterly  instalments 
to  annual  subscribers  of  one  guinea. 

Photograms  of  the  year  for  11)13,  edited  by 
I'.  |.  Mortimer,  F.R.P.S.,  contains  as  usual  a 
large  number  of  full-page  prints  selected  from  the 
best  output  of  many  countries.  Main  well-known 
workers  are  represented  and  there  is  a  pleasing 
diversity  of  subject.  'Phis  annual  is  published  at 
IS.    6d.  net  by  Messrs.  Ha/ell,  Watson  and  Viney. 


The    Grand     1  hike    Ernsl    Ludwig    ol     Hesse 

Darmstadt,  who  is  a  great  p.m. mi  ol  art,  has 
arranged  an  extremely  interesting  Fine  Arts  loan 
Exhibition    at     Darmstadt,    comprising    paintings. 

drawings,    miniatures,    sculpture,    and    examples    ol 

handicraft  which  originated  in  Germany,  Austria 
and  Switzerland  between  1050  and  1S00.  thai  is. 
during  the  period  intervening  between  the  Thirty 
u.n  .111,1  tb  timi  -I  \  ipol  on.  Many  of 
the  exhibits  come  from  tl 

princes  oi  Germany  and  the  private  collections  of 
the  Emperor  of  Austria,  and  have  never  been 
publicly  exhibited  I"  fori  .  afi  1  of  the 

exhibition  earl)  in  October  they  will  probably  not 
be  visible  again  to  the  general  public  for  a  Ion. 

83 


The  Lay  Figure 


T 


HE  LAV  FIGURE:  ON  THE 
CULT  OF  THE  UGLY. 


"Do  you  think  we  are  losing  our  sense  of 
beauty  ?  "  asked  the  Art  Critic.  "  There  is  an  odd 
fashion  just  now  in  art — a  sort  of  perverse  pursuit 
of  deformity — of  morbid  and  exaggerated  ugliness. 
What  does  it  really  mean?" 

■■  It  means,  1  take  it."  replied  the  Young  Painter, 
"  that  artists  are  tired  of  namby-pamby  prettiness, 
and  want  something  more  interesting.  They  are 
searching  n<  >wada\  s  fi  ir  str<  >ng.  well-defined  character 
and  for  the  real  facts  of  life,  and  they  are  trying  to 
present  them  convincingly  and  without  silly  com- 
promises." 

"  Surely  all  the  facts  of  life  are  not  unpleasantly 
ugly  and  repulsive,"  returned  the  Critic.  "  Is  it 
not  possible  to  select  from  them  some  that  ha\  e 
the  elements  of  beauty?" 

"( >h.  there  must  be  no  selection  in  modern  art." 
laughed  the  Man  with  the  Red  Tie.  "  You  take 
the  first  thing  that  comes  and  you  record  it  with  all 
possible  fidelity  just  as  it  is — that  is  the  creed  of 
the  moment." 

"  But  why  should  the  first  thing  that  comes  be 
always  ugly  and  deformed  ? "  inquired  the  Critic. 
"No.  that  argument  will  not  do;  there  is  selection 
in  the  art  of  to-day,  and  the  artist's  choice,  made,  as 
it  seems  to  me,  quite  deliberately,  too  often  falls 
upon  the  thing  that  is  unpleasant  and  unworthv  of 
the  attention  he  gives  to  it." 

"Nothing  in  nature  is  unworthy  of  the  artist's 
attention,"  broke  in  the  Young  Painter :  "  but 
some  things  are  obviously  of  much  greater  im- 
portance, and  claim  more  attention  than  others. 
What  an  artist  records  is  the  particular  fact  that  has 
made  most  impression  upon  him  and  that  he  cannot 
help  selecting." 

"And  the  ugly  thing  makes  the  most  impression 
upon  him  because  it  is  so  ugly,"  commented  the 
Man  with  the  Red  Tie.  "Is  that  what  you 
mean  ?  " 

"No,  of  course  not,"  cried  the  Young  Painter. 
•■What  impresses  him  is  the  strength  of  the  possible 
subject,  its  power  and  virility  ;  and  he  tries  to 
realise  it  with  all  the  force  there  is  in  it.  Why 
should  he  be  afraid  to  represent  it  as  it  is,  and  why 
should  he  water  it  down  simply  for  the  sake  of 
making  it  pretty  ?  " 

-  Why  should  he  not  be  as  much  impressed  by 
the  beauty  of  his  subject  as  by  its  ugliness?'' 
inquired  the  Critic.  "  Why  cannot  he  get  the 
force  of  it  and  yet  be  able  to  keep  it  from  being 
unpleasant  ?  " 


"  Because,  I  presume,  a  subject  that  has  it  i 
beauty  in  it  must  become  more  unpleasant  the  more 
forcibly  it  is  presented,"  suggested  the  Man  with  the 
Red  Tie.  "  Besides,  it  is  much  easier,  you  must 
remember,  to  make  a  thing  forcible  if  you  take 
simply  the  crude  reality  of  it  and  evade  the  obliga- 
tion to  make  it  pleasing." 

"  You  must  not  accuse  modern  artists  of  evading 
their  obligations,"  protested  the  Young  Painter. 
"  All  of  them  who  count  as  men  of  distinction  are 
sincere  students,  striving  earnestly  to  present  life  as 
they  see  it." 

"  To  present  life  as  they  see  it !  Well,  that  may  be 
true  enough,"  said  the  Critic.  "  But  it  is  the  way  they 
see  it  that  I  find  so  objectionable.  If  you  shut 
your  eyes  to  the  beauty  of  life  what  can  you  get 
with  all  your  earnest  striving,  except  its  sordid, 
squalid  ugliness  ?  " 

"  You  can  get  character,"  asserted  the  Young 
Painter. 

•"Character.'"  cried  the  Critic.  '"Has  beauty 
no  character  ?  Is  the  beautiful  thing  necessarily 
feeble  and  contemptible  ?  I  say  that  by  the  morbid 
cult  of  ugliness  you  miss  your  best  opportunities 
of  studying  and  realising  character,  because  you 
look  only  at  what  is  unpleasantly  obvious  and  fail 
to  perceive  the  subtleties  that  give  character  its 
charm." 

••Well,  suppose  I  do  honestly  prefer  what  is 
obvious,"  sighed  the  Young  Painter.  "  Does  it 
really  matter  ?  " 

"  Great  heavens !  Of  course  it  matters,"  ex- 
claimed the  Critic.  "  If  you  admit  that  you  prefer 
ugliness  you  confess  that  you  are  cursed  with 
morbid  instincts  that  unfit  you  to  be  an  artist  at 
all.  The  love  of  beauty  is  an  essential  in  every 
wholesome  temperament.  It  is  the  civilised  and 
educated  development  of  the  natural  selection 
instinct  ;  it  is  the  one  thing  that  keeps  the  mind 
clean  and  the  aesthetic  sense  from  degenerating 
into  a  kind  of  vicious  imbecility.  It  was  the 
inspiring  principle  in  all  great  art  of  the  past ;  it  is 
the  one  source  from  which  in  the  future  will  come 
all  art  that  will  be  worthy  of  serious  attention.  If 
vou  are  really  lacking  in  it  you  must  be  classed 
with  the  decadents  who,  as  a  result  of  over-civilisa- 
tion, are  suffering  from  a  species  of  mental  disease 
and  have  ceased  to  be  normal  human  beings. 
Indeed,  I  would  go  so  far  as  to  say  that  to  cultivate 
an  actual  preference  for  ugliness  is  to  commit  an 
outrage  on  nature. 

"Is  it  as  bad  as  all  that?"  sneered  the  Young 
Painter. 

The  Lav  Figure. 


•THE  COUNTESS  OF  CRAWFORD  AND  BALCARRES. 
e  oil  painting  by  WILLIAM   ORPEN,  A.R.A. 


A  Notable  Portrait  by  Mr.   William  Orpen,  A.R.A. 


A 


NOTABLE   PORTRAIT   BY    MR. 
WILLIAM   ORPEN,  A.R.A. 


Thk  style  of  portrait  exemplified  in  Mr. 
William  Orpen's  beautiful  picture  of  the  Countess 
of  Crawford  and  Balcarres,  reproduced  in  colour  on 
the  opposite  page  by  special  permission  of  Lord 
Crawford,  is  one  too  seldom  adopted  nowadays. 
We  can  find  no  reason  why  this  charming  way  of 
presenting  the  sitter  should  not  enjoy  a  revival. 
But  it  is  not  difficult  to  see  why  it  is  out  of  fashion 
in  these  days.  It  does  not  advertise,  it  does  not 
scream  in  an  exhibition.  There  are  those  who 
have  convinced  themselves  that  they  must  scream 
to  arrest  attention  in  a  modern  exhibition.  To  go 
into  some  modern  picture  galleries  is  an  experience 
not  unlike  that  of  entering  a  parrot-house. 

It  is  impossible  to  believe  that  the  highest  interest 
of  the  art  of  portraiture  can  be  served  in  the  above 
circumstances.  For  one  thing  portraits  are  most 
often  destined  for  the  quiet  of  a  library  or  morning- 
mum.  With  such  surroundings  they  should  be  in 
some  agreement.  And  there  is  a  tradition  which 
cannot  wisely  be  put  aside  in  this  ;  the  old  tradition 
of  leading  up  to  the  presentment  of  the  sitter 
through  an  appeal  to  sentiment  in  the  composition, 
and  to  our  sense  of  decoration. 

The  conditions  of  a  large  exhibition  are  certainly 
unpromising  for  the  survival  of  the  quality  that 
counts  most  in  portraiture,  that  of  intimacy.  The 
relation  of  environment  to  character  must  be  appre- 
ciated by  the  artist  of  the  portrait  interior-pieo 
Environment,  after  all,  is  the  outside  wrap  of  the 
soul;  personality  irradiates  beyond  clothes  to 
accessories;  everything  in  a  person's  home  ex- 
presses them — if  it  is  really  a  home  and  not  a 
family  hotel. 

Appreciation  of  the  mental  atmosphere  of  places 
is  a  special  gift,  not  necessarily  allied  with  the 
genius  of  painting,  and  this  fact  puts  a  limit  to 
successful  examples  of  the  portrait  interior-piece. 
But  it  is  in  successful  painting  of  the  kind  that  we 
may  look  for  the  equivalent  of  the  art  of  the  modern 
novel,  with  its  genius  for  interior  genre.  This  type 
of  art  would  appear  to  be  peculiarly  expressive  of 
the  i  ircumstances  of  modern  life,  in  which  the 
demand  for  portraits  is  less  often  made  by  princes 
than  by  ordinary  people.  Just  when  our  modern 
portrait  painters  might  have  appreciated  the  latter 
fact  and  made  the  most  of  it,  "post-impressionism  " 
has  led  them  away.  If  they  return  in  time  the  door 
will  still  be  open,  and  the  easel  keeping  it  ajar  is  that 
of  Mr.  ( )rpen,  legitimate  successor  to  Peter  de  Hooch 
and  Alfred  Stevens.  It  was  a  happy  moment  when 
LXII.  No.  255. — July  1914 


he  thought  of  combining  his  commissions  for 
portraits  with  .1  <  lass  ol  picture  which  he  composes 
so  naturally. 

The  portrait  interior  pit  1  e  allows  the  artist  to  in- 
troduce an  agn  eable  variety  of  colour  in  the  acces- 
sories and  lends  itself  to  the  exquisitely  finished 
style  of  the  Dutch,  the  sensitive  atmospheric  loose- 
ness of  impressionism,  or  to  the  insistence  upon 
pattern  in  line  and  colour  which  is  a  characteristic 
of  so  many  modern  pictures.  Tin-  test  of  complete 
success  of  course  in  portraiture  of  this  type  is 
in  subordinating  the  accessories  to  the  sitter, 
so  that  nothing  competes  with  the  figure  of  the 
sitter  in  claiming  our  first  interest.  This  problem 
solves  itself  in  the  case  of  an  artist  with  an  instinct 
as  fine  as  Mr.  Orpen's  for  what  is  relevant  to  the 
sitter.  Instead  of  competing  with  the  sitter, 
accessories  can  be  made  to  assist  the  expression  of 
his  personality,  reflecting  his  tastes  and  the  world  in 
which  he  moves. 

There  can  be  no  doubt  that  the  type  of  portrait 
we  are  describing  will  have  a  fascination  for  posterity 
which  no  other  kind  of  portrait  can  hope  to  possess. 
The  judgment  of  a  portrait  simply  as  portraiture  and 
not  from  the  point  of  view  of  the  interest  of 
the  composition  is  a  thing  to  be  given  by  itself. 
From  that  point  of  view  of  course  there  are  simple 
representations  <  >f  a  face  or  single  figure  by 
Rembrandt  or  Hals  with  which  nothing  can  be 
ranked.  But  where  everything  else  is  of  equal 
merit  the  picture  which  is  most  happily  and 
pictorially  composed  has  the  greater  interest.  It  is 
with  unusual  pleasure  that  wediscover,  in  eighteenth- 
century  collections,  pieces  by  Zoffany  which  have 
been  painted  with  no  more  surety  of  touch  than  works 
by  his  contemporaries  but  which  by  their  art  in  sug- 
gesting the  circumstances  of  life  ol  the  time  possess 
a  peculiar  power  of  appealing  to  the  imagination. 
These  are  delightful  items  in  any  collection,  and 
where  this  sort  of  thing  is  united  to  exquisite  craft 
we  have  those  -ems  of  the  cabinet  which  are 
the  delight  of  every  real  connoisseur. 

Perhaps  the  ideals  of  to  day  area  little  antagonistic 
to  the  survival  of  qualities  which  mav  lie  termed 
"precious"  in  a  picture,  but  these  qualities  have  been 
so  long  out  ot  fashion  that  it  would  not  be  unreason 
able  to  look  lor  their  return  ;  and  in  any  case  the 
form  of  the  small  interior  portrait  picture  in  its 
invitation  to  invention  and  fancy  might,  without  any 
return  to  exhausted  conventions,  firing  about  a 
revival  of  that  sense  of  what  is  due  to  the  spectator 
of  a  picture,  beyond  a  mere  sketch  of  first  ideas, 
which  we  feel  to  be  wanting  in  so  very  many  artists 
at  the  present  time. 

87 


The  Colour-Prints  of  E.  L.  Lawrenson 


T 


] \  E  C  0  LOUR-PRINTS  O  F 
EDWARD  L.  LAWRENSON.  BY 
MALCOLM   C.  SALAMAN. 

If  one  happens  to  speak  of  modern  colour-prints 

to  a  collector  of  the  eighteenth-century  engravings 
printed  in  clours,  he  invariably  tells  one  that  he 
does  not  care  for  them,  that  they  cannot  be 
compared  with  the  old  ones.  A  little  talk  at 
cross-purposes  will  soon  show  that  we  are  think- 
ing of  quite  different  things.  His  idea  of  a 
modern  colour-print  is  a  copy  of  an  old  mezzo- 
tint engraving  after  Reynolds,  Romney  or  Hoppner  ; 
he  neither  knows  nor  imagines  any  other.  And  one 
sees  this  idea  encouraged  now  and  again  by 
references  in  newspaper  reports  of  the  sales  at 
Christie's  to  the  growing  'popularity  ot  the  modern 
coloured  engraving,  asso- 
ciated generally  with  the 
name  of  Mr.  Sidney  Wilson. 
But  the  modern  colour-print 
of  vital  artistic  interest  has 
nothing  to  do  with  these 
coloured  copies  of  old  mez- 
zotints :  it  is  an  original 
work  of  art  produced  en- 
tirelv  by  the  brain  and  hand 
of  the  artist.  And  this 
makes  it  so  difficult  for  the 
ordinary  collector  of  old 
prints  to  realise  ;  for  he  is 
rarely  called  upon  to  ap- 
proach prints  from  a  fresh 
artistic  standpoint.  Fashion 
and  Christie's  have  labelled 
all  the  old  favourites  for 
him;  but  fashion  and 
Christie's  have  as  yet  had 
nothing  to  say  to  the  modem 
movement  in  colour-engrav- 
ing as  a  medium  of  original 
pictorial  expression.  Yet 
this  movement  is  of  genuine 
artistic  significance  and  it  is 
constantly  revealing  new 
developments  in  the  rela- 
tions of  medium  and  expres- 
sion. One  vital  difference 
between  the  old  English 
colour-prints  and  the  new — 
apart  from  the  generally 
reproductive  character  of 
the  old — is  that  whereas  the 
old  were  never  designed  for 


colour,  but  were  invariably  printed  in  coloured  inks 
only  after  the  plates  had  become  too  much  worn  to 
give  good  monochrome  impressions,  the  modern 
original  colour-prints  are  conceived  from  the 
beginning  in  terms  of  colour.  This  was  also  the 
way  with  the  prints  of  Jacob  Christopher  Le  Blon, 
the  pioneer  of  true  colour-engraving  a  couple  ot 
hundred  years  ago,  and  it  was  the  principle  and 
practice  of  the  French  colour-engravers  of  the 
eighteenth  century.  Their  method  of  printing 
from  a  number  of  super-imposed  aquatint  plates, 
generally  with  outlines  of  soft-ground  etching,  is  in 
fact  the  same  practically  as  that  adopted  to-day  by 
many  of  the  makers  of  colour-prints. 

Of  these  not  the  least  interesting  and  successful 
is  Mr.  Edward  E.  Lawrenson,  some  of  whose  recent 
prints    are    reproduced    here.      A   painter   first  and 


THE   GATEWAY   OF   THE   HOCSE   OF   RABELAIS,    CHINOX."      BY    E.    1.    LAWRENSOK 


The  Colour-Prints  of  E.  L.  Lawrenson 


'  KEW    ISRIUCK    IK'  >M     Ism     .11-1 


BY    I'..    1  .    I  AW  l  i 


foremost,  he  has  been  for  some  years  expressing  his 
landscape  visions  upon  metal  plates  with  tones  of 
aquatint  printed  in  colours.  When  last  1  spoke  of  his 
prints,  in  The  Studio  of  August  191 1,  he  was  using  a 
single  plate  only,  and  painting  it  with  all  the  colours 
of  his  design  ;  but  his  own  artistic  sense  was  rarely 
satisfied.  He  found  his  intended  colour-harmonics 
seldom  quite  came  off  with  the  single  printings.  So 
he  made  further  experiments,  distributing  his 
colours  on  two  or  more  plates,  and  printing  these 
one  over  the  other,  somewhat  in  the  mannei  of 
the  old  French  colour-engravers.  At  thi 
time,  he  addressed  himself  to  obtaining  a  more 
sure  control  of  his  aquatint  grounds,  being  greatly 
aided  in  this  by  the  masterly  guidance  of  Sir  frank 
Short  at  the  School  of  Engraving.  The  happy 
result  "i  tins  ma)  be  seen  in  Mr.  Lawrenson'-.  latest 
print,  Gateway  of  the  House  of  Rabelais,  Ckinon,  in 
which  the  hot  sunlight  playing  upon  the  venerable 
stone  walls  is  depicted  with  admirabl)  balanced 
gradations  of  tone.  Mr.  Lawrenson  made  his  study 
tor  this  interesting  print  from  a  point  of  view  close 
under  the  walls  of  the  ancient  Chateau  of  Chinon, 
at  six  o'clock  in  the  morning,  for  only  at   that  hour 


could  Rabelais's   house,   which   stands   in  a   narrow 
street,   be  seen  bathed  in  sunlight.      Three    plates 
went  to  the  making  of  this  print.      In   the   In 
the    outlines    in    soft-ground    etching,   and    all    the 
darker  aquatint  tones  deeply  bitten.      The  second 

ontains  the  blue  of  the  glimpse  of  sky  and  of 
the  shadows  on  the  house,  as  well  as  some  ol  tin- 
dark  green  of  the  door.  The  third  plate  adds  all  the 
yellows  of  the  walls,  the  red  of  the  woman's  skirt,  and 
the  pink  of  her  Li<\-  and  arms.  It  will  be  seen  that 
Mr.  I .  iwrenson works  little  with  composite  ton 
so  far  he  has  found  a  maximum  of  three  plates suffi 
cientfor  his  simple  colour  schemes.  This  number  he 
used  also  for  Kew  Bridge  from  Brentford,  a  happilj 

ised  bit  of  that  historic  part  ol  the  I  hi 
subtly  atmospheric  in  tone.  The  darks  of  thi 
and  the  boal  >,  1  0  epting  the  I,  printed 

from   the   fust   plate:  all   the  grey  ami  the  1 
the  sky  and  the  water  from  the  second,  and  all   the 
yellows  of  the  sky  and  the  craft  as  well  as  the  red  of 
one  of  the  boats,  from  the  thin  finely 

conceived    landscape,     /'  '    the    Tarn, 

ri  pr0  in   ed  hei  ■  Mr.  Lawrenson  worked 

with    only    two    plates,    the    first    being    a    simple 


The  Colour-Prints  of  E.  L.  Lawrenson 


aquatint  as  if  intended  for  a  black  and  white  print, 
only  bitten  much  more  deeply  than  usual,  the 
second  containing  all  the  yellows  :  pale  yellow  for 
the  skv.  lemon  yellow  for  the  water,  and  orange 
for  many  of  the  rocks.  The  artist  has  been  very 
happy  in  his  subject  and  his  point  of  view,  which  is 
looking  south  of  the  Tarn,  above  the  spot  where 
the  banks  of  the  river  are  precipitous,  the  rocks 
being  rich  in  colour,  chiefly  yellow  and  black  tones, 
while  the  waters  of  the  Tarn  are  of  the  greenish 
tint  of  absinthe.  This  print,  with  its  suggestion  of 
the  river  winding  through  the  rocky  gorge,  and 
the  flat,  black-looking  table-land  above,  stretching 
away  to  the  horizon,  is  as  fine  in  pictorial  quality 
as  any  of  the  old  English  aquatints  by  the  Daniells 
and  their  contemporaries,  while  it  has  this  factor  ol 
artistic  superiority,  that,  whereas  they  were  coloured, 
either  entirely  or  for  the  most  part,  by  hand,  it  is 
printed  throughout  in  coloured  inks.  And  this 
may  be  said  generally  not  only  of  all  Mr.  Lawrenson's 
prints  but  of  all  the  original  colour-prints  of  to-day. 
So  punctilious  are  our  modem  artists  in  this  respect 
that  one  may  quote  a  print  of  Mr.  Theodore 
Roussel's  in  which  even  the  tint  of  an  eyeball  is 


printed  from  a  separate  plate,  while  another,  the 
splendid  L'Agonie  des  Fhi/rs,  needs  twenty-two 
superimposed  impressions  from  ten  different  plates 
to  complete  it. 

Mr.  Lawrenson's  prints,  however, are  much  simpler 
in  their  craftsmanship.  The  George  Inn,  Donhcstcr, 
for  instance,  a  charming  bit  of  old  English  domestic 
architecture,  which  has  made  its  pictorial  appeal  to 
many  artists — among  them,  I  believe,  the  late  Sir 
Lawrence  Alma-Tadema — is  a  very  engaging  print,  in 
which  the  harmonious  balance  of  tones,  with  delightful 
effect  of  sunlight  and  shadow,  has  been  achieved 
with  a  couple  of  plates  only,  the  one  printing  all 
the  tones  of  blue  and  green,  the  other  all  the 
browns  and  yellows.  Then,  there  is  the  attractive 
Dovedak,  looking  north  of  this  most  lovely  of  the 
Derbyshire  dales  from  close  to  the  Isaac  Walton 
Hotel.  In  this.  also.  Mr.  Lawrenson  has  depended 
for  his  effects  of  verdure  and  summery  atmosphere 
on  two  printings  :  first,  all  the  light  greens  from  one 
plate ;  next,  all  the  dark  greens  and  greys  from 
another. 

The  mediaeval  building  has  always  an  irresistible 
appeal  for  Mr.  Lawrenson,  although,  as  may  be  seen 


"THE   IRISH    KELP   BURNERS" 
90 


BV    E.    L.    LAWRENSON 


n 


<  < 

H  -1 


The  Colour-Prints  of  E.  L.  Lawrenson 


i  \RH   OF   THE   CHATEAU   OF    BRIGUE 


BV    K.    I  .    I   \\\  RENSON 


in  the  examples  of  his  work  given  here,  his  choice 
of  subject  is  varied,  and  determined  only  by  its 
ial  motive.  In  the  sunlight's  effect  upon  the 
impressive  Courtyard  of  the  Chateau  of  Brigue, 
with  its  arches  and  pillars,  and  its  sheltered  trees, 
found  a  capital  subject.  Here  in  mediaeval 
limes  lived  the  guardian  of  the  Simplon  Pass, 
whose  duty  it  was  to  keep  the  Pass  open,  resisting  any 
invasion  from  the  Italian  side;  but  Mr.  Lawrenson 
has   attempted   no  imaginative    re-creation  of  old 

turbulent  times.     The  presenl   pe of  the  place 

gested  his  motive,  and  the  woman  carrying 
irden  across  the  patch  of  sunlight  is  eloquent 
of   it.      Hut    the    blue  and  green   tones  only   were 
to  the  design  by  a  second  printing. 
Not    the    least   interesting   of   Mr.    Lawrenson's 
prints  is  The  Irish  Ac//  Burners,  a  subject 
which  he  has  also  painted  in  oils.     It  is  a  charac- 
teristic    scene    on    the    coast     ot     Antrim,    near 
i  ushendal,  where  the  people  will  gather  the  sea 
weed  on  the  shore  and  burn  it  in  a  stone  circle, 
throwing  it  on  to  the  lire   continuously  for   twi  Ivi 
at  a  stretch,   their  long  and  arduous   labour 
producing  kelp  residue  containing  iodine  perhaps 


to  the  value  of  fifteen  shillings.  But  it  was,  ot 
course,  the  pictorial  rather  than  the  economic 
significance  of  the  scene  that  engaged  the  artist's 
interest,  and  it  was  the  colour-values  of  the 
smoke  from  the  burning  kelp  against  the  atmo- 
spheric aspect  "I  sea  and  skj  that  evidently 
suggested  it  as  a  good  motive  for  a  colour-print. 

Now  that  Mr.  Lawrenson  has  gone  to  live  in  the 
clear,  dry  air  of  the  Sussex  I  (owns,  he  will  find  much 
less  difficult)  in  working  his  spirit-grounds  than  is 
inevitable  in  the  dust)  atmosphere  of  London  :  and 
after  all,  although  the  beautiful  old  French  aquatints 
of  Janinet,  Debucourt,  Descourtis,  and  the  rest, 
were  done  almost  entirely  with  dust-grounds,  there- 
is  no  question  that  the  spirit  ground,  which  was  our 
English  Paul  Sandby's  development  of  the  French 
invention,  gives  a  much  greater  luminosity  ol 
But,  when  all  is  said  lor  aquatint  as  a  medium  for 
colour  printing,  thi  re  remain  \  a  ivaj  i  the  disadvan- 
tagi  ol  deterioration  of  colour  through  the  chemical 
action  ol  the  met  il  upon  t,  which  is  in 

evitable  in  an  intaglio  process.  The  pun-  luminous 
colour  possible  in  prints  from  wood  blocks  is  quite 
unattainable  with  aquatint,  although  it  may  be  said 


The  Colour-Prints  of  E.  L.  Lawrenson 


that  Mr.  Lawrenson  certainly  manipulates  his  colours 
upon  his  plates  with  more  brilliant  effects  than  most 
of  the  makers  of  colour-prints  from  aquatint-plates, 
and  doubtless  that  accounts  for  their  exceptional 
success  in  America. 

Hut.  just  as  I  am  convinced  that  there  is  a 
prosperous  future  for  the  modem  colour-print  of 
original  pictorial  interest,  so  I  am  firmly  of  opinion 
that  the  most  promising  medium  for  it  is  either  the 
Japanese  way  of  wood-blocks,  or  Mr.  William  Giles's 
new  application  of  the  principle  of  relief-blocks 
to  metal-plates.  For  with  this  it  is  possible  to 
protect  the  pigment  from  the  blackening  effect 
of  the  metal  by  a  thin  coating  of  shellac,  and  so 
to  attain  results  of  beautiful  unadulterated  colour 
in  the  printing.  The  surfaces  of  the  metal — zinc 
preferably,  perhaps,  as  being  easier  to  work — 
intended  for  the  colour-shapes  of  the  design,  are 
produced  by  biting  away  with  acid  the  parts  not 
to  be  printed.  Different  portions  of  the  picture, 
according  to  the  colour-scheme,  are  so  treated  on 
usually  about  five  separate  plates,  and  these  are 
superimposed  in  the  same  way  as  wood-blocks  or 


aquatint  plates.  It  is  to  be  wished,  and  no  one 
wishes  it  more  than  Mr.  Giles,  that  artists  interested 
in  etching  or  engraving  for  colour  will  try  this  method 
and  help  to  develop  it,  for  it  is  at  present  only  in 
a  pioneer  stage.  I  believe,  however,  that  there  are 
rich  possibilities  in  the  method,  for  it  is  really  only 
the  question  of  colour-quality  that  prejudices  many 
artists  and  print  collectors  against  the  colour-print. 
And  certainly  these  are  justified  by  the  muddy  tones 
in  which  mezzotints,  aquatints,  and  even  line- 
etchings,  are  sometimes  pretentiously  printed. 
But  when  once  it  is  recognised  that  the  modern 
original  colour-print  can  give,  with  interesting 
pictorial  design,  the  charm  of  pure  and  luminous 
colour,  then  one  may  hope  that  it  will  be  accorded 
just  respect  as  a  legitimate  branch  of  art,  and  that 
even  the  Royal  Academy  will  consider  it  as  much 
wi  irthy  of  acceptance  as  a  mezzotint  copy  of  an  old 
mezzotint  translation  of  a  popular  picture.  Let  us 
hope  that  Mr.  Lawrenson  will  continue  to  devote  his 
admirable  pictorial  gifts  and  enterprising  craftsman- 
ship to  bringing  about  this  wider  recognition  of  the 
original  colour-print  of  to-day. 


94 


DOVEDALE."   BY  E.  I..  I..WVRENSON 


The  National  Gallery  of  Canada 


SOME  RECENT  PURCHASES  BY 
THE  NATIONAL  GALLERY  OF 
CANADA. 

The  National  Gallery  of  Canada  has  recently 
entered  upon  a  new  phase  of  existence.  It  has 
been  incorporated  by  Act  of  Parliament  and  is 
henceforth  to  be  governed  by  a  Board  of  Trustees 
on  somewhat  the  same  lines  as  its  great  English 
prototype.  There  is  everything  to  hope  from  such 
a  change  which  will  enable  it  to  exercise  a  far 
greater  influence  towards  proving  the  value  of  art 
in  the  daily  life  of  the  community. 

It  had  been  felt  for  some  time  that  in  the  recent 
progress  of  the  National  Gallery  of  Canada  the 
contemporary  school  of  British  painting  had  to 
some  extent  been  passed  by,  and  it  was  resolved 
that  an  effort  should  be  made  to  remove  the  re- 
proach. The  President  of  the  Trustees  and  the 
Director  proceeded  to  England,  and  I  trust  the 
following  list  will  show  that  at  least  the  nucleus 
of  a  fine  representation  of  contemporary  British 
painting  was  secured  as  the  result  of  their 
quest. 

To  begin  at  random.  The  McCulloch  sale 
at  Christie's  in  May  of  last  year  realised  four 
pictures — Charity  by  Frank  Brangwyn,  October 
by  D.  Y.  Cameron,  Wayside  Pasture  by  Austen 
Brown,  and  The  Pier,  Sunset  by  J.  Buxton  Knight. 
From  Mr.  Brangwyn's  studio,  swept  bare  of  all 
but  titanic  mural  decorations,  the  Director  had 
turned  disconsolately  away  a  month  previously, 
and  Charity  at  the  McCulloch  sale  came  as  a  hope 
revived,  and  then,  to  the  sound  of  the  hammer,  a 
hope  realised.  It  is  a  beautiful  blonde  example  of 
the  artist's  work,  of  wonderful  rhythmic  line,  tone 
gradations  and  pale  colour  harmonies  expressive  of 
its  simple  theme.  October,  by  D.  Y.  Cameron,  also 
came  when  hope  was  all  but  gone — a  golden  bronze 
picture  of  curious  horizontal  planes  and  harmonious 
mellow  distances,  rich  in  colour  and  lacking  the 
austerity  of  the  artist's  most  recent  work.  The 
Pier,  Sunset,  by  J.  Buxton  Knight,  shows  a  summer 
sea  with  its  pier  and  shipping,  bearing  the  golden 
path  of  the  sun:  while  the  Wayside  Pasture  of 
Austen  Brown  is  a  purely  decorative  treatment  of 
landscape  with  cattle,  of  big  design  and  strong  warm 
colour. 

Orpen  might  well  come  next  with  his  two  pictures 
The  Reflection  and  Mary.  The  Reflection  is  one  of 
his  mirror  pictures  and  is  remarkable  for  the  ex- 
quisite treatment  of  the  grey  bath  robe,  the  subtle- 
ties of  the  flesh  painting  in  the  nude  reflection 
and  for  some  inimitable  still-life  in  the  corner. 
96 


Mary  is  just  an  out-of-doors  child  with  golden 
tawny  hair,  faded  lilac  frock,  blue  eyes  and  rosy 
cheeks,  the  very  spirit  of  a  summer  day  on  an 
Irish  hillside. 

Glyn  Philpot's  Watcher  on  the  Roof  has  a  breadth 
and  dignity  of  effect  approaching  grandeur.  A 
solitary  figure  wrapped  in  a  shimmering  snakeskin 
robe  stands  monumentally  upon  the  ruof  against 
the  first  breaking  of  the  dawn  across  the  velvet 
eastern  night.  Impressively  conceived  and  simply 
executed,  this  painting  is  greatly  effective  and 
altogether  sincere. 

Another  treasure  from  the  mart  is  The  Lilac 
Gown  by  Charles  Furse.  This  is  an  oval  portrait 
of  Miss  Mabel  Terry  Lewis,  fresh  and  free  in  its 
handling  and  happy  in  its  conception  of  the  sun- 
shaded  face  and  sunsplashed  lilac  gown  in  a  garden 
landscape.  Tin  Lilac  Gown  is  one  of  the  last 
pictures  from  the  artist's  hand. 

The  list  proceeds  by  way  of  Charles  Shannon's 
Lady  in  Black  Fur,  a  circular  portrait  of  Miss 
Constance  Collier  of  charming  design ;  George 
Henry's  The  Connoisseur,  a  lady  in  blue  before  a 
lustrous  grey  wall  and  curtain ;  David  Muirhead's 
The  Dark  Night,  rich  and  warm  in  colour  and 
oi  transparent  sincerity ;  Gerald  Festus  Kelly's 
altogether  successful  study  of  a  Burmese  girl ; 
Mrs.  Swynnerton's  intensely  individual  head  of 
an  old  woman,  and  a  number  of  other  works  not 
less  interesting. 

This  is  not  all  by  any  means.  Beginnings  were 
made  upon  a  representation  of  the  Dutch  and 
German  etchers  of  the  sixteenth  and  seventeenth 
centuries.  The  representation  of  such  moderns  as 
Whistler,  Legros,  Zom,  Strang,  Muirhead  Bone, 
Charles  Shannon,  D.  S.  MacLaughlan.Yan  Angeren, 
Sir  J.  C.  Robinson  and  others  was  begun  or  added 
to,  and  now  as  I  write  these  lines — some  time  before 
they  will  appear  in  print — the  last  of  the  treasures  is 
catalogued  and  hung  ready  for  public  approval  of 
the  fruits  of  two  months'  work  upon  the  contem- 
porary British  painters. 

One  last  acquisition  and  I  have  done.  It  is 
Amesby  Brown's  landscape,  Ln  Suffolk,  which  was 
exhibited  at  the  Royal  Academy  last  summer  and 
has  already  been  reproduced  in  this  magazine.  It 
is  a  notable  example  of  the  artist's  work  and  worthy 
of  the  very  finest  traditions  of  the  British  school  of 
landscape  painting.  Bold  in  design,  incisive  and 
generous  in  its  handling,  it  has  an  incomparable 
richness  of  beauty,  and  is  at  once  peace-giving  and 
heart-satisfying  to  its  observers. 

Eric  Brown, 
Director,  National  Gallery  of  Canada. 


THE  CONNOISSEUR."     BY 
GEORGE    HENRY,  A.R.A. 


I 


"THE  REFLECTION."     BY 
WILLIAM   ORPEN,   A.R.A. 


THE   WATCHER   ON   THE   ROOF 
BY   GLYN   W.   PHILPOT 


"THE   DARK   NIGHT.' 
DAVID   MUIRHEAD 


BY 


CHARITY."     BY   FRANK  BRANGWYN,  A.R.A. 


THE   LILAC   GOWN."      BY 
CHARLES  W.  FURSE,  A.R.A. 


Spring  Exhibition  at  the  Kiinstlerhaus,   I  Henna 


T 


HE  STRING  EXHIBITION 
AT  THE  KUNSTLERHAUS, 
VIENNA. 


Tin  alterations  which  have  from  time  to  time 
been  made  in  the  arrangement  of  the  galleries  and 
the  hanging  and  spacing  of  the  exhibits  at  the 
Kiinstlerhaus  have  been  in  the  right  direction,  and 
bv  the  manner  in  which  they  have  proceeded  in 
these  matters  those  responsible  have  shown  that 
thej  were  fully  aware  of  the  necessity  for  reform, 
and  of  the  utter  unsuitability  of  the  old  methods  to 
the  requirements  of  the  modern  exhibition.  For 
some  time  past  the  practice  of  hanging  the  pictures 
in  one  line  has  been  in  operation,  and  now  the 
provision  of  vela  for  the  various  rooms,  the  colouring 
of  the  walls  with  neutral  tones,  and  the  hanging  of 
the  pictures  with  ample  space  around  them,  have 
added  materially  to  the  effectiveness  of  the  display. 
The  result  of  the  changes  is,  that,  although  the 
exterior  of  the  building  presents  nothing  new, 
nothing  modern — it  is  built  in  the  style  of  the 
Italian  Renaissance — the  interior  is  essentially 
modern  throughout,  for  the  last  stage  in  the  trans- 
formation has  been  achieved  :  the  pillars  of  the 
great  hall  have  been  removed  and  a  new  roof 
provided  which  admits  of  the  light  being  so  evenly 


diffused  that  si  ulpture  can  at  last  come  to  its  own 

in  ;ti  ad  of  being  hidden  in  semi  darkness.  I  he  two 
architects,  Hans  Jaksch  and  Siegfried  Theisz,  have 
performed  a  difficult  task  in  a  highly  satisfactory 
manner.  Such  further  changes  as  arc  projected 
will  not  affect  tin   manner  of  showing  the  exhibits. 

Perhaps  with  so  line  a  central  hall  at  the  disposal 
of  the  " Arrangement- Komitee "  the  disposition 
of  the  works  of  sculpture  in  the  recent  Spring 
Exhibition  might  have  In  mi  more  advantaj 
For  instance,  Karl  Wollek's  huge  kneeling  figure  in 
bronze,  forming  part  of  a  grave  monument,  would 
have  been  far  more  effective  had  a  central  place 
been  accorded  to  it.  This  is  the  finest  work  of 
sculpture  in  the  exhibition — and  indeed  one  of  the 
lust  of  our  time  :  the  sculptor  has  been  evidently 
inspired  by  the  magnificent  bronze  figures  in  the 
Church  of  the  Franciscans  in  Innsbruck.  A  charm- 
ing fountain  by  \Valter  Schott  lost  considerably  by 
being  brought  into  too  close  proximity  to  Wollek's 
bronze  and  at  the  same  time  impeded  a  proper  view 
<>l  tins  work.  Another  fault  was  the  hanging  of 
pictures  of  a  delicate  and  refined  character  as  a 
background  to  sculpture,  especially  as  works  of  a 
more  robust  texture,  which  would  have  shown  to 
advantage,  were  at  hand.  These  are  obvious  faults 
which  will  surely  not  be  repeated. 


CENTRAL    HALL,    KUNSTLERHAUS,   VIENNA,    AS    REARRANGED    BY    1I\N-    fAKSCH     \M'    511 

'°3 


Spring  Exhibition  at  the  Kunstlerhaus,   J  Henna 


The  portraits,  always  an  important  feature  of 
the  Kunstlerhaus  exhibition,  seemed  fewer  than 
usual  this  year,  no  doubt  because  the.}  were  better 
distributed  in  the  various  rooms.  Of  two  shown 
in  Quincy  Adams  one  was  a  portrait  of  the 
venerable  Emperor  Francis  Joseph,  who  graciously 
granted  the  artist  some  sittings,  and  for  the  other 
painting  two  of  the  Emperor's  descendants.  Princess 
Elizabeth  Windischgratz  and  her  little  daughter, 
were  his  sitters.  Though  painted  in  the  artist's 
well-known  manner,  with  verve  and  fine  feeling  and 
a  refined  sense  of  colour,  one  could  not  help 
feeling  that  in  both  of  these  works  he  had  fallen 
short  of  his  highest  standard.  Paul  Joanowitch 
also  exhibited  a  portrait  of  the  Emperor  which  was 
very  pleasing.  Rauchinger's  Portrait  of  a  Ladyhas 
deservedly  won  high  praise  ;  in  it  he  has  shown  his 
penchant  for  deep  rich  colour,  and  the  whole  is 
handled  with  the  directness  and  assurance  charac- 
teristic of  this  artist's  work.  Schattenstein's  two 
portraits  of  ladies  revealed  fine  qualities.  Wilhelm 
Victor  Krausz  contributed  three  portraits.  That  of 
Fran  Paula  S.  is  remarkable  for  its  delightfully  har- 
monious colour  and  simple  handling,  and  his  Youth 
in  the  person  of  Fraulein  Helena  Kramer-Gldckner 
is  also  extremely   charming  in    its   colour-scheme 


of  white  and  pale  violet.  Among  others  whose 
portrayal  of  the  gentler  sex  should  be  named  are 
Theodor  Carl,  Ritter  von  Blaas,  who  showed  an 
excellent  portrait  of  Countess  Coudenhove,  a 
Japanese  lady  in  Japanese  dress,  and  Ludwig 
Michalek.  Victor  Stauffer's  portrait  of  Leopold 
von  Lieben,  Victor  Scharf's  portrait  of  Herr  Low- 
Beer,  Marie  Rosenthal-Hatschek's  portrait  of  her 
brother,  the  celebrated  pianist,  Herr  Rosenthal, 
and  Rudolf  von  Mehoffer's  portrait  of  Herr  Josephy 
were  prominent  examples  of  male  portraiture,  and 
of  special  interest  among  works  of  this  kind  was 
Cottet's  portrait  of  the  painter,  Lucien  Simon, 
remarkable  for  the  strength  and  vigour  of  treatment. 
Both  Leopold  Horovitz  and  Prof,  von  Angeli, 
were  well  represented. 

In  genre  painting,  always  a  great  feature  at  the 
Kunstlerhaus,  several  works  of  distinctive  merit 
call  for  mention.  Among  them  Jehudo  Epstein's 
Thirsty  Throats  decidedly  merits  the  first  place, 
for  it  is  a  work  of  remarkable  vigour,  excellent 
alike  in  drawing  and  composition,  and  rich  in 
colouring.  Hans  Larwin  presented  the  true 
Viennese  note  in  his  Die  Poldi  von  Prater, 
Naschmarkt,  and  his  Nach  der  Assentierung  in 
Erdberg,  which  breathes  of  the  essence  and  joy  of 


"thirsty  throats' 
104 


OIL   PAINTING    BY  JEHUDO   ErSTEIN 


YOUTH."     OIL    PAINTING 
BY    W.   VIKTOR   KRAUSZ 


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Spring  Exhibition  at  the  Kunstlerhaus,   llama 


"WINTER    SUN,    MONICHKIRCHE»i 


OIL    PAINTING    KV   THOM.' 


youth  after  presentment  for  conscription.  Othmar 
Ruzicka  again  contributed  studies  of  life  among  the 
Slovaks,  in  the  depicting  of  which  he  has  deservedly 
won  much  fame,  and  Joh.  Nep  Geller  in  his  market 
scenes  in  various  lands  displayed  that  happy  feeling 
for  colour  for  which  he  is  noted. 

Landscape  painting  is  an  old  tradition  among 
Viennese  artists.  Round  about  the  city  so  much 
of  interest  may  be  seen,  almost  every  variety  of 
scenery  is  to  be  found — hill  and  forest  and  wide 
stretches  of  open  country — and  here,  without  a 
hint  of  the  toil  and  moil  of  town  life,  one  can  find 
relief  in  an  atmosphere  of  calm  and  repose.  For 
the  artist  it  is  truly  a  happy  hunting-ground.  Many 
of  the  scenes  depicted  at  the  recent  exhibition  are 
but  an  hour's  walk  from  the  city,  and,  in  fact,  form 
a  part  of  the  capital.  Thus  Karlinsky's  Sonntag  in 
Franz-Josef sland in  Wien  is  Vienna  in  feeling  and  in 
atmosphere  :  it  is  Vienna  folk-life  such  as  may  be 
encountered  in  any  part  of  the  metropolis.  Kar- 
linsky  has  caught  the  very  note,  translated  it  into 
108 


his  own  thoughts,  and  rendered  it  in  essence. 
Take,  again,  the  Autumn  Sun,  by  Hugo  Darnaut, 
the  President  of  the  Kunstlerhaus.  This  is  a  scene 
from  the  Vienna  Forest  Hills,  a  place  easily  reached 
on  foot,  yet  what  a  halo  of  peace  and  beauty 
reigns  over  all  !  It  is  a  picture  almost  pastoral  in 
its  quiet  beauty,  in  its  simplicity  and  loveliness  of 
colouring.  Max  Suppantschitch's  special  domain  is 
the  Wachau,  a  part  of  the  Danube  which  vies 
successfully  with  the  most  beautiful  part  of  the 
Rhine,  and  his  pictures  of  that  region  are  always 
greatly  appreciated,  as  are  Robert  Russ's  old 
gardens  in  combination  with  ancient  architecture. 

Oswald  Grill  is  rapidly  advancing  in  his  art ; 
disappointment  has  luckily  urged  him  to  higher 
things,  and  in  his  Was  die  Wirbel  erzahlen  (What 
the  Whirlpools  are  telling)  we  have  a  picture  in- 
spired by  a  true  poetical  temperament  and  poeti- 
cally handled — a  real  lyric,  in  fact.  Thomas  Leit- 
ner's  two  pictures,  ///  a  Far  Country,  an  imaginative 
composition,  and  //  'inter  Sun,  Monickkirchen,  were 


"OLD   LOVRANA."     OIL   PAINTING 
BY   STEFAN   SIMONY 


Spring  Exhibition  at  the  Kunstlerhaus,   Vienna 


remarkable,  one  tor  'the  charm  of  feeling  and 
beauty  of  the  inspiration,  the  latter  for  its  remarkable 
strength  of  treatment,  the  vigour  of  the  brushwork 
and  the  tine  feeling  for  decorative  effect.  Gustav 
B5hm's  picture  of  Boskowitz  gives  us  a  glimpse  of 
a  Moravian  village,  with  all  its  characteristics  and 
mellowness  of  tone.  His  miniature  sketch  of  the 
Luxembourg  Park  in  Paris  was  in  its  way  a  gem. 
Ferdinand  Brunner  exhibited  but  one  picture,  a 
work  of  great  beauty  and  charm,  the  subject  one  of 
those  long,  low  lonely  houses  which  he  delights  in 
depicting.  Of  Stefan  Simony's  pictures  of  ancient 
architecture  in  old  streets  that  of  Old  Lovrana  on 
the  Austrian  Riviera  is  a  fine  example ;  it  is 
admirably  drawn,  and  harmonious  both  in  line  and 
colour.  Karl  Ludwig  Prinz's  Der  Sterbende  Tag,  a 
tender  and  sincere  representation  of  the  dying  day, 
and  Emanuel  Baschny's  Vor  dem  Gewitter,  an  emo- 
tional rendering  of  an  approaching  storm,  deserve 
particular  mention.  Eduard  Zetsche,  Rudolf 
Konopa,  Richard  Freiherr  von  Drasche,  Eduard 
Ameseder,  Alfred  Zoff,  Adolf  Schwarz,  Carl  Kaiser- 


Herbst,  and  Carl  Onken,  are  other  landscape  painters 
whose  works  added  to  the  interest  of  the  exhi- 
bition. 

Besides  the  painters  above  mentioned,  there  are 
others  whose  work  as  displayed  at  the  Kiinstler- 
haus  is  worthy  of  remark,  but  space  will  only  suffice 
to  mention  a  few  names  :  Friedrich  Beck,  Hugo 
Charlemont,  Carl  Fahringer,  Alexander  Goltz,  Hans 
Frank,  Carl  Fischer-Koystand,  Leo  Delitz,  Ernst 
Graner,  and  Albert  Janesch  (who  exhibited  for  the 
first  time  and  whose  Children  of  the  Roman 
( 'ampagna,  showed  true  psychological  penetration), 
Karl  O'Lynch  of  Town,  Heinrich  Tomec,  Erwin 
Puchinger,  Hans  Ranzoni,  Marie  Arnsberg,  and 
Gustav  A.  Hessl  ;  also  Isidor  Kaufmann,  whose 
studies  of  Jewish  types  are  full  of  energy  and  strength 
of  purpose,  and  reveal  a  fine  poetical  penetration. 
Nor  must  YVilhelm  Legler's  interior  pictures  with 
vistas  of  gardens  with  flowery  beds  beyond  be 
omitted ;  virile  in  their  pulsation  of  colour  and 
brushwork,  they  were  decidedly  attractive  items  in 
the  exhibition. 


"SUNDAY    IN    FRAN!   I-   JOSEPH'S    LAND,    VIENNA' 
I  IO 


OIL   PAINTING    BY   ANTON    H.    KARLINSKY 


P<  iK  i  RA1  1'   OF   FRAU    PAULA   S." 
BY   W.   VIK  rOR    KRAI'S/ 


Spring  Exhibition  at  the  Kunstlerhaus,   I  Henna 


WHAT    THE    WHIRLPOOLS    AKE    TELLING 


OIL    PAINTING    BY    OSWALD    GRILL 


In  the  section  of  graphic  art  some  very  good 
work  was  shown  by  various  artists,  such  as  Tanna 
A.  Kasimir-Hoemes,  Luigi  Kasimir,  Ludwig 
Hesshaimer,  Prof.  Ludwig  Michalek,  Emil  Singer, 
Ferdinand  Gold,  and  Josef  Krzal. 

Additional  interest  was  lent  to  the  exhibition  from 
the  fact  that  three  of  the  rooms  were  set  apart  for  the 
Hungarian  artists  belonging  to  the  "  Muveszhaz," 
Association  of  Budapest,  whose  works  have  never 
yet  been  shown  at  the  Kunstlerhaus.  The  group 
consists  of  artists  who  have  separated  from  the 
Royal  Society,  Budapest,  and  others  who  have 
never  belonged  to  it.  Many  of  the  pictures  shown 
were  the  property  of  the  Royal  Gallery  of  Fine 
Arts,  Budapest,  or  private  collectors,  and  some 
were  painted  many  years  ago.  The  Hungarian 
guests  were  admitted  on  the  same  terms  as  the 
Austrian  artists,  and  much  good  work  was  to  be 
seen,  the  chief  exhibitors  being  Rippl-Ronai,  Franz 


<  •lgyay,  Aladar  Kriesch-Korflsfoi,  Zoltan  Csaktornay, 
Ladislaus  Kezdi-Kovacs,  Karl  Kernstock,  Johann 
Vaszary,  Julius  Kosztokinyi,  Ferdinand  Katona, 
I  lasar  Kunwald,  Oszkar  Glatz,  Paul  Javor,  and 
Stefan  Csok. 

On  the  whole  the  recent  exhibition  presented  a 
very  distinguished  appearance,  and  now  that  the 
Kunstlerhaus  members  are  so  advanced  in  their 
method  of  displaying  works  of  art,  it  is  to  be  hoped 
they  will  pursue  the  liberal  policy  which  used  to 
lend  interest  to  the  Secession  exhibitions,  that  of 
inviting  artists  of  other  nationalities  to  exhibit. 
Since  the  Hagenbund  Society,  which  took  up  the 
discarded  mantle  of  the  Secession,  was  deprived  of 
its  exhibition  building  we  have  seen  but  few 
foreigners,  so  that  if  the  Kunstlerhaus  will  come 
forward  and  do  what  the  Hagenbund  is  now  unable 
to  do  it  will  be  rendering  a  signal  service  to  the  cause 
of  art  in  Vienna.  A.  S.  Levetus. 


Recent  Designs  in  Domestic  Architecture 


R 


ECENT  DESIGNS  IN  DOMESTIC 
ARCHITECTURE. 


'  The  illustrations  we  now  give  under  this 
head  are  of  country  houses  of  various  dimensions 
and  diverse  design  and  situation,  but  before 
describing  them  we  should  like  to  refer  briefly  to 
a  point  raised  in  a  communication  from  an  archi 
tect  holding  an  official  position  in  a  Midland 
town,  who  thinks  that  the  country  house  has  re- 
ceived an  undue  share  of  attention  of  late  in 
journals  concerned  with  domestic  architecture,  and 
that  the  problem  of  the  small  terrace-house  or 
detached  suburban  house  with  a  narrow  frontage 
has  been  unduly  neglected.  An  explanation  is 
not  far  to  seek,  however.  For  some  years  past 
large  numbers  of  wealthy  and  moderately  well-to- 
do  people  have  given  up  living  in  town  and  had 
houses  of  varying  dimensions  built  for  them  in 
more  rural  surroundings,  and  most  of  them  have 
been  wise  enough  to  avail  themselves  of  the  services 
of  experienced  architects.  On  the  other  hand  the 
problem  of  the  terrace-house  in  town  or  suburb 
lias,  as  our  correspondent  recognises,  been  left  in 


the  hands  of  the  speculative  builder,  but  that,  we 

are  sure,  is  not  because  of  any  reluctance  on  the 
part  of  architects  to  deal  with  this  class  of  dwelling 
but  because  the  economic  conditions  hitherto  pre- 
vailing have  militated  against  their  co-operation  on 
any  extensive  scale,  and  consequently  throughout 
the  thousands  of  acres  that  have  been  covered  with 
terrai  e-houses,  semi-detached  "villas"  and  kindred 
types  of  dwellings  round  about  our  big  towns  in  the 
course  of  the  past  ten  or  twenty  years,  only  in  com- 
paratively few  cases  have  the  services  of  competent 
architects  been  enlisted.  The  "  garden  city " 
movement  has,  of  course,  afforded  the  architect  an 
opportunity  of  co-operating  in  the  erection  of  houses 
of  this  class,  and  the  "  town-planning  "  movement 
may  open  up  further  possibilities  in  this  direction 
in  the  future,  but  at  present  what  with  the  greatly 
increased  cost  of  building  and  the  burdens  and 
restrictions  imposed  by  the  legislature,  the  conditions 
seem  to  be  less  favourable  than  they  have  been 
for  any  general  improvement  in  the  type  of  house 
to  which  our  correspondent  refers. 

The   pen   and   ink    sketch    on    this  page    is    ol 
a  small  country  house  designed  by  Mr.  Harold   F. 


SMALL    HOUSE   AT   SHIPHAM,    SOMERSET 


Recent  Designs  iu  Domestic  Architecture 


Trew,  architect  of  Gloucester,  and  now  in  course  of 
erection  on  the  Mendip  Hills  near  Cheddar  in 
Somerset.  Local  conglomerate  stone  is  being  used 
for  the  walling,  and  the  loggia  will  be  paved  with 
similar  material.  The  joinery  throughout  is  to  be 
finished  white,  the  windows  glazed  with  lead  glazing 
in  iron  casements.  The  roof  will  be  covered  with 
pan  tiles.  The  cost  of  construction,  including 
drainage  and  connection  to  the  water  supply  of  the 
village,  will  work  out  about  ^650.  The  plan  is  a 
comparatively  simple  one  and  provides  for  a  parlour 
of  seventeen  feet  by  twelve  feet  three  inches,  a 
living  room  of  slightly  smaller  dimensions,  and  a 
kitchen  with  the  usual  offices  appropriate  to  a  house 
of  this  character  on  the  ground  floor,  and  three 
bedrooms  on  the  floor  above,  of  which  two  corre- 
spond in  dimensions  to  the  two  rooms  below  with  a 
difference  of  a  few  inches  in  one  case. 

"  Piper's  Croft,"  of  which  we  give  a  perspective 
view   and  plan,   has    been    built   for    Mr.   Stewart- 
Liberty  from    the   designs  of  Messrs.    Kemp  and 
How  of  Bloomsbury  and  occupies  a  site  about  six 
hundred  feet  up  on  the  Chiltern  Hills  with  a  slope 
to  the  south.      It   is    built   of  local   bricks   from 
various  kilns  and  they  have  been  burnt  in  such  a 
way  as  to  obtain  a  mixture  of  tints.     Parts  of  the 
building  have  been  carried  out  in  solid 
oak  half-timber  work  to  give  the  ap- 
pearance  of  growth,   and  the   owner 
was  fortunate  in  having  some  nice  old 
hand-made   tiles  which  were  utilized 
to  advantage.     The   main  feature  in 
the   internal  portion  of  the  house   is 
the   hall,   which   is   designed   as   the 
principal    living-room,    the 
dining-room  being  very  small 
and  used  simply  as  a  recess 
for  meals,  and  the  parlour  as 
a    private    retiring-room    for 
the  lady  of  the  house.     The 
"  den "   is    fitted   out    as    a 
writing-room.     The  hall  has 
an  open  timbered  roof  with 
side  corridors    on    the    first 
floor  fitted  with  leaded  lights 
through  which  a  view  is  ob 
tained   of  the  space  below. 
The  fireplaces  in  this  house 
have   been    carried     out    in 
local   stone,    and   even'  en- 
deavour has  been  made  as 
far  as  possible  to  use  local 
material  only  throughout  the 
construction.    All  the  fittings 
116 


have  been  specially  designed  and  carried  out  locally, 
the  wrought  ironwork  having  been  done  by  the  local 
smith.  Six  rooms  have  been  provided  on  the  first 
floor.  The  garden  has  been  carried  out  in  the 
same  spirit  as  the  house,  the  paths  being  laid  with 
York  stones  and  bricks  and  kept  somewhat  formal 
round  the  house.  A  picturesque  effect  has  been 
obtained  by  introducing  a  cobble-paved  courtyard, 
local  stone  being  used  for  the  purpose.    The  petrol 


GROUND    PLAN    OF    "  PIPERS   CROFT,"   THE    LEE,    GREAT    MISSENDEN,    BUCKS. 
W.    J.     KEMP    AM)    W.    M.    HOW,    FF.R.I.B.A.,    ARCHITECTS 


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Recent  Designs  in  Domestic  Architecture 


store  has  been  placed  in  the  corner  of  the  courtyard 
in  order  to  balance  the  grouping  :  it  has  also  been 
adapted  as  a  pigeon  cote.  There  is  a  raised 
terrace  on  the  south  side  paved  with  red  bricks 
laid  in  patterns,  the  main  roof  being  brought  over 
to  form  a  shelter  so  that  meals  can  be  served  here 
in  the  summer  months. 

The  majority  of  architects  in  the  course  of  their 
practice  conic  to  specialise  in  one  or  other  type  of 
building  and  Messrs.  Gerald  Unsworth  and  Inigo 
Triggs  have  devoted  their  attention  to  the  develop- 
ment of  domestic  architecture  upon  the  broad 
traditional  lines  that  marked  the  buildings  of  the  late 
William  Frederick  Unsworth,  examples  of  which 
have  been  illustrated  in  this  magazine  and  in  "The 
Studio  Year  Book  of  Decorative  Art''  at  various 
times.  A  country  house  recently  erected  from  their 
designs  is  shown  in  the  coloured  illustration  here 
given.  Stoke  Barn  is  a  typical  example  of  a  woodland 
house,  and  every  care  has  been  taken  to  preserve 
the  natural  surroundings  of  a  singularly  beautiful 
site.  It  will  be  seen  that  the  site  of  the  house 
itself  covers  a  considerable  area,  the  length  from 
end  to  end  being  about  175  feet.  The  irregularity  of 
the  plan  has  been  suggested  by  the  aspect  and  views, 
and  it  will  be  observed  that  the  principal  room  is 
so  placed  as  to  get  a  maximum  of  sunlight  and  air. 
As  befits  a  house  on  such  a  site,  half  timbered 
construction  enters  largely  into  the  design.  The 
difficulties  of  obtaining  thoroughly  seasoned  oak 
led  the  architects  to  make  use  of  oak  timbers  from 
old  buildings  weathered  to  a  fine  silvery  hue,  and 
the  internal  oak  floors  were  also  obtained  from  old 
buildings.  The  roof  is  of  old  stone  slates,  which  in 
their  delightful  variety  of  colouring  give  the  house 


a  homelike  appearance  hardly  attained  in  other 
ways.  By  the  use  of  old  materials  of  this  kind 
much  of  the  charm  of  an  old  house  is  obtained 
from  the  very  first.  The  external  walls  are  of  hand- 
made bricks  whose  purplish  tone  is  lightened  by 
dressings  of  a  brighter  colour  and  also  by  the 
occasional  use  of  stone.  Stables  and  garage  lie  to 
the  left  of  the  forecourt  and  have  been  contrived 
to  group  pleasantly  with  the  house  and  as  far  as 
such  buildings  permit  have  been  brought  into 
obvious  relation  with  the  main  building.  Oak  and 
teak  enter  largely  into  the  construction  of  the 
house  and  the  walls  of  the  principal  rooms  have 
been  lined  with  small  Dutch  bricks. 

The  villa  near  Dresden  designed  by  the  architect 
Dr.  Otto  Schubert  (p.  121)  is  situated  on  the  side  of 
a  hill  looking  due  south  and  commands  a  very  wide 
view  over  the  valley  of  the  Elbe,  two  cogent  reasons 
for  arranging  all  the  living  rooms  along  the  one  side  of 
the  house.  Even  in  the  suburbs  of  a  town  and  even 
on  the  slope  of  a  hill  like  this,  the  one  thing  that  is 
expensive  in  Germany  is  ground  :  therefore  archi- 
tects are  compelled  to  devise  compact  ground  plans 
and  cannot  spread  a  house  over  as  much  ground  as 
English  architects  can.  The  roof  is  covered  with 
flat,  red  tiles  in  double  layers,  the  rough-cast  walls 
are  tinted  a  delicate  pinkish  white,  the  lineal  designs 
in  the  upper  stories  being  incised  in  the  surface  and 
the  square  grooves  painted  a  deep  yellow  ochre. 


GROUND      FLOOR      PLAN 


GROUND    FLOOR    PLAN    OF    STOKE    BARN,    FCLMF.R 
Il8 


GERALD    UNSWORTH    AND    INIGO    TRIGGS,    ARCHITECTS 


O  cr 
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Recent  Designs  in  Domestic  Architecture 


This  same  colour  is  used  for  the  backgrounds  oi  th< 
relief  medallions  over  the  arches  of  the  veranda — 
which  are  by  Prof.  Hermann  Schubert  —  repre- 
senting naked  youths  with  the  emblems  of  the 
pleasures  of  a  villeggiatura-life,  music,  sport,  wine 
\.  .  The  strength  of  the  design  of  the  facade  lies 
in  the  exquisiteness  of  its  proportions,  and  the 
careful  delicacy  of  the  moulding  of  its  single  parts. 
1  >r.  Schubert  i>  exceptionally  gifted  in  this  din 
fust  as  a  Meunier  or  a  Rodin  infuses  so  much 
breadth  and  power  in  a  small  bronze  that  the 
reproduction  of  it  looks  like  the  reproduction  of 
a  life-size  statue,  so  Dr.  Schubert  casts  his  compara- 
tively small  houses  in  a  large,  quasi-monumental 
mould.  This  appears  plainly  even  in  the  accom 
paining  view  :  when  seen  from  the  other  side  of 
the  river,  the  house  looks  like  a  small  chateau — but 
it  only  contains  six  rooms  (the  largest  but  twenty-five 
feet  long),  besides  the  offices  &c.  The  staircase 
hall  is  decorated  by  a  large  stained  glass  window, 
which  Otto  Fischer  designed  in  1899.  and  which  was 
reproduced  in  The  Studio  in  the  following  year. 
The  house  is  heated  by  a  fresh-air  central  heating 
plant,  which  apart  from  economical  reasons  is 
advantageous   tor  the  fart  that  it  does  away  with 


pipes  .ind  the  ugl)  apparatus  supplying  the 
oi   stoves   in   the  other  system.     Fireplaces, 
however,  are  also  provided,  thou|  or  senti- 

mental reasons  than  to  supply  an   actual  necessity, 
but  where  they  have  been   fixed   they   havi 

_■  (1  ti  ir  wood  fires  only. 

W'lnl-                                      cs  are  emb died  in 

the  villa  just  described,  thosi    wl  tied  in 

the  excellent  drawing  reproduced  on  p.  1::  belong 

to  a  markedly  different  typi  architec- 


VII  I. A    M.  u;    DR  ESDI  ( 


HL'BEB  1  .    ARCHITEl   I 

I  2  I 


Recent  Designs  in  Domestic  Architecture 


ABCH1TBKT    RRANTfcFK  KRASNY 
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CHALUPA  ,VDKROUHLJCE,' 
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'  OUN  1  KV    HOUSE    IN    Bl  IHEMIA 


DESIGNED    FY    FRANZ    KRASNY,    ARCHITECT 


ture.  The  design  of  this  little  country  house  in 
Bohemia  is  in  sympathy  with  the  style  of  archi- 
tecture indigenous  to  a  country  peopled  by  a 
Slav  race  and  permeated  by  Slav  traditions.  The 
locality  in  which  the  house  has  been  built  is  full  of 
romantic  associations,  and  is  also  interesting  as 
having  been  the  headquarters  of  the  Hussite 
leader  Ziska.  The  house  stands  in  close  proximity 
to  the  river,  the  site  being  on  a  hill  some  hundred 
and  fifty  feet  above  it.  Simplicity  is  the  keynote 
of  the  design,  both  without  and  within.  The  wood 
used  in  the  construction  of  the  gables  is  of  local 
origin,  the  district  being  one  abounding  in  timber, 
and  old  tiles  have  been  used  for  the  roof.     The 


plan  of  the  house  is  as  nearly  as  possible  square, 
the  length  of  the  sides  being  approximately  thirty- 
six  feet.  It  is  arranged  in  two  stories,  the  lower 
one  containing  a  large  sitting-room  (vel&d  sednice) 
used  as  a  general  living-room,  a  smaller  one  com- 
municating with  it  {maid  sednice),  a  kitchen  (kuchyne) 
and  other  offices,  the  stove  being  built  in  the  wall 
dividing  the  kitchen  from  the  big  living-room, 
and  thus  doing  double  duty ;  while  the  upper 
story  is  reserved  for  sleeping  apartments,  bath- 
room, &c.  The  principal  rooms  have  as  usual 
been  placed  on  the  sunny  side  of  the  house. 
The  architect,  Franz  Krasny,  is  a  Czech  but  prac- 
tises in  Vienna. 


LEAVES   FROM   THE   SKETCH-BOOK 


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ARTHUR  TUCKER,  R.B.A. 


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Studio-  Talk 


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By  Arthur  Tucker,  R.B.A. 


STUDIO-TALK. 
(From   Our  Own   Correspondents.) 

LI  >N  I  K  »N.  -The  New  English  Art  Club's 
recent  exhibition  was  notable  for  the 
interest  displayed  in  the  decorative  effect 
-'  of  a  picture.  This  is  a  change  from 
the  casual  attitude  of  Impressionism  towards 
the  problem  of  composition.  When  feeling  for 
decoration  is  expressed  throughout  the  entire 
method  of  making  a  picture  we  have  something 
which  is  a  distinct  gain  to  art.  Unfortunately  in 
many  of  the  canvases  in  the  New  English,  where 
painters  trained  as  realists  have  come  in  under  the 
influence  of  Post-Impressionist  theory,  the  artists 
have  contented  themselves  with  a  purposeful 
unreality  of  colour  in  the  name  of  decoration, 
grafted  on  to  draughtsmanship  and  composition  in 
which  resemblance  to  reality  has  been  the  initial 
aim.  There  were  whole  groups  of  pictures  1>\  the 
newer  school  exhibiting  with  tin-  ( 'lub  that  expressed 
this  mixture  of  reality  and  unreality,  and  seemed  to 
point  to  a  fundamental  inability  toapprei  iate  decora- 
lion  as  an  art.  For  this  reasi  >n  it  is  mi  ire  pleasant  to 
the  work  nearer  to  the  tradition  of  the  New 
English  Art  Club  itself  in  the  canvases  <>t  Mi. 
Wilson     Steer,     Mr.     McEvoy,     Mr.     Tonks,     and 

OtlltTv 


Among  pictures  which  should  be  mentioned  as 
contributing  to  the  success  of  the  exhibition  were 
Fruit  Sorters  by  Mr.  Mark  Gertler ;  A  Sussex 
Farm  by  Mr.  Ronald  Gray  ;  Women  folk  of 
Barge  ijori  by  Mr.  Charles  Stabb ;  The  Stables, 
Belvoir  by  Mrs.  Ralph  Peto ;  The  Valley  of  the 
Crouch  by  Miss  Alice  Fanner  :  Blaenau  Festiniog 
and  The  Black  Lake  by  Mis>  Elsie  McNaught; 
The  Lesson  by  Mr.  F.  H.  S.  Shepherd  ;  The  Pink 
Cottage  by  Mr.  Maxwell  Armfield  ;  By  the  Stream 
by  Mr.  E.  E.  Brockhurst ;  Preparation  for  a  Party 
by  Mr.  Fairlie  Harmar  ;  A  Bunch  <//'  Artificial 
Flowers  by  Mi^s  Ethel  Elder:  Richmond  Castle  by 
Mr.  David  Muirhead  ;  Blossom;  sun  and  mist, 
Chippenfield 'by  Mr.  Lucien  Pissarroj  .//  Bodinit 
by  Mr.  Joseph  Southall,  which  we  reproduce; 
rsation  piece  by  Mr.  Randolph  Schwabe; 
View  *'rom  the  Ramparts,  Montreuil  by  Mr.  A. 
I  lay  ward.  

Perhaps  thi  important  pictures  of  the 

exhibition  were  Mr.  Wilson  Steer's  A  Summer 
Evening,  a  lyrical  representation  of  nudes  in 
golden  light  in  an  atmospheric  landscape,  and 
Mr.  Walter  Sickert's  Ennui  a  canvas  of  a  much 
larger  size-  than  Mr.  Sickert  generally  paints  and 
one  in  which  the  figures  of  commonplace  human 
types    have    been    interpreted    in  a  simple   interior 

i  -o 


Studio-  Talk 


scene  with  sinister  insight  into  the  emptiness  of 
some  people's  lives  and  with  a  masterly  directness  of 
style.  Mr.  C.  J.  Holmes  perhaps  touched  his  high- 
watermark  in  Craig-y-Sythe,  Llanbodr,  but  he wasalso 
interesting  in  The  Burning  Kiln,  the  composition  of 
which  will  be  appreciated  in  our  reproduction. 
Another  interesting  picture,  reproduced,  is  Mrs.  E. 
G.  Wheatley's  The  Interruption.  Mr.  C.  M.  Gere 
exhibited  this  year  with  greater  success  than  he  has 
ever  previously  attained,  in  the  type  of  landscape 
which  he  has  peculiarly  identified  with  his  name. 
Mr.  F.  H.  S.  Shepherd's  Head  of  a  Young  Girl. 
Mr.  Eric  George's  Return  of  the  Dove  to  the  Ark, 
Mr.  Allan  Gwynne-Jones's  The  Old  Shepherd  and 
Mr.  E.  Butter's  Still  Life  we  are  reproducing  and 
the  reader  will  be  able  to 
appraise  in  them  qualities 
of  design  which  entitle  them 
to  be  singled  out. 


what  he  believed  to  be  his  duty,  and  he  laid  down 
so  plainly  the  lines  along  which  he  believed  the 
whole  of  his  effort  ought  to  run,  that  his  pictures 
must  all  be  taken  as  equally  important  illustrations 
of  his  own  personal  creed  and  as  helping  each  one 
to  make  his  position  in  the  art  world  more  intelli- 
gible. His  artistic  outlook  varied  little  throughout 
his  life,  and  his  pictures  vary  only  in  the  degree  of 
command  over  technical  devices  which  is  revealed 
in  them.  The  precision  and  exactness  of  touch 
which  was  characteristic  of  his  work  in  his  earlier 
years  gave  way  later  to  freer  and  more  spontaneous 
methods,  to  a  broader  technical  quality  and  a  more 
suggestive  manner  of  handling  ;  but  to  the  last  the 
princiules  by  which  he  was  guided  remained  un- 


The  water-colours  and 
drawings  were  perhaps  of 
less  interest  this  year  than 
is  commonly  the  case  in  the 
New  English  exhibitions, 
though  The  Municipio, 
Florence  by  Mr.  F.  S. 
Umvin  ;  The  Grand  Canal, 
Venice  and  Venice,  Ponte 
dei  SS.  Atostoli  by  Mr. 
Muirhead  Bone;  The 
Boxers  by  Mr.  W.  Roberts  ; 
Richmond  Castle  by  Mr. 
David  Muirhead;  The 
Dislocated  Elbow  by  Mr. 
Henry  Tonks ;  Anemones 
by  Mr.  E.  Best ;  Flower 
Study  by  Miss  Amy  Kraus, 
and  the  drawings  of  Mr. 
McEvoy  are  all  things  to  be 
remembered  with  delight. 


In  the  series  of  Albert 
Moore's  life  works  it  would 
be  difficult  to  say  which 
are  most  definitely  charac- 
teristic and  which  best  ex- 
plain the  purpose  and 
intention  of  his  art.  He 
devoted  himself  so  con- 
sistently to  the  expression  of 
a  certain  conception  of  the 
artist's  mission,  he  had 
always  so  clear  an  idea  of 
'3° 


HEAD   OF   A   YOUNG    GIRL 


(New  English' Art  Club) 


"THE   READER."    from  an  oil 

ing    ey    ALBERT     MOORE.    A.R.A. 


i  ^  j& 


"BIRDS  OF  THE  AIR."    from  an  oil 
by  ALBERT  MOORE.  A.R.A- 


Studio-  Talk 


"AT   BOIH  Mi    "  BY    fOSEPH    E.    SOUTHALL 

( New  English  Art  Club) 

changed.  In  the  two  pictures  which  are  reproduced 
in  this  number,  The  Reader,  painted  in  1877,  and 
Birds  of  the  Air,  painted  in  187S,  the  transition 
from  his  earlier  to  his  later  technical  manner  can  be 
clearly  seen.  His  studentlike  earnestness  is  still 
perceptible  and  his  care  in  the  realisation  of  detail 
shi  iws  no  abatement ;  but  compared  with  the  works 
he  produced  during  the  preceding  years  these 
examples  are  larger  in  their  mode  of  treatment  and 
more  confident  in  execution  ;  and  they  give  the 
fullest  promise  of  the  command  over  his  materials 
which  was  so  evident  in  everything  he  painted  from 
the  middle  of  the  eighties  onwards. 


One  of  the  most  interesting  exhibitions  of  the 

past  month  was  that  of  the  great  French  draughts- 
man Steinlen  at  the  Leicester  Gallery.  Steinlen  is 
the  artist-poet  of  the  street  life  of  Paris;  one  of 
those  profound  realists  whom  Paris  alone  ran  pro- 
duce, one  whose  finger  seems  all  the  while  on 
the  very  pulse  of  life.  What  was  shown  in  this 
exhibition  well  represents  this,  the  chief  aspect  of 
his  art,  but  there  were  evidences  that  the  exhibition 
■  in. lit  have  been  more  fully  representative  of  his 


genius.  We  carried  away,  however,  a  valuable 
impression  of  the  deep  sincerity  of  the  artist.  Even 
his  slighter  work  expresses  that  vivid  interest  in  life 
— even  more  than  in  art— which  we  regret  to  say 
it  is  easier  t<i  associate  with  the  work  of  the  old 
masters  than  with  that  of  the  clever  raci  whospring 
from  the  ait  centres  of  to-day. 


Also  at  the  above  gallery  a  display  of  recent  draw 
ings  by  the  pen-draughtsman  "Alastair"  should  be 
recorded.  Though  he  tinges  his  subjects  with 
morbidity,  the  artist's  work  really  is  alive,  on  its 
own  fanciful  plane,  full  of  wittiness  and  charm  of 
execution  :  it  is  in  the  style  o)  Beardsley,  but 
intensely  individual  all  the  same. 


We  cannot  recall  any  exhibition  of  the  Royal 
Society  of  Portrait  Painters  which  has  been  less 
interesting  than  the  present  one.  Few-  are  the 
works  that  escape  the  commonplace,  so  com- 
pletely have  the  ideals  of  the  fashionable  photo- 
grapher obsessed  the  members.  Mr.  Harrington 
Mann's  Angela,  Daughter  of  Captain  the  Hun. 
Maurice  Brett,  M.V.O.  ;  Mr.  Waldo  Murray's 
Robert  Fowler,  Esq. ;  Mr.  John  Lavery's  Zackra  : 
Mr.    Maurice   Greiffenhagen's   Portrait  :     Mr.    W. 


!  l.\N 

'  Club) 


1WYNN1 

'35 


Studio-  Talk 


Orpen's  Miss  Muriel  Wilson  ;  Mr.  Henry  A. 
Payne's  Mrs.  Leicester;  Miss  Flora  Lion's  Baby 
and  Mr.  Reginald  Wilenski's  Mrs.  Ramwell  stand 
outfrom  the  mass  and  by  their  vitality  and  skill 
afford  welcome  relief  from  an  exhibition  otherwise 
depressingly  devoid  of  the  evidences  of  inspiration. 


The  Walpole  Gallery  is  the  new  name  of  the 
small  gallery  at  47  Albemarle  Street,  and  it  looked 
very  fascinating  in  its  carefully  selected  grey  wall- 
scheme  as  a  background  for  a  collection  of 
Mr.  Gerald  F.  Kelly's  Burmese  Sketches  exhibited 
there  a  few  weeks  ago.  Slight  as  these  were  in 
many  cases  they  displayed  much  charm  of  colour 
and  a  deep  feeling  for  their  subject.  Mr.  Kelly's 
work  generally  has  been  under  observation  in 
London  for  some  time  as  among  the  most  inter- 
esting shown  by  younger  men,  but  important 
as  are  his  finished  com- 
positions, they  perhaps  in 
every  case  lack  something, 
most  painter-like  in  cha- 
racter, which  he  is  able  to 
impart  to  the  execution  of 
these  studies  of  single 
figures  done  absolutely 
direct  from  Nature  and 
not  touched  again. 


A  few  of  the  things  offered  were  subject  to  a  reserve 
fixed  by  the  artist  and  some  of  these  were  not  dis- 
posed of,  but  in  other  cases  where  no  reserve 
was  fixed  there  was  spirited  bidding,  a  pastel  of 
moderate  size  by  Mr.  Tonks  fetching  over  ,£30. 
The  sale  was  conducted  by  Mr.  William  Marchant 
and  realised  upwards  of  ^300. 


An  artist  who  deserves  much  more  recognition 
than  he  has  received  is  Mr.  Robert  Gregory  who 
has  been  exhibiting  at  the  Chenil  Gallery,  Chelsea. 
This  artist's  drawing  lacks  assurance  even  in  its  own 
vein,  but  all  his  pictures  are  composed  with  a  rare 
art  of  expressing  design  in  nature  while  at  the  same 
time  retaining  that  sense  of  atmosphere  which  is  so 
essential  to  the  poetry  of  the  moods  of  nature. 
This  latter  is  perhaps  a  gift  which  no  imaginative 
interpreter  of  Irish    landscape  could  be  without, 


At  the  Goupil  Gallery  in 
Regent  Street  last  month 
an  interesting  event  was 
the  exhibition  and  subse- 
quent sale  by  auction  of  a 
number  of  works  given  by 
artists  in  aid  of  a  fund  now 
being  raised  to  defray  the 
initial  expenses  of  the 
Spencer  Frederick  Gore 
Memorial  Exhibition, 
which  is  to  be  held  at  the 
galleries  of  the  Royal 
Society  of  British  Artists 
in  Suffolk  Street,  next 
January,  under  the 
auspices  of  the  New  Eng- 
lish Art  Club.  The  works 
sold  numbered  between 
sixty  and  seventy  and  were 
contributed  by  an  equal 
number  of  artists,  in- 
cluding many  prominent 
members  or  supporters  of 
the  New  English  Art  Club. 

!36 


'THE    INTERRCPTION 


(New  English  .!■ 


«>        * 


(New  English  .!■    •    uij 


THE    Kl    I  URN    OF    ["HE  DOVE     l<> 
THE    ARK."      BY    ERIC   GE<  >RGE 


Studio-Talk 


but  it  is  rare  indeed  that  it  finds  expression  side  by 
side  with  so  conscious  a  concern  with  pattern  as 
Mr.  Gregon  exhibits. 


After  being  shown  in  Paris  at  the  exhibition  of 
3  icietd  des  Peintres  Orientalistes  Francais  a 
collection  of  works  by  Indian  artists  of  the 
New  Calcutta  School  was  shown  in  the  Indian 
Se  don  of  the  Victoria  and  Albert  Museum  during 
April  and  May.  and  with  a  further  series  of  works 
lent  for  the  occasion  by  Mr.  E.  B.  Havell  and 
Dr.  A.  K.  Coomaraswamy  afforded,  if  we  are  not 
mistaken,  the  first  opportunity  which  the  London 
public  has  yet  had  of  making  first  hand  acquaintance 
with  the  productions  of  this  school.  As  stated  in 
the  introduction-  to  the  catalogue,  the  school 
"  represents  the  development  which  has  taken  place 
since  1S96.  when  Mr.  E.  B.  Havell  reorganised 
the  instruction  given  in  the  Calcutta  School  of  Art 
on  Indian  lines,''  but  most  of  our  readers  are 
already  familiar  with  the 
work  of  its  chief  represen- 
tatives from  numerous  re- 
productions which  have 
appeared  in  our  pages  at 
various  times  during  the 
past  dozen  years.  Mr.  A. 
N.  Tagore,  who  succeeded 
Mr.  Havell  as  principal  of 
the  School  of  Art  in 
Calcutta,  is  the  most  promi- 
nent member  of  the  group 
and  he  was  represented  in 
the  exhibition  by  a  series 
of  sixty  works,  including 
the  drawings  he  made  for 
an  edition  of  Omar  Khay- 
yam published  by  us  three 
or  four  years  ago.  He  was 
supported  by  Nanda  Lai 
Bose,  Ishwara  Prasad, 
Surendra  Nath  Ganguly, 
Satyendra  Narayan  I  >utt, 
Asit  Kumar  Haldar,  most 
if  not  all  of  them  his 
pupils,  and  the  collec- 
tion as  a  whole  served 
as  an  effective  demonstra- 
tion of  the  pictorial  aims 
and  ideals  of  the  new- 
School.     

An   exhibition  of  book- 
bindings   and    illuminated 


manuscripts  was  held  recently  at  Messrs.  Sangorski 
and  Sutcliffe's  studio  in  Poland  Street.  The 
bindings  represented  the  works  designed  and 
executed  by  the  late  Francis  Sangorski  and  George 
Sutcliffe,  and  there  were  also  included  a  certain 
number  of  examples  carried  out,  under  their 
direction,  by  apprentices  and  young  journeymen  at 
the  Northampton  Institute  and  the  Camberwell 
School  of  Arts  and  Crafts.  Amongst  the  exhibits 
was  an  illuminated  manuscript  of  some  poems  by 
John  Keats  in  an  elaborate  jewelled  binding  con- 
taining over  one  thousand  precious  stones,  and 
some  interesting  examples  of  the  cleaning  and 
restoration  of  old  books  and  manuscripts. 


Among  other  recent  exhibitions  Mr.  T.  L. 
Shoosmith's  at  the  Ryder  Gallery  should  be  noted, 
for  in  Mr.  Shoosmith's  art  there  survives  a  tradition 
of  water-colour  as  it  was  understood  by  the  contem- 
poraries of  De  \\  int. 


V>1 


^We-*"^ 


(New  English  Art  Club) 


BY    EDWARD    FCTTAR 


{New  English  Art  Club) 


"THE   BURNING    KILN 
BY   C.  J.   HOLMES 


Studio-Talk 


Miss  Miriam  Ik-am.  whose  wocd-print  Home- 
wards we  reproduce  in  as  nearly  as  possible  facsimile 
colour  and  size,  is  a  recent  recruit  to  the  Society  of 
Graver-Printers  in  Colour  whose  annual  exhibition 
held  a  few  weeks  ago  at  the  Manzi-Joyant  galleries 
in  Bedford  Street  contained  several  examples  of 
her  work.  Using  cherry-wood  for  her  blocks  and 
printing  them  as  a  rule  on  Japanese  paper,  she 
aims  at  simplification  and  limits  her  work  to  as  few 
blocks  as  possible,  rarely  exceeding  three  or  four, 
and  in  printing  she  finds  it  easier  to  produce  flat 
tones  with  a  small  roller  than  with  broad  brushes. 
Miss  Deane  lived  for  some  years  in  Munich  and 
studied  in  the  art  schools  there. 

EDINBURGH.— Continuing  the  practice 
instituted  by  Sir  James  Guthrie  the  Royal 
Scottish  Academy  has  this  year  thrown  its 
doors  wide  open  to  invited  pictures  and 
sculpture.  A  departure  in  the  latter  medium  of 
art    expression  has    been    made    in    confining    the 


work  to  one  nationality,  and  more  than  half  of  the 
beautiful  sculpture  hall  is  occupied  by  exhibits  of 
the  work  of  Belgian  sculptors.  A  good  deal  of  it 
is  on  a  small  scale,  but  there  is  one  piece  by  the 
late  Constantin  Meunier  that  touches  the  imagina- 
tion, and  is  full  of  the  deep  realities  of  life.  Le 
Grisou  shows  a  miner  lying  stiff  and  stark  with 
upturned  face,  while  a  woman  bends  over  him  with 
an  intent  expression.  It  is  a  revelation  of  the 
tragedy  of  death  and  the  depth  of  human  sympathy 
that  has  a  powerful  appeal.  Another  large  piece 
by  the  Comte  de  Lalaing  shows  two  tigers  busy 
demolishing  a  captured  deer,  and  it  is  fully  ex- 
pressive of  power  and  ferocity.  Other  outstanding 
works  are  the  Femmes  de  Pecheurs  of  Pierre  Braecke, 
Rombaux's  Epouvantail,  Rousseau's  L'OffranJe, 
Vanderstappen's  David,  and  among  the  Scottish 
work,  Dr.  MacGillivray's  Ehrna,  a  beautiful  treat- 
ment of  a  portrait  bust. 


A    very    considerable   portion    of    the    galleries 


RICHMOND    CASTLE 
I40 


(Royal  Scottish  Academy) 


BY    1.    WH1TEI.AW    HAMILTON.    A.  U.S.A. 


•H0MEWARD8."    from  an  origjnal 
wooo    print    er    MIRIAM     DEANE. 


Studio-Talk 


devoted  to  painting  is  given  up  to  foreign  invited 
work,  some  of  which  raises  the  question  of  whether 
the  purpose  aimed  at  is  served  by  the  examples 
that  have  been  furnished.  Such  work  to  be  a 
value  to  the  local  painter  and  interesting  to  the 
public  requires  to  have  a  representative  capacity, 
and  this  has  not  always  been  followed.  Certainly 
one  would  not  willingly  miss  Brangwyn's  Wine, 
Roganeau's  La  Toilette,  Philip  Connard's  Helen 
and  fane,  Besnard's  church  interior,  Perlmutter's 
Two  Ages,  Oberteuffer's  Notre  Dame,  Fernand 
Khnopffs  L'Encens,  Verhaeren's  Tapis  Rouge, 
Modeste  Huy's  Marche  a  Oudenarde,  or  Mancini's 
Waiting,  but  there  are  other  canvases  that  are  not 
worth  the  wall  space  they  occupy,  especially  when 
it  is  borne  in  mind  that  the  practice  of  keeping  a 
low   sky  line  and  providing  a  "  breathing "   space 


round  each  picture  materially  reduces  the  holding 
capacity  of  the  exhibition. 


THE    MOTHER ' 


(Royal  Scotti  h    l  ademy) 


The  Scottish  work  is  on  the  who],    increasingly 
satisfactory.     Among  the  younger  artists  the  quality 
of  style  is    more  evident.     Colour    is    richer    and 
more  forceful,   drawing   and  design  take  a  better 
place,  and  there  is  very  little  work  of  which  n  i  an 
be  said  that  it  evidences  only  a  superficial  pretti- 
ness.     Sir  James  Guthrie's  technique  has  un<  lergi  n  v 
considerable  modification   within  the   last   yen    01 
two,  and  his  large  portrait  of  the  Lady  Hermione 
Stuart  standing  at  the   foot   of  a    staircase    in    a 
baronial  mansion  is  one  of  the  finest  creations  ol 
modern  times  in  its  revelation  of  the  simplicity  and 
beauty  of  girlhood  amid  aristocratic  surroundings. 
Mr.  E.  A.  Walton's  portraits  of  John  Kirkhope  and 
Prof.  Geikie,  inspired  by  a 
similar  motive — relation  of 
the  man  to  his  activities — 
are  both   good,   and   con- 
siderable  interest  attaches 
to  his  77/;'  Mother  with  its 
accentuation  of  light  and 
colour.     Among  the  other 
portraits   are   interesting 
work  by   Mr.  Henry   Kerr 
and  Mr.  Robert  Gibb,  and 
Mr.    Robert   Hope   shows 
continued  progress  in  three 
portraits  of  women.     Mr. 
Fiddes  Watt  has  a  portrait 
of   the   nonagenarian    Earl 
of   Haddington,    and    Mr. 
I  ,a  \  ery    portraits    of  the 
King  ami  Queen,    studies 
probably  for  his  large  pic 
lure  at    Burlington   House 
last    year.     Mr.    Henry 
Lintott,   now   one   oi    thi 
masters  at  the  Art  College, 
has  a  small  portrait  study 
of  the  head  of  a  woman 
which    has  been  acquired 
by   the    Scottish    Modern 
Arts    Association,    and 
amonf     thi     younger 
workers     showing    excep 
tional    promise    in   the 
painting  of  the  figi 
Mr.     David     Alison,      Mr. 
Cowan      Dobson,       Mr. 
Martine    Ronaldson,     Mr. 
w    (i    Hutchison,    Mr.   J. 
i43 


l!V    E.     \.    WA1   re  IN, 


Studio-  Talk 


Munnoch,  M  and  Miss  Dorothy 

Johnsto  

The  Children  of  Lir.  by  Mr.  John  Duncan,  is  an 
excursion  into  Celtic  myth;  the  children  driven 
forth  on  the  western  seas  as  wild  swans,  form  the 
centre  of  a  beautifully  executed  design  in  which 
line  is  fitly  placed  to  form  a  harmonious 
composition,  and  the  colour-scheme  has  a  symbolic 
significance.  Mr.  Stanley  Cursitor's  Twilight,  a 
icture  showing  a  family  group  of  five  persons 
by  an  open  window,  through  which  one  has 
a  glimpse  of  the  twinkling  lights  of  a  great  city, 
warrants  the  ambitious  nature  of  the  effort  by  one 
who  was  quite  recently  a  student  at  the  Art  College, 
and  the  Academy  has  fitly  recognised  this  by 
giving  it  a  leading  place  in  one  of  the  rooms.  Mr. 
Charles  H.  Mackie's  three  contributions  are  all 
landscape  genre,  two  of  them  of  brilliantly  corus- 
cating  colour,  the  third  a  village  dance  by  moon- 
light, in  which  the  effect  of  motion  is  happily 
realised.  Mr.  George  Smith,  hitherto  only  known 
as  an  animal  painter,  enters  on  a  new  field  in  the 
Vegetable  Market,  Bruges,  in  which  the  virility 
which  characterises  his  other  work  is  abundantly 
manifest  not  only  in  the  strength  of  its  colour  but 


its  light  and  shade.  The  Caller  Oti  of  Mr.  Gemmell 
Hutchison,  not  quite  accurate  in  its  title,  seeing 
that  the  two  fisher-girls  are  carrying  fish  and  not 
oysters,  is  the  fullest  realisation  he  has  yet  achieved 
of  an  open-air  effect  with  brilliant  sunshine  and  a 
strong  breeze  swaying  the  figures.  Mr.  Marshall 
Brown  also  depicts  fisher-life  successfully  in  his 
Toilers  of  the  Sea,  with  men  and  women  carrying 
ashore  the  harvest  of  fish  from  the  beached  boats. 
It  contains  greater  purity  of  colour  than  he  has 
hitherto  been  accustomed  to  use.  Mr.  Robert 
Burns's  Loot  is  a  clever  study  of  the  nude,  the 
woman  seated  on  a  bed  strewn  with  other  spoils  of 
war.  Mr.  P.  \V.  Adam  contributes  a  further  series 
of  three  interiors,  each  of  them  distinguished  by 
their  refined  colour  harmonies  and  artistic  arrange- 
ment of  objects.  

In  the  domain  of  pure  landscape  Mr.  J.  Lawton 
Wingate  has  produced  nothing  finer  than  Sunset  on 
the  Hills,  a  moorland  over  which  falls  the  subdued 
light  filtered  through  a  heavy  bank  of  clouds.  The 
intense  autumnal  glow  of  sunset  on  a  forest  of 
birches  among  the  mountains  is  realised  with  great 
unity  by  Mr.  James  Cadenhead  in  his  Late  Harvest, 
a  title  not   quite    descriptive   if  literally   applied. 


"--INSET   ON    THE   HILLS    NEAR   EDZELL ' 
144 


(Royal  Scottish  Academy) 


BY  J.    LAWTON    WINGATE,    R.S.A. 


i 


-  -'**J  «* 


(Royal  Scottish  Academy) 


THE   (   II  I  I   DREN   OF   I.Ik  " 
BY  JOHN    DUNCAN,   A.R.S.A. 


Studio-  Talk 


"TOILERS    OF    THE    SEA  " 


(  Royal  Scottish  Ac 


HY    W.    MARSHALL    FROWN,    A.R.S.A. 


Mr.  J.  Whitelaw  Hamilton  has  been  particularly 
successful  in  his  Richmond  Castle  in  conveying  the 
expression  of  solidity  and  strength,  both  by  com- 
position and  colour,  and  similar  features  in  respect 
to  colour  distinguish  his  Fish-Curer's  Yard,  Eye- 
mouth. Mr.  W.  V.  Macgregor's  Street  in  Fuen- 
terrabia  vibrates  with  brilliant  light  and  colour,  and 
Mr.  Robert  Gibb  in  his  Church  and  Monastery  oj 
St.  Francis  has  with  great  breadth  of  style  expressed 
the  dignity  of  the  pile  of  buildings  which  crowns 
the  steep  cliffs  at  Assisi.  Mr.  Robert  Noble's 
Weir  on  the  Tyne  is  an  effective  composition  in 
cool  colour,  and  the  late  Mr.  Campbell  Noble  is 
represented  by  one  of  his  finest  Dutch  waterways. 
Mr.  James  Paterson,  with  his  customary  versatility, 
translates  three  different  aspects  of  Nature,  Mr. 
Mason  Hunter  exhibits  a  poetic  version  of  Edin- 
burgh Castle,  and  there  are  interesting  landscapes 
by  Mr.  W.  1).  McKay.  Mr.  W.  M.  Frazer,  Mr. 
George  Houston,  Mr.  W.  S.  Macgeorge,  Mr.  Alex- 
Roche,  Mr.  R.  B.  Nisbet,  and  Mr.  Campbell 
Mitchell.  Mr.  Wm.  Walls  is  effectively  dramatic 
in  The  Wolf 's  Lone;  Howl  from  Oonalaskas  Shore, 
an  impressive  night  scene. 


In  the  water-colour  room,  in  addition  to  a  fine 

series  of  drawings  by  the  late  Mr.  Joseph  Crawhall 

there  is  beautiful  quality  in  work  by  Mr.    R.  B. 

Nisbet,  Mr.  Robert  Burns,  Mr.  James  Cadenhead, 

146 


Mr.  Edwin  Alexander,  and  the  late  Miss  Preston 
Macgoun,  while  the  black-and-white  room  contains 
fine  work  by  Sargent,  Muirhead  Bone,  Orpen, 
William  Strang,  and  Charles  Sims,  including  a 
study  for  Mr.  Sims's  picture,  Tlie  Arc/ier.      A.  E. 

TORONTO.— The  Forty-second  Annual  Ex- 
hibition of  the  Ontario  Society  of  Artists 
has  recently  been  held  in  this  city. 
This  Society,  the  pioneer  art  associa- 
tion of  the  province,  was  instituted  in  1872, 
and  incorporated  in  1877  and  1898.  The  roll  of 
members  contains  thirty-six  names,  of  whom  a 
dozen  are  women  artists,  and  as  many  more  non- 
members  joined  in  this  year's  display.  The  out- 
standing note  was  the  work  of  the  new  school  of 
younger  painters.  Under  the  leadership  of  Mr.  A. 
V.  Jackson,  who  has  worked  in  French  studios, 
some  six  or  seven  rising  men  have  agreed  to  follow 
the  Norwegian-French  protagonists  of  crude  form 
and  emphatic  illumination.  They  use  coarse  canvas 
and  paint  with  fat,  flat  brushes.  The  effect  is  that 
of  raised  embroidery,  or  applique  work,  with  sharp 
contrasts  of  light  and  shade  and  crashing  bars  of 
colour.  Whether  this  style  of  painting  will  become 
popular  it  is  impossible  to  say  :  anyhow,  as  a  feeling 
after  forcible  expression  it  is  worthy  of  attention. 


Turning  to  more  orthodox  paintings,  Mr.  W.  M. 


Studio-  Talk 


Cutts's  Atlantic  Rollers  was  the  marine  picture  of 
the  year,  the  play  of  opal-tinted  sunshine  upon  the 
iridescent  spray,  and  the  duller  spume  of  the 
churning  deep,  being  excellently  rendered.  Across 
the  Boom  was  a  very  attractive  canvas  b\  Mr. 
Thomas  W.  Mitchell,  and  Mr.  Tom  Thompson's 
two  exhibits  were  both  striking  in  treatment.  A  very 
brilliant  canvas  was  Mr.  A.  Suzor  Cote's  The  River 
Magog,  Sherbrooke.  His  well-known  skill  in  snow- 
effects  was  further  evidenced  by  the  blaze  of  red- 
gold  sunset  upon  the  cold  stream,  its  banks  and 
buildings.  Mr.  Owen  Staples  gave  quite  a  Tumer- 
esque  effect  to  his  October  Mist,  a  subtle  colour 
blend  of  river  mist,  factory  smoke  and  sunshine. 


Prominent  among  the  figure  picture-  was  Miss 
Florence  Carlyle's  Son  and  Heir,  and  among  the 
portraits  Mr.  E.  W.  Grier's  Portrait  of  Himself,  for 
the  National  Gallery,  Ottawa.  Mr.  H.  Britton's 
Fisherman's  Wife  was  noteworthy — an  old  woman 
mending    a    fishing-net    in    a    squalid    sun-lit    hut. 


Among  other  pictures  of  excellence  were  Mrs.  W.  M. 
Cutts's  A  Dartmoor  Farm,  Mr.  C.  M.  Manly 's  The 
Very  Heart  of  //—another  Dartmoor  study—  Mrs. 
G.  A.  Reid's  decorative  panel,  Autumn  Fires.  Mr. 
F.  McG.  Knowles'  An  Autumn  Evening,  Mr. 
F.  M.  Bell-Smith's  The  Silvery  7}<&— the  Thames 
at  Waterloo  Bridge— Mr.  Thomas  A.  Fripp's  Where 
Snows  and  Suns  and  Mad  Winds  Meet  (Mr. 
Sheol  in  the  Rockies),  and  Mr.  R.  S.  Gagen's 
Sunlit  Rocks,  an  Atlantic  coast  study.       J.  E.  S. 

PARIS.— As  mediums  of  expression,  etching 
and  wood-engraving  have  lat<  •!>  been  en- 
joying a  vigorous  popularity  in  Paris. 
Within  the  last  few  months  new  and 
varied  societies  have  grown  up  and  launched  their 
exhibitions,  all  of  which  have  contained  work  of  a 
desirable  charm.  Amongst  the  larger  displays  that 
of  the  Premier  Salon  Internationale  de  la  Gravure 
Originale,  held  in  the  Marcel  Bernheim  Galleries, 
was  selectively  interesting.     As  in  all   international 


'  I  I    PARDON    DE    SAINT-GUENOl  E" 


FROJI    \n    >■'  n  HING    n: 

'  17 


Studio-  Talk 


•  MAISOX    SEIGNECRIAI.E    ESI>A< '.  NuI.E  ' 


FROM   AN   ETCHING   BY  J.    CHAMPCOMMUNAL 


exhibitions  there  were  many  things  here  which  had 
the  appearance  of  having  strayed  in  on  a  wearisome 
reputation.  Their  position  on  the  walls,  however, 
in  no  way  hindered  one's  appreciation  of  their 
creative  companions.  By  their  strong  compositii  mal 
massing  the  wood-engravings  and  etchings  of  J. 
Champcommunal  at  once  arrested  attention,  and 
on  close  observation  they  still  retained  their 
first  impression,  losing  nothing  by  one's  additional 
interest  in  each  subject  and  its  unique  tech- 
nique. Perhaps  owing  to  the  associations  we 
attach  to  the  wood-prints  in  colour,  executed  with  a 
predominance  of  dark  masses,  those  seem  to  have 
the  most  lasting  appeal  which  interpret  certain  sad 
phases    of   life   or   strong   dramatic   situations   and 


effects ;  and  among  prints  which  arouse  one's 
emotions  in  this  way  it  would  not  be  indiscreet  to 
place  those  of  G.  Gobo  and  C.  J.  Hallo ;  but 
though  their  names  are  thus  linked  together  each  is 
an  individual  artist  exhibiting  work  with  a  distinct 
personality.  The  accompanying  illustrations  of  the 
work  of  these  artists  are  from  prints  exhibited  in  this 
year's  Salon  of  the  Societe  Nationale  des  Beaux- 
Arts.  Amongst  other  exhibitors'  work  which  com- 
pelled more  than  a  hurried  glance,  one  must  add 
the  poetical  and  vigorous  etchings  of  R.  Grillon 
and  the  sensitively  delicate  work  of  Maurice 
Achener  ;  while  interesting  contributions  from  other 
than  French  artists  included  some  etchings  by 
J.    Gavin   and   two  artists  already  well  known  to 


A    TRIBORD."      FROM    AN 
1.1  l   HING   BY  C.  J.  HALLO 


Studio-  Talk 


readers  oi    I'm    Studio     Herman  A.  Webster  and 
F.  M.  Armington.        

Amongst  the  paintings  in  the  Old  Salon  by 
French  artists  whose  continued  predilection  for 
a  particular  sketching-ground  obviates  the  necessity 
foi  signature  or  catalogue  to  identify  them,  the 
pictures  of  Fernand  Maillaud  are  always  attractive. 
Hi--  Seine  du  Berry  is  a  typical  example  of  the 
work  which  places  him  amongst  the  notable  painters 
of  this  peaceful  and  much  loved  old  French 
province.  In  this  romantic  region  he  still  finds  an 
inexhaustible  store  of  inspiration,  and  few  artists 
who  resort  thither  interpret  its  charms  with  the 
same  insight  and  fidelity  as  he. 


1  (espite  the  opinion  one  heard  at  the  inauguration 
of  this  year's  two  Salons  that  pictures  by  American 
artists  had  not  received  the  same  generous  placing 
as  in  the  former  years,  one  found  on  examination 
very  little  appreciable  difference,  except  perhaps 
that  where  a  well-known  painter  had  lost,  a  lesser- 


known  man  had  gained.  Almost  invariably  the 
discontent  expressed  at  the  vernissage  soon  gives 
place  to  content.  The  significant  difference  between 
the  two  Salons  remains  much  the  same,  the  Old  Salon 
adhering  to  its  traditional  partiality  for  the  academic, 
allegorical,  anecdotal  and  realistic  painting,  mostly 
by  good  workmen  ;  while  the  New  Salon,  apart 
from  its  more  modern  outlook  and  reticent  hanging 
is  generally  speaking  more  refined.  Be  this  as 
it  may,  however,  the  two  pictures,  including  the 
one  here  reproduced,  which  Mr.  Richard  Miller 
contributed  to  the  Old  Salon,  where  they  were 
excellently  hung,  deserve  unstinted  praise,  both 
being  well  ahead  of  anything  he  has  previously 
shown.  Max  Bohm,  too,  in  his  sole  exhibit  also 
entitled  Spring,  cleverly  handled  a  difficult  com 
position  of  nudes  in  golden  colours,  more  sym- 
bolical perhaps  by  its  certain  classical  forms  and 
simplicity. 

In  the  New  Salon  certain  pictures   bv  American 
artists,  as    well  as  exhibiting  an  unfailing  energy, 


"S(  IMC   nr    BERRY" 

150 


(Salon  of  the  Socttti  des  Artistes  Francois,  1914) 


BV    FERN  \M>    M  Ml  I   \     I' 


(Salon  des  Artistes  Francois,  1914) 


SPRING."      MY    RICHARD    MILLER 


MAUVE    ET    ROSE" 
BY   MYRON    BARLOW 


(Salon  dc  la  Socilt4 
Nationals,  1914) 


(Sale n  dc  la  Socitti! 
Nationals,  /(//■/) 


LES    POMMES."      BY 
MYRON    HARLOW 


Studio-  Talk 


were  amongst  the  most  distinguished.  The  four 
brilliant  colour  displays  by  F.  C.  Frieseke  at  once 
placed  him  in  the  front  rank  of  American  artists. 
and  no  open-air  sunlight  studies  in  the  exhibition 
were  more  genuinely  attractive  than  his  Venus  an 
Soleil.  For  subtle  uncommon  personality  one  is 
trebly  interested  in  the  work'of  Myron  Barlow  :  his 
delight  in  blues  and  delicate  violets  has  for  years 
been  a  prominent  characteristic  of  his  work,  and  to 
judge  by  their  contributions  to  the  two  Salons 
in  recent  times  it  would  seem  to  be  a  scheme 
to  which  almost  all  American  exhibitors  are  partial. 
I  am  not  in  any  way  condemning  it  :  on  the  con- 
trarv  it  is  intensely  interesting.  What  I  remember 
most  clearly  in  the  Old  Salon'is  the  delightful  blue. 
violet  and  pale  yellow  colour  scheme  in  the 
excellently  composed  Le  Christ  chez  Lazare  by 
H.  O.  Tanner  :  and  it  was  also  a  scheme  that 
fascinated  one  in  Les  travailleurs  de  la  mer,  one  of 
two  works  exhibited  by  John  Xoble  in  the  New  Salon. 


exceeded  in  importance  the  ordinary  shows  of  a 
similar  description  which  have  been  held  at  all 
the  art-centres  of  Germany  during  recent  years. 
One  or  two  important  firms  in  Berlin  have 
systematically  interested  their  customers  in  the  art 
of  the  French  impressionist  school  for  about  a 
dozen  years  now.  and  have  brought  a  good  deal  of 
it  over  here,  where  it  has  found  willing  buyers, 
but  it  is  an  open  secret  that  most  of  the  pictures 
thus  imported  constituted  the  residue  of  the  stock 
in  hand  of  certain  firms.  Works  not  valued  by  the 
collectors  of  their  own  country  often  found  a  ready 
sale  with  us.  Most  of  the  exhibitions  in  Germany 
were  supplied  by  dealers  with  this  kind  of  material : 
but  the  Dresden  show,  held  at  Arnold's  Galleries 
during  April  and  May,  drew  upon  collections  of  an 
older  standing  and  managed  to  secure  the  loan  of 
about  one  hundred  and  fifty  pictures,  many  of 
which  would  do  credit  to  any  public  museum  of 
the  highest  standing. 


But  one  might  linger  in- 
definitely gleaning  here  and 
there  work  deserving  of 
more  than  a  brief  cata- 
loguing, in  which  category 
I  should  undoubtedly  in- 
clude, in  the  New  Salon, 
Roy  H.  Brown's  Neige  dans 
la  Foret  and  Sapins  et 
Peupliers  aux  dunes,  E. 
CucuePs  Zt  Dejeuner,  and 
the  work  of  Charles  W. 
Hawthorne.  George  Elmer 
Browne.  George  Ober- 
teuffer,  Edwin  Scott,  and 
J.  R.  Hopkins  :  and  in  the 
Old  Salon,  The  Grand 
Canal,  Venice,  by  Walter 
Griffin,  Le  pent  an  cripus- 
eale  by  Harry  Van  der 
Weyden,  Murray  Bewley's 
Veille  de  Noel  and  Nbrio, 
H.  T.  Bushman's  Per/rait 
and  Rayons  de  Soleil,  I..  D. 
Connell's  A  Saint  Efflam, 
and  1'.  (  '..  I  loughert  v's 
L' entree  du  Village  and  Le 


Soir. 


D 


pictures 
154 


I ..   A.  T. 

k  ES  DEN.— 
The  recent  ex- 
hibition of 
modern  French 

t     I  (resden     far 


PORTRAIT   OK   A    LADY' 


BY   Gl'STAVE   COURBBT 


(Schmeil  Collection,  Dresden  ) 


o 

O  H 
e4  O 

So 


O  cq 

U 


Studio-  Talk 


The  exhibition  started  with  Gericault,  Delacroix, 
Daumier,  and  Courbet  Then  came  Corot,  Millet, 
and  Manet,  followed  by  Monet,  Pissarro,  Renoir, 
and  Sisley.  Degas  and  Cezanne,  Gauguin  and 
Van  Gogh  brought  the  show  down  to  our  own 
days.  Toulouse-Lautrec,  Guys,  and  Jean  Louis 
Forain  close  the  list  of  those  represented.  The 
numeration  of  these  eighteen  names  suffices 
to  indicate  that  the  exhibition,  in  the  arrangement 
of  which  several  well-known  museum  authorities 
took  .1  hand,  was  very  select. 


One  of  the  principal  contributors  was  Dr.  von 
Dietel,  who  is  now,  by  inheritance,  the  possessor  of 
the  Meyer  collection,  which  was  brought  together 
about  sixty  years  ago.  Meyer,  besides  buying  a  lot 
of  works  thought  highly  of  at  their  time  but  scarcely 
held  in  esteem  to-day,  turned  his  attention  to  the 
school  of  Fontainebleau.  There  are  quantities  of 
forged  Corots  abroad,  and  so  it  is  especially  satis- 
factory to  find  in  the  Meyer  collection  a  splendid 
specimen  of  the  Barbizon 
master's  landscape  painting, 
the  authenticity  of  which 
can  never  be  a  matter  of 
doubt,  for  it  was  bought 
and  placed  in  this  collec- 
tion at  a  time  when  Corot 
was  scarcely  known,  and  no 
one  would  have  found  it 
worth  his  while  to  attempt 
a  forgery.  The  Meyer  col- 
lection has  never  been  ex- 
ploited, and  is  to  this  day 
not  at  all  well  known  :  thus 
it  happens  that  the  picture 
in  question  is  not  men- 
tioned in  Robaud's  cata- 
logue, for  he  never  heard 
of  it. 


attributed  to  Daumier.  It  is  low-toned  and  of 
most  fascinating  workmanship.  The  Girl  in  the 
Bath  and  The  Toilet  are  splendidly  characteristic 
examples  of  Degas'  well-known  "blonde"  manner 
of  painting. 

Among  the  Corots  the  most  interesting,  besides 
the  Meyer  landscape,  were  the  Portrait  of  a  Lady, 
half-length  on  a  black  background,  owned  by  Mr.  O. 
Schmitz,  and  The  Concert  Room  belonging  to  Consul 
Melchers  of  Bremen.  This  latter  work  one  would 
likewise  be  ready  to  attribute  to  the  great  Daumier, 
if  it  happened  to  be  unsigned.  Among  the 
Daumiers,  the  Waggon,  troisieme  classe  and  two 
pictures  of  Bathers — owned  by  Rothermundt  and 
Schmitz — were  particularly  worthy  of  notice,  pic- 
tures in  which  draughtsmanship  recedes  before  the 
painter's  skill  in  a  most  fascinating  manner.  The 
Return  from  Market,  also  in  Mr.  Schmitz's  posses- 
sion, is  wonderfully  monumental  and  grand  in  its 
handling,  in  spite  of  the  smallness  of  the  canvas. 


Herr 
another 
tributor. 
several 


von    Seidlitz     was 
important    con- 
He    collected 
fine    examples    of 


1  legas  early  in  the  nineties, 
when  only  very  few  people 
held  this  master  in  any 
esteem.  The  Lydia,  a 
small  full-length  of  a  lady 
looking  through  an  opera- 
glass,  is  a  most  unusual 
work  for  Degas  :  one  would 
not  be  surprised  to  hear  it 
156 


"THE  NEW  BONNET' 


BY  EDOUARD  MANET 


(Schmits  Collection,  Blasewiis) 


Studio-Talk 


••the  toilei  "  (  Von  Seidlitz  Collection,  Bla 

No  one  was  represented  better  in  this  exhibition 
than  Courbet,  the  best  of  his  landscapes  hailing 
from  the  collection  of  Mr.  Schmeil.  who  likewise 
owns  an  interesting  half- 
length  of  a  lady  seated,  by 
Courbet.  None  of  these, 
however,  nor  Mr.  Schiitte's 
Magnolias,  can  be  said  to 
equal  the  fine  Courbets 
which  recently  made  the 
round  of  Germany  in  the 
collection  of  Mr.  Nemes, 
lately  dispersed.  Nor  did 
the  Cezannes,  upon  the 
whole,  come  up  to  those 
Nemes  once  owned. 


unsophisticated  people 
may  have  looked  at  the 
painting  for  a  long  time 
without  discovering  the 
mirror.  The  small  paint- 
ing of  /.(■  Gamin,  corre- 
sponding to  Manet's 
etching  and  lithograph  of 
the  same  name,  was  pro- 
duced at  a  time  when 
Goya  and  Daumier  in- 
fluenced Manet's  colour. 
One  of  the  most  wonder- 
ful pictures  in  the  show- 
was  the  small  Jetty  at 
Boulogne  in  Mr.  Schmitz's 
collection.  This  repre- 
sents the  ideal  which 
Manet,  and  after  him 
Whistler,  extracted  from 
Velasquez's  handling  and 
colour.  The  Bassin 
d'Arcaeho/i,  owned  by  Cassirer  at  Berlin,  was 
very  nearly  as  good.  The  portrait  of  the  critic, 
Albert     Wolff,     though    scarcely    pushed     beyond 


l;V    EDGAR    DEGAS 


Among  the  Manets  the 
piece  de  resistance  was  the 
well-known  Bar  au  Folies 
res.  To  be  quite 
honest,  one  must  admit  that 
tlie  picture  enji  >\  s  a  slightly 
better  reputation  than  it  de- 
serves All  the  brilliancy 
of  handling  does  not  dis- 
guise tin-  fa<  t  that  the  real 
idea  of  the  picture,  vi/..  that 
what  we  see  in  the  back- 
ground is  the  reflection  in 
a  mirror,  does  not  appear 
plainly.      I    am   Mire   many 


SA  COLO  BY    GIOVANNI 

— By  courtesy  of  the  Casa  Editrice  " 
Ftoi 

'57 


Studio-  Talk 


the  first  stages,  was  also  excellent   and  extremely 
interest!  

There  was  hardly  anything  more  than  sketches 
In  I  (elacroix  to  be  seen,  though  some  of  these  were 
ting  enough,  merely  because  of  their  being 
preparatory  studies  forsuch  famous  pictures  as  The 
Death  of  Sardanapulus,  The  Bride  of  Abydos,  and 
La  Grece  expirant  sur  les  ruines  de  Missolonghi. 
Among  the  GeYicaultS,  The  Trumpeter  was  a 
pii  ture  of  first  importance.  The  dramatic  colora- 
tion is  so  vital  a  feature  of  this  work  that  no  black- 
and-white  reproduction  can  do  it  anything  like 
justice.  ( )ne  of  the  principal  Renoirs,  on  the  other 
hand.  Pupils  of  the  Paris  Conservatory  of  Music, 
seems  tinted  rather  than  painted,  and  the  drawing 
is  In  far  the  main  feature.  It  is  an  early  work, 
inclining  somewhat  to  Manet,  and  contrasting 
Strangely  with  the  luminous,  complicated  coloration 
of  Renoir's  later  style.  In  At  the  Piano,  Lovers  in 
a  Wood,  Portrait  of  the  Countess  Pourtalis  (owned 
by  Mr.  Rothermundt),  the  vivid,  occasionally  some- 
what sentimental,  colour  harmonies  easily  override 
deficiencies  in  drawing,  which  catch  one's  eye, 
however,  if  one  sees  only  a  half-tone  reproduction 
of  such    canvases.     Camille   Pissarro   and    Alfred 


Sisley  were  excellently  represented  by  fine,  bright 
and  airy  specimens  of  their  delicate,  sunny  art. 
But  this  was,  of  course,  comparatively  easy,  for  it  is 
not  yet  become  scarce.  H.  VV.  S. 

FLORENCE. — When  Impressionism  made 
its  first  appearance  in  France,  its 
pioneers  were,  as  all  the  world  knows, 
greeted  with  a  storm  of  derision.  After 
long  and  serious  struggles  their  art  came  to  the 
front  and  is  to-day  fully  recognised  as  the  great 
acquisition  of  the  last  century.  With  the  names  of 
Manet,  Monet,  Renoir,  Sisley,  Degas,  Cezanne, 
Pissarro,  and  other  champions  of  the  new  school, 
one  often  finds  two  more — those  of  Boldini  and 
Me'  Nittis,  both  of  them  Italians  who  formed  part  of 
a  particular  nucleus  of  Italian  artists  who  expoused 
the  cause  of  Impressionism.  Boldini  and  De 
Nittis  lived  chiefly  in  Paris,  and  therefore,  their  work 
came  to  be  better  known  and  appreciated  than 
that  of  others  of  their  countrymen. 


In  Italy  itself  the  political  struggles  which  began 
in  the  middle  of  the  nineteenth  century  absorbed 
public  attention,  and  only  a  few  connoisseurs 
realised  the  merits  of  the  forerunners  of  the  modern 


V 


^v5a8kfl*?rJ 


Sftft5"-^ 


'I   ABREUVAG1  Kv   GIOVANNI    FATTOKJ 

(Checcucci  Collection— By  courtesy  of  the  Casa  Editri  t  "  Self,"  Florence)  __ 

'58 


Studio-Talk 


(  Collect  inn  o/Sgr.  Mario  Galli—By  courtesy  of  the  Casa  Editrice  "  Self") 


movement  in  painting  in  their  own  country.  But 
I'roni  the  Alps  to  the  must  southern  point  of  Sicily 
a  revolution  was  taking  place  in  art  as  well  as  in 
politics.  In  every  province  the  new  movement 
«;h  discussed  and  taken  up  by  a  few  sincere 
artists.  Following  the  tradition  of  their  great 
ancestors,  Giotto,  Massaccio,  Piero  della  Franceses 
and  others,  their  only  true  aim  was  to  create  true 

art.  In  the  works  they  produced  there  is  no  n. H  I 
of  imitation,  either  of  their  French  contemporaries  or 
oro  another.  Little  the)  cared  for  the  approval  or 
disapproval  of  the  publii    or  the  academic    repri 

sentatives  of  art.     Floren ami    tl itre  ol 

the  movement  and  while  De  Nittis  and  Boldini 
emigrated  to  France  some  of  thi  others  remained 
m  their  native  country.  They  used  to  meet  in  a 
small  caie.  which  soon  acquired  considerable 
notoriety  as  a  resort  ol  these  i  hampions  of  the  new 
ment,  and  many  guests  who  came  lor  a  visit  to 
Florence  joined  in  the  livelj  and  sometimes  even 


stormy  dicussions  which  were  held  there  on  art  and 
politics. 


Amongst  this  group  of  artists  was  <  iiovanni  Fattori. 
He  was  undoubtedly  the  most  characteristic  and 
sincere  ol  the   Florentine  macchiajuoli,  as  they  are 

called.       Horn  at   Leghorn  in    [825  of  poor   parents, 
he  had  all  through  his  life  a  hard  struj 
living.     But  he  would  not  sacrifice  his  convictions 
foi   temporarj  success  and  fought   pluckily  against 

the  stale  traditions  of  the  official  Si  hi  ><  lis  1  'I  painting. 
Fattori's  school  was  nature,  and  the  numerous  works 
he  produced  under  the  direct  inspiration  ol  thai 
instructor  are  a   testimony   to   th  ol     her 

teaching,      rhej   arc  so  true  and    convincing  and 
rj   in   so   simple  and   so   personal  a  manner, 
that  one  cannot  hut  lid  surprised  at   the  long   time 

1 10  waii  before  his  talent  » 
in     halv.      Hi     died    in     1908  after  an  active  and 

15.,. 


Studio-  Talk 


■  PAYSAGE    D  ITAUE 


(Collection  of  Julius  Oppenheimer,  Esq.) 


BY   GIOVANNI    FATTORI 


simple  life.     He  was  married  three  times  but  had 
no  children. 

Fattori's  early  works  include  many  military  sub- 
jects. The  country  swarmed  with  soldiers  at  that 
time,  and  the  artist's  eagle  eye  was  attracted  by  the 
great  variety  of  uniforms  and  attitudes  he  en- 
countered, and  he  made  a  large  number  of  pencil 
sketches    in    his   note-book    and    occasionally   an 


oil  sketch  on  a  wooden  panel.  The  public,  though 
not  quite  satisfied  with  his  drawing,  took  a  fancy  to 
these  subjects  and  if  in  later  days  he  was  able 
to  find  just  enough  to  live  on,  it  was  on  account  of 
the  various  orders  received  from  the  government  for 
large  battle-pictures.  The  artist  himself,  however, 
soon  outstepped  the  idea  of  becoming  an  expert  in 
the  craft  of  painting  military  subjects.  He  realised 
that    true   art   had  no    fixed   range  of  subject  or 


"  ETUDE    I)E    LA    VIE    MIUTAIKF.' 
I  60 


V>** 


(  Collection  of  Julius  Oppenheimer,  Esq.) 


BY   GIOVANNI    FATTORI 


Studio-  Talk 


LES    VEDETTES 


(Collection  ofSgr.  G.  Sjorni—By  courtesy  oj  the  Casa  Editrice  "  Self; 


Florence) 


ilOVANNl    FATTl  IR1 


method  of  treatment.  His  later  work  was  remark- 
able for  its  variety  of  subject  and  medium.  He 
used  oil  and  water-colour,  pastel,  pen  and  ink,  and 
pencil,  as  well  as  the  etching  needle,  and  among  his 
subjects  we  find  portraits  of  fair  women,  toilers  of 
the  field,  animals,  straw  stacks,  architecture,  and 
even  simple  masses  of  stone.  Not  all  of  his  work 
is  perfect,  but  considering  his  large  production,  the 
quantity    of   excellent    work    he    accomplished    is 


astonishing,  and  in  everything  he  produced  his 
individuality  can  be  recognised.  As  remarked  by 
Oscar  Ghiglia  in  his  introduction  to  the  fine  volume 
of  reproductions  which  the  publishing  firm  of  Self  has 
recently  consecrated  to  the  memory  of  the  artist, 
"  it  would  be  easier  to  copy  one  of  Titian's  Venuses 
than  one  of  his  [Fattori's]  fragments  of  stone, 
so  entirely  is  the  result  due  to  the  unconscious  action 
of  the  brush  or  pencil  as  guided  by  the  hand   in 


•  ON    JARDIN    d'OLIVIERS  ' 


(Collection  of  Julius  Oppenheim, 


I', I 


NAUSICAA."      BY   RUDOLF   KAESBACH 


(Photo.  Nene  Photographischt 
haft,  Berlin) 


Studio-  Talk 


expressing  the  nervous  impulse  excited  by  an 
exceptional  state  of  mind."  This  well-known  painter 
closes  his  appreciation  by  claiming  for  Fattori  a 
place  in  the  great  traditions  of  true  painting,  and 
certainly  he  deserves  to  be  ranked  as  at  least,  the 
equal  of  the  great  French  leaders  of  the  Impres- 
sionistic  School.  S.  R. 

BERLIN. — In  the  domain  of  the  fine  arts  it 
commonly  happens  that  men  who  possess 
real  talent  and  individuality  are  fated  to 
wait  long  years  before  their  merits  are 
recognised,  and  often  indeed  that  complete  success 
which  is  made  possible  by  perfect  freedom  of  action 
and  unhindered  development  of  personality  is 
realised  only  in  later  years.  Such,  however,  has 
not  been  the  fate  of  Rudolf  Kaesbach,  who  is 
among  the  small  number  of  German  sculptors  on 
whom  recognition  has  been  bestowed  in.  the  early 
if  their  activity.  Born  in  1873  at  Miinchen- 
( iladbach  in  the  Rhine  country,  he  studied  at  the 
.V  ademies  of  Hanau  and  Brussels  and  then  worked 
by  himself  for  a  few  years 
at  Diisseldorf,  the  chief  art 
centre  of  the  Rhenish  pro- 
vinces. From  1904  onwards 
he  has  had  a  studio  in  Berlin 
and  has  devoted  himself 
principally — though  by  no 
means  exclusively — to  the 
production  of  those  smaller 
works  of  sculpture  to  which 
we  apply  the  term  "  Klein- 
plastik,"  such  as  the  figures 
Reproduced  in  the  accom- 
panying illustrations. 


art  in  modelling  male  figures  of  well-knit,  noble  form 
and  the  smooth  and  graceful  lineaments  of  the 
female  figure.  As  examples  of  the  latter  it  is  only 
necessary  to  refer  to  the  works  here  illustrated  ; 
and  since  reproductions  such  as  these  are  more  to 
the  purpose  than  any  explanatory  commentary, 
further  remarks  thereon  would  be  superfluous. 
But,  as  already  stated,  Kaesbach's  work  is  not 
confined  to  the  modelling  of  the  female  figure  ; 
and  besides  the  male  subject — which,  with  its  firm, 
erect  attitude,  is  really  far  more  imposing — he  has 
also  accomplished  much  good  work  in  animal 
sculpture.  An  excellent  example  of  this  is  his 
bronze  equestrian  study  In  the  Pond,  while  of  his 
studies  of  the  male  sex  there  are  two  which  should 
be  mentioned  as  displaying  the  racy  vigour  which 
distinguishes  his  work — one  the  figure  of  a  wrestler 
and  the  other  that  of  a  fencer,  both  erect,  wi  re- 
types of  manhood  which  convincingly  attest  his 
executive  capacity. 


For  a  number  of  years  past  Kaesbach's  sculpture 


In  all  the  works  of  this 
Sculptor  there  lurks  a 
peculiar  sense  of  vitality 
which  evokes  sympathy, 
and  it  is  no  doubt  because 
of  this  quality  in  his  plastic 
ns  that  they  have 
from  the  very  first  appealed 
so  strongly  to  those  pos- 
sessing artistic  susceptibili- 
ties. He  does  not  make 
it  his  function  to  portray 
the  sturdier,  ruder  types  of 
humanity  in  which  brute 
force  and  massive  propor 
tions  are  the  salient  charac- 
teristics,  but    exercises  his 


(Thole,  Ncue  Photogr.  Gesellschaft ,  Berlin)     BY  RUDOLF  KAESBACH 

«63 


Studio-Talk 


has  been  a    regular    feature   at   all    the   chief  art 

exhibitions    in    Germany,    as    for    example   at    the 

Grosse   Berliner   Kunstausstellung  and  those  held 

from  time  in   Dusseldorf,  Munich,  and  elsewhere, 

where   they  always  excite  interest  and  gain  many 

friends.       At    the    present    time    the   sculptor   is 

d    on    a   series  of  works    of  a    figural   and 

ntal  character  destined  for  the  decoration  of 

I  which  is  undergoing  reconstruction  in  one 

of  the  towns  of   Pomerania,  and  in  view  of  the 

steady  progress  he  has  already  made  in  his  art  it  will 

be  interesting  to  watch  his  further  development. 

W.  E.  W. 

The  ground  floor  of  the  Berlin  National  Gallery 
has  now  been  reopened  to  the  public  after  having 
undergone    a    complete  transformation,   for    which 


'FETTERED"  KY    RUDOLF    KAESBACH 

(Pholo,  Note  Photographische  Gesellschaft,  Berlin) 
164 


FIGURE   OK   A   CHILD  BY    RUDOLF    KAESBACH 

(Pholo,  Nette  Photographische  Gesellschaft,  Berlin ) 


credit  is  due  to  the  new  director,  Prof.  Justi. 
The  old  arrangement  was  far  from  satisfactory \ 
with  its  dark  central  room  and  inconvenient 
partition  of  the  whole  it  caused  much  confusion. 
But  this  has  now  all  disappeared  ;  space  is  gained, 
and  everything  seems  better  disposed  and  lighted. 
After  passing  through  the  fine  old  vestibule,  one 
enters  an  oblong  passage,  which  serves  as  as 
overture  to  a  grand  symphony  when  we  start  our 
studies  from  its  left  end,  and  proceed  through  a 
semicircle  of  cabinets  until  we  reach  the  passage 
again.  One  could  have  wished,  however,  that  the 
rich  and  sonorous  Renaissance  decoration  of  the 
first  rooms  had  been  carried  out  all  through  the 
gallery.  As  it  is,  masters  like  Bocklin  and 
Feuerbach  stand  out  deservedly  in  all  their 
grandeur ;  they  represent  pathos  and  poetry,  gifts 
which    seem    to   be    rare  in  these  days.      MareeSi 


Studio-Talk 


whose  position  in  the  front  rank  has  been  severely 
contested,  also  evidences  the  happy  union  of  the 
German  and  Italian  element,  but  does  not  look 
here  quite  the  equal  of  such  Olympians.  The 
realistic  side  of  German  art  is  represented  with 
distinction  by  collective  shows  of  the  works  of 
Menzel,  Leibl,  Liebermann,  Trubner  and  Schuch, 
and  it  was  a  happy  idea  to  arrange  a  kind  of 
tribune  on  the  first  floor  where  some  pictures  by 
select  masters  vie  with  each  other. 


The  confusion  which  prevails  in  the  Berlin  Seces- 
sion seems  to  be  entirely  alienating  the  lingering  sym- 
pathies of  the  public.  Two  different  groups  have  just 
been  holding  exhibitions.  The  "  Freie  Secession," 
under  the  Honorary  Presidency  of  Max  Liebermann, 
exhibited  in  the  old  Secession  building.  It  derived 
importance  from  the  Julius  Hern  collection,  mostly 
composed  of  the  works  of  distinguished  impres- 
sionists, a  delightful  H.ms  Thoma  room,  and  a  large 
equestrian  subject  by  Renoir.  Other  notable 
contributions  came  from  Oberlander,  Ulrich  and 
H.    Hiibner,    Rhein,    Klemm,    Hagen,    Rappaport, 


Habermann,  Weiss,  Meid,  Kardorf,  Boudy,  Rosier, 
Beckmann,  Grimm,  Baluschek,  C.  Rii  ht<  r,    I 
and  Klein-Diepold.    The  sculptors  Barlach,  Kolbe, 
Engelmann,  Kruas,  Gerstel,  Minneand  Kruckeberg 

also     added     their     quota     of     meritorious     works. 

The  rest  of  the  exhibits  gave  evidence  of  the 
excesses  to  which  expressionism,  cubism,  and 
futurism  have  misled  our  artists.  A  visit  to  the  "Neue 
Secession  "  which  has  rallied  the  ultra-radicals  from 
the  "Storm"  group  only  meant  a  loss  ol  time 
owing  to  the  lack  of  artistic  capacity  which  marked 
their  exhibition  as  a  whole.  Some  independent 
Secessionists,  among  them  Lovis  Corinth,  the 
brothers  Appier,  and   Pottner,  o  open 

another  exhibition.       

At  Amslerand  Ruthardt's  an  exhibition  of  Wilhelm 
I  -tellings  argued  well  for  the  progress  of  this 

able  artist.  He  has  abandoned  his  careful  side- 
light and  chiaroscuro  method  and  has  spread  his 
wings  wide  under  modern  influences.  We  see 
him  now  sketching  rapidly  in  the  open  air,  in  the 
focus  of  city-life,  and  he  has  suceeded  in  capturing 
many  fascinating  vistas 
from  Berlin  and  his  native 
town  Magdeburg.  His 
surely  working  needle  can 
grasp  large  dimensions  and 
busy  crowds,  lie  is  always 
convincing  and  although 
his  eagerness  to  suggest 
movement  is  occasionally 
u\  ei  Home  by  a  certain 
Teutonic  heavim  ol 
form,  his  innate  qualities 
further 
development. 


'  IN    THE    PONIi 


(  'Photo,  Nt 


BY   RUDO]  1     i 

Phologr.  Gisellschaft,  Halm) 


At  si  ime  i  if  the  Ai :   : 

work  o!  artists  who 

follow     the    latest    t.ishions 

has  Keen  in  evidence  this 

Thus  at  ( 'ussjivr  s 

Mine      mural 

paintings    b)     lleinrich 

Nauen  showing  an  attempt 

to    depict     h  u  ma  n     and 

animal  figures  and 

by    a    large    and    "  I  xpres 

si  on  i  stic  "    patchwork    of 

but  also  disclosing 

an    insufficient    knowledge 

of  the    living    form.      Karl 

synthetic    outline 

•65 


Art  School  Notes 


"COMMERCE   AND   INDl'STRY 


( Fi\  it  Secession,  Berlin) 


BY    CLRICH    HUBNER 


failed  to  make  his  monotony  of  form  and  feeling 
palatable  and  to  mask  deficiencies  of  draughtsman- 
ship. At  Fritz  Gurlitt's  the  work  of  Adolf  Erbsloh 
called  for  closer  inspection  with  its  sonorous 
tonalities  and  strong  sense  of  form,  although  a 
certain  heaviness  of  hand  was  perceptible.       T.  T. 

VIEXXA. — Josef  von  Divekv,  whose  re- 
markable etchings  and  book  illustrations 
have  of  late  attracted  much  attention  on 
the  Continent,  is  a  young  Hungarian 
artist  who  having  acquired  the  theory  and  practice 
of  his  profession  in  Vienna  now  resides  in  Brussels. 
He  has  made  rapid  headway,  for  he  is  an  artist 
gifted  with  a  fine  imagination  and  an  admirable 
power  of  expressing  his  thoughts.  His  study  is 
humanity,  and  from  humanity  he  draws  his  in- 
spiration ;  consequently  his  etchings  teem  with  the 
force  of  Life.  He  has  a  keen  eye  for  decorative 
effect,  as  is  shown  by  his  etching  The  Ship  of  Joy 
here  reproduced,  which  is  a  characteristic  example 
of  his  methods.  It  is  one  of  a  series  of  six  of  which 
The  Fortune  Seeker,  The  Pilgrim,  and  The  Bridge 
are  notable  expressions  of  the  view  of  life  peculiar 
to  the  artist.  He  is  a  capital  draughtsman  and 
understands  the  printing  of  etchings  and  of  books, 
1 66 


having  acquired  his  experience  in  this  craft  with 
the  firm  of  Rosenbaum  in  Vienna. 

A.  S.  L. 

ART  SCHOOL  NOTES. 

LONDON. — Particulars  of  the  Rome  Scholar- 
ships in  Architecture,  Sculpture,  and  Decora- 
tive Painting,  to  be  awarded  in  191 5,  have 
-^  been  issued,  and  those  who  intend  to 
compete  must  give  notice  of  their  intention  to  the 
Honorary  General  Secretary,  British  School  at 
Rome,  54  Victoria  Street,  London,  S.W.,  before 
January  23  next.  There  will  be  a  scholarship  in 
each  of  the  three  subjects  of  the  value  of  ^."200 
per  annum,  ordinarily  tenable  for  three  years  at 
the  British  School  in  Rome,  and  candidates  must 
be  British  subjects,  under  thirty  years  of  age  on 
July  1,  1915.  The  Henry  Jarvis  Studentship  of  the 
same  value,  offered  by  the  Royal  Institute  of  British 
Architects,  will  be  competed  for  at  the  same  time, 
but  will  be  ordinarily  tenable  for  two  years  at  the 
British  School,  and  only  students  or  associates  of 
the  Institute  are  eligible  to  compete  for  it.  In  each 
class  there  will  be  an  open  and  a  final  examination, 
conducted  by  the  respective  faculties  at  the  British 
School.     The  subject  for  the  Open  Examination  in 


'THE    SHIP    I  >F    JOY."     FROM    AN 
ETCHING  BY  JOSEF  VON  DIVKKY 


Reviews  and  Notices 


Architecture  will  be  a  "  Courts  of  Justice  "  fulfilling 
certain  specified  conditions  :  and  in  sculpture  and 
decorative  painting  candidates  have  to  submit 
various  kinds  of  work  in  accordance  with  the 
printed  particulars,  the  last  date  for  delivery  in  ea<  li 
case  being  January  30.  The  final  examination 
will  follow  three  or  four  months  later  and  will  be 
confined  to  a  small  number  of  select  candidates. 

REVIEWS   AND   NOTICES. 

Brush  and  Pencil  Notes  in  Landscape.  By  Sir 
Alfred  East,  R.A.  (London:  Cassell  and  Co., 
Ltd.)  10s.  6d.  net. — Very  beautiful  both  in  their 
decorative  qualities  and  in  their  compelling  sense  of 
fidelity  to  and  love  of  nature  as  are  the  paintings  of 
Sir  Alfred  East,  whose  death  leaves  so  great  a  gap  in 
the  ranks  of  our  landscape  painters,  his  genius 
was  pre-eminently  revealed  in  his  water-colours,  in 
which,  apart  from  their  beauty  of  colour,  he  evinces 
such  amazing  skill  in  the  rendering  of  atmospheric 
effect,  and  again  in  the  pencil  drawings — so  sug- 
gestive  and  so  profound  in  the  knowledge  of  tree 
forms — with  which  he  filled  countless  sketch-books. 
As  Mr.  Edwin  Bale  tells  us  in  his  sympathetic 
introduction,  it  was  the  artist's  own  conviction 
that  he  was  a  better  painter  in  water-colour  than  in 
oils,  and  the  sincerity  of  his  very  personal  attitude 
towards  Nature  is  admirably  seen  in  the  beautiful 
works  he  executed  with  such  mastery  in  the  former 
medium.  Thirty-one  examples  of  his  sketches  in 
water-colour  are  illustrated  in  facsimile  in  this 
volume  together  with  twenty-nine  pencil-sketches. 
The  reproductions  are  in  the  main  excellent,  though 
occasionally  the  colour  plates  leave  something  to  be 
desired,  and  the  pencil  reproductions  are  printed  on 
an  "antique"  paper  which  while  it  certainly  gives 
something  of  the  surface  quality  of  the  original 
sketches  does  not  allow  of  quite  full  justice  being 
done  to  the  blocks.  The  book  contains  an  article 
written  by  Sir  Alfred  East  himself  on  "  The  Artist's 
attitude  towards  Nature,"  which,  taken  in  conjunc- 
tion with  the  examples  of  his  work  here  illustrated, 
should  prove  very  helpful  and  suggestive  to  the 
student  sketching  from  Nature. 

An  Introduction  to  English  Church  Architecture 
from  the  Eleventh  to  the  Sixteenth  Century.  By 
Francis  Bond,  M.A.  &c.  (Oxford  University- 
Press. )  2  vols.  £2  2S.  net. — The  number  of 
books  dealing  with  English  Church  Architecture 
from  the  standpoint  of  the  non-professional  student 
is  legion,  but  we  cannot  recall  any  that  treats  of  the 
subject  so  systematically  and  thoroughly,  and  is  so 
extensively  illustrated  as  this  new  work  by  Mr. 
Bond,  whose  exhaustive  knowledge  of  the  subject, 
168 


already  attested  by  the  various  books  which  have 
appeared  under  his  name  during  the  past  few  years, 
is  here  again  abundantly  demonstrated.  The 
author's  aim  is,  to  use  his  own  words,  "  to  give 
a  plain,  straightforward  account  of  mediaeval  build- 
ing construction  as  controlled  by  mediaeval  ritual," 
and  in  pursuance  of  this  aim  the  analytical  method 
has  been  followed  throughout  the  bulk  of  the  work. 
Thus  after  preliminary  chapters  on  the  churches 
belonging  to  the  various  orders  of  monks  and 
canons,  the  requirements  of  the  greater  mediaeval 
churches,  the  planning  of  churches  of  monks  and 
canons,  and  the  planning  and  growth  of  the  parish 
church,  he  proceeds  to  discuss  and  exemplify  in 
turn  the  numerous  constructional  details  met  with 
in  these  edifices — such  as  vaulting,  the  abutment 
system,  walls  and  arches,  the  pier  and  its  members, 
the  various  kinds  of  windows  and  their  tracery, 
doorways  and  porches,  the  triforium  and  bay 
design,  the  clerestory,  the  roof  and  other  devices 
for  securing  protection  from  rain,  and  finally  towers 
and  spires.  The  comprehensive  scope  of  the 
treatise  may  be  judged  from  the  fact  that  the  two 
volumes  contain  no  fewer  than  1400  illustrations, 
including  besides  photographic  views  and  drawings 
of  exteriors  and  interiors,  numerous  plans  and 
sections,  while  the  Index  Locorum  fills  no 
fewer  than  twenty  pages.  There  is  also  an  excellent 
glossary  as  well  as  an  exhaustive  Index  Rerum,  and 
as  evidences  of  careful  elaboration  are  everywhere 
present  the  work  will  undoubtedly  rank  henceforth 
as  a  standard  authority  on  pre-Reformation  Church 
Architecture  in  England. 

Spring.  By  W.  Beach  Thomas  and  A.  K. 
Collett.  (London  :  T.  C.  and  E.  C.  Jack.)  io.f.  6d. 
net. — This  is  the  second  volume  of  the  series  of 
three  delightful  works  in  which  the  authors  are 
giving  us  a  kind  of  Nature-lover's  diary  of  "  The 
English  Year.-'  The  first,  dealing  with  Autumn 
and  Winter,  was  reviewed  in  these  pages  some  few 
months  ago,  and  now  Messrs.  Beach  Thomas  and 
Collett  give  us  similar  fascinating  essays  upon  all 
the  manifold  and  varied  happenings  in  woods  and 
fields  during  March,  April,  and  May.  As  before, 
the  volume  is  illustrated  by  very  numerous  ad- 
mirable drawings  in  the  text  by  Mr.  Allen  Seaby 
and  contains  twelve  colour  plates  after  works  by 
Conder,  East,  Arnesby  Brown,  Harry  Becker  and 
Tom  Mostyn. 

The  Figments  and  Mediums  of  the  Old  Masters. 
By  A.  P.  Laurie,  M.A.,  D.Sc.  (London  :  Macs 
millan  and  Co.)  8s.  6d.  net. — For  some  years  past 
Dr.  Laurie,  who  succeeded  Sir  Arthur  Churchas  Pro- 
fessor of  Chemistry  to  the  Royal  Academy  in  1912, 


Reviews  ami  Notices 


has  devoted  close  attention  to  discovering  the  nature 
of  the  materials  used  by  painters  from  the  earliest 
times  onwards,  and  about  four  years  ago  he  published 
the  results  of  his  researches  and  investigations  in  a 
work  entitled  "  Materials  of  the  Painters'  Craft  " 
(Foulis).  In  the  present  volume  he  sets  forth  the 
results  of  further  researches  and  experiments  in  the 
same  direction,  undertaken  as  he  explains,  with  a 
definite  practical  object,  namely,  that  of  acquiring 
such  an  exact  knowledge  of  pigments  and  mediums 
as  would  prove  of  value  in  fixing  the  dates  of  works 
of  art  and  detecting  forgeries.  The  methods  he 
employs  are  chemical  and  microscopical,  and  as 
they  involve  the  removal  of  a  minute  portion  of 
pigment  the  examination  requires  delicate  manipu- 
lation and  special  apparatus.  As  the  outcome  of 
these  enquiries  he  is  able  to  adduce  fairly  conclusive 
evidence  as  to  the  dates  at  which  various  pigments 
were  in  use  and  of  their  nature  and  source.  Another 
branch  of  his  investigations  relates  to  the  quality  of 
the  brushwork  in  old  pictures  as  a  means  of 
elucidating  questions  of  authorship,  and  the  method 
of  micro-photography  he  employs  in  this  connec- 
tion has  yielded  some  interesting  results  as  shown 
by  the  series  of  illustrations  appended  to  the  book. 

Storied  Windows.  By  A.  J.  de  Havilland 
Bl  SHNELL.  (Edinburgh  :  VVm.  Blackwood  and 
Suns.)  15.C  net. — The  author  gives  his  work  the 
sub-title  of  "  A  Traveller's  Introduction  to  the 
Study  of  Old  Church  Glass  from  the  twelfth  century 
to  the  Renaissance,  especially  in  France,"  and 
writes  for  the  "beginner  of  intelligent  ignorance" 
for  whose  delectation  he  traces  the  history  and 
manufacture  of  coloured  glass,  and  then  proceeds 
to  discuss  the  old  examples  which  may  be  seen 
and  studied  in  various  of  the  cathedrals  in  Frani  e. 
In  reviewing,  on  other  occasions,  works  on  the 
same  subject  we  have  commented  upon  the  great 
difficulties  encountered  in  the  attempt  to  illustrate 
stained  glass  windows  satisfactorily.  We  would  not 
therefore  cavil  over  much  at  the  unsatisfactory 
nature  of  the  numerous  reproductions  which 
accompany  the  author's  text,  but  we-  feel  more  than 
evei  that  there  is  room  for  a  tine  work  on  old  glass 
with  illustrations  in  colour. 

Baroque  Architecture.  By  Martin  Shaw 
BRIGGS,  A.R.I.B.A.      (Loudon:   T.   Fisher  I'nw  in. ) 

1  in  :.  " This  book  is  not  in  any  way  an  attempt 
to  create  a  wholesale  revival  of  Baroque  Architecture 
in  England.  It  is  simply  a  history  of  a  complex 
and  neglected  period."  Perhaps  such  a  declaration 
as  this,  with  which  Mr.  Briggs  prefaces  his  disser- 
tation, was  necessary  in  view  of  the  disrepute  into 
which   the  type  of  architectural  design  known  as 


Baroque  has  fallen.  One'  rarely  hears  a  good  word 
said  for  "  Baroque"  nowadays,  and  probably  there 
are  many  who  feel  with  Mr.  Yoshio  Markino  that 
tlie  Baroque  builders  were  "big  fools"  in  making 
"  such  a  mess  of  their  architecture."  "  They  made 
ever}  line  curved  without  knowing  how  those 
beastly  lines  fidget  our  eyes,"  says  our  shrewd 
Japanese  critic,  and  he  is  right;  it  is  those  meaning- 
less and  tiresome  curves  that  have  brought  odium 
upon  Baroque,  and  the  only  wonder  is  that  this 
curious  phase  of  architecture  should  have  been  in 
favour  so  long.  Mr.  Briggs  is  quite  alive  to  its 
demerits  in  this  respect,  but  thinks  it  is  a  matter  of 
doubt  whether  seventeenth-century  architects  were 
as  much  to  blame  for  the  florid  appearance  of  their 
buildings  as  were  their  patrons.  But  in  spite  of 
its  decorative  extravagance  it  had,  he  contends, 
some  redeeming  features.  For  one  thing,  "  it 
replaced  a  series  of  objectless  and  expressionless 
copyings  of  antique  models  which  demanded  no 
higher  quality  than  that  of  drudging  patience." 
Mr.  Briggs  deals  with  the  history  of  Baroque 
architecture  on  a  more  comprehensive  scale  than 
has  we  think  yet  been  attempted  ;  beginning  with 
it ^  fust  manifestations  in  Rome  he  traces  its 
ensuing  development  in  various  other  parts  of  Italy, 
in  ( Jermany,  Austria,  France,  Spain,  Portugal, 
Belgium  and  Holland,  and  eventually  in  England, 
and  as  his  exposition  is  profusely  illustrated  with 
typical  examples  of  the  style  belonging  to  these 
various  countries  the  student  who  desires  to  make 
acquaintance  with  this  period  will  find  ample 
material  for  a  general  survey. 

I.e  Costume  Civil  en  Frame  du  Kill'  an  XIX' 
Sieele.  Par  CAMILLE  PlTON.  (Paris:  Ernest  Flam- 
marion;  London:  Grevel  and  Co.)  ijj.  net. 
Here  in  a  chronological  series  of  some  700  illus- 
trations furnished  by  contemporary  documents  of 
various  kinds  one  is  able  to  survey  the  changes 
which  have  taken  place  in  civilian  attire  throughout 
a  period  of  something  like  seven  centuries.  In  the 
earlier  stages,  tin.'  documentation  is  of  course 
comparativel)  meagre  and  consists  principally  of 
engraved  seals,  tapestries,  stained  glass,  and  the 
illuminations  ol  old  manuscripts,  but  as  the  centuries 
advance  a  much  greater  fund  of  material  becomes 
available  in  the  paintings  and  prints  which  were 
produced  in  such  abundance  after  the  pictorial 
arts  began  to  flourish,  and  this  source  has  conse- 
quently been  largely  drawn  upon  for  illustrating 
the  latter  half  of  the  book.  The  letterpress  is 
en  nrpport  with  the  illustrations  throughout  and 
contains   much   intei  ormation  on  details 

connected  with  them. 

169 


The  Lay  Figure 


T 


HE     LAY  'FIGURE:    ON     THE 
ART  OF  COLLECTING. 


■What  is  a  collector?"  said  the  Man  with 
the  Red  Tie.     "  Is  he  a  man  blessed  with  a  genuine 
,1  art  or  is  he  only  a  professional  dealer  in 
disguise  ?  " 

"Both  types  exist,"'  replied  the  Art  Critic.  "  Both 
play  a  considerable  part  in  the  affairs  of  the  art 
world  ;  both  count  for  something  in  the  artist's 
concerns." 

••  And  both,  I  suppose,  have  to  be  reckoned  with 
by  the  men  who  follow  the  artist's  profession  and 
seek  to  make  a  living  out  of  art,"  rejoined  the  Man 
with  the  Red  Tie. 

"  Certainly  they  have,"  agreed  the  Critic.  "  The 
collector  who  takes  a  real  interest  in  art  is  of  great 
importance  to  the  artist.  Upon  him  the  artist 
depends  to  a  large  extent  for  his  subsistence.  If 
there  were  no  collectors  the  artist  would  be  in  a 
rather  bad  case  and  would  have  few  chances  of 
disposing  of  his  work." 

"Oh,  I  can  quite  see  that,"  admitted  the  Man 
with  the  Red  Tie ;  "  but  do  you  not  think  the 
collector  is  only  too  often  a  dealer  openly  or  in 
thin  disguise,  or  else  merely  a  faddy  person,  with 
more  or  less  perverted  opinions,  who  encourages  the 
wrong  type  of  art  i5  " 

'■  As  I  have  said  before,  both  types  exist," 
repeated  the  Critic.  "The  collector  who  buys  for 
a  rise  and  sells  his  possessions  directly  they  go  up 
in  value,  is  common  enough.  I  do  not  rank  him 
\  i  r\  high  because  he  is  after  all  only  a  speculator 
and  his  position  is  simply  that  of  an  intermediary 
between  the  artist  and  the  man  who  is  honestly- 
fond  of  art." 

"  Is  there  anything  wrong  in  buying  for  a  rise  ?  " 
broke  in  the  Plain  Man.  "  Why  should  not  a  man 
who  has  a  knowledge  of  art  use  that  knowledge  to 
his  own  advantage?" 

"  Because,  as  it  seems  to  me,  the  speculator  in 
art  work  cannot  really  be  a  lover  of  it,"  returned 
tin  Critic.  "What  you  call  his  knowledge  of  art 
is  only  an  understanding  of  the  art  market.  He 
buys  things,  not  necessarily  because  they  are  good, 
but  because  he  knows  that  they  are  in  demand 
and  therefore  easy  to  sell  again." 

"  In  that  he  shows  that  he  has  his  fair  share  of 
business  capacity ;  he  only  follows  the  ordinary 
commercial  rules,"  said  the  Plain  Man.  "I  do  not 
blame  him  for  that." 

"  But  I  blame  him  for  applying  to  art  in  such  a 
cold-blooded  manner  what  you  call  the  ordinary 
commercial  rules,"  cried  the   Man  with  the   Red 
170 


Tie.     "  What   possible    connection    can   there   be 
between  art  and  commerce  ?  " 

"  Unfortunately,  a  very  close  one  nowadays," 
sighed  the  Critic.  "That  is  why  I  lament  the 
existence  of  the  collector  who  spends  his  whole 
time  in  watching  the  fluctuations  of  the  market  and 
is  always  ready  to  sell  at  a  profit ;  he  perpetuates 
this  connection  and  makes  people  think  it  is  ex- 
pedient, if  not  necessary." 

"  What  sort  of  collector  would  be  more  useful ; 
what  kind  of  man  would  you  have  in  his  place  ? " 
asked  the  Plain  Man. 

"  I  would  have  the  man  who  buys  art  work 
because  he  loves  it  and  wants  to  possess  it,"  declared 
the  Critic,  "  I  would  have  the  man  with  a  genuine 
appreciation  of  art  and  the  courage  to  back  his  own 
opinion  against  the  market.  Even  if  he  is  a  faddy 
person  with  unaccountable  convictions  who  buys 
what  you  and  I  may  think  the  wrong  type  of  art, 
he  is  of  more  use  in  the  world  than  the  com- 
mercially minded  man." 

"Surely  if  he  buys  bad  art  he  exercises  the 
wrong  influence  and  does  more  harm  than  good," 
protested  the  Plain  Man. 

"  The  man  who  begins  by  buying  bad  art  need 
not  continue  to  buy  it  all  his  life,"  replied  the  Critic. 
"  The  art  of  collecting,  like  other  arts,  is  partly 
inborn,  partly  a  matter  of  education.  Your  true 
collector  learns  by  his  mistakes  and  improves  with 
experience.  If  he  has  in  him  the  right  instinct  for 
judging  art  he  will  develop  it  sure  enough  and  will 
soon  acquire  the  discriminating  taste  which  will 
enable  him  to  make  a  right  selection  and  to  fulfil 
his  true  mission  in  the  world." 

"  Oh,  you  think  he  has  a  mission,"  said  the 
Man  with  the  Red  Tie. 

"  Of  course  he  has,"  exclaimed  the  Critic.  "  A 
high  mission  too  !  On  him  lies  the  responsibility  of 
maintaining  the  best  traditions  of  art,  of  preserving 
from  oblivion  the  work  that  counts,  of  encouraging 
the  artists  who  are  too  sincere  to  keep  always  an 
eye  on  the  market.  What  greater  mission  could  he 
have  ?  " 

"You  seem  to  think  that  he  ought  never  to 
consider  his  own  interests  at  all,"  grumbled  the 
Plain  Man. 

"On  the  contrary,  he  should  consider  his  own 
interests  first,"  declared  the  Critic;  "but  his 
intellectual  not  his  commercial  interests,  his  tastes 
and  convictions  not  his  profit  and  loss  account. 
If  he  is  a  true  collector,  he  will  buy  what  is  good, 
whether  it  is  marketable  or  not,  simply  because  he 
knows  it  is  good." 

The  Lav  Figure 


"LA    MADONNA    Dl    PROMESSA."    painted 

IN   SP    RIT   FRESCO     ON    WOOD   PANEL  GROUND 
PREPARED     WITH      SLAKED      PLASTER      OF 

Paris     by     E.     REGINALD    FRAMPTON. 


The  Society  of  Mural  Decorators 


T 


HE  SOCIETY  OF  MURAL 
DECORATORS  AND  PAINTERS 
IN   TEMPERA. 


Architecture,  though  rightly  called  "  The 
Mother  of  the  Arts,"  cannot  attain  to  her  fullest 
splendour  without  her  children  ;  the  very  arts  she 
has  called  into  existence  are  now  necessary  to  her 
own  well-being;  without  them  she  remains,  dignified 
it  may  be,  but  shorn  of  her  graces  and  bared  of 
those  embellishments  that  enhance  and  accentuate 
the  qualities  that  render  her  most  admirable. 
Carving  and  colour,  though  not  essential  to  the 
main  object  a  building  has  to  serve,  are  howevei 
essential  to  that  sense  of  completion  which  high 
civilisation  demands  as  a  necessity  in  great  efforts. 
Not  only  does  high  civilisation  give  rise  to  this 
demand  ;  even  barbaric  peoples  revel  in  splendour 
of  pattern  and  colour.  All  points  therefore 
to  architecture  and  her  children  walking  hand 
in  hand  and  forming  a  community  of  self-interest, 
each  being  dependent  on  the  other,  and  drawing 
health  and  life  from  each  other. 

Unfortunately  the  commercial  spirit  that  has 
swept  over  the  world  during  the  last  century,  that 
devil's  philosophy  which  preaches  that  the  end  and 
aim  of  all  things  is  "to  buy  in  the  cheapest  market 


ami  sell  in  tin-  dearest,"  seems  to  have  led,  among 
othei  evils,  to  an  almost  complete  divorce  of  the 

various  arts.  The  architect  builds  his  building, 
employs  a  trade  carver  to  carve  the  minimum  of 
carving  on  it,  and  but  rarely  thinks  of  painting 
except  as  "house  painting,"  such  work  even  being 
rather  in  the  nature  of  an  afterthought.  The 
sculptor  turns  his  best  energies  to  detached 
figures  for  exhibition  in  the  Royal  Academy,  01  to 
busts,  and  looks  on  architectural  carving  .is  an 
inferior  branch  only  to  lie  taken  up  when  money  is 
needed.  The  painter  thinks  entirely  within  the 
four  walls  of  a  frame  and  strives  to  render  natural 
effects  or  to  give  pictorial  expression  to  some  sub- 
ject that  appeals  to  him.  To  each  the  other's  arts 
are  things  apart  and  their  exponents  people  ol 
another  kidney,  who  deal  with  matters  that  have 
but  slight  connection  with  his  own  aims.  It  n  a 
hopeful  sign,  however,  that  there  are  enough 
modern  painters  alive  to  these  evils  to  form  a 
society  for  the  study  of  mural  decoration  per  st- 
and to  endeavour  to  understand  the  difference — 
and  the  difference  is  vast — between  it  and  picture- 
painting.  A  sho;t  survey  of  the  work  of  the  past 
will  help  in  the  understanding  of  this  difference. 

The  recent  explorations  of  Sir  Arthur  Evans  in 
tot!     and    the    researches  of   Mr.   Noel    Heaton 


cUFPtflic  Irflucn  sip flprWn imD  lucbni 


"IIIKl   I    DIE    FRAUEN"    (TEMPERA) 

(  By  permission  of  Messrs.  Morns  and  Com/any  Ltd.  ) 
LXII.  No.  256.  — August  1914 


\  1;  1  \  \  \  1 


'7; 


The  Society  of  Mural  Decorators 


PORTION    OF    FRIEZE    IN    BEDROOM    AT    HORNTON    LODGE,    KENSINGTON 


PY  JESSIE    i:  V,  ES 


undertaken  on  his  behalf  have  thrown  much  light 
on  very  early  painting.  It  has  been  proved  that 
the  Minoans  practised  fresco  painting — that  is, 
painting  with  simple  colours  on  plaster  while  it  is 
wet,  or  rather  unset,  and  also  that  they  carried  the 
art  to  a  high  state  of  technical  perfection  as  far 
back  as  something  like  3000  or  4000  B.C.  Their 
buildings  seem  to  have  been  heavily  plastered  and 
the  plaster  enriched  with  elaborate  and  beautiful 
colour-schemes  both  of  geometric  patterns  and 
scenes  from  the  life  of  the  time.  Further,  this 
painting  seems  to  have  been  looked  on  as  pure 
decoration — that  is  to  say,  it  was  not  surrounded 
by  any  particular  halo  of  "art"  and  treasured  as 
precious  or  exotic,  but  was  freely  replaced  by  the 
simple  process  of  hacking  off  the  plaster,  which 
was   then   re-laid   and    re-decorated.      A   school  of 


decorators  consequently  arose  who  arrived  at  a 
high  standard  of  competence,  both  as  craftsmen 
and  designers.  The  Egyptians  on  the  other  hand, 
no  doubt  owing  to  their  climate,  worked  more  for 
eternity,  though  they  did  not  practise  fresco  paint- 
ing, their  colours  being  mixed  with  some  form  of 
size  :  both,  however,  looked  on  painting  as  a 
means  of  enriching  their  architecture,  all  attempts 
at  realism  being  subservient  to  this  main  object. 

The  Greeks  doubtless  practised  painting  for  its 
own  sake  as  well  as  for  its  decorative  qualities, 
though  many  of  the  stories  as  to  the  extraordinary 
realism  attained  by  Zeuxis  and  others  who  painted 
grapes  so  real  that  birds  tried  to  peck  them,  may 
be  swept  away  as  fables.  Colour  was  to  them  a 
means  of  enrichment,  and  even  their  sculpture  was 
enforced  by  coloured  backgrounds  and  draperies 


'VENTS    LAMENTING    THE    DEATH    OF    ADONIS  ' 
'74 


BY    MR    I  HARLES    HOLROYD 


The  Society  of  Mitral  Decorators 


_■  ded  hair.     Specimens  of  pure  Greek  paint- 
ing  unfortunately   have  not  yet   been  discovered, 
and  we  can  only  judge  of  their  work  from  fragments 
date,  chiefly  from  Rome  and  Pompeii.   Pliny 
speaks  of  pictures  bj  Apelles 
and   others   as    so   valuable 
that    the  wealth    of  a   city 
would     not     buy    one,     so 
doubtless     Greek     painting 
was  as  fine  as  their  sculpture, 
which,     be    it    noted,    was 
always  associated  with  archi- 
tecture. 

During  the  long  period  of 
Byzantine  dominance  in  the 
arts,  painting  seems  to  have 
given  way  very  largely  to 
Mosaic,  the  splendour  of 
which,  combined  with 
polished  marbles,  produced 
gorgeous  effects.  Mosaic, 
however,  is  so  large  a  sub- 
ject that  it  could  only  be 
treated  adequately  at  great 
length. 

With  the  Italian  Renais- 
sance painting  once  more 
came  In  its  nun,  and  mural 
decoration  in  true  fresco 
reached  the  highest  point  of 
any  period  of  which  com- 
plete examples  are  extant. 
Then  came  the  development 
of  oil  painting  which  with 
its  greater  ease  and  force 
seems  to  have  sounded  the 
death-knell  of  the  simple 
suave  treatment  of  wall 
spaces,  and  the  truly  monu- 
mental. Out  of  it  arose 
what  may  be  called  the 
modern  school  of  painting, 
and  the  painter  turned  his 
attention  almost  solely  to 
"  pictures."  Paintings  were 
no  longer  part  of  a  building 
but,  enclosed  in  frames,  be- 
came so  much  "  furniture  " 
to  be  moved  from  place  to 

place.  Often  beautiful,  and  supremely  so,  they 
became  things  apart,  to  be  loved  and  studied  like 
books,  but  their  connection  with  the  building  in 
which  they  were  placed  became  of  the  slenderest. 

Within  recent  years,  however,  a  feeling  has  arisen 
176 


that  an  easel  picture,  however  beautiful  or  dignified, 
is  not  the  only  phase  of  the  painter's  art  that  is 
worth  attention,  and  many  efforts  have  been  made 
to  have  wall  spaces  actually  decorated  once  more, 
to  have  the  long  lost  con- 
nection between  the  build- 
ing and  the  painting 
restored.  Many  of  these 
efforts  have  resulted  if  not 
in  actual  failure,  at  least  in 
an  effect  that  is  far  from 
satisfactory.  The  reason  is 
not  far  to  seek  ;  it  is  not 
enough  that  a  successful 
picture  or  portrait  painter 
should  produce  a  painting 
which  is  forthwith  stuck  on 
a  wall  ;  however  competent 
such  a  work  may  be,  it  is 
doomed  to  failure  ;  it  may 
be  even  beautiful  in  itself 
but  it  is  not  therefore  neces- 
sarily decorative.  What, 
then,  is  required  ?  Primarily 
unity  of  style  with  that  of 
the  building.  A  painting 
admirably  adapted  to  an 
austere  early  Gothic  build- 
ing would  be  entirely  wrong 
if  placed  in  a  Georgian  or 
Queen  Anne  house.  This 
is  possibly  the  most  im- 
portant point  of  all  those 
that  are  under  the  control 
of  the  painter.  Of  equal 
importance,  however,  is 
one  that  is  almost  entirely 
at  the  mercy  of  the  archi- 
tect, and  that  is  the  place 
where  the  colour  decoration 
is  to  go  and  the  amount  of 
space  that  it  is  to  occupy. 
It  should  carry  the  con- 
viction that  it  could  only  be 
there  and  further  that  it 
should  not  be  either  larger 
or  smaller  than  it  is. 

The  question  of  the  scale 
of  treatment  should  be 
governed  by  the  scale  of  the  surrounding  archi- 
tectural detail.  "  Finish  "  in  the  sense  of  attention 
to  small  matters  may  absolutely  ruin  a  design  that 
otherwise  might  be  fairly  right  in  the  size  of  its  masses. 
Scale  of  colour  is  also  a  matter  demanding  most 


DECORATIVE    PANEL 
.    MEESON    COATES 


The  Society  of  Mural  Decorators 


careful  study,  and  should 

be  governed  by  projection 
of  mouldings,  lighting, 
materials  used  in  the  con- 
struction of  the  building, 
and  a  host  of  other  archi- 
tectural considerations. 
Some  places  will  stand 
colours  of  a  most  primary 
character,  others  demand  a 
reticence  and  an  envelop- 
ing paleness,  that  would  be 
quite  out  of  place  in  the  first. 
Generally  speaking,  a  cer- 
tain rigidity  or  austeritj 
of  design  is  essential  to  an 
eminently  successful  re- 
sult, the  limitations  of 
design  are  therefore  more 
clearly  defined  than  with 
a  picture,  which,  isolated 
by  its  frame,  can  in  a 
manner  make  its  own 
limitations,  whereas  the 
decoration  is,  or  should 
be,  subservient  to  the 
effect  of  the  whole 
building. 

But  perhaps  the  greatest 
stumbling-block  of  all. 
the  one  that  leads  to  the 
downfall  of  most   of  those 

who  attempt  this  art,  is  the  quality  of  deception. 
The  modern  ideals  of  the  correct  rendering  of 
light  and  atmosphere,  of  capturing  the  fleeting 
effect  of  brilliant  sunshine  or  the  movement  of 
figures  in  their  natural  environment,  are  here 
entirely  out  of  place.  The  very  qualities  that  help 
to  make  a  great  oil  painting,  the  feeling  of  looking 
into  it,  the  depth  on  depth,  the  large  masses  of 
luminous  shadow  relieving  brilliantly  illuminated 
objects  and  in  their  turn  relieved  by  them,  the 
feeling  that  the  third  dimension  of  the  objects 
rendered  is  an  actual  fact,  all  these  are  beside 
the  question.  Above  all  a  decoration  must  be 
an  enriched  surface,  and  that  surface  must  nol  bi 
lost :  directl)  tin-  feeling  is  produced,  that  the  paint 
ing  is  a  hole  in  the  wall  through  which  a  Si  ene 
IS  viewed,  then  the  decoration  begins  to  tail  as 
sui  h.  Everything  in  the  design  should  contribute  to 
this  retention  of  the  surface,  and  the  execution  i  it  its 
various  parts  should  be  such  as  to  subordinate 
realism  to  this  main  object  :  cast  shadows,  high 
lights    and    all    that    goes    to    deceive    and    make 


'  CENSING    ANGELS 


RY    K.    ANNING    BELL,    A.R.A. 

stand  out  in  such  a  mannei  as  to  look 
real,  must  give  waj  i"  the  larger  qualities  ol  pattern 
and  surface. 

In  this  connection  it  is  much  to  be  regretted 
that  modern  conditions  and  requirements,  as  well 
as  climatic  considerations,  make  pure  fresco  50 
unsuitable  at  the  present  daj  in  England.  ["hi 
very  limitations  of  the  material  and  realism  in 
the  oil  painter's  sense  oi  tin-  word  is  impossible 
in    pure    fresco— render    it   eminently    suitab 

.mm,  the  surface  qualities  so  essential,  come 
as  it  were  of  themselves,  and  it   needs  hi 
touching  or  hatching  in  tempera    to   produce  any 
appreciable  deception.     Hence  tin   painter's  efforts 

f  necessity   direi     i    to  the  higher  qualities  <>t 

expression  and  design  and  being  confined  within 
sin,  tl)  defined  limitations,  unknown  in  oil  painting, 
his  mind  is  tree  to  'I'd  with  the  problems  before 
him  without  being  constantly  lured  into  by-paths. 

However,  it  is  a  bad  workman  who  complains  of 

his  tools,  and  the  work  of  M.  I'uvis  de  Chavannes 

hers  provi  '  "  some 

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The  Society  of  Mural  Decorators 


variant  of  it,  the  highest  qualities  of  monumental 
grandeur  can  be  attained. 

Although  no  doubt  the  limitations  imposed  by 
any  material  are  great  aids  if  understood,  it  is  the 
understanding  and  use  of  them  that  are  the  gain,  not 
the  limitations  themselves.  Therefore  an  intelligent 
understanding  of  the  problems  of  decoration,  a 
thorough  grasp  of  the  needs  of  the  building,  and  an 
earnest  endeavour  to  collaborate  with  the  architect 
in  producing  an  harmonious  whole  will  overcome 
any  difficulties  that  may  arise  from  material.  Let 
the  painter  arrive  at  a  definite  idea  why  certain  parts 
of  his  work  should  be  of  a  certain  weight,  or  why 
certain  straight  lines  are  necessary  to  steady  the 
design  and  echo  certain  architectural  features,  or 
why  the  architect  wants  a  particularly  sumptuous 
piece  of  colour  at  a  certain  place,  or  the  why  of  any 
other  particular  need  that  may  arise — once  let  him 
grasp  the  reason — and  the  material  he  is  using  will 


i       -l     \    rRIPTYCH    AT  THE   CHURCH   OF   S.  MARTIN.  KENSA]     rl    r.   LONDON 

PAINTED    BY  JOHN    II.    BATTEN  ;    CARVING    AMI   GILDING    BY    MRS.    BA1  I  I 

( By  permission  of  the  Reu.  R.  C.  Turner,  Vicar  of  S.  Martin's) 


not  prevent  him  from  arriving  at  a  satisfactory 
result. 

Therefore  it  is  to  In-  hoped  that  the  Society  ot 
Mural  Decorators  will  not,  as  sometimes  happens 
with  like  societies,  rattle  tin  dead  bones  of  bygone 
conventions,  ami  seek  salvation  in  the  revival  of 
ancient  practices,  no  longer  suitable  to  modern 
needs,   but   rather   strike  at    the    root    of  the   matter 

and  encourage  among  its  members  an  endeavour 
to  grasp  the  needs  of  architecture,  to  subordinate 
the  natural  desire  of  clever  men  to  be  too  clever,  to 
the  greater  end  of  enriching  a  building  so  suitably 
that  the  buildingwill  be  visited  for  its  own  sake,  not 
for  the  sake  of  the  pictures  it  contains. 

No  more  striking  example  of  the  failure  of  a 
great  painter,  and  a  very  great  one,  to  grasp  the 
essentials  ot  decoration,  is  to  be  found  than  that 
of  the  windows  in  New  College  Chapel,  Oxford, 
by  Sir  Joshua  Reynolds.  Sir  Joshua  produced 
pictures,  and  very  charming 
ones,  of  certain  ladies  to 
represent  the  virtues,  and 
as  painted  panels  in  frames 
they  hold  a  high  place  as 
objects  of  beauty,  but  trans- 
lated into  glass  they  art- 
unspeakable,  anil  can  only 
be  described  as  the  nega- 
tion of  everything  that  a 
window,  as  an  architectural 
adjunct,  should  be.  True, 
the  difference  between  a 
window  and  a  painting  is 
greater  (or  should  be)  than 
the  difference  between  a 
mural  decoration  and  a 
picture,  but  the  illustration 
is  a  striking  one,  and  serves 
to  point  out  forcibl)  the 
wide  gull  thai  separates 
the     pictorial     and     the 

d at  i  ve 

It    is   needless   and   invi- 
dious to  raise  the  question 
which  is  the  higher  branch 
of  arl      lni nn  was  a  greal 
and  so  was  Michael 
Vngi  I' >,    \et    Turnei    »as 
illj  a  picture  painter. 
Rembrandt     painted     the 
with    an    in- 
tensity i  il       mpath)  and  an 
insight      that      havi      1"  mi 
granted  to  hut  lew.  i!  any 
181 


The  Society  of  Mitral  Decorators 


other  painters,  but  he  was  not  a  decorator  in  the 
architectural  sense  ;  on  the  other  hand,  Phideas, 
perhaps  the  greatest  artist  of  whom  we  have  any 
trace,  is  known  to  us  only  as  the  carver  of  the 
architectural  ornaments  on  the  Parthenon.  There 
is.  however,  one  point  that  deserves  attention  and 
gives  rise  to  apprehension  for  the  future.  Should 
mural  decoration  become  a  need  in  years  to  come, 
it  is  sincerely  to  be  hoped  that  it  will  not  be  per- 
mitted to  drift  into  the  position  that  is  so  unfortu- 
nately oci  upied  l>\  so  much  architectural  carving; 
it  must  on  no  account  be  tarred  with  the  brush  of 
being  a  trade,  to  be  done  at  so  much  a  foot  and 
the  cheapest  man  to  get  the  job.  Although  many 
of  our  architectural  carvers  are  struggling  earnestly 
and  often  successfully  to  lift  the  status  and  quality 
of  such  work,  they  are  usually  terribly  handicapped 
1  \  the  position  of  infericntN  into  which  their  art 
has  been  allowed  to  lapse.  We  must  look  to  it 
that  mural  decoration  does  not  suffer  in  the  same 
way  :  it  must  not  degenerate  into  the  creature  of 
the  pattern-book,  to  be  executed  as  rapidly  as 
possible  by  the  aid  of  hired  labour.  The  architect 
and  the  client  must  not  look  on  it  as  a  thing  that 
may  very  well  be  left  out,  or  onlv  put  in  at  the  last 


moment  if  the  necessary  funds  can  be  squeezed 
out  of  moneys  originally  intended  for  other  purposes; 
in  short,  it  must  be  regarded  as  of  equal  importance 
with  any  other  accessory  of  the  building.  On  the 
other  hand,  we  must  guard  against  surrounding  it 
with  too  great  a  halo  of  sanctity  ;  it  must  not  be 
treated  as  too  precious  or  exotic,  it  must  not 
become  so  costly  that  only  the  millionaire  can 
dream  of  employing  the  decorator  ;  let  us  rather 
Strive  to  see  it  honoured  and  honourable,  a  necessary 
complement  to  architecture  and  a  source  of  delight 
not  only  to  the  man  who  does  it  but  also  to  him 
who  has  to  live  with  it.  J.   C. 


[The  illustrations  to  the  foregoing  article  are  with 
four  exceptions  (Mr.  Cayley  Robinson's  Dublin 
decoration,  Miss  Jessie  Bayes's  frieze,  Mrs.  Meeson 
Coates's  panel,  and  the  pair  of  panels  by  Mr.  and 
Mrs.  Batten)  reproductions  of  works  forming  part  of 
the  recent  exhibition  of  the  Society  in  the  hall  of  the 
Art  Workers'  Guild  in  Queen  Square,  Bloomsbury. 
A  piece  of  tapestry  executed  by  Messrs.  Morris  and 
Company  from  Mrs.  Stokes's  cartoon  Ehret  die 
Frauen  is  now  being  shown  at  the  British  Arts  and 
Crafts  Exhibition  in  Paris.] 


i  i- 1  • 


IESIGN     FOR     DECORATIVE     PANEL     AT    THE 
FRANK    O.    SALISBURY 


TOWN      HAI.1 


z  o 

UJ 

<z  * 

I  z 

H  < 

UJ  DC 

CC  LL 

m 


5  8 

oc  u 
C3  o 


T 


The  Etc /lings  of  E.  S.  Lumsden.  A.R.E. 


HE  ETCHINGS  OF  E.  S.  LUMS- 
DEN, A.R.E.  BY  MALCOLM  C. 
SALAMAN. 

In  the  last  exhibition  of  the  Royal  Society  of 
Painter-Etchers  my  eye  was  happily  arrested  by  a 
couple  of  etchings  which  appealed  with  a  refresh- 
ing sense  of  originality  in  vision  and  treatment. 
Here  were  pictorial  impressions  rendered  with 
delicate  selective  vision,  and  magic  of  etcher's  art 
and  printer's  craft,  that  held  the  eye  as  they 
brought  to  the  responsive  imagination  the  very 
-.  nse  of  the  Far  East.  Jeypore— Evening,  and 
Benares,  No.  j,  these  prints  were  called,  and 
further  along  on  the  same  wall  were  hanging  two 
Others,  Jeypore — Morning,  and  I  Tdeypore — Morning, 
by  the  same  artist,  Mr.  E.  S.  Eumsden.  No  other 
prints  that  I  can  recall  had  ever  brought  India  close 
to  nu  as  these  four  etchings  did.  Here  was  not 
merely  the  '■informing  expression  of  passing  light," 
such  as  makes  a  classic  of  a  Rembrandt  or  Legros 
landscape,  but  the  artist  hail  seen  his  pictorial 
subject  saturated  typically  with  tropical  sunlight 
and  an  air  of  languorous  heat,   so  that  his  needle 


touched  the  very  spirit  andessence  ol  the  - 

life  in  his  lines.  With  a  very  subtle  feeling  t..r 
tone,  too,  he  had  aided  the  atmospheric 
tiveness  of  Ins  etching  by  priming  his  plates  with 
ink  of  warmer  tune  than  usual,  mixing  doubtless 
■i  larger  proportion  of  Burnt  Umber  with  his 
Frankfort  Black,  and  wiping  tin  copper  with 
remarkable  sensitiveness  and  craft  of  hand.  So  the 
sunlight  seems  Ik  re  more  truly  tropical,  and  one 
feels  the  actual  heat  making  heavier  the  ait  ovei 
the  Ganges,  as  one  looks  across  the  Holy  River  at 
tin  "  Sacred  City  "  of  Benares,  or  where  in  the  hazy 
morning  light  the  natives  of  (Jdeypore  or  of 
I'     pore  are  going  stolidly  about  their  business. 

Again  I  saw  these  Indian  etchings,  with  many 
more,  in  a  representative  exhibition  c.t  Mi. 
Lumsden's  etched  work  recent!)  held  at  Messrs. 
Dowdeswell's  gallery,  his  etched  work,  that  is  to 
say,  done  prior  to  his  latest  \isit  to  India.  Here 
one  was  able  to  note  the  development  of  his  art 
and  technique,  with  his  growing  independence  in 
expression,  since  he  did  his  impressive  Paris  in 
Construction  set  in  1907,  etchings  which,  with  fine 
precision  of  draughtsmanship  and  etching  quality, 


IHK    INDIAN    RESERVE,    VICTORIA,    BRITISH    COLUMBIA"  BY   B.   S.    LI   M! 

( Reproduced  with  the  other  etchings  by  permission  ,  I  '.'.  Ltd.) 


[)BN,     A.K.I. 


The  Etchings  of  E.  S.  Lumsden,  A.R.E. 


while  not  eluding  a  suggestion  of  Meryon's  inevitable 
influence,  especially  in  The  Horses — a  remarkable 
print — show  a  freshness  of  eye  in  the  conception 
and  treatment]  of  French  scaffolding  and  building 
which  makes  for  originality. 

Originally  intended  for  the  Navy,  a  break- 
down in  health  interrupted  his  training  on  H.M.S. 
"  Worcester,"  and  then  he  determined  to  become  a 
painter.  From  the  School  of  Art  at  Reading, 
which  was  then  under  the  direction  of  that  admir- 
able master,  Mr.  Morley  Fletcher,  Mr.  Lumsden 
went  for  a  short  time  to  study  painting  at  Julian's 
in  Paris.  In  1908,  however,  he  became  himself  a 
teacher,  going  as  a  lieutenant  of  Mr.  Fletcher  to 
the  Edinburgh  College  of  Art,  and  teaching  drawing, 
painting  and  etching  there  for  three  years.  His 
own  etching  was  self-taught.  His  Scottish  plates,  of 
which  we  reproduce  the  charming  Lock  Shieldaig, 
were  done  five  years  ago,  and  the  Loch  Torridon,  and 
Castle  Rock,  Edinburgh,  No  2,  show  a  freer  tech- 
nique than  that  of  the  Paris  set,  with  a  no  less — 
perhaps  a  still  more — notable  personal  expressive- 
ness. Of  the  plates  which  he  did  during  his  visit 
to  Victoria,  British  Columbia,  in  1910,  we  reproduce 
The  Indian  Reserve,  an  able  piece  of  etching,  but 
one  feels  that  the  atmosphere  and  aspect  of  the 
country  were  not  quite  sympathetic  to  the  artist. 
He  was  not  so  happy  as  when  later  he  heard  the 
East  a-calling. 

It  was  Rudyard  Kipling's  descriptions  of  Eastern 
places  in  "  From  Sea  to  Sea  "  that  first  imbued  Mr. 
Lumsden  with  a  desire  for  travel  in  the  East,  and 
an  ambition  to  interpret  it  with  brush  and  needle 
as  Kipling  had  with  his  pen.  Visiting  Japan, 
China  and  Corea,  he  soon  began  to  see  and  feel 
the  Oriental  glamour,  and  to  select  subjects  that 
inspired  his  needle  to  happy  interpretation.  This 
is  exemplified  in  two  prints  reproduced  here : 
Peking — The  City  Wall,  with  its  hot  sunlight  upon 
the  thick  white  dust  of  the  road,  emphasised  by 
the  deep  shadows  cast  by  the  wall ;  and  Seoul — 
II 'est  Gate,  which  gives  a  characteristic  and  en- 
gagingly pictorial  glimpse  of  Corea's  capital,  seen 
in  a  brilliant  grey  light. 

But  it  is  in  India — especially  the  cities  of 
Rajputana,  that  Mr.  Lumsden  seems  to  have  found 
his  happiest  inspiration.  Benares,  with  its  in- 
numerable temples  and  its  river  of  mystic  and 
sacred  significance,  has  offered  him  rich  subject- 
matter,  and  he  has  responded  with  all  a  true 
artist's  love.  We  reproduce  here,  as  typical 
examples  of  his  sympathetic  suggestiveness  of 
expression,  Benares,  No.  1,  and  A  Benares  Ghat, 
though,  but  for  the  fact  that  the  very  delicacy  of  the 
186 


biting  of  some  of  their  essential  lines  would  have 
caused  them  to  lose  in  reproduction  much  of  their 
effect,  Benares  No.  2  and  No.  3,  and  The  Holy  River, 
would  probably  have  represented  still  more  persua- 
sively Mr.  Lumsden's  attitude  as  an  etcher  towards 
the  problems  of  light.  Light,  seen  not  partially, 
but  in  the  verity  of  its  whole  effect  upon  a  scene, 
would,  in  much  of  his  later  work,  seem  to  be  the 
primary  motive  of  his  etching,  design  being,  as  one 
may  note  in  such  plates  as  The  Holy  River  and 
Udeypore — Morning,  of  secondary  importance  ; 
nor  is  his  treatment  of  light  consciously  influenced 
by  the  popular  conventions  of  contrasting  high 
lights  and  deep  shadows  that  make  so  many 
contemporary  etchers  look  like  each  other. 
His  pictorial  aim  is  a  coup  dosil,  suffusing  his 
Oriental  impressions  with  the  quality  of  sunlight 
peculiar  to  the  country,  and  the  effect  is  to  stamp 
his  prints  with  a  distinction  of  their  own. 

But  important  as  is  Mr.  Lumsden's  artistic  pre- 
occupation with  the  significance  of  light,  his 
pictorial  interest  in  the  human  aspect  of  the 
East,  with  all  its  diversity  and  vividness  of  colour 
and  character,  is  steadily  growing,  and  this  is 
remarkable  in  most  of  the  twenty-three,  as  yet 
unpublished,  plates  he  wrought  during  his  recent 
visit  to  Benares  and  Jodhpore,  a  state  of  Rajputana 
which  is  still  very  little  affected  by  European  in- 
fluences, and  offers  rich  and  varied  pictorial  subject- 
matter  to  the  artist. 

In  these  new  plates  which  I  have  been  privileged 
to  see  in  trial  proofs,  Mr.  Lumsden  shows  that  his 
vision  is  keen  for  the  actualities  and  suggestions  of 
native  life  and  character,  and  that  his  touch  is 
happily  vivacious  in  the  presentation  of  the  human 
incident  in  its  proper  atmosphere.  Here  are 
typical  scenes  in  the  Jodhpore  bazaars  vivid 
with  their  activities  :  the  fruit-shop,  the  cook-shop 
interior,  the  place  of  the  sword-makers,  the  narrow 
crowded  streets,  the  market-place.  Here  is  a 
river  palace  at  Benares,  seen  in  the  evening,  with 
its  warm  atmospheric  effect.  Here  are  characteristic 
scenes  on  the  Ganges,  where  they  are  loading 
stones  on  barges  or  house-boats  of  peculiar  build,  or 
where  great  umbrellas  give  a  strangely  characteristic 
look  to  the  shores  ;  and  here,  in  Jasmine  Sellers,  a 
splendid  print,  full  of  life  and  colour,  and  individual 
character,  are  the  sellers  of  the  pale  sweet-smelling 
flowers,  so  full  of  local  significance,  attracting  the 
crowd  that  passes  at  the  back  of  the  Golden 
Temple. 

This  new  series  of  etchings  should  certainly 
assure  to  Mr.  Lumsden  a  high  place  among  our 
leading  etchers. 


- 


w 


U  CO 

O     . 


„     ,        '•Vaiffi^T^  '^viiniraT'  ®?gL»?h.  I         H:u 

~^j,    fi/'  ^j£>        it.-  ■  if 


"  BENARES"  No.    i.     BY 
E.  S.  LUMSDEN,   A.R.E. 


f? 


*&****{, 


"SEOUL— WEST  GATE."      BY 
E.   S.   LUMSDEN,   ARK. 


■ 


PEKING— THE   CITY  WALL." 
BY   E.  S.  LUMSDEN,  A.R.E. 


A    BENARES   GHA  1\"      BV 
E.  S.  LUMSDEN,  A.R.E. 


■J-.  ■ 

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w  . 

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I 


JAPANESE    STENCIL    PLATES 


The  examples  of  Japanese  stencil  plates  here 
reproduced  are  from  the  collection  of  Mr.  Wilson 
Crewdson.  Amongst  the  many  methods  in  which 
such  stencils  were  employed  by  the  artists  of 
Japan  one  of  the  most  effective  was  the  stencilling 
of  some  small  pattern  in  resist  on  silk  Habutai  ; 
then,  after  the  silk  had  been  partly  painted  by 
hand  and  partly  dyed,  the  resist  was  removed,  and 
the  silk  untouched  by  the  resist  produced  a  small 
pattern  on  the  fabric  independent  of  the  dyed  or 
painted  design.  An  example  of  this  use  is  given  in 
the  last  of  the  accompanying  illustrations  :  here  the 


silk  was  first  covered  by  a  stencil  having  small  dots 
and  two  cranes.  The  resist  when  brushed  on  the 
stencil  protected  the  parts  of  the  silk  exposed  to  its 
influence.  Then  the  other  colours  were  applied, 
either  by  hand  or  by  dipping  the  fabric  in  the  dye 
vat:  afterwards  the  resist  was  washed  off,  and  the 
original  colour  of  the  silk  exposed  where  it  had 
been  protected.  Though  used  mainly  for  the 
decoration  of  textile  fabrics,  these  stencil  plates  are 
also  used  largely  for  other  decorative  purposes, 
such  as  patterns  for  wall-papers,  box  linings,  and 
the  panels  of  screens  of  a  cheap  quality. 


KATAKA-KAKUMA        "K    HALF-WHEEL    DESIGN,    INTENDED    TO    REPRESENT    THE    RISH     OF    WATER    THROUGH    THE 

MILL-RACE   AT   YODO 
194 


STENCIL    PLATE:    "CHIDORt."      THE    ' 
DESIGNS.       HERE    I  UK 


CHIDORI"    IS    A    5MAL1     [APASES1     BIRD    WHICH    OFTEN     FIGURES^    JAPANESE 
SHADOW    01     INK    BIRD    ON     I1IK    WATER    1-     VLSO    REPRESENTED 


STENCH     PLATE:    "LEAVES   OF    KUKI  "— A  JAPANESE    PLANT   AKIN    TO   THE 


BLTTEK-EUR   OF   EUROPE 


STENCII.-PLATE       "LEAVES    01'    II  Kl."       MM.    fWO    SHADOWS    ARE 


SUPPOSED    fO    RBPRKSEN  I     SIOH  I     \M'    I'.W 


STENCIL-PLATE  : 


FALLING    LEAVES    OF    THE    GINGKO    TREE."      THE    LEAVES    IN    FALLING    HAVE    SOMEWHAT    THE 
APPEARANCE   OF    CRANES    IN    FLIGHT 


stencil-plate:  "a  flight  <m  swallows."    the  irregular  iivk  '" 

RAPID    MOVEMEN  I 


STENCIL    PLATE  : 


'GENROKU    COSTUMES."      THE   COSTUMES    WORN    BY   THE  JAPANESE    DURING    THE   GENROKU    PERIOD 
ARE    HERE    REPRESENTED    IN    THE    FORM    OF    PRINTS    PASTED    ON    A    SCREEN 


Notes  on  Some   Younger  Australian  Artists 


N 


OTES  OX  SOME  YOUNGER 
AUSTRALIAN  ARTISTS.  BY 
WILLIAM    MOORE. 

Australia  lias  an  inspiring  atmosphere  but  a 
comparatively  small  population  ;  it  produces,  as 
Mr.  Streeton  recently  observed,  more  talent  than  it 
can  support.  A  considerable  number  of  the  younger 
artists  therefore  go  abroad  ;  they  take  a  studio  in 
London  or  Paris  or  settle  down  in  the  picturesque 
ports  of  Dieppe,  Etaples  and  St.  Ives.  You  could 
find  them  doing  black  and  white  in  the  newspaper 
offices  in  the  skyscrapers  of  New  York  and  further 
up  town  finishing  landscapes  or  portraits  for  exhibi- 
tions in  the  Eastern  States.  A  certain  percentage 
of  new  names  in  the  annual  list  of  Australians 
having  works  in  the  Academy  and  the  Salons 
indicates  that  the  younger  generation  of  artists  are 
continually  battering  at  the  door. 

But  they  don't  all  go  abroad  to  paint  for  the 
Academy  and  Salons.  Sometimes  an  artist  tries 
a  long  shot   from    Australia.     Before   he   left   for 


Europe  and  while  he  was  quite  a  young  man, 
Streeton  sent  his  Golden  Summer  to  the  Old  Salon, 
where  it  was  hung  on  the  line  and  awarded  an 
honourable  mention  :  and  this  year  Norman  Garter, 
who  has  never  been  out  of  Australia,  got  on  the  line 
at  the  Academy  with  the  portrait  which  gained  him 
a  medal  at  the  Old  Salon  last  year. 

In  considering  the  work  of  just  a  few  of  the 
younger  men  who  have  gained  distinction  at  home 
and  abroad,  it  will  be  appropriate  to  commence 
with  that  of  Fred  Leist  whose  Rivals  at  the 
Academy  has  been  singled  out  as  one  of  the 
pictures  of  the  year.  He  has  the  courage  to  aim 
at  strong  effects  in  colour  ;  one  of  the  critics  men- 
tioned his  Academy  work  as  "a  welcome  patch  of 
colour  in  a  colourless  show."  His  figure  paintings 
have  been  well  hung  at  recent  exhibitions,  The 
Mirror  being  on  the  line  at  both  the  Academy  and 
Salon.  The  artist  does  black  and  white  as  well  as 
figure  painting,  his  first  commission  when  he  arrived 
in  London  five  years  ago  being  a  series  of  East 
End  drawings  for  "  The  Graphic."     His   double- 


"  ARIADNE  ' 
202 


(Tate  Gallery) 


BY    HAROLD   PARKER 


'THE   PURP1  E    HAT" 
BY    ISAAC   COHEN 


Notes  on  Some   Younger  Australian  Artists 


page  drawing  The  Doss  House,  which  attracted 
much  attention  at  'the  time,  was  reproduced  in 
some  of  the  French  and  German  papers.  The 
artist  did  his  first  drawings  for  the  "  Bulletin  "  and 
before  coming  to  London  was  special  artist  on  the 
"  Sydney  Mail." 

Mr.  George  Coates  owes  a  good  deal  of  his 
success  as  a  portrait  painter  to  his  portrait  of  the 
Walker  Brothers,  which  was  well  hung  at  the 
Academy  in  19 12  and  in  the  following  year  was 
hung  in  the  room  of  honour  at  the  New  Salon, 
where  it  gained  for  the  artist  the  associateship  of  the 
Societe  Nationale.  His  portrait  of  Lady  Courtney 
of  Penwith  was  on  the  line  at  the  Academy  last 
year  and  his  work  is  usually  well  placed  at  different 
exhibitions.  Mr.  Coates  got  his  first  training  at 
the  National  School  of  Art,  Melbourne,  where 
Mackennal,  Bunny,  Quinn,  Fox  and  others  were 
students.  After  winning  the  travelling  scholar- 
ship he  continued  his  studies  in  Paris.  He 
usually  aims  at  subdued  effects  in  colour,  his 
compositions  being  distin- 
guished by  their  harmony 
of  tone.  The  Walker 
Brothers  is  a  masterly  por- 
trait in  this  respect,  as 
there  is  nothing  to  distract 
attention  from  the  prin- 
cipal figure,  that  of  the 
sculptor. 

Mr.  Max  Meldrum, 
another  scholarship  winner, 
is  back  in  Melbourne, 
where  he  recently  cum 
pleted  for  the  Federal 
Government  the  portraits  of 
Sir  Samuel  Griffith,  the  first 
Chief  Justice  of  the  High 
Court  of  Australia,  and 
Lord  Denman,  who  re- 
cently retired  from  the 
position  of  Governor- 
General.  Mr.  Meldrum  is 
a  well-trained  artist  who 
endeavours  to  interpret 
the  mood  as  well  as 
depict  the  outward  sem- 
blance of  his  sitters.  Hi> 
study  of  an  old  peasant  in 
the  Melbourne  Gallery, 
though  rather  sombre  in 
tone,  has  a  wonderful 
sense  of  life.  Another 
work,  a  portrait  of  his 
204. 


mother,  was  recently  purchased  under  the  terms  of 
the  Felton  Bequest. 

Another  leading  portrait  painter  in  Melbourne  is 
Mr.  Clewin  Harcourt,  who  after  coming  to  Europe 
studied  at  Antwerp,  where  as  one  of  a  number  of 
competitors  of  various  nationalities  he  won  the 
silver  medal  awarded  for  the  best  painting  from 
life.  He  frequently  exhibits  at  the  Academy  and 
the  Salon,  his  picture  One  Summer  Afternoon,  which 
was  shown  at  both  exhibitions,  being  well  known 
through  reproductions.  A  more  recent  painting  is 
the  portrait  of  Mr.  Brunton,  reproduced  on  p.  208. 

Much  younger  than  the  artists  mentioned  is 
Mr.  Charles  Wheeler,  who  paints  landscapes  as  well 
as  portraits.  He  is  represented  in  the  Sydney 
Gallery  and  the  Melbourne  Gallery,  where  he  had 
a  figure  composition  acquired  under  the  condi- 
tions of  the  Felton  Bequest.  He  is  now  visiting 
Europe  and  during  his  stay  has  exhibited  at  the 
Paris  Salon. 

Isaac  Cohen,  whose  Purple  Hat,  reproduced  on 


''THE    WALKER    BROTHERS7 


BY   GEORGE   COATS 


■ 
■ 


"PRINCESS  HONEY    BEE.'     fromawater- 
COLOUR      DRAWING      BY      NORMAN       LINDSAY. 


Notes  on  Sonic   Younger  Australian  Artists 


"  TIIF.    MIRROR 


I1Y    FRED 


p.  20 3,  is  one  of  his  best  works,  was  a  successful 
student  at  the  Melbourne  Gallery,  where  he  won 
the  travelling  scholarship  at 
of  twenty-one.  His 
study  of  a  nude,  which  was 
given  ti>  the  gallery  under 
the  conditions  of  the 
Scholarship,  is  one  of  the 
best  paintings  of  the  kind 
in  the  national  collection. 
His  sui  i  i  ss  as  a  portrait 
painter  seems  to  have 
checked  his  development, 
for  the  smooth  finish  of  his 
mj  work  is  hardly  an 
improvement  on  the  more 
spontaneous  efforts  of  his 
earlier  pictures. 

Mr.  George  Dell,  another 
Melbourne  artist,  made  his 
first  success  with  a  painting 
Fhc  Man  in  Brown. 
which  was  shown  at  the 
Munich  Glaspalast  and  at 
the  Old  Salon.  The  por- 
trait  reproduced  was  re- 
cently hung  at  the  Soi  ii  t) 
Of  Modern  Portrait  Painters 
and  at  the  Old  Salon. 


In  landscape  painting  Hans  Heysen  holds  the 
leading  place  among  the  oup.      He  has 

spent  most  ,,t   his  career  painting  in  the  hush  and 

honour  and  profit  while  remaining  in 

Australia,   both    the    State  and  the  citizen   having 

lue   of   his  work.     The   various 

s  have  purchased  a  number  of  his  works 
and  his  exhibitions  are  will  supported  by  the  public. 
He  has  commissions  that  will  keep  him  continuously 

two  or  three  years,  yet  with  all  his 
success  he  has  never  stooped  to  paint  a  popular 
picture.  He  usually  depicts  vistas  of  the  bush  as 
seen  in  the  evanescent  effects  of  light  and  shade. 
Tourists  are  inclined  to  sneer  at  "the  everlasting 
gum-tree,"  the  distinctive  tree  of  the  bush,  but 
i  I  i    who  has  been  painting  "gums"  for  years, 

to  tire  of  them.  "They  are  like  old 
patriarchs,"  he  once  remarked  ;  "their  beaut)  is  so 
subtle  that  the  ordinary  observer  misses  it.  The 
tone  of  the  bush  with  its  clumps  of  gum-trees  I 
find  perennially  inspiring."  The  artist  paints  both 
in  oils  and  water  colours,  and  it  is  in  the  latter 
medium  that  he  gets  his  most  subtle  effects. 

One  of  the  most  striking  works  at  the  Anglo 
American  Exhibition  is  the  landscape  The  Viaduct 
by  Hayley  Lever,  who  after  showing  in  the  principal 
European  exhibitions  has  been  achieving  consider- 


IVK  IKS. 


BY    II.    s.    POWRR 
207 


Notes  on  Some   Younger  Australian  Artists 


able  success  in  America.  Last  year  he  was  awarded 
an  honourable  mention  at  the  international  exhibi- 
tion at  the  Carnegie  Institute,  Pittsburg,  and  this 
year  he  just  missed  gaining  the  gold  medal  by  one 
vote.  The  artist  has,  however,  been  invited  by  the 
American  Federation  of  Art  to  have  the  painting 
exhibited  at  various  cities  in  the  States.  Mr. 
I. ever  at  one  time  did  a  lot  of  painting  at  St.  [ves, 
where  he  got  his  subject  for  the  Port  of  St.  Ives 
which  now  hangs  in  the  Sydney  Gallery. 

When  Mr.  H.  Septimus  Power  recently  visited 
his  native  country  he  found  a  public  ready  to  buy 
his  works,  for  Australians  dearly  love  a  horse,  and 
the  artist's  hunting  pictures  and  animal  studies 
appealed  alike  to  artists  and  laymen.  One  of  his 
hunting  pictures,  Stag  Hunt,  Exmoor,  was  bought 
by  the  Felton  Trustees  for  the  Melbourne  Gallery. 
During  his  short  stay  he  painted  an  equestrian 
group  of  the  children  of  Lord  Denman,  and  the 
group  of  Mrs.  J.  Nevin  Tait  (Bess  Xorris,  R.M.S.) 
and  her  son,  here  reproduced  (p.  207).  Mr.  Power 
gets  a  swing  of  movement  into  his  hunting  pictures 
that  is  rarely  equalled  by  any  other  painter. 

From  the  time  Woolner  spent  two  years  in 
Melbourne,  doing  medallions  of  citizens  at  twenty- 
five  guineas  each,  Australia  has  always  been  repre- 


sented by  some  follower  of  the  plastic  art.  Harold 
Parker,  who  is  the  only  prominent  artist  that 
Queensland  has  sent  abroad,  made  his  first  hit  in 
London  when  the  Chantrey  Trustees  purchased  his 
Ariadne,  the  sculptor  being  the  youngest  Australian 
to  have  a  work  bought  out  of  this  fund.  Ariadne 
is  the  figure  of  despair,  and  it  was  almost  in  despair 
"i  gaining  the  recognition  due  to  a  genuine  artist 
that  1'arker  started  to  model  this  work.  In  plaster 
it  attracted  little  attention  at  the  Academy,  but 
when  it  was  exhibited  in  marble  five  years  later  it 
was  immediately  singled  out  as  a  work  of  rare 
beauty.  The  late  Sir  \V.  S.  Gilbert  made  a  good 
offer  for  it,  but  he  was  a  few  hours  late,  for  it 
had  already  been  bought  for  the  nation  for  ^1000. 
Exquisite  in  its  tense  sadness  it  stands  out  at  the 
Tate  Gallery  as  one  of  the  best  works  of  this 
century. 

In  this  article  I  have  only  dealt  with  a  few 
artists  who  have  been  successful  in  their  respective 
mediums  ;  limitations  of  space  oblige  me  to  pass 
over  others  who  are  doing  important  work.  I 
cannot  close,  however,  without  a  full  reference 
to  Norman  Lindsay,  Australia's  leading  artist 
in  black  and  white.  Within  his  range  Lindsay, 
who     is    now    thirty-five    years    of    age,     is     in 


l;V    HANS    HEYSEN 
209 


An  "  Opal  Room  "  by  Mr.  Kemp  Prossor 


"  A  a  IRNISH    1  ISHING    VILLAGE  " 

some  ways  the  must  remarkable  artist  that  the 
country  lias  produced.  His  weekly  cartoon  and 
jokes  in  the  "  Bulletin  "  have  a  grim  humour  that 
rarely  fails  to  grip  and  he  has  shown  his  capacity 
for  invention  in  his  journalistic  work  by  being 
the  first  to  exploit  the  comic  possibilities  of 
the  Australian  native  bear.  But  it  is  as  an  illus- 
trator that  his  work  will  be  known  in  the  future. 
His  resourcefulness  in  treating  a  wide  variety  of  sub- 
jects is  extraordinary.  Some  of  his  best  work,  such 
as  Pol/ice  Verso  in  the  Melbourne  Gallery,  is  in 
pen  and  ink,  but  he  also  does  illustrations  in  mono- 
chrome wash,  and  water-colour.  He  has  illustrated 
an  edition  de  luxe  of  the  poems  of  Hugh  McCrae, 
one  of  the  most  promising  of  younger  writers  in  the 
Commonwealth,  and  he  completed  a  set  of  a 
hundred  drawings  for  a  new  edition  of  the 
"Satyricon  of  Petronius"  issued  by  the  Ralph 
Strauss  Press.  A  set  of  drawings  which  may  cause 
a  stir  in  the  art  world  is  about  to  be  used  for 
an  edition  de  luxe  of  the  "  Memoirs  of  Casanova." 
The  artist  is  now  engaged  on  a  series  of  illustrations 
for  one  of  Shakespeare's  comedies  and  Gay's 
Beggar's  Opera.  While  objection  has  been  made 
to  the  audacity  of  some  of  Lindsay's  illustrations, 
which  are  sometimes  treated  with  Rabelaisian 
freedom,  there  is  no  denying  the  freshness  of  his 
conceptions  and  the  skill  with  which  he  gives  a 
touch  of  life  to  the  most  trivial  incident.  The  fact 
that  most  of  Lindsay's  best  work  is  confined  to 
210 


the  pages  of  costly  editions 
is  one  explanation  why 
it  is  not  more  widely 
known  in  London. 

Mr.  Will  Dyson,  who 
is  a  brother-in-law  of 
Lindsay,  is  another  black- 
and-white  artist  who  stands 
out  in  the  ruck.  His 
cartoons  in  the  "  Daily 
Herald"  are  too  well 
known  to  Londoners  to 
need  particular  mention 
here.  An  English  writer 
says  that  these  cartoons 
are  "  without  question  the 
most  masterly  and  the 
most  suggestive  satirical 
comment  on  public  affairs 
now  appearing  in  this 
country."  I  have  thought 
the  same  thing  myself, 
but  from  a  fellow- 
countryman  such  a  eulogy 
might  perhaps  have  appeared  exaggerated. 


BY    HAVLEY    LEVER 


A 


N  "OPAL    ROOM"    DESIGNED 
BY  MR.  KEMP   PROSSOR. 


During  the  last  few  years  Mr.  P.  Kemp 
Prossor  has  been  doing  work  of  great  value  in  domes- 
tic decoration — work  that  deserves  to  be  highly 
praised  for  its  expression  of  a  personal  conviction 
and  its  absence  of  conventionality.  One  of  the 
greater  merits  of  his  effort  is  its  freedom  from  the 
domination  of  traditional  style ;  he  does  not  limit 
the  scope  of  his  practice  by  accepting  or  adopting 
any  of  the  recognised  mannerisms  in  design,  he  aims 
rather  at  the  creation  of  a  decorative  system  which 
will  allow  him  full  scope  for  the  explanation  of  his 
temperamental  inclinations  and  for  the  display  ot 
his  artistic  feeling.  In  all  the  rooms  he  has 
designed  his  main  purpose  has  been  the  working 
out  of  schemes  of  colour  in  which  the  complete 
effect  has  been  arrived  at  by  the  careful  adjust- 
ment of  tint  to  tint  and  tone  to  tone  and  by 
making  every  detail  play  its  right  part  in  the 
development  of  the  central  intention.  The  "Opal 
Room,''  which  is  illustrated  here,  shows  charac- 
teristically what  are  his  principles  and  his  methods, 
how  he  calculates  his  colour  proportions  and  how 
he  applies  his  colour  accents  so  as  to  explain  the 
motive  he  has  chosen,  and  how  he  keeps  his  whole 
scheme  in  exact  relation  without  ever  allowing  it  to 


of 

co  tr 
co  ui 
°X 


5  o 

LLl  IT 

*  O 


5  uj 


Open-Air  Museums  in  Sweden  and  Denmark 


become  mechanical  or  monotonous.  He  has  used 
the  varied  colours  of  the  opal  with  admirable 
ingenuity  in  the  building  up  of  his  design,  hut  he 
has  balanced  them  so  judiciously  and  with  sui  h 
delicate  sensitiveness  that  their  variet) 
becomes  restless  and  in  no  way  takes  awaj  from 
the  subtle  unity  of  the  decorative  arrangement 
which  he  had  in  mind  from  the  first.  The  problem 
lit-  had  to  solv,e,  in  this  instance,  was  an  exacting 
one  enough  :  he  is  for  that  reason  the  more  to  be 
congratulated  upon  the  success  he  has  achieved. 

SOME  OPEN-AIR  MUSEUMS  IN 
SWEDEN  AND  DENMARK.  BY 
GEORG   BROCHNER. 

Although   I>r.  Artur  Hazelius,  whose  name  is 
inseparably  linked  with  Skansen  and  the  Open-air 

Museum  idea,  which  he  con- 
ceived, had  the  most  enthu- 
siastic faith  in  this  novel  form 
of  museum,  and  although  he 
had  the  happiness  of  seeing 
Skansen  grow  into  an  insti- 
tution of  world-wide  fame, 
not  even  he  could  have 
dreamt  of  the  magnitude  to 
which  the  movement  he  in- 
augurated would  attain 
within  so  comparatively  few 
years.  Not  only  several 
capitals  but  many  provincial 
towns  of  modest  dimensions 
and  resources  now  have  open- 
air  museums,  rich  in  old 
buildings  and  all  that  tends 
and  is  needed  to  complete 
those  pictures  of  bygone  days 
which  they  are  intended  to 
represent. 

Though  most  excellent 
work,  work  which  demon- 
strates an  intense  interest  in 
ami  an  astounding  gift  of 
adequately  furthering  tin 
ends  in  view,  lias   been    done 

elsewhere,  nothing  can  evei 
roh  Skansen  of  its  primary 
position  amongst  open  air 
museums.  It  has  become  a 
national  institution  very  dear 
to  the  Swedish  people,  and 
its  welfare  and  further  growth 
are   safely    vested    in    the 


countrymen  of  its  founder  and  his  able  successors; 
new  additions  are  constantly  made,  new  sehemes 
adopti  1  to  advani  e  its  evolution  and  complete  tin- 
series  of  pictures  ol  Swedish  life  through  the  cen 
turies  which  it  is  meant  to  harbour. 

rhese    pictures    are    not    confined    to    man    and 

man's  abode  and  belongings;  the  Swedish  fauna 

lias  formed  part  and  panel   of,  and  found  a 

home  within  the  precincts  oi  Skansen,  and  quite 
rei  ently  anothei  feature  lias  been  added,  or  rather. 
aftei  a  dozen  years' labours,  reached  its  consumma- 
tion :  a  live  herbarium,  so  to  speak,  a  i  ollei  tion  of 
all  the  herbs  and  flowers  connected  with  old  li 
and  witchcraft,  with  healing  or  cursing,  with  old- 
time  superstitions  and  everyday  lite.  Even  apart 
from  all  ancienl  associations  some  of  these  dear  old 

fashioned  flowers  possess  a  distinctive  charm,  they 
seem  to  tell  of  happier  and  simpler,  more  contented 


1  ME    *   I 


Open-Air  Museums  in  Sweden  and  Denmark 


OPEN-AIR    MUSEUM,    SKANSEX  :    FORESTERS    HIT    FROM    HELSINGLAND 


OPEX-AIR   MUSEUM,    SKANSEX  :    WOODEN    HOUSE   FROM    VIRSERUM 


2I4 


Open-Air  Muse  a  ins  in  Sweden  and  Denmark 


days  lived  in  old-world  houses,  where  modest 
maidens  watched  their  growth  in  restful  well- 
sheltered  gardens.  And  what  pretty  names  many  of 
them  bore.  The  blue  Aquilegia  or  columbine,  called 
Frigga's  flower,  Angel's  glove  or  Our  Lady's  glove, 
is  not  only  a  thing  of  beauty,  but  its  seeds  are,  or 
were  considered,  a  potent  medicine  for  severe 
diseases.  So  was  Glechoma,  Thor's  herb,  which 
Christ,  according  to  an  old  legend,  told  Peter  to  lay 
on  his  cheek  as  a  cure  for  toothache  :  in  Palestine, 
I  suppose,  it  must  have  had  a  different  name.  It 
was  also  a  safeguard  against  witchcraft,  and  a  wreath 
of  it  wound  round  a  cow's  horns  ensured  prolific  milk. 
Nightshade  (Solarium  dulcamara),  or  Bitter-sweet 
as  it  was  called,  played  a  great  part  in  love  affairs 
(hence,  perhaps  its  name),  as  did  a  host  of  other 
herbs,  and  Datura  was  able  to  cure  the  half-witted. 
To  me  at  least,  who  must  own  to  a  love  of  all 
things  connected  with  botany  and  its  old-time 
traditions,  Skansen's  "Ortagard"  seems  a  quaint 
and  delightful  notion. 

As  a  rendezvous  on  the  old  national  and  historic 
fete  days,  Skansen's  hold  upon  her  faithful 
Stockholmers  seems  to  grow  stronger  and  stronger 
every  year.  On  Valborg  Eve,  "  Valborgmassan," 
the  prelude  to  the  glories  of  May,  white-capped 
students,  with  their  white  silken  banners,  in  a 
picturesque  procession  repair  to  the  Orsa  hill  and 
there  sing  their  stirring  time-honoured  songs,  as 
perhaps  only  Swedish  students  can  sing,  until  by 
and  by  bonfires  are  lit  in  many  parts  of  the 
picturesque  grounds,  the  big  sacrificial  bonfire  on 
the  Reindeer  Mountain  steeping  all  its  surroundings 
in  a  fantastic  glow. 

By  gift  and  purchase  the  old  houses  at  Skansen 
are  steadily  increasing.  The  Studio  has  on  a 
previous  occasion  dealt  at  some  length  with  a 
number  of  these  interesting  witnesses  of  old-time 
life  and  customs ;  still  a  few  of  those  since  added 
deserve  a  passing  mention.  The  Virserum  house 
is  a  typical  edifice  of  its  type,  displaying  much 
skill  of  construction,  the  projecting  upper  story,  or 
svalgangen,  affording  the  inmates  a  better  chance  of 
defending  themselves  against  attack,  and  the  more 
so  as  the  primitive  ladder  by  which  they  ascended 
could  be  drawn  up.  It  was  really  the  store-house, 
but  during  the  summer  the  women  were  wont  to 
sleep  in  the  loft,  and  sometimes  visitors  were  quar 
tered  there;  hence  the  name  still  frequently  used 
for  such  store-houses,  harbre  (inn,  lodging)  karbur, 
Mbbareox  hiibba.  The  Virserum  "  booth "  hails  from 
Hvenjogle,  the  parish  of  Virserum  in  Smaland. 
The  Vastveit  loft  comes  from  the  other  side  of  the 
frontier   from    the   Vastveit   homestead    in    Thele- 


marken,  Norway,  and  is  thus  an  exception  to 
the  rule  as  regards  the  original  domicile  of  the 
buildings  and  their  contents.  In  its  plan  and  mode 
of  erection  it  resembles  the  one  from  \  irserum  and 
displays  exceeding  ability  in  handling  and  joining 
the  timber.  Above  the  loft-door  a  number  of 
crosses  have  been  carved  in  the  wood  as  a  safe- 
guard against  the  evil  designs  of  Trolls  and  other 
uncanny  beings.  The  forester's  or  woodman's 
hut  is  of  the  type'  loiineiK  used  in  Helsingland 
and  still  adhered  to  in  some  places  for  use  during 
the  timber  felling  season.  It  contains  but  one 
room  with  a  primitive  fireplace — stones  and  gravel 
inside  a  square  wooden  box — in  the  centre. 

Of  a  very  different  stamp  are  the  garden 
pavilions  or  summer  houses  which  from  old 
Stockholm  or  other  Swedish  gardens  have  found 
their  way  to  Skansen.  During  the  seventeenth 
anil  eighteenth  centuries  many  well-to-do  citizens 
in  the  Swedish  capital  and  other  cities  had  a 
summer  residence  outside  but  in  the  immediate 
vicinity  of  the  town;  in  Stockholm,  as  elsewhere, 
these  have  all  vanished,  the  last  malmgard  having 
been  demolished  within  the  last  year  or  so.  In 
the  gardens  of  these  summer  houses  pretty 
pavilions  were  often  erected  ;  amongst  those  now 
at  Skansen  Emanuel  Swedenborg's,  removed  from 


oil-,    uk    MUSEUM,   SKANSEN:   OLD    iTOCKHOLM    GARDEN 

-'■5 


Open-Air  Museums  in  Sweden  and  Denmark 


Hornsgatan,  is  probably  the  most  notable.  The 
one  lure  illustrated  also  hails  from  Sodermalm,  or 
as  this  picturesque  portion  of  old  Stockholm, 
so  rich  in  fascinating  memories,  is  generally  called  : 
it  was  located  in  Bellmansgatan,  a  thoroughfare 
which  takes  its  name  from  Sweden's  famous  and 
much  beloved   poet  and  minstrel,  himself  a  child 

Like  the  monks  of  old,  those  men  to  whose 
initiative  and  unselfish  labours  most  open-air 
museums  owe  their  existence  have  instinctively 
chosen  spots  possessed  of  a  marked  beauty  of 
scenery,  well-suiting  them  to  become  the  setting  for 
those  picturesque  buildings  they  were  destined  to 
harbour.  Thus  the  Jonkoping  museum  boasts  a 
charming  position  in  a  large  park  in  the  midst  of 
beautiful  country.  It  was  of  Jonkoping  that  Elias 
Tegner,  Sweden's  great  poet,  once  said  that  the  town 
lay  like  a  water-fowl  on  the  nest,  mirrored  in  that 
wonderful  romantic  inland  water,  Lake  Vettern,  the 
Mediterranean  of  Gotaland  and  a  veritable  Ariosto 
amongst  lakes,  bottomless,  inscrutable,  with  deep 
hidden  canals  which  are  said  to  lead  to  the  inner- 
most parts  of  the  earth,  but  clear  and  transparent, 
its  surface  full  of  play  and  wild  caprice.  Mighty 
mountains  keep  watch  over  her,  a  guard  of  giants, 


with  green  plumes  flowing  from  their  helmets  in  the 
summer  wind. 

Within  this  park  a  society,  formed  at  the  instance 
of  Mr.  Algot  Friberg,  has  succeeded  in  collecting  a 
series  of  exceedingly  interesting  buildings,  which 
have  been  re-erected  in  environs  truly  characteristic 
of  the  province,  whose  memories  and  traditions  it  is 
their  mission  to  preserve  and  keep  green.  Notable 
amongst  these  old  edifices  is  a  church  from  Backaby 
parish,  in  the  south-eastern  corner  of  the  Jonkoping 
district.  It  hails  from  the  beginning  of  the  fifteenth 
century  and  is  built  of  wood,  covered  with  oak  and 
painted  red.  With  its  high  roof  and  shapely  spire 
it  is  a  good  example  of  the  old  Swedish  churches, 
and  its  interior  is  richly  decorated  with  old  paintings 
representing  scenes  from  the  Bible.  To  complete 
the  picture  a  number  of  old  gravestones  and  iron 
crosses,  all  removed  from  the  Asenhoga  graveyard, 
have  been  placed  round  the  church,  for  which  it  is 
claimed  that  it  is  one  of  the  most  remarkable 
wooden  churches  in  Sweden,  and  with  pardonable 
local  pride  its  present  keepers  assert  that  it  is 
much  larger  than  the  Bosebo  church,  now  in  the 
open-air  museum  at  Lund.  Backaby  church  origin- 
ally had  a  detached  belfry,  as  have  so  many 
Swedish  churches,    even   where   it    is  a  case  of  a 


JONKOPIM,    Ol'EN-AIR    MUSEUM,    SWEDEN:    INTERIOR    OF    A    WOODEN     CHURCH    FROM    BACKABY 


2l6 


Open- Air  Museums  in  Sweden  and  Denmark 


JONKOPING    OPEN-AIR    MUSE!   M,    SWEDEN:    MARK!    I     l    i 


large  and  solid  brick  tower,  and  the  present  spire 
dates  from  the  year  1642.  The  museum,  however, 
also  possesses  a  detached  and  very  peculiar  belfry, 
from  Norra  Solberga  church,  an  excellent  specimen 
of  the  Smaland  type,  thirty-five  metres  (about  one- 
hundred  and  ten  feet)  high  and,  like  the  church, 
entirely  covered  with  oak  shingles,  which  are  in 
some  places  arranged  in  geometrical  figures.  From 
the  top  of  the  belfry  there 
is  a  wide  and  glorious 
view;  one  sees  Omberg, 
and  ancient  Vadstena  of 
Saint  Kirgitta  fame  teem- 
ing with  memories  of  war 
and  romance,  of  Swedish 
kings  and  queens. 

The  market-booth  is 
also  a  characteristic  and 
very  pretty  bit  of  old 
Smaland,  quite  a  picture 
by  itself,  as  is  the  old  mill 
fri  hi  1  inosjo  parish,  which 
the  parishioners,  anxious 
to  ] Mi-serve  it  from  de- 
struction, jointly  bought 
and  presented  to  the 
museum.  This  venerable 
wire  drawing  mill  —  the 
Taberg  iron  made  such 
splendid  wire  —  contains 
all  the  old  requisites 
and  forms  in  their  extreme  jonkoping  open 


simplicity  and  modest 
compass,  a  singular  con 

ti.ist  to  Sweden's  large 
and  far  famed  wire  mills 
of  the-  present  day,  w tth 
mighty  rivers  supplying 
tens  of  thousand  s  ol 
In  irsi   :  tinsl  tin- 

little  stream  which  worked 
the  old  wheel,  and  their 
brilliant  electric  lamps 
which  have  superseded 
the  fir  sticks  formerly 
used  by  the  old  man  and 
his  boy,  who  were  wont 
to  spend  all  the  days  and 
nights  (save  Sunday)  in 
this  grimy  cabin  with 
nothing  but  hard  boards 
ii  1  sleep  on. 

At  Vstad,  an  ancient 
town  in  southern  Sweden, 
the  efforts  to  acquire  and  preserve  old  buildings 
have  centred  in  some  found  within  the  town  itself. 
First  and  foremost  among  these  is  an  old  monastery, 
which  the  municipal  authorities  only  some  ten  or 
twelve  years  ago  had  made  up  their  minds  to 
demolish.  Wiser  counsels,  however,  prevailed  and 
the  building,  instead  of  being  pulled  down,  was 
restored   and    became    the    nucleus    of    the    new 


UR   MUSEUM,   SWEDEN!     IN   OLD    WIRE-DRAWING    MIL! 

217 


Open- Air  Muse  inns  in  Sweden  and  Denmark 


museum.  The  foundation  of  the  monastery  was 
laid  about  the  year  1267.  and  it  belonged  to  the 
Order  of  the  Grey  Friars,  which  Order,  accord- 
ing to  an  old  inscription  in  the  Vstad  monastery, 
owned  thirty-six  provinces,  one  thousand  seven 
hundred  and  thirty-three  monasteries,  and  four 
hundred  and  fifty-two  convents  of  the  Sisters  of 
Saint  Clara.  The  old  building  has  passed  through 
many  vicissitudes  since  the  monks  in  the  year  1532 
were  '-evicted."  having  been  in  turn  a  hospital,  a 
distillery,  and  a  store-house.  The  restoration  has 
been  undertaken  with  much  care  and  circumspec- 
tion and  the  monastery  now  appears  in  all  its  old- 
time  beautv,  both  within  and  without.  To  the 
same  site  has  been  removed  the  old  "Burgomaster 
House,"  a  two-winged,  frame-work  building  from  the 
sixteenth  century  with  several  interesting  features 
which  was  formerly  located  in  Stora  Ostergatan 
(Great  East  Street),  as  well 
as  another  frame-work  build- 
ing of  the  seventeenth  cen- 
tury which  was  originally 
situated  in  the  same  street. 
This  latter  building  is  em- 
bellished with  much  carving 
and  the [portal  bears  a 
quaint  inscription  of  a  re- 
ligious bearing.  This  cluster 
of  ancient  buildings,  which 
also  include  an  old  hostelry, 
makes  a  very  telling  though 
fragmentary  picture  of  this 
venerable  town  in  past  ages 
and  sets  an  example  which 
is  well  worthy  of  being  fol- 
lowed by  many  a  larger  and 
wealthier  city. 

Also  in  other  Swedish 
towns,  societies  have  been 
formed,  as  in  Jonkdping  and 
Ystad,  for  the  'purpose  of 
acquiring  and  guarding  over 
memorable  buildings.  This, 
for  instance,  is  the  case  at 
Sundsvall,  on  the  Bothnian 
Gulf,  with  the  object  of 
founding  an  open-air 
museum  confined,  in  the 
first  instance,  to  the  pro- 
vince or  district  of  Medel- 
pad.  This  society  has 
worked  with'much  zeal  and 
unquestionable  success,  a 
number  of  houses  and  even 
218 


a  Lapp  church  have  been  purchased  by  or  pre- 
sented to  the  society,  and  some  of  them  have 
already  been  removed  to  its  picturesque  grounds. 
The  lines  on  which  this  open-air  museum  have  been 
formed  resemble  those  followed  in  other  places, 
although  they  each  have  their  peculiar  features, 
their  own  local  tone. 

Finland,  too,  has  now  its  open-air  museum, 
thanks  principally  to  the  efforts  of  M.  Axel  O. 
Heikel,  at  whose  instance  the  beautiful  Folis  Island 
near  Helsingfors  was  chosen  and  secured  for  the 
purpose.  The  love  of  these  institutions  seems 
deep-rooted  throughout  Scandinavia,  and  it  shall 
be  willingly  admitted  that  the  outcome  of  these 
spontaneous  labours  and  gifts  has  invariably  been 
to  the  credit  of  all  concerned.  So  with  the  Folis 
Island  museum,  where  a  number  of  buildings  of 
historic  and  ethnographical  interest  have  found  a 


OLD   RESTORKI.    MONASTERY   AT   THE   OPEN-AIR    MUSEUM    OF   YSTAD,    SWEDEN 


Open- Air  Museums  in  Sweden  and  Denmark 


OPEN-AIR    MUSEUM,    AARHUS,    DENMARK:    AN    INTERIOR   DATING   FROM    I597 


OPEN-AIR    MUSEUM,    AARHUS,    DENMARK:    AN    INTERIOR    DATING    FROM    ABOUT    Ib50 


Open-Air  Museums  in  Sweden  and  Denmark 


OPEN-AIR    MUSEUM,    AARHUS,    DENMARK:    AN    INTERIOR    DATING    FROM 


MK    MUSEUM,     \  \klli   -,    Dl  KM  IRK  :    A\    IN  , 


Open-Air  Museums  in  Sweden  and  Denmark 


OPEN-AIR     MUSEUM,    LYNGBY,    DENMARK  :    INTERIOR    OF    A    HOUSE    FROM    OSTENFE1.P,    SI.ESWTCK 


safe  resting-place  in  the  midst  ot  scenery  which 
lends  itself  admirably  to  its  new  uses.  I  regret, 
however,  that  the  photographs  both  from  Finland 
and  from  Sundsvall  were  hardly  suited  for  repro- 
duction among  the  illustrations  to  this  article. 

One  of  the  pioneers  amongst  open-air  museums 
is  the  one  at  Lyngby,  Denmark,  over  the  welfare 
of  which  M.  Bernhard  Olsen  still  watches  with  able 
care.  If  I  mistake  not  I  gave  the  history  of  its 
foundation  in  an  article  in  this  journal  some  years 
ago,  but  like  its  fellows  in  other  lands  it  grows  and 
expands,  though  the  rules  under  which  it  is  managed 
may  be  a  little  more  stringent  than  at  some  of  the 
other  museums  of  this  class.  It  contains  several 
highly  interesting  buildings,  some  of  which  have 
come  from  afar,  from  East  Sweden,  Sleswick,  the 
Faroe  Islands,  thereby  demonstrating  what  can  be 
compassed  in  this  direction.  Our  illustrations 
Ihiu  a  portion  of  an  old  farmhouse  from  Sweden 
and  an  interior  from  the  large  Ostenfeld  house. 
222 


Of  an  altogether  different  type  is  the  museum 
recently  founded  in  the  town  of  Aarhus,  Jutland. 
As  at  Ystad  a  most  interesting  old  edifice  has 
been  made  or  rather,  perhaps,  evolved  itself  into 
being  the  centre  of  the  museum,  but  whilst  at 
Ystad  the  monastery  remained  stationary,  the  old 
burgomaster  house  in  Aarhus  had  to  be  removed 
to  new  quarters,  a  somewhat  difficult  process, 
which,  however,  has  been  most  successfully  accom- 
plished. This  very  fine  building  is  a  splendid 
type  of  the  picturesque  architecture  in  vogue  at  the 
time  (1597)  of  which  some  specimens  have  been 
preserved  in  several  Danish  towns  (Kolding,  Koge, 
Elsinore  and  others),  all  ably  designed  and  betraying 
clever  and  ingenious  craftsmanship.  A  particularly 
interesting  feature  of  the  Aarhus  house  is  its  "  hang- 
ing "  balcony,  of  which  an  illustration  is  given. 

This  Burgomaster's  house  contains  a  number  of 
very  complete  and  convincing  interiors.  The  old 
living    room    boasts    the   original   decoration,   in 


Miss  111  lie  beck  Le  Mairs  Illustrations 


yellow,  red,  and  white  lime  colours,  from  the  yeai 
1597,  with  the  old  cupboards  and  tables.  Next 
the  "blue"  room,  its  lime  colour  orna- 
mentation dating  from  the  year  1650,  since  which 
year  the  old  cabinet  has  been  in  the  house.  The 
"  Pyramid  salon"  brings  us  another  fifty  years 
nearer  our  own  time,  its  decoration  and  furniture 
hailing  from  the  year  1700.  Some  seventy  years 
younger  is  the  room  with  the  white  furniture  and 
the  clavichord,  on  which  one  should  notice  the 
ivory  keys.  Amongst  the  men  who  have  succeeded 
in  forming  and  consolidating  the  Aarhus  Museum, 
special  praise  is  due  to  M.  Peter  Holm,  who  for 
years  has  had  this  matter  at  heart. 

I  fear  the  dry  and  cursory  details  to  which  I  have 
felt  compelled  to  confine  myself  in  this  article  arc- 
but  ill-fitted  to  arouse  that  interest  in  the  subject 
which  it  so  fully  deserves.  Still  I  hope  some  not 
too  distant  day  will  see  the  open-air  museum 
transplanted  into  English  soil,  where  favourable 
conditions  for  its  growth  simply  abound. 


M 


ISS  WILLEBEEK  LE  MAIRS 
ILLUSTRATIONS  FOR  CHIL- 
DREN'S   HOOKS. 


The  British  Water-Colour  Society  has  just  been 
formed  under  the  presidency  of  Mr.  Burleigh  Bruhl, 
chiefly  for  the  benefit  of  water-colour  painters  who 
do  not  belong  to  any  of  the  existing  art  societies 
of  the  United  Kingdom.  The  rules  provide  for 
two  degrees  of  membership — Associates  and  full 
members — and  it  is  proposed  to  hold  exhibitions 
twice  a  year  in  one  or  other  of  the  principal  art 
centres  of  the  country.  The  Director  and  Secretary  is 
Mr.  J.  Paul  Brinson,  R.B.A.,  of  54  Tilehurst  Road, 
Reading,  from  whom  particulars  are  obtainable. 


BGBN-AIR     MUSEUM,    LYNGBY,    DENMARK:     PARI     ''I       M 

\.^.    M   \l;    Ml  -1  ill'  'i  M    i   ■ 


[1  1  i  in i»  1 1 11  hi-  than  three  j eat s  since  the  sight 
nf  an  attractively  illustrated  bunk  of  nursery 
rhymes  in  a  Regent  Street  simp  window  aroused 
my  interest  in  the  charming  wurk  of  H.  Willebeek 
Le  Mair,  whose  drawings  have  in  m  become  familiar 
through  the  enterprise  of  Mr.  Willy  Strecker,  who 
as  head  of  Augener  Ltd.,  the  music  publishers, 
was  qui'  k  to  discern  the  genius  of  this  young  artist. 
Miss  Le  Mairs  drawings  are  indeed  full  of  technii  al 
.hi  omplishment  and  arc  marked  by  a  very  rare  and 
sensitive  appreciation  of  all  the  unconscious  grace 
and  unsophisticated  charm  of  childhood  ;  and 
looking  through  a   large    number    of   her    original 

drawings,  as  it    lias  been  my  g 1  fortune  to  do 

lately,  one  is  at  once  struck  very  forcibly  with  three 
characteristics  which  one  had  already  in  a  great 
measure  recognised  from  those  reproductions  of 
her  work  which  have  so  far  appeared.  Firstly,  tin- 
pronounced  feeling  for  decoration  and  the  marked 
skill  displayed  in  the  harmonious  elaboration  of 
various  details  in  the  composition  ;  secondly  the 
exquisite  quality  of  her  line,  which  for  all  its 
extreme  delicacy  never  wavers  or  betrays  any  hint 
of  weakness  or  uncertainty;  and  lastly,  the  sweet 
sensitiveness  to  all  the  beauty  of  child  life  tm 
troubled  by  any  care  for  the  morrow  but  passing 
happily  like  a  beautiful  dream  in  its  faery  world  ol 
toys  and  make-believe. 

Since    the    days    of    Kate    (irecnaway,   of  whose 

work  despite  all  its  great 
charm  one  is  often  a  little 
impatient  -  if  it  be  not 
rank  heresy  to  say  si  1  1 
know  of  no  one  who  has 
1  in-lit  so  Wt  11  the  pure 
spirit  of  childhood  as  Miss 
I  1   Mair  ;  in  her  work  one 

that  the  naturalness, 
the  simplicit)  of  children 
is  interpreted  in  its  most 
attractive  phase,  *\itli  no 
suspn  1  attempt 

to   ape    tin     manners    of 

..    no    hint     of    pre 

,    no    posing,    no 

straining  after  an  effei  t  ol 

■   .-.ness. 
A  in.  .  il  th. 

oldest  I  >uti  h  families,  tin- 
artist,  who   is   still    quite   .t 

"3 


Miss  IVillebeek  Le  Mairs  Illustrations 


young  girl,  lives  with  her  parents  in  a  delightful 
house  in  one  of  the  large  cities  of  Holland,  sur- 
rounded in  her  home  with  beautiful  things  ancient 
and  modern,  ami  dwelling  in  an  atmosphere  which 
breathes    extreme    culture    and    refinement.     Her 

childh I's  days  were  passed  in  a  well-appointed 

nursery  and  amid  surroundings  which  form  the 
motifs  for  the  interiors  and  the  scenes  depicted  in 
her  drawings.  Thus  she  has  enjoyed  exceptional 
advantages,  and  while,  of  course,  for  this  she  must 
W  congratulated  rather  than  praised,  what  one  can 
commend  most  highly  is  the  admirable  way  in 
whii  h  she  has  availed  herself  of  the  artistic  environ- 
ment  and  of  the  opportunities  she  has  enjoyed,  so 
as  to  be  able  to  produce  drawings  so  perfect  and  so 
attractive. 

Apart  from  her  art  Miss  Le  Mair  is  versatile  in 
other  directions :  she  is  a  great  sportswoman,  a 
linguist,  is  very  gifted  musically  and  devoted  to 
dancing,  which  she  has  studied  under  M.  Jaques- 
Dalcroze,  and  at  her  home  she  has  a  school  of  a 
dozen  or  so  little  children  whom  she  teaches 
dancing,  while  in  working  and  playing  with  them 
no  doubt  she  finds  material  for  the  closely  observed 
and    charmingly    drawn    little    figures    so   full   of 


movement  and  grace  which  we  find  in  her  decora- 
tive illustrations. 

Intense  and  unflagging  study  would  seem  to  be 
the  key-note  of  her  art ;  in  all  her  drawings,  not 
merely  the  children,  but  the  graceful  decor  in  which 
she  places  them  so  harmoniously,  the  original  little 
dresses,  their  dolls,  their  toys,  and  all  the  details  of 
the  composition  are  true  to  life — are  all,  if  one  may 
so  express  it,  accurate  portraits.  For  instance,  as 
a  preparation  for  one  illustration  to  an  old  nursery 
rhyme  Miss  Le  Mair  had  a  number  of  mice  and 
studied  them  with  almost  the  indefatigability  of  a 
Henri  Fabre,  making  countless  drawings  and 
sketches  of  them  before  executing  the  finished 
drawings  which  represented  the  essence  and  sum 
total  of  all  this  laborious  and  close  observation. 
In  another,  an  illustration  for  "  Oranges  and 
Lemons,''  the  background  contains  what  are  really 
careful  portraits  of  the  various  church  steeples  in 
London  of  which  the  old  rhyme  tells,  and  the  same 
care  is  applied  to  all,  even  the  smallest,  details  of 
her  works. 

Through  the  courtesy  of  Mr.  Strecker  we  are 
happy  in  being  able  to  reproduce  several  of  Miss 
Le    Mair's    designs,    which    show   her   admirable 


■m^^f^f^ 


rHl       i     LBERR1     BUSH"    (WATER-COLOUR  I  BY    HENKIETTE   WII.LEBEEK    LE   MAIK 

(Copyright  Augener  Ltd.) 
224 


"BABYS   FRIGHT.'    illustration  for   "the  children  s 
corner         by     HENRIETTE     WILLIBEEK     LE      MAIR. 


Miss  Willebeek  Le  Mairs  Illustrations 


X^W— 

Sfe^ 

mw~& 

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S£5S                        "^ 

2Q&€&*X 

"  GREEDY  "    (WATER 

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HENRIET1  1.    WILLI  Bl  I  K 

1  1 

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"jH>«**m*#«~  -•**«**«*-  ***** 

"the  north  wind  doth  blow"  (Copyright  Augener  Ltd.)  BY  KENRIBTTB  WILLEBEEK   LB  HAIR 


I 

•4      '^ 


Studio-  Talk 


^    ^ 


'  COSY    CORNER. 


FROM  A  WATER-COLOUR    DRAWING  BY  H 

(Copyright  Augener  Ltd.) 


WII.I.EBKKK   l-E  MAIR 


qualities  ot  draughtsmanship,  her  fertility  in  the 
introduction  of  pattern  and  borders  into  her  work, 
her  comprehension  of  draperies  and  materials  which 
she  depicts  so  simply  and  yet  so  convincingly  : 
while  from  the  supplemental  plate  in  facsimile  one 
can  appreciate  her  delicate  and  very  harmonious 
colouring. 

In  Miss  Le  Mail's  work  a  certain  affinity  can 
be  discerned  with  the  art  of  Maurice  Boutet  de 
Monvel,  under  whom,  indeed,  it  was  her  earnest 
desire  to  study.  With  much  wisdom,  however, 
this  great  French  artist  urged  her  most  strongly  to 
work  alone,  to  study  direct  from  nature  and  to 
develop  her  own  talent  and  personality  untrammelled 
bv  any  outside  teaching.  She  is  therefore  entirely 
self-taught,  and  while  unquestionably  she  must  owe 
an  enormous  debt  to  her  fortuitous  circumstances, 
to  the  cultured  and  artistic  milieu  in  which  her  lot 
is  cast,  she  is  to  be  praised  highly  for  the  ability 
she  has  evinced  and  sedulously  cultivated  to  absorb 
the  beauty  of  her  surroundings  and  to  infuse  it 
with  her  own  individuality  in  weaving  these 
delicate  fancies  of  line  and  colour,  about  which  one 
cannot  but  write  with  enthusiasm. 

One    point    in    particular    is    with    the   artist   of 
paramount  importance ;  she  deplores  the  ugliness 
228 


and  the  rgrotesqueness 
which  are  often  permitted  to 
invade  children's  books. 
She  would  have  nothing 
but  what  is  of  simple  beauty 
in  her  work  as  in  her  sur- 
roundings, and  while  her 
deep  and  sympathetic  com- 
prehension of  children 
makes  her  very  keenly  alive 
also  to  their  humour,  which 
is  amply  apparent  through- 
out her  work,  she  introduces 
nothing  ugly  or  terrifying 
to  mar  her  drawings. 

Finally,  to  sum  up  and 
reiterate  what  it  is  that 
pleases  one  most  in  this 
delicate  and  graceful  art : 
it  is  the  skill  with  which 
these  decorative  composi- 
tions are  treated,  the  ac- 
curacy of  draughtsmanship, 
the  perfection  of  technique 
evinced  in  the  exceedingly 
delicate  and  expressive  line 
and  the  simple  and  beauti- 
ful application  ot  the 
harmonious  colouring,  and  lastly — and  this  is 
possibly  the  most  outstanding  feature  of  Miss  Le 
Mair's  art — the  rare  grace  with  which  she  captures 
the  beauty  and  fragrance  of  that  tender  blossom  we 
call  childhood.  Arthur  Reddie. 

STUDIO-TALK. 

(From   Our  Own   Correspondents.) 

ON  DON. — Few  artists  in  our  day  have 
realised  so  fully  as  Mr.  Morton  Nance 
the  picturesque  charm  of  the  wooden 
battleships  which  guarded  our  native 
shores  in  the  days  of  old,  and  fewer  still  are  entitled 
to  speak  about  their  characteristic  features  with 
the  authority  he  has  acquired  by  close  study  of  the 
material  now  available.  In  numerous  pictures  and 
drawings  of  his,  these  forerunners  of  the  men-o'  war 
of  later  days  figure  as  the  central  motive,  and  his 
rare  knowledge  of  constructional  details  has  ensured 
a  veracious  rendering.  That  knowledge  has,  how- 
ever, been  most  effectually  displayed  in  the  various 
models  he  has  from  time  to  time  constructed.  Three 
of  these  are  in  the  Science  Museum  at  South  Kensing- 
ton, and  are  often  consulted  by  artists  and  design*  re 
in  search  of  reliable  guidance  for  their  work.      The 


XL 


fr 


(  V'h,   property  of  Major  Gascoignt — 

IVwto  by  My.  C.  Harrison,  Havle) 


MODI'.  I.  OF  AN  ELI  ZABE  III  W 
GALLEON.  BY  R.  MORTON  NANI  I 


Studio-Talk 


model  we  now  reproduce  is  the  largest  one  Mr. 
Nam  lias  made  so  far,  being  roughly  four  feet  in 
length  from  bowsprit  to  tafferel  and'  the  same 
in  height  from  keel  to  truck.  It  is  a  typical 
Elizabethan  galleon  ;  'the  details  of  the  hull  and 
rigging  have  been  faithfully  copied  from  contem- 
porary prints  or  descriptions,  and  in  building  it 
Mr.  Nance  also  consulted  some  plans  lent  to  Mr. 
Seymour  Lucas,  R.  A.,  by  the  Dutch  Admiralty  giving 
details  of  the  hull  of  a  Dutch  ship  of  about  1600. 
Major  Gascoigne,  of  Lotherton  Hall,  Yorks,  for 
whom  it  was  built,  has  christened  it  "  The  Revenge  " 
as  answering  closely  to  what  is  known  of  that 
famous  ship,  though  apparently  no  authentic 
representation  of  her  is  in  existence. 


The  two  paintings  by  Mr.  Pilade  Bertieri,  which 
are  reproduced  here,  are  typical  examples  of  the 
achievement  of  an  artist  who  has  a  considerable 
mastery  over  executive  processes  and  an  excellent 
sense   of  graceful   arrangement.       His  portrait  of 


Mrs.  G.  H.  Johnstone  is  excellent  in  its  spon- 
taneity and  freshness  of  manner,  and  both  in  its 
elegance  of  design  and  as  a  pleasant  piece  of  charac- 
terisation it  can  be  heartily  praised.  The  study, 
Geneviive,  is  not  less  able  technically  and  has  much 
charm  of  st)  le.  These  two  canvases  were  included 
in  a  representative  exhibition  of  Mr.  Bertieri's 
works  recently  held  at  the  Dowdeswell  Gallery. 


The  Summer  Exhibition  at  the  Goupil  Gallery 
was  made  particularly  memorable  by  the  contribu- 
tions of  Mr.  YV.  Nicholson  who,  among  a  number 
of  other  accomplished  exhibitors,  stood  out  as  a 
painter  of  supreme  capacity.  His  portrait  study, 
Lizzie  Waine,  claimed  the  sincerest  approval 
as  a  magnificent  technical  exercise,  remarkable 
both  for  its  strength  and  its  restraint  and  supremely 
convincing  in  its  subtlety  of  characterisation ;  and 
his  still-life  studies,  Group  of  Orchids  and 
Purple  Tulips,  made  an  irresistible  appeal  by 
their  exquisite  beauty  of  colour  and  their  masterly 


•  GENEVIEVE 

230 


(  Donvdeswelh  J 


BY    PILADE    BERTIERI 


(  Dowdeswelh  ) 


MRS.   G.    il.    [OHNSTONE 
BY    PILADE   BER1  [ER1 


Studio-Talk 


certainty  of  handling.  He  showed,  too,  a  com- 
position, Taking  the  Call,  which  was  scarcely 
less  important  as  an  illustration  of  his  methods. 
Of  the  other  paintings  included  in  the  exhibition 
the  most  notable  were  Mr.  P.  W.  Steer's  Portrait, 
Carmina,  and  Marine,  the  last  a  really  exquisite 
study  of  a  rough  sea,  M.  Le  Sidaner's  effective 
colour  arrangement,  La  Riviere  a  Pont  Avert, 
Crepusatle,  Mr.  Frank  Brangwyn's  robust  sketches 
Market  P/aee.  Pruges  and  Dredgers  in  Dock,  and 
the  three  landscapes  by  Buxton  Knight,  all  of 
them  typical  examples  of  his  practice,  but  one  of 
them  particularly,  the  Evening  Glow,  a  splendidly 
expressive  record  of  nature.  There  was,  too,  a 
characteristic  little  Still  Life  by  Bonvin  :  and 
Mr.  George  Sheringham's  two  fans  and  decorative 
panel  represented  this  accomplished  artist  exceed- 
ingly well.  

The  two  examples  of  wood  sculpture  which  we 
reproduce  are  by  a  young  Leeds  artist,  Mr.  S.  H. 
Whitworth,  who  is  devoting  himself  enthusiastically 
to  this  branch  of  work.  His  methods  are  those  of 
the  sculptor  ;  first  he  sketches  out  the  subject,  and 
then  when  the  idea  has  developed  he  makes  a  rough 
model  in  wax  from  which  the  wood  figure  is  cut, 
this  being  thereafter  worked  on  to  give  finish  to 
details  which  cannot  be  embodied  with  precision  in 
the  wax  model.  In  small  figures  like  those  repro- 
duced, neither  of  which  exceeds  twelve  inches  in 
height,  far  more  care  is  of  course  required  than  for 
larger  work,  both  in  modelling  and  in  cutting  the 
wood,  which  in  this  case  is  white  sycamore.  Mr. 
Whitworth  held  a  scholarship  at  the  Leeds  School 
of  Art,  and  afterwards  studied  privately  under  various 
masters. 

We  also  reproduce  a  tenderly  modelled  bust  ofa 
little  Dutch  girl  by  Miss  Honora  M.  Rigby.  This 
charming  piece  of  work  was  exhibited  in  marble  at 
this  year's  Salon  of  the  Artistes  Francais  in  Paris 
together  with  a  plaster  statuette,  Fin  de  Jour.  Miss 
Rigby's  work  was  also  to  be  seen  at  the  Societe 
Nationale's  Salon,  where  she  exhibited  two  groups. 


At  the  Carfax  Gallery  an  exhibition  by  "Some 
Artists  '  Ins  just  closed.  These  artists  are 
post-impressionists,  but  their  art  is  a  logical  out- 
come and  not  a  reaction  from  impressionism.  The 
group,  which  includes  J.  B.  Manson.  Lucien 
Pissarro,  Malcolm  Milne,  Harold  Squire,  and 
Diana  White,  have  this  in  common,  that  in  contrast 
with  English  impressionism  of  the  last  generation 
they  all  paint  in  the  highest  possible  key  and  make 
232 


the  fullest  use  of  variety  of  vivid  colour.  ■  But  they 
also  wish  to  retain  the  sense  of  atmosphere.  The 
defect  in  their  work  as  a  whole  is  failure  in 
truth  to  the  characteristic  atmosphere  of  English 
country  scenes  which  they  otherwise  naturalistically 
represent.  The  interpretation  of  Dorset  scenery  by 
Mr.  Squire  is  in  so  high  a  key  that  one  wonders  to 
what  palette  he  would  have  to  resort  to  paint  sun- 
illumined  Italian  landscape.  It  is  in  such  things  as 
Mr.  Malcolm  Milne's  Roses  in  Hue  glass  bowl  that  we 
get  the  true  beauty  of  this  new  art  in  its  sensitive- 
ness to  pure  colour  and  profound  appreciation  of 
colour  as  well  as  shape  as  a  chief  asset  in  design. 
Mr.  Milne's  instinct  for  colour  is  shared  by  Mr.  J. 
1!.  Manson,  perhaps  the  most  sensitive  painter  of  the 
group. 


A  welcome  feature  of  the  present  day  is  the  in- 
fluence which  art  is  exercising  upon  costume.  The 
greatest  extravagances  of  the  moment  are  counter- 


WOOD   SCULPTURE 


BY    S.    H.    Ullll  WURTH 


Studio-  Talk 


WOOD   SCULPTl'RE 


BV    S.    H.    \\  111  fWORTH 


balanced  by  the  gradual  refinement  of  taste  which  is 
a  result  of  the  alliance  between  artists  and  cos- 
tumiers. The  Fine  Art  Society  has  been  exhibiting 
water-colours  by  artists  of  the  "Gazette  du  Bon 
Ton,"  and  while  the  original  drawingsdo  not  show  ti  i 
such  advantage  as  the  reproductions,  as  they  appear 
in  the  Gazette,  the  exhibition  was  very  fascinating. 


At  the  Leicester  Galleries  Mr.  I..  Campbell 
In  lor  has  been  exhibiting  his  paintings.  His 
style  is  exquisitely  neat  and  fastidious  ;  he  is 
capable  of  highly  wrought  detail  without  a  dull  or 
photographic  result.  He  has  a  greal  feeling  for 
interior  genre,  and  this  exhibition  contained,  in 
addition  to  successful  landscapes,  his  best  work  in 
this  vein.  Mr.  Campbell  Taylor  is  a  favourite  with 
the  public  at  the  Royal  Academy  without  con 
ceding  too  much  to  popular  taste.  To  many  the 
clean,  bright  simplicity  of  the  style  of  his  int.  rioi 
painting  is  among  its  happiest  qualities  :  but  we  are 
aware  that  some  of  this  immediately  app 
sparkle  is  attained  through  neglect  of  minor  tones. 


The  sculpture  by  Mr.  Jo  Davidson  at  the  same 
gallery,  whilst  often  very  reminiscent — Earth,  for 
instance,  of  Rodin's  //,   .  while  other  pieces  reflect 

the  moods  of  Mr.  Epstein— yet  has  a  trait  of  its 
own  in  such  pieces  as  that  railed  ./  Fragment,  in 
which  an  exceptional  gift  ol  /eying  facial  ex- 
pression i-  apparent.  I'liis  essentially  tits  the 
sculptor  lor  the  task  oi  portraiture,  ind  all  that 
side  of  his  exhibition  was  of  arresting  quality.  A 
i  lot. d  ile  piece  was  the  portrait  of  I''.  Deruent  \\  o,  m  I. 
A.R.A.  ;  its  only  fault  being  that  it  seemed  to  add 
to  that  artist's  yeai 


At  the  Walker  Gallery  in  Bond  Street  then  has 
been  an  exhibition  of  paintings  b\  Mr.  Ja<  k  E 
Yeats.  It  is  not  for  nothing,  apparently,  that  the 
painter  is  the  brother  of  a  poet,  since  he  shares  the 
same  temperament.  I  )rawings  of  his  with  the  pen 
betray  a  lack  of  flexibility  in  draughtsmanship,  which 
also  makes  itself  felt  throughout  the  oil-paintings. 
But  his  art  is  animated  by  interest  in  life,  and  that 


"  JKUNK   FILLS    HOLLA 


(marble) 

BV  HONORJt   If.    V 

2  7,1 


\SlfcufM4.U*«eY 


-^    BMUd. 


CLARE  GATE,  CAMBRIDGE."  FROM 
A  LEAD  PENCIL  DRAWING  BY 
WALTER   M.   KEESEY,   A.R.E. 


Studio-  Talk 


power  of  response  to  the  mood  of  nature  which  is 
typical  of  a  West  Irishman.  The  picture  The  Last  oj 
the  Corinthians  has  the  effect  upon  the  imagination 
of  good  fiction.  We  cannot  think  of  a  painter  whose 
art  appeals  so  much  through  a  "  literary  "  quality 
which  is  yet  in  his  case  not  to  be  confused  with 
pictorial  story-telling. 


Those  people  who  are  beginning  to  find  the  end- 
less succession  of  etchings  representing  architecture 
a  little  monotonous,  should  be  grateful  to  Messrs. 
Dowdeswell  for  introducing  Mr.  Clifford  Addams 
as  an  etcher.  The  artist  displays  inexhaustible 
resource  in  the  invention  of  composition,  and  has 
a  range  of  interests  that  is  exciting  ;  and  what  is  so 
much  to  the  point,  in  Bernhardfs  Joan  of  Arc, 
Dordrecht  Cathedral,  Herald  Building,  Broadway 
N.  Y.  and  The  Van,  Finchley,  we  have  an  etcher 
who  is  entitled  to  take  his  rank  at  once  somewhere 
near  the  top.  

We  reproduce  an  excellent  drawing  from  a 
sketch-book  of  Cambridge  by  Walter  M.  Keesey. 
Though    primarily   an  architect,    he   has   devoted 


himself  to  pencil,  and  his  work  in  this  medium  is 
characterised  by  admirable  qualities  of  technique. 
Mr.  Keesey  studied  at  South  Kensington  and  is 
now  on  the  staff  of  the  Architectural  Association, 
Westminster.  Besides  his  work  in  lead-pencil  he 
has  lately  turned  his  attention  to  the  copperplate 
and  has  executed  some  etchings  whi.h  evince 
much  feeling  for  purity  of  line  and  skill  in  com- 
position. In  February  last  he  was  elected  an 
associate  of  the  Royal  Society  of  Painter  Etchers 
and  at  the  recent  exhibition  of  that  society  was 
n  pn  -ented  by  four  works,  of  which  Westminster, 
one  of  his  best  plates,  together  with  two  others, 
was  well  hung  at  the  Royal  Academy  this  year. 


The  Baillie  Gallery  held  in  June  and  July  an 
exhibition  of  the  paintings  and  drawings  of  Mr. 
Austin  O.  Spare.  Mr.  Spare  is  one  of  our  most 
finished  pen-draughtsmen  with  considerable  power 
of  imaginative  invention,  and  a  taste  for  satire. 
His  illustrations  are  among  the  best  of  their  kind 
to-day  ;  but  depression  and  mistrust  of  beauty  too 
often  have  seemed  to  prevail  as  the  spirit  of  his 
work.     In  the  recent  exhibition  these  clouds  had, 


•       'At 


I  HE    ROAD  TO   w  ENGEN  " 


'inburgh  Stm/i,'  / 


-\o 


Studio-  Talk 


BY    EMILY    M.     PATERSON,    R.S.W. 


we  were  glad  to  observe,  lifted  a  little,  with  corre- 
sponding gain  to  the  effect  of  the  artist's  work. 


Messrs.  James  Connell  and  Sons  showed  water- 
colour  drawings  and  etchings  last  month  by  Miss 
Katharine  Cameron,  R.S.W.  The  artist  does  not 
trust  entirely  to  water-colour  in  landscape  but 
defines  her  outlines  in  pencil  and  chalk — a  varia- 
tion of  the  diluted  ink  line  of  the  old  English 
water-colourists.  Her  landscapes  are  colourful 
and  atmospheric  but  also  clearly  and  firmly  drawn 
and  most  interestingly  composed.  Her  flower- 
pieces  make  an  immediate  appeal  from  their  careful 
regard  for  decorative  success  :  it  is  only  on  close 
inspection  that  we  sometimes  miss  in  them  the 
sympathetic  apprehension  of  volume  and  weight 
in  petal  formation  which  is  the  secret  of  the 
greatest  flower-painting. 


Mr.  Edward  Chappel's  exhibition  of  moods  of 
nature,  at  the  Mendoza  Galleries,  should  be 
mentioned  among  recent  exhibitions.  Small  panels 
like  The  Blue  Vase,  The  Old  Cottage,  Noon, 
A  Sunny  Spring  Day  and  the  one  or  two  larger 
canvases,  represented  to  advantage  an  artist  whose 
work  has  arrested  attention  in  the  periodical  ex- 
hibitions of  the  International  Society. 
236 


EDINBURGH.— Miss  Emily  M.  Paterson, 
R.S.W.,  has  recently  held  an  exhibition  of 
her  water-colour  drawings  in  the  New 
Gallery,  Edinburgh,  consisting  of  over  a 
hundred  examples  of  Dutch  waterways,  Venetian 
views  with  shipping,  Picardy  and  Breton  landscapes, 
Alpine  winter  scenery,  and  the  rose-tinted  aiguilles 
of  the  Dolomites.  To  interpret  these  varied  mani- 
festations of  Nature  successfully  requires  not  only 
very  considerable  technical  skill  but  an  appreciation 
of  the  subtleties  of  Nature  and  the  effect  of  light  on 
colour  under  very  different  atmospheric  conditions. 
That  she  has  been  equally  successful  would  be  too 
much  to  say,  but  she  has  at  least  striven  to  express 
Nature  as  she  saw  her  and  has  never  lapsed  into 
mere  superficial  renderings.  Where  she  has  erred 
has  been  in  over-emphasis  of  effect  of  humid 
atmosphere  on  form  in  some  of  her  larger  Dutch 
and  Venetian  pictures,  striving  after  results  that 
could  be  better  attained  in  oil  than  in  water-colour. 
In  other  cases,  notably  in  some  church  interiors, 
she  has  struck  just  the  right  note,  realising  the 
grandeur  and  dignity  of  some  of  the  earlier  forms 
of  ecclesiastical  architecture  and  suppressing  detail 
to  realise  massive  proportion.  Her  pictures  ot 
shipping  at  Venice  show  a  strong  sense  of  com- 
position and  colour  with  brilliant  notes,  and  those 


Studio-Talk 


of  Swiss  mountain  scenery  are  thoroughly  typical 
ami  realise  the  grandeur  of  effect  that  one  looks 
for  in  such  subjects.  A.  E. 

PARIS.—  Every  year  during  the  months  of 
June  and  July  M.  Georges  Petit  organises 
in  his  galleries  an  important  exhibition 
devoted  to  the  work  of  a  contemporary 
artist  whose  talent  is  most  worthy  of  the  honour. 
We  have  thus  had  some  very  fine  exhibitions  of 
the  art  of  Raffaelli,  La  Touche,  Besnard,  and 
Cottet,  and  now  this  year  it  is  Rene  Menard,  who 
has  achieved  a  veritable  triumph  with  about  one 
hundred  and  fifty  works,  selected  from  his  most 
important  productions  of  the  past  five-and-twenty 
years.  Menard's  principal  pictures  have  already 
been  reproduced  in  The  Studio,  and  it  would 
therefore  be  a  work  of  supererogation  to  revert  to 
the  characteristics  of  this  very  fine  and  very  noble 
talent,  which  represents  in  our  epoch  the  purest 
classicism  unmarred  by  any  of  those  faults  which 
one  is  accustomed  to  refer  to  as  academism.  What 
I  should  desire  to  give  here  is  a  rapid  coup  cPteil 
over  the  exhibition  as  a  whole.  It  is  interesting  to 
have  seen  a  resume  of  all  the  different  inspirations 
of  the  painter,  and  to  have  had  an  opportunity  of 


judging  with  what  .1  masti  1  harmonj   his 

work  has  developed  and  his  style  has  been  evolved. 


It  was  with  no  little  emotion  that  1  saw 
more  the  whole  series  ol  studies  of  antiquity  by 
Menard  ;  for  he  also,  like  Claude  Lorrain  and 
Poussin  has  given  us  admirable  visions  ol  classic 
landscape  .Kgina.  Agrigentum,  Paestum,  I 
and  other  sums  which  by  their  sentimenl  and 
ni  ible  lines  are  1  omparable  to  those  of  Sicily  or  of 
Greece,  such  as  Corsica,  Frejus,  Aigues  Mortes 
and  certain  lire  ton  moorlands  of  imposing  character. 


What  struck   me   particularl)   in   this  exhibition 

was    the  perfect   i id  which  exists  between  the 

conception,  the  style  of  Rene  Menard  and  his 
methods    of  execution.        For   if  he   seeks   out   the 

eloquent  scenes  which  I  have  just  enumerated  he 
depicts  them,  as  colourist  and  draughtsman  in  a 
manner   which    gives  way    in    no   respect    to    his 

imagination.  Nothing  could  he  more  beautiful 
or  more  powerful  than  the  sparkling  golden  hues 
ol  the  painter's  palette,  than  his  linn  and  unerring 
draughtsmanship.  We  reproduce  here  three  ol 
his  drawings  which  appeared  to  be  particularly 
admirable   and    in  which  one   can   appreciate   the 


r.  vim 


/J**  llaSE** 


H&NARD 


Studio-  Talk 


strong  and  beautiful  construction  which  the  artist 
knows  so  well  how  to  give  to  his  compositions. 


This  exhibition  also  contained  some  very  fine 
ipes  executed  in  either  oil  or  pastel,  such  as 
the  Marat's  de  Grimaud  or  the  Foret  en  automne 
and  divers  Venetian  scenes,  but  lack  of  space  made 
it  impossible  to  include  Menard's  large  decorative 
compositions,  though  many  sketches  and  studies 
served  to  remind  us  of  his  great  and  noble  paintings 
in  the  Ecole  de  Droit,  the  Sorbonne,  and  in  the 
Savings  Bank  at  Marseilles.  The  exhibition 
achieved  a  great  success  with  both  artists  and 
lovers  of  art.  The  former  have  hailed  in  Menard, 
and  rightly  so,  an  artist  who  sheds  glory  upon  the 
French  school  and  French  genius  ;  the  others  have 
enthusiastically  acquired  all  the  works  which  were 
for  disposal  in  this  superb  ensemble.  H.  F. 


In  looking  over  the  recently  issued  volume  01 
"  L'CEuvre  Grave  et  Lithographic  de  Steinlen," 
fascinatingly  compiled  by  M.  E.  de  Crauzat,  one 
gets  an  amazing  idea  of  the  vast  amount  of  delight- 
ful work  Steinlen  has  done.  From  his  abundant 
knowledge  of  nature  and  humanity  he  weaves 
gay  and  tragic  aspects  in  all  mediums  with  an 
equality  of  greatness,   and  be  his  subject  etched 


or  executed  in  pen,  pencil,  chalk,  or  paint,  it  is 
always  admirably  wedded  to  whichever  of  the 
five  mediums  he  may  have  chosen  as  his  means  of 
expression.  Apart  from  his  brilliant  technique 
and  design,  there  are  in  his  work  vital  elements 
which  appeal  to  all,  whether  they  be  among  the 
most  academic  enthusiasts  or  ultra  modem  in  their 
sympathies.  Though  he  is  an  indefatigable  worker 
from  nature,  it  is  not  in  his  direct  and  learned 
transcripts  that  one  finds  the  real  Steinlen,  but  in 
those  works  in  which  the  gathered  facts  have  been 
leavened  through  his  mind  and  memory,  creating 
as  it  were  a  new  nature,  and  it  is  to  these  that  the 
drawing  of  The  Vagabond,  here  reproduced,  which 
was  done  with  a  reed  pen  in  brown  ink,  belongs. 


The  transformation  which  has  been  effected  in 
the  Pavilion  de  Marsan  in  order  to  house  the  exhibi- 
tion of  British  Decorative  Arts  must  evoke  the 
unqualified  appreciation  of  all  who  know  how 
limited  is  the  exhibition  space  it  affords  and  the 
lofty  proportions  of  the  galleries.  The  original 
height  to  the  roof  lights  has  been  considerably 
lessened  by  an  intervening  material  forming  a 
velarium  decorated  with  zodiacal  signs  ;  the  scheme 
and  colour  of  the  designs  giving  a  certain  subdued 
golden  light  to  the  interior,  which  is  so  arranged 


'CAVALIERS   SOUS    BOIS  ' 
238 


FROM    A    DRAWING    BV    RENE    MENARD 


"THE  VAGABOND."    from* 
drawing  by  T.  A.  STEINLEN. 


Studio- Talk 


HANTF.l'KS    Bl'i 


FROM     \    DRAWING    BY    kE.xfc    M&NARU 


with  a  pulpit,  a  tomb,  altar,  and  reredos  at  one  end 
and  the  side  walls  prominently  hung  with  leaded 
glass  cartoons,  as  to  convey  the  impression  on 
entering  that  one  is  on  the  threshold  of  some 
ancient  chapel.  At  fitful  intervals  openings  lead 
olf  into  side  passages  and  a  number  of  rooms  have 
also  been  most  appropriately  constructed  to  show 
to  advantage  the  exhibits  they  contain. 


Asa  retrospective  exhibition  with  a  predominani  e 
ot  work  which  one  associates  with  the  earl)  da)  ■  ol 
the  Arts  and  Crafts  revival  in  England,  nothing 
but  praise  can  be  bestowed  upon  it.  Main  of  the 
exhibits,  however,  which  bear  a  more  recenl  date, 
though  excellent  in  craftsmanship,  show  no  natural 
development  or  nal  progress,  bin  merel)  ill. n  the 
designers  are  content  to  borrow  from  the  past. 
With  the  notable  exception  of  the  fine  collection  of 
cabinet  work  shown  by  Ernest  (inn, on.   the  furni- 

hroughout  the  exhibition  is  disappoii 
It  would  have  been  more  inlhientialb  interesting  if 
some  of  the  space  it  occupies  li.nl  been  given  to 
the  complete  furnishing  of  one  or  two  rooms, 
say,  by  Baillie  Scott,  whom  I  notice  is  nol 
sented,  or  by  Charles  Rennie  Mackintosh,  whose 
work   has   perhaps    had   a    wider    influence  on    the 


Continent  than  that  of  any  other  of  the  moderns  who 
much  larger  representation  in  the  exhibition, 
the  one  small  scale  drawing  on  tracing  paper  by 
which  Mackintosh  is  represented  being  a  ver)  earl) 
expression  of  his  talent. 


The  exhibition  is  indeed  ver)  sparse  in  represent.! 
live  modern  work.  Mr.  Voyse)  has  .1  ver)  modest 
exliil.it   and    such    men    .1  ft  alton,    E.    I .. 

Lutyens,    Walter    Cave,    Oscar   Paterson,    G 

John  Ednie,  &c.,show  nothing.     Examples 

ot  glass  cartoons  and   designs  are  numerous  and 

reminisi  1  amples  few  and  ai 

In  almost  all  instances  the  primary  quality  ol  the 

material  is  ignored,  the  resull   being  a  numbei   ol 

painted   piei  es    ol   gla  -    held    together  b)    leads. 

However,   as   most   of   the  work   shown   is  of  an 

iastical    nature   an)    adverse    1  tun  ism    must 

tril)    lie   qualifii  'I.  .1-   1  hurch   building  still 

I  1  Gothic  aspirations,  but  when  one  has  to 

look  at  a  design  three  times  to  make  quite  sure  11 

is    not   a    small    coloured     replica    c  .1    ,1    window-   m 

Chartres  Cathedral  there  cannot  he  anvthin 

British  about  it  except  ..  shrewd  capacit)  I' 11 
adapting  tin  ait  ol  oilier  nations.  It  is  this  spirit. 
100,  thai    1    ni-  to  1><    most  pronoun,  ed  throughout 

-M' 


Studio-Talk 


hibition  and  to  call  much  of  it  the  Arts  and 
Crafts  of  Great  Britain  is  erroneous.  If  there  is  an 
effect  there  must  have  been  a  cause,  and  1  havi  no 
doubt  that  tin  system  of  granting  bursaries  to 
School  of  Art  students  sci  that  the\  can  tour 
Europe  and  send  back  monthly  instalments  of  their 
cribbing-  to  qualify  for  their  monthly  allowance  has 
much  to  do  with  the  ultimate  harvest  England  reaps. 


Technically  there  is  little  in  the  exhibition  that 
one  can  find  fault  with  :  the  craftsmanship  is 
delightfully  perfect  and  in  the  smaller  work,  such 
as  the  jewellery  and  enamels,  most  admirable, 
especially  attractive  being  some  necklaces  and 
enamel  triptychs  by  Mrs.  Traquair,  the  remarkably 
fine  cloisonne  enamels  of  Harold  Stabler,  various 
examples  of  jewellery  by  Henry  Wilson  and 
fascinating  silver  work  by  J.  Paul  Cooper,  and 
those  interested  in  needlework  and  embroidery  will 
find  much  to  attract  them  in  the  knowledge 
displayed  in  the  unfinished  panel  Orphee  by  Miss 
Moxtori  and  the  panel  entitled  Gloria  by  Miss  Ann 
Macbeth.  Then  there  is  a  little  room  one  must 
not  forget  which  contains  some  delicately  decorative 
water-colourdrawings  on  vellum  by  Mrs.  Mackintosh : 
and  in  this  room,  too,  the 
work  of  Jessie  M.  King 
could  not  be  shown  to 
better  advantage  for  light 
and  arrangement.  Here 
also  is  an  excellent  display 
of  fans  and  decorative 
paintings  on  silk  by  George 
Sheringham,  pen  and  ink 
drawings  by  Miss  Annie 
Freni  h  and  some  remark 
ably  good  loan  examples 
of  the  work  of  Charles 
Conder,  while  in  the  ad- 
joining rooms  one  can  fully 
satisfy  one's  early  delight 
in  the  work  of  Walter 
Crane.  Amongst  the  more 
recent  work  shown  I  was 
especially  attracted  by  four 
little  simple  coloured  wood 
engravings  by  Maxwell  Arm- 
field,  the  prints  of  Allen  W. 
Seaby  and  F.  Morley  Flet- 
cher, and  the  lithographs 
of  G.  Spencer  Pryse. 


to  me  to  have  been  wasted  on  ungainly  shapes 
and  senseless  ornamentation.  Amongst  the  most 
unique  examples  of  research  and  attainment 
the  exhibits  of  Messrs.  Pilkington  arc  unrivalled, 
and  there  are  also  some  particularly  interesting 
examples  by  William  de  Morgan  and  VV.  Howson 
Taylor,  while  in  table  glass  there  is  nothing  to  quite 
compare  with  that  shown  by  James  Powell  and  Sons. 
But  if  one  were  to  predict  any  decided  influence 
that  may  be  the  outcome  of  the  exhibition  in  France 
it  would  be  from  the  section  devoted  to  printing.  In 
it  are  shown  many  exhibits  of  uncommon  interest, 
though  one  feels  that  in  the  illuminated  pages  and 
decorations  mediaeval  influence  is  too  pronounced. 
If  French  design  does  dip  largely  into  the  past 
it  has  a  certain  independent  character  of  its  own, 
and  it  is  the  independence  of  Britain's  designers 
one  would  have  liked  to  see  more  of  in  the 
exhibition.  E.  A.  T. 

BERLIN. — The   Schulte   Salon   has   been 
showing  the  work  of  the  Munich  painter 
Edmund    Steppes.      An  inborn    flow  of 
feeling  tinged  with  a  shade  of  melancholy 
pervades  this  work,  whether  the  human  figure  or 


In    [lottery  a  good   deal 
of  energy  and  colour  appear 
242 


MOUNTAIN    STREAM''  BY   EDMUND    STEITES 

(Schulte  Salon,  Berlin  ;  Photo  F.  Hocjh,  Augsburg) 


Salon,     Berlin — 
Photo  F.  Hoefle,  Augsburg) 


EVENING  GOLD."     BY 
EDMUND   STEPPES 


Studio-  Talk 


landscape  be  his  subject.  One  discerns  in  it  the 
influence  of  Diirer  and  Thoma :  at  any  rate,  it  is 
typically  German.  Steppes  is  the  painter  of  silence. 
He  lines  the  quiet  valley  and  the  lonely  mountain 
he  is  attracted  also  to  solitary  trees,  especially 
when  they  have  a  bizarre  silhouette.  Bright  sunlight 
is  not  to  his  taste,  he  prefers  the  subdued  light  of 
dawn,  evening,  and  moonlight.  Evidences  are 
present  in  his  art  that  he  is  not  averse  to  modern 
modes  of  expression,  but  he  loves  to  persevere  in 
his  own  style.  Steppes  is  a  Bavarian,  and  he 
attended  the  Munich  Academy,  but  he  prefers 
to  be  considered  a  self-taught  artist,  as  he  learned 
most  from  nature  and  the  old  masters.  He 
won  the  State  gold  medal  at  Graz,  and  his  paintings 
and  other  works  are  to  be  found  in  many  German 
public  collections.       

The  talent  of  Ernst  Aufseeser,  which  was  bound 
sooner  or  later  to  attract  attention,  has  procured 
him  a  call  to  the  Kunstgewerbe-Schule  at  Diissel- 
dorf,  where  he  has  now  taken  charge  of  the  class  of 
Prof.  Ehmke.  His  eminent  ability  as  a  designer 
who  combines  inventiveness  and  facility  of  visualis- 
ing decorative  compositions  with  a  sound  knowledge 
of  historical  ornament  and  love  of  actuality  is  sure 
to  have  a  favourable  influence  on  craft  students. 
The  Deutscher  Werkbund's  exhibition  at  Cologne 
shows  some  of  his  latest  achievements  and  also  his 
pupils'  works.  In  the  Tea-House  of  Prof.  Kreis, 
the  only  building  which  will  remain 
standing  after  the  exhibition,  Aufseeser 
has  provisionally  arranged  the  Munich 
Marionette  Theatre,  which  is  to  be  used 
as  a  cafe  after  the  close  of  the  show. 
Here  the  black  and  pink  tiles  of  the 
walls,  the  green  and  black  frieze  on  a 
white  ground,  the  ceiling  reliefs,  the 
black  silk  curtains  with  vermilion  ap- 
plications and  the  stage  with  its  var- 
nished vermilion  frame,  have  assisted 
in  the  picturesque  decoration  of  a 
ceramic  interior.  His  black  and  white 
drawings  in  the  Haupt  Halle  with  their 
firm  yet  loosely  interwoven  line-work 
bear  witness  to  a  skill  of  draughtsman- 
ship comparable  to  that  of  the  old 
Netherlandish  wood-cutters  and  en- 
gravers. In  them  the  pictorial  capacity. 
the  originality  and  the  rich  fantasy  of 
the  artist  are  summed  up. 


school  of  Paris,  is  now  dedicating  his  talent  entirely 
to  a  study  of  the  dancing-art  which  Isadora  I  )uncan 
and  her  sister  Elizabeth  expound  by  example  and 
precept.  He  lives  at  Darmstadt  so  as  to  be  able 
to  study  his  favourite  models  in  the  school  carried 
on  by  Elizabeth  Duncan,  and  his  hand  essays  to 
capture  their  instantaneous  movements  together 
with  the  atmosphere  of  circumfluent  light  and  air. 
The  exhibition  of  his  work  at  Messrs.  Friedmann  and 
Weber's  also  introduced  the  artist  as  a  characteristic 
delineator  of  Venetian  street  scenes.  J.  J. 

VENICE. — The  exhibition  which  was  in- 
augurated on  April  24  is  the  eleventh 
in  order  of  these  most  successful  biennial 
displays  of  art  organised  by  the  City 
of  Venice,  and  it  fully  keeps  up  to  the  level 
of  previous  years,  both  in  the  number  and  quality 
of  the  works  exhibited.  The  quantity  is,  in  fact, 
so  great  that  in  a  brief  survey  such  as  is  here  given 
only  the  works  of  primary  importance  can  be 
noticed.  I  shall  therefore  touch  but  cursorily  upon 
the  Pavilions  of  the  Nations  before  passing  to  a 
notice  of  Italy's  contributions,  from  which  our 
illustrations  are  drawn. 


Among  these  pavilions,  that  of  France  this  year,  as 
before,  claims  a  leading  place,  and  this  year  again 
its  chief  interest  centres  in  four  excellent  individual 
exhibitions.     Emile  Bourdelle  is  a  sculptor  of  power, 


Mons.  T.   Grandjouan,   a  gifted 
draughtsman  of  the  impressionistic 

244 


PEN    DRAWING    BY    ERNST    AUFSEESER 


ft  * 

H  > 
x  pq 


Studio-  Talk 


of  passion  and  originality,  and  his  thirty-two  worjcs 
exhibited  here  are  a  revelation  of  his  mastery. 
Nor  less  so  in  the  next  room  are  the  paintings  of 
M.  Paul  Albert  Besnard.  Here  we  have  a  real 
presentment  of  India,  with  her  marvellous  pii  torial 
possibilities.  All  the  warmth  and  colour  of  the 
East  come  before  us  most  vividly  presented  in 
an  art  which  we  approach  even  more  intimately 
in  the  seven  frames  filled  with  little  pen-and-ink 
studies,  coloured  sometimes  with  wash. 


The  British  Pavilion  shows  a  marked  improve- 
ment on  that  of  two  years  back.  The  impression 
from  the  first  is  satisfactory  :  in  the  entrance-room 
a  large  canvas  by  Mr.  Lavery  ( The  Amazon)  meets 
the  eye  at  once,  with  on  the  one  side  Mr.  Charles 
Sims's  Island  Festival,  with  its  delicious  flesh  tints 
of  the  nudes,  Mr.  Talmage's  Self-portrait,  and  Mr. 
Cecil  Rea's  charming  Secret  of  the  Stream  ;  on  the 
other,  Mr.  J.  J.  Shannon's  portrait  of  his  daughter, 
Kitty.  Elsewhere  we  find  Mr.  Anning  Bell,  Mrs. 
Laura  Knight  {Dawn  and,  among  the  water-colours, 
The    Gipsv-girl  Bathing),   Mr.    Harrington    Mann, 


Mr.  Gerald  Moira,   Mr.  <;.   I'.   Kelly,  and  among 
the   water-colour  am  i   exhibits  Clara  and 

Hilda     Montalha,     Mr.     Russell     Flint,     and     Mr. 
Charles   Sims.     Sir    Alfred    East's    painting 
brings  back  to  us  the  keen  interest  which  this  fine 
artist  took  in  these  exhibitions  of  Venice,  .is  well  as 
those  of  the  Water-colour  Society  of  Milan. 


In  the  British  Pavilion,  though  there  are  two 
individual  rooms,  the  effect  of  the  whole  is  fn  h. 
varied,  interesting.  In  that  of  Germany,  on  the 
other  hand,  under  the  same  conditions,  the  whole 
effect  seems  monotonous,  though  here,  too,  some 
admirable  paintings  are  to  be  seen,  such  as  the 
brilliant  Leda  of  Hugo  Vogel  in  the  first  room,  a 
masterpiece  of  plein-air  treatment  of  the  figure,  the 
paintings  of  Kolbe,  Ackermann,  Max  Schlichting, 
and  the  portraits  of  Harry  Schultz  and  Schuster- 
Woldan,  while  among  the  sculpture  a  bronze  figure 
of  a  little  girl  by  Lewin  Funcke  is  quite  charming. 

The  Russian  Pavilion  has  come  into  being  this 
year,  having  been  opened  by  the  Grand  Duchess 


"   F&TE   AT   TEULADA    (SARDINIA)' 


I  Venid   tnta 


ition  ) 


247 


Studio-  Talk 


Vladimir  on  the  last  day  of  April  ;  and  it  is  most 
appropriate  that  Kustqdieff's  admirable  portrait  of 
this  munificent  patron  of  Russian  modern  art 
should  occupy  the  centre  of  the  large  room.  The 
Pavilion  itself  is  attractive  with  its  little  balcony  over- 
looking the  lagoons.  The  long  and  terrible  winters 
of  Russia,  not  without  their  own  beauty,  find 
expression  here  in  the  snow  scenes  of  Bialinskiand 
Stalitza  ;  and  her  peasant  life  in  pictures  by 
Butchkuri,  Kulikoff,  Fechin  (a  kind  of  Brangwyn 
in  Russian  art),  Kolesnikoff  and  Saidenberg. 
Figure-subjects  of  interest  are  The  Green  Dress  of 
Nicolai  Kusnetsoff,  the  Salome,  decoratively  con- 
ceived, by  Sureniantz,  and  the  wonderful  study  of 
an  Abbess  by  Kustodieff,  which  conies  from  the 
Museum  of  Fine  Arts  at  St.  Petersburg. 


Briefly  glancing  at  the  Pavilion  of  Hungary  with 
the  paintings,  strong  in  key,  of  Csok  and  Ferenczy 
and  that  of  Belgium,  where  Van  Rysselberghe,  with 
his  luminous  nudes,  fills  all  one  side  of  the  large 
room,  with  the  weird  art  of  James  Ensor  to  face 
him,  and  where  also  there  is  some  excellent  sculp- 


ture by  Victor  Rousseau  and  Wouters  and  an 
interesting  series  of  medals  by  Armand  Bonnetain, 
we  come  to  the  Italians  and  other  nations  whose 
contributions  are  shown  in  the  great  central  build- 
ing. Here,  in  the  cupola  and  central  salon,  we 
have  the  decoration,  light  in  key  and  brilliant  in 
treatment,  of  Galileo  Chini,  whose  work  in  Siam, 
where  he  was  commissioned  to  decorate  the  throne- 
room  of  the  Royal  Palace,  we  shall  find  later  in  the 
room  set  apart  for  his  work  in  Sala  25  ;  and 
around  this  central  hall  are  the  sculptures,  monu- 
mental in  their  archaic  severitv  of  technique,  of 
Ivan  Mestrovic,  the  Croatian  sculptor. 


In  one  of  the  rooms  grouped  around  the  central 
hall  we  find  a  most  interesting  exhibition  of  the  art 
of  Hermen  Anglada.  There  are  seventeen  of  his 
paintings,  all  single  figures,  all  posed  more  or  less 
conventionally,  all  in  rich  costume,  and  most  oi 
them  Spanish  in  character.  If  we  try  to  analyse 
their  attraction  we  shall  find  it  in  the  extraordinary 
charm  of  colour,  as  distinctive  a  note  here  as  in  the 
art  of  Innocenti,  and  as  strangely  attractive.     The 


'THE    DOGANA,    VENICE 
248 


Art  Exhibition) 


BY    GUGLIELMO    CIARDI 


(  I  'mice  International  Art  Exhibition) 


"THE   WANDERER."     BY 
AN  fONIO   DISCOVOl  I  l 


Studio-Talk 


next  room  contains  Arturo  Noci's  clever  ^portrait, 
a  little  crowded  into  the  canvas,  of  the  actress, 
Lyda  Borelli,  with  a  suggestion  of  Lavery's  influence, 
and  his  delightful  vision  of  Terracina,  with  purple 
distances  and  a  strip  of  deep  blue  sea.  Near  by 
the  Venetian,  Zandomeneghi,  who,  like  Boldini,  has 
been  for  many  years  settled  in  Paris,  occupies 
a  room  with  his  paintings  which,  though  they 
may  seem  sometimes  a  little  old-fashioned,  are 
always  sound  in  technique.  In  an  adjoining  room 
a  group  of  Spanish  artists — Benedito,  Chicharro, 
and  the  brilliant  Sorolla — provide  an  interesting 
display,  and  a  little  further  on  we  come  to  the 
richly  decorative  paintings  of  Frank  Brangwyn. 


female  nude  finely  suggestive  of  form  emergent 
from  the  marble),  and  Graziosi,  who  shows  a 
clever  crouching  figure  of  a  girl.  In  Sala  19  we 
encounter  a  group  of  interesting  painters — Italico 
Brass,  brilliant  as  ever  in  his  Fireworks  and 
The  Masks  are  Passing;  Onorato  Carlandi  (A 
Summer  Night  on  Monte  Amiata),  Martini  with  his 
pastel  Portrait  of  the  Marchesa  Casati,  Ferruccio 
Scattola  (On  the  Lagoons),  and  the  sculptor 
D'Antino  in  his  delightful  little  bronze  of  Riri,  and 
lastly,  Hans  Lerche's  marvellous  coloured  glass,  and 
his  portrait  medallions  of  the  present  Pope  and  his 
predecessor,  which  are  admirable,  and  reveal  him 
as  a  sculptor  of  very  high  merit. 


I  have  mentioned  Felice  Casorati  already  with 
sympathy  in   my  notice   ot 

these    Venice    exhibitions,  

and  this  year  we  find  the 
young  Veronese  painter 
represented  by  three  works 
of  a  distinctively  symbolic 
character,  of  which  The 
Milky  Way  is  the  most  at- 
tractive in  colour  and  treat- 
ment ;  while  near  him  are 
Maurice  Denis  and  De  Ste- 
fani,  Guido  Trentin,  and 
other  Veronese  painters 
who  seem  to  follow  some- 
what the  lead  of  Casorati. 
Bezzi  appears  to  great  ad- 
vantage this  year  in  Sala  2 
with  nine  landscapes  which 
are  full  of  poetry,  and  in 
the  same  room  are  Bat- 
taglia,  Giacomo  Grosso  (in 
whose  large  canvas,  Le 
plaisir  du  Roy,  the  nudes 
reflected  in  water  are 
treated  with  admirable 
mastery),  and  a  clever 
bronze,  Girl  Looking  at 
Herself  in  the  Water,  by 
Portanova.  Near  this  work 
is  Pietro  Canonical  marble 
Portrait  of  Princess  Clotilde 
.  and  elsewhere  the 
exhibition  contains  ex- 
cellent examples  of  work  by 
other  Italian  sculptors,  such 
as  Bistolfi,  Dazzi  (a  Pieta 
very  Miehelangesque  in 
conception),  Cataldi  (a 
250 


One  of  the  successes  of  this  exhibition   is  the 


OX    THE    BACCHIGLIOXE" 

(  Venic 


BY    VETTORE    ZANETT1    ZILI.A 

International  Art  Exhibition) 


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o  o 

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Studio-  Talk 


series  of  eighty-one  tempera  paintings  by  Aristide 
Sartorio  who,  like  Cariandi  and  like  the  late  Henry 
Coleman,  is  an  enthusiast  for  the  Campagna  of 
Rome,  and  has  devoted  these  last  years  to  the 
revelation  of  its  beauties  which  he  gives  us  here. 
All  the  life  of  the  Campagna  develops  itself  in  these 
paintings.  We  see  the  sheep  arriving  from  the 
mountains,  their  midday  rest,  their  return  to  the 
fold,  then  the  buffaloes  dragging  great  blocks  of 
travertine,  or  roaming  at  large  in  the  swamps,  and 
beautiful  of  all — the  moon  rising  over  the 
waste  t  »t  marshes.  Next  to  this  fascinating  room  we 
have  one  no  less  attractive,  in  which  Ettore  Tito,  in 
a  brilliant  series  of  paintings — portraits,  mythological 
subjects  ami  scenes  of  modern  Venetian  life — re- 
affirms his  position  as  capo-scuola  and  leader  of 
modern  Venetian  art.  Among  the  portraits,  that  of  his 
wife  (  On  the  Beach)  is  admirable,  and  the  exuberant 
vitality  of  his  art  expresses  itself  among  the  country 
scenes  in  those  in  which  his  own  children 
take  part — The  Beach  of  Balleria  and  Banks  of  t lie 
Brenta — as  well  as  in  the  great  canvas  of  the 
rebuilt  Campanile  (2J  Aprile,  IQI2),  and  such 
mythological  scenes  as  Centaurs  and  Ny?nphs  and 
The  Amazons,  in  which  he  depicts  wild  girls  with 
floating  hair  riding  astride  even  wilder  horses. 


Innocenti  are  represented  by  excellent  work,  as  in 
sculpture  is  Maria  Antonietta  Poglianiwith  her  bronze 
nude  and  charming  rose-tinted  marble  of  a  child. 


The  Venice  Exhibition  of  this  year  has  two 
points  in  its  favour,  which  it  is  far  from  easy  to 
combine.  It  is  original,  in  that  it  strikes  at  new 
paths  in  art  and  opens  new  vistas  ;  and  it  is  at  the 
same  time  marvellously  inclusive — as  may  be  seen 
from  the  pretty  extensive  list  that  I  have  here  given 
of  all  the  best  progressive  elements  in  modern 
Italian  art.  Sei.wvx  Brinton. 


V 


Lastly,  we  have  the  sculpture  of  Medardo  Rosso, 
the  paintings,  eight  in  number  and  as  fine  as  ever,  by 
Mancieni,  the  beautiful  colour-schemes  of  Galileo 
Chini,  taken  entirely  from  his  visit  to  Siam,  the 
quaint  fancy  of  Paolo  Sala 
in  his  Ancestors  and  Ave 
Audaces  .'  where  the  pen- 
guins seem  to  discuss  the 
explorer's  fate  ;  the  Vene- 
tian art  of  Zanetti  Zilla,  the 
Tuscan  country-life  of 
Gioli,  and  the  rich  colour- 
ing of  another  Tuscan, 
Plinio  Nomellini.  Even. 
so.  I  have  not  exhausted 
my  list.  Among  the  Vene- 
tians, Miti-Zanetti  |  \ 
turni),  the  Ciardi  family — 
Guglielmo,  Guiseppe  and 
Emma  {Airs  and  Graces), 
Fragiacomo,  Zezzos  ; 
among  the  north  Italians 
Fratino,  Falchetti  {Morning 
Eclogue),  Bosia,  Previati, 
Leonardo  Bazzaro,  Emilio 
Gola,  Borsa ;  and  among 
the  Romans,  Lionne  and 
252 


IENNA. — A  recent  exhibition  at  the 
rooms  of  the  Society  of  Women  Artists 
of  Austria  (Verei  nigung  bildender 
Kunstlerinnen  Oesterreichs)  showed  that 
the  members  are  very  earnest  in  their  endeavours  to 
uphold  the  prestige  of  the  Society.  The  exhibition 
comprised  one  hundred  and  forty  items,  and  those 
which  belonged  to  applied  art  gave  another  proof, 
were  one  needed,  of  the  undoubted  talent  and 
inborn  feeling  for  decoration  possessed  by  these 
young  Austrian  women.  The  chief  exhibitors  of 
work  of  this  kind  were  Johanna  Meier  Michel, 
who  in  a  comparatively  short  space  of  time  has 
gained  a  foremost  place  in  her  own  special  line  of 
art — small  bronzes  and  ceramic  figures  ;  Helena 
Johnova  and  Rosa  Fuchs,  who  are  both  engaged  in 
the  production  of  interesting  ceramic  work  :  Sophie 
Naske-Sandor,    whose   speciality   is  jewellery   and 


OLD   VIENNESE   COURTYARD"  COLOURED    DRAWINI 

(  Vereinigung bildenier  Kunstlerinnen  Oesterreichs,  l\ 


Reviews  and  Notices 


"SEAPORT  TEMPERA    PAINTING 

(  Vereinigung  bildender  Kiinstlerinn* 

enamelling,  and  who  has  not  only  served  her 
apprenticeship  in  these  crafts  but  has  worked  as 
a  journeywoman  in  France,  Germany,  Sweden, 
Holland,  and  other  countries  and  Ella  Briggs-Baum- 
feld,  who  practises  as  an  architect ;  she  showed  a 
boudoir  which  though  somewhat  glaring  in  its 
colour-scheme  was  yet  well  designed,  well  arranged, 
and  pleasing  in  its  details. 


BY    MINKA    rODHAJSKA 

■ticks) 


Mother  and  Child  is  .in 
i  xpressi\  e  rendering  of 
maternal  devotion  :  Ella 
Rothe,  who  in  hei  1 1  >1<  mred 
drawing  Alt-Wiener  HoJ 
■in  i ii  three  exhibited  l>\ 
her  —  has  chosen  as  her 
theme  om  oi  those  old 
world  corners  ol  Vienna 
which  are  rapidly  vanish 
ing;  Olga  Brand-Krieg 
hammer,  who  has  a  pen 
chant  fur  bright-hued 
flowers  ;  Angela  Adler, 
1  [edwig  Neumann  Pishing, 
Johanna  Freund,  Lila 
( Iruner,  ( Irete  W  iedi 
and  other  painters,  while 
among  the  exhibitors  ol 
etching's,  drawings,  and 
lithographs  reference 
should  be  made  to  Marie 
Ressel,  Elizabeth  Laske, 
Marianne  Friniberger, 
Mariska  Augustin,  Berta 
Czegka,  Marianne  Hitsch- 
mann-Steinberger,  and 
Magda  von  Lerch. 

A.  S.   L. 


The  pictures  and  drawings  formed  a  varied  dis- 
play, and  one  was  glad  for  once  to  see  but  few- 
portraits,  the  most  notable  of  these  being  Rosa 
Frankfurt's  study  of  a  man's  head  remarkable  for  its 
characterisation,  Baroness  Helene  Krausz's  por- 
trait of  an  old  man,  excellent  alike  in  handling  and 
interpretation,  and  Luise  Fraenkel-Halm,  who 
showed  a  portrait  of  a  little  girl  with  a  background 
of  gay  flowers.  Minka  Podhajska,  whose  beautiful 
toys  will  be  remembered  by  many  readers  ol  Thi 
Studio,  is  also  a  painter  of  fine  feeling,  as  witness 
her  Seaport,  here  reproduced.  Frau  Harlfinger- 
Zakucka,  also  of  note  as  a  creator  of  toys,  likewise 
showed  some  very  interesting  landscapes  handled  in 
an  individual  manner.  Other  artists  whose  work 
calls  for  mention  are  E.   I.euze-Hirschfeld,  whose 


REVIEWS   AND   NOTICES. 

The  Art  of  the  Great  Masters.  Fredern  k  Lees. 
(London:  Sampson  Low,  Marston  and  Co.  Ltd.) 
£2  12s.  6d. — This  essay  is  written  on  the  art  of  the 
great  masters  as  exemplified  by  drawings  in  the 
collection  of  Emile  Wauters.  The  hook  contains 
large  numbei  ■  >1  reprodui  tions  made  with 
exceptional  delicacy,  and  it  is  the  greatest  names 
the  world  has  known  that  are  represented.  W  hilst 
everything  is  written  round  the  drawings,  the  history 
iii  Italian  and  Flemish  art  isdeveloped  in  0: 
in  such  an  interesting  manner  that  the  book 
becomes  ol  the  utmost  va 

upon  the  stud)  of  the  old  masters.  In  his  intro 
duction  the  author  has  something  to  say  which 
reflei  ts  the  1  onsidi  red  opinion  ol  many  critics  to 
day  in  regard  to  the  future  ol  art.  He  points  out 
that  we  are  now  face  to  lace  with  a  situation  similai 
to  that  which  !   Ingres  when,   revolting 

against  the  art  to  which  Ins  fellow  artists  wen 
resigned,  he  discovered  nature  which  remains 
the  inexhaustible  scource  ol  beauty  through  the 
masters  of  the  Renaissance,  Masai  1  io  and  Raphael. 
II,   felt  ty, says  the  author, using  Ingres' 

253 


Reviews  and  Notices 


"  MOTHER   AND   CHILD  " 

(  Vereinigung  bildciida 


BY   E.   I.EUZE   HIRSCHFELD 
Kiinstlerinyten  Oesttrreichs) 


own  phrase,  of  "striking  the  hydra  to  the  ground." 
The  hydra  was  all  those  deformities  in  paint  which 
had  appeared  at  the  Salons  since  1S22.  "The 
severe  description  which  Ingres  introduced,  his 
return  to  nature,  the  integrity  of  his  drawing,  had  on 
all  those  who  came  afterwards  a  mighty  and  secret 
influence." 

A  Short  Critical  History  of  Architecture.  By  H. 
Heathcote  Statham,  F.R.I.B.A.  (London: 
B.  T.  Batsford)  \os.  net. — The  special  object  of  this 
manual  is,  to  quote  the  author's  own  words,  "  to 
give  a  concise  history  of  the  development  of 
achitectural  forms  and  styles  in  such  a  manner  as 
to  render  it  not  a  mere  statement  of  facts  in 
chronological  order,  but  a  critical  commentary  on 
the  merits  and  weaknesses  of  the  various  styles  and 
buildings  described  and  illustrated,  thus  inviting 
the  reader  to  consider  what  are  the  influences,  and 
what  the  treatment  of  design,  which  go  to  produce 
good  or  bad  architecture."  Thus  instead  of  dealing 
with  the  subject  in  the  manner  commonly  adopted, 
by  cutting  up  architecture  into  chapters  of  national 
styles,  the  author  throughout  directs  attention  to 
254 


general  and  vital  characteristics  and  the 
factors  which  have  given  rise  to  them, 
dwelling  at  considerable  length  on  those 
periods  during  which  an  architectural 
style  is,  as  it  were,  in  the  making,  for,  as 
he  rightly  observes,  "  every  building  that 
ever  existed  of  which  the  design  is  of 
architectural  importance,  owes  its  form 
and  its  details,  more  or  less  to  some- 
thing less  complete  that  has  preceded 
it."  As  the  result  of  this  method  of 
treatment  we  have  a  history  of  architec- 
tural development  from  Ancient  Egypt 
onwards  which  the  reader,  whether  pro- 
fessional or  layman,  can  follow  with  real 
interest  and  understanding,  and  even 
the  headlines  are  so  framed  from  one 
page  to  another  as  to  convey  the  pith  of 
the  discourse.  The  author  writes  in  an 
easy,  fluent  style  which  is  rare  in  treatises 
of  this  kind,  and  while  we  are  left  in  no 
doubt  as  to  his  wide  range  of  knowledge, 
his  exposition  is  commendably  free  from 
that  display  of  technical  erudition  which 
so  often  deters  those  who  are  not  pro- 
fessionally interested  from  pursuing  the 
study  of  architecture.  An  important 
feature  of  this  history  is  the  extensive 
series  of  illustrations — over  six  hundred 
in  number — which  throughout  are  en 
rapport  with  the  text  and  well  printed. 
Etude  sur  les  Livres  a  figures  e'dith  e?i  France  de 
1601  a  1660.  Par  Mlle.  Jeanne  Duportal, 
Docteur  es  lettres.  (Paris :  Librairie  Honore 
Champion.) — This  scholarly  work  deals  with  book 
illustration  in  France  during  the  first  sixty  years  of 
the  seventeenth  century,  a  period  of  great  interest 
in  the  history  of  etching  and  engraving.  Through- 
out the  sixteenth  century  the  wood  block  had  held 
full  sway  in  the  realms  of  book  illustration,  but  with 
the  seventeenth  century  came  the  decline  of  wood 
engraving,  and  it  soon  became  quite  demode,  while 
the  copperplate  became  increasingly  popular.  The 
author  makes  a  plea  for  the  illustrations  of  this 
period,  and,  though  they  have  been  reproached 
for  possessing  neither  the  naive  charm  of  the  wood 
prints  of  the  sixteenth  century  nor  the  grace  of  the 
vignettes  of  the  eighteenth,  it  would  be  surprising  to 
find  them  devoid  of  interest  at  a  period  when  books 
were  being  eagerly  sought  for  in  France,  when  great 
libraries  and  print  collections  were  being  formed,  and 
French  books  were  the  manuals  of  politeness  for  all 
Europe.  After  an  account  of  the  laws  governing 
the  publication  of  illustrated  books  and  the  rigorous 


Reviews  and  Notices 


censorship  to  which  all  such  were  subjected  in  the 
seventeenth  century,  Mile.  Duportal  proceeds  to 
a  discussion  of  methods  and  of  the  work,  both 
ius  and  sei  ular,  of  the  artists  who  nourished  at 
this  period,  in  particular  the  draughtsmen  Daniel 
Rabel,  Claude  Vignon,  and  the  engravers  'Thomas 
<\'-  Leu,  Leonard  Gaultier,  Michel  Lasne,  Claude 
Mellan,  Abraham  Bosse,  Gregoire  Hurct,  Stefano 
Delia  Bella.  Francois  Chauveau,  and  Robert 
Nanteuil.  The  letterpress  is  illustrated  by  forty- 
five  fine  reproductions  in  facsimile  of  the  original 
engravings  (among  them  a  superb  work  Constanti- 
nople, engraved  by  Nicolas  Cochin  after  G.  de  la 
Chapelle  from  the  hitter's  Portraits  des  Dames  de 
la  Porte  published  in  Paris  in  1648),  and  the  volume 
is  supplied  with  appendices  giving  a  list  of  the 
principal  draughtsmen  and  engravers,  the  chief 
publishers  of  the  period,  a  bibliography  and  index. 
The  work  bears  evidence  of  profound  research  and  a 
wide  knowledge  of  the  subject. 

Geschichte  der  Gartenkunst.  Yon  Marie  Luise 
Gothein.  (Jena:  Eugen  Diederichs.)  2  vols., 
stitched,  40  marks,  cloth,  48  marks.— In  these  two 
volumes,  containing  between  them  not  far  short  of 
a  thousand  pages,  the  author  has  courageously 
essayed  to  trace  the  history  of  the  art  of  gardening 
from  the  earliest  times  of  which  any  definite  records 
are  available  down  to  the  days  in  which  we  live. 
A  task  of  this  magnitude  demanded  infinite  patience 
and  perseverance  for  its  satisfactory  performance, 
and  the  successive  chapters  make  it  abundantly 
clear  that  the  author  is  well  endowed  with  these 
virtues.  The  numbered  notes  appended  to  each 
volume,  giving  the  sources  from  which  the  state- 
ments in  the  text  are  derived,  furnish  indeed  ample 
evidence  of  the  extraordinary  range  of  her  researches, 
and  the  care  she  has  bestowed  on  the  preparation 
of  the  book  entitles  her  to  the  grateful  acknow- 
ledgment of  all  students  of  this  fascinating  subject. 
Her  work,  however,  reviewing  as  it  does  the  de- 
velopment and  progress  of  gardening  among  all  the 
civilised  races,  ancient  and  modern,  beginning  with 
the  Ancient  Egyptians  and  ending  with  the  author's 
compatriots  of  to-day,  has  a  greater  significance 
which  cannot  fail  to  be  appreciated  by  all  who  study 
the  evolution  of  art  in  its  widest  sense,  for  the 
truth  that  emerges  from  this  historical  survey  is  that 
gardening  is  in  its  highest  development  a  fine 
art.  In  its  incipient  stages  amongst  savagi 
semi-civilised  races — with  which,  however,  the 
author  does  not  deal  in  this  work — the  economic 
or  utilitarian  motive  is  almost  exclusively  operative, 
if  not  wholly  so,  but  with  advancing  civilisation  we 
see  the  aesthetic  factor  gradually  coming  into  play 


until  at  length  it  assumes  the  chief  1.1 

it  would  he  ;;  to  sa\   that  the  aesthetic 

objective  becomes  differentiated  from  the  eci  ■ 

As  implied  by  the  title  of  the  work,   A   II, 

Ait,  it  is  of  course  with  the  aesthetic  side 
of  gardening  that  the  author  is  main!) 

an  extensive  knowledge  of  the  historical 
aspects  ol  the  subject  she  displays  an  intimate 
acquaintance  with  developments  which  have  taken 
place  in  recent  times:  in  particular  she  seems  to 
have  made  a  special  study  of  garden  design  in 
England  at  various  periods.  The  letterpi 
accompanied  by  a  multitude  of  interesting  illustra- 
tions gathered  from  a  great  variety  of  sources. 

Les  Dtfcorafenrs.  Par  At  hille  Segard.  (Paris  : 
Librairie  Ollendorff.)  5  francs. —This  volume 
would  appear  to  be  the  first  of  a  series  in  which 
M.  Achille  Segard  proposes  to  treat  of  modern  art, 
by  grouping  together  artists  who  have  some  com- 
munity of  aim.  In  the  present  volume  the  author 
deals  with  the  work  of  Besnard,  La  Touche,  Jules 
(  heret  and  Paul  Baudouin,  drawing  a  comparison 
between  their  respective  talents  and  discussing  the 
position  they  take  among  artists  of  the  present  day. 
The  volume  contains  numerous  reproductions  in 
monochrome  of  works  by  these  four  decorators. 

The  Hermits   and  Anchorites  of  England.      By 
Rotha  Mary  (  lav.    (London  :  Methuen  an 
7-r.  6d.  net.-  We  have  often  spoken  in  laudatory 
terms    of  the    admirable    series    of   "Antiquary's 
books,"  and  we  find  this  additional  volume  in  every 
way    worthy    of    its    predecessors.     The    author, 
whose  work  in  the  same  series  upon  the  Mediaeval 
Hospitals  of  England  was  reviewed  in  thesi 
some    time    ago.    gives    in    this   volume   tin 
evidence  of  painstaking  research  and  thorougl 
in  the  compilation  of  this  interesting  history. 


In  connection  with  the  recent  publication  fro 
offices   of  this   magazine  of  the  "  Landscapes  of 
Corot,"   we    are    asked    by   the  author,    Mi, 
Thomson,  to  allow  him  to  modify  his  statement  in 
the  text  respecting  The  Bent  Tree    by  Corot,   in 
the   Melbourne  Gallery.     Mr.  Bernard    Hall,    the 
Direi  tor  of  the  Gallery,  wishes  it  to  be  known   that 
in  his  mind  there  was  never  any  official  misunder 
standing    about    the    reception    ol     this     beautiful 
picture,  and  that  it  is  now.  and  always  has 
held    in   the   highest    honour.        When    the   picture 
arrived   in   Australia   several   litters  questioning  its 
artistic  and  money  value  appeared  in  the  Pre 
it  was  the  publication  ol  these  letters  that  prompted 
Mr,  Thomson  to  write  of  the  hesitancy  with  which 
this  ma  I  ived. 

2  55 


The  Lay  Figure 


T 


HE  LAY-  FIGURE:  ON  THE 
MANAGEMENT  OF  COLOUR 
IN    DOMESTIC   DECORATION. 

•■  1 1  always  seems  tome  curious  that  there  should 
be  so  many  people  who  are  almost  insensitive  to 
colour,"  said  the  Art  Critic.  "  I  should  have 
thought  that  the  colour-sense  would  have  been  a 
sort  of  instinctive  faculty  possessed  by  the  whole  of 
humanity.'' 

"So  I  believe  it  is,"  returned  the  Man  with  the 
Red  Tie.  "The  people  who  are  deficient  in  it  are 
the  rare  exceptions.  Real  insensitiveness  to  colour 
is.  like  a  physical  deformity,  an  accidental  departure 
from  the  standard  type." 

"Yes.  I  think  you  are  right,"  agreed  the  Critic. 
"  But  at  that  rate  the  apparent  insensitiveness, 
which  is  so  common,  comes  from  want  of  proper 
training ;  the  education  of  the  colour-sense  is 
evidently  neglected." 

"That  is  it,"  cried  the  Decorator;  "you  have 
got  hold  of  the  right  idea  straight  away.  The 
education  of  the  colour-sense  is  shamefullyneglected 
and  in  that  matter  most  people  are  hopelessly 
illiterate." 

"  And  the  most  illiterate  of  all  are  the  decorators," 
laughed  the  Man  with  the  Red  Tie  ;  "  if  you  want 
to  see  colour  insensitiveness  in  its  most  pronounced 
form,  look  at  the  performances  of  the  average 
painter  and  decorator." 

"  The  man  who  keeps  a  shop  ! "  protested  the 
Decorator.  "  Please  do  not  dignify  him  with  a 
title  to  which  he  has  no  right.  He  is  the  worst 
obstacle  to  the  progress  of  true  decoration.  He 
exercises  the  most  pernicious  influence  of  all  upon 
the  popular  taste." 

•'  Yet  he  meets  the  popular  demand,"  suggested 
the  Critic;  "and  his  taste  satisfies  that  of  his 
clients." 

"  Only  because  his  clients  have  never  been 
taught  to  appreciate  the  difference  between  what 
he  gives  them  and  what  they  would  have  if  they 
knew  what  to  ask  for,"  replied  the  Decorator. 
"If  they  were  educated,  the  man  in  the  shop 
would  have  to  educate  himself  too  or  lose  his 
trade.  If  they  acquired  the  faculty  of  discrimina- 
tion he  would  have  to  bring  himself  up  to  their 
standard  or  make  way  for  men  more  capable  of 
doing  what  he  is  asked  to  do." 

"What  is  he  asked  to  do?"  inquired  the  Man 
with  the  Red  Tie. 

"  Why,  I  take  it,  he  is  asked  to  provide  people 
of  reasonable  refinement  with  surroundings  which 
will  satisfy  whatever  aesthetic  sense  they  may 
256 


happen  to  possess,"  answered  the  Decorator. 
"Therefore  if  he  fails  to  reach  a  proper  standard 
he  imposes  his  bad  taste  upon  the  people  who 
have  the  inclination  for  better  things  but  who  do 
not  know  enough  to  correct  him  ;  and  as  a  result 
he  drags  his  clients  down  to  his  level,  against  their 
will,  and  keeps  them  there  with  all  their  latent 
possibilities  of  improvement  hopelessly  checked." 

"And,  worst  of  all,  he  prevents  them  from  ever 
realising  what  colour  means  in  domestic  decoration," 
said  the  Critic. 

"  Certainly,  because  he  has  no  notion  how  colour 
should  be  used,"  declared  the  Decorator.  "  His 
only  idea  of  using  colour  is  to  make  it  what  he  calls 
lively  ;  he  likes  to  have  plenty  of  it  and  to  get  as 
many  misfitting  tints  into  one  small  room  as  he  can 
find  spaces  for.  If  you  talk  to  him  about  harmony 
he  assures  you  that  his  clients  prefer  contrasts  and 
variety — because  he  does  himself — and,  poor 
things,  he  sees  that  they  get  them  ! " 

"Ah  !  There  you  have  it,"  broke  in  the  Critic. 
"  That  is  what  I  mean  by  insensitiveness.  The 
average  person  has  so  dull  a  colour-sense  that  it 
will  only  respond  to  the  most  violent  stimulus.  It 
must  be  excited  by  shrieking  contrasts  and  by 
discordant  juxtapositions.  Balanced  harmonies 
and  subtle  arrangements  seem  to  him  monotonous 
because  he  lacks  the  refinement  of  feeling  that 
comes  only  with  education." 

'•  Well,  if  he  likes  a  lot  of  colour  why  should 
he  not  have  it?"  laughed  the  Man  with  the  Red 
Tie. 

"  Because  in  domestic  decoration  colour  is  after 
all  only  one  item  in  a  general  effect,"  returned  the 
Critic.  "  By  the  colour  scheme  of  your  room 
you  provide  the  background  for  yourself  and 
the  setting  in  which  you  live  your  life  ;  and  it  is 
only  as  a  background  and  a  setting  that  you  should 
be  conscious  of  it.  If  it  shrieks  for  attention,  if  it 
forces  you  to  notice  it  whether  you  want  to  or  not, 
it  is  out  of  its  right  place  ;  it  has  ceased  to  be  aback- 
ground  and  has  become  an  assertive  interference 
with  your  daily  existence.  Rightly  used  it  is  a  joy 
to  you,  a  restful  and  a  helpful  influence  ;  wrongly 
applied  it  is  a  perpetual  source  of  irritation  and 
dangerous  in  its  effect  upon  your  taste." 

"  Yet  your  colour-scheme  can  be  gay  and  brilliant 
without  becoming  obtrusive,"  said  the  Decorator. 

"  Of  course  it  can,"  agreed  the  Critic.  "  When  the 
proportions  of  your  harmony  are  right,  the  actual 
colours  used  can  be  as  bright  as  you  please  ;  there 
will  be  no  wrong  effect  if  they  are  properly 
related." 

The  Lay  Figure 


• 


"A      GIRL      SEWIN  G." 

FROM    AN    OIL   PAINTING    BY 

FREDERICK  C.  FRIESEKE 


T 


The  Paintings  of  F.  C.  Frieseke 


HE     PAINTINGS     OF    F.     C. 
FRIESEKE.      BY  E.  A.  TAYLOR. 


To  some  artists  the  garland  that  awaits 
their  mature  attainment  is  given  ere  they  scarce 
have  climbed  the  ladder  of  fame,  while  others  seem 
to  labour  unrecognised  in  silent  bypaths  until  their 
garland  becomes  a  wreath.  To  those  who  have 
followed  carefully  or  even  intermittently  the  various 
paintings  from  the  brush  of  F.  C.  Frieseke  it  must 
have  been  always  evident  that  he  was  an  artist  who 
could  not  long  lose  himself  behind  the  popular 
cloak  of  others,  while  the  leaves  which  fame  has 
twined  for  him  have  not  been  idly  bestowed  on  one 
who  has  only  won  through  the  battle  on  the  out- 
skirts. Whether  one  likes  his  work  or  not  or  finds 
in  it  influential  traces  of  the  most  revered  painters 
of  the  time  it  must  also  be  apparent  that  his  own 
personality  quite  supersedes  that  of  his  masters. 

It  is  not  far  to  look  back  to  1898,  that  being 
about  the  time  of  Frieseke's  arrival  in  Paris  from 
America  and  the  year  of  his  student  days  under 
Benjamin  Constant  and  Jean  Paul  Laurens. 
Despite  the  reputed  excellence  of  both  these  artists 
there  were  few  students  in  l'aris  at  that  date  who 
failed  to  come  under  the  prevalent  magnetic 
influence  of   Whistler,   and   it  is  to  him  that  one 


faintly  returns  in  thought  when  viewii 
early    paintings.     Frieseke,    however,    soon    found 
that  it  was  not  in  th.it  flood  ol  enterprise  thai  Ins 
untried  barque  would  fairly  sail  to  the  land  1 
discovery.     Voung,  thoughtful  and  energetic,  it  was 
not  lonj  turned  to  the  more  turbuL 

which  was  bi  M01  Manet,  finding 

that   on  it   lay  the  wa\  to  .1   mi  haven 

light  with  its  myriad  vibrations  attracted 
him:  and  it  is  the  rendering  and  capturing  of  its 
elusive  playfulness  which  claims  his  most  vital 
interest  to  day. 

In   all    his   later   work    it    is  clearly  evident   that 
Frieseke   had  foreseen,   if  indeed    he   had    not   over 

omi  .  the  danger attendbg  the  pursuit  ol  a  purpose 
gularly  attractive  in  the  end— a  danger  most 
noticeable  in  the  work  of  mam  remarkable  artists 
which  satisfies  only  by  the  masterlj   technical  ac- 
complishment displayed  therein,  hut  which 

or    later    fails    from    lack    of   e positional    form 

and  symbolical  significance.  This  deceptive  rock 
Frieseke  has  so  far  kept  clear  of,  and  it  is  not  one 
on  which  he  is  likely  to  be  wrecked  now  :  his  own 
training  and  essays  in  mural  decoration,  portraiture 
and  subtle  landscapes  having  given  him  timely 
warning  of  its  lurking  danger. 

Frieseke  is  still  a  young  man  and   by  no  means 


1  1:   DU   ink  " 
LXII.  No.  257. — September  1914 


The  Pa  i/i  tings  of  F.  C.  Frieseke 


resting  in  a  land-locked  lake,  nor  is  he  foolishly 
sensitive  to  discordant  opinion,  or  jealously  envious 
of  the  many  others  who  trim  their  sails  to  his 
pattern.  He  is  not  a  charlatan,  and  no  artist  is 
more  keenly  alive  to  admit  and  remedy  his  own 
faults  and  failures  in  his  own  way.  He  is  intensely 
interested  in  the  subtleties  and  play  of  light  on 
open-air  subjects,  and  its  charming  elusiveness  on 
the  nude  figure  in  sunshine  and  shadow  is  an  end- 
less source  of  joy  and  inspiration  to  him.  Beauty 
of  feature  as  characterlessly  standardised  has  few 
painting  attractions  for  him  from  that  purely 
gracious  standpoint,  but,  should  light  and  subject 
form  together  a  fortunate  combination,  the  result 
he  attains  is  more  magnanimously  appreciated  by  the 
exhibition  reviewers.  It  has  not  been  uncommon 
for  me  to  hear  many  of  his  critics  denying  him  the 
faculty  of  appreciating  a  beautiful  face  or  a  beautiful 
figure  as  popularly  regarded,  and  asserting  that 
his  work,  though  evincing  excellent  artistic  qualities, 
shows  no  natural  poetical  outlook.  That  there  is 
an  affinity  between  poetry  and  art  has  long  been 


established.  But  that  its  degree  of  unity  is  greater 
than  has  been  realised  is  only  known  to  those  who 
have  spoken  to  and  walked  with  the  phantom  shapes 
of  the  one  and  searchingly  practised  the  delineation 
of  the  more  visual  and  realistic  forms  of  the  other. 
I  do  not  remember  who  it  was  that  said,  "  Beauty 
is  only  in  the  eye  of  the  beholder,"  but  as  beauty 
has  really  nothing  to  do  with  art  the  phrase  may 
still  be  superficially  suggestive  though  more  intrinsi- 
cally true  if  sought  in  the  mind  of  the  seeker  ;  were 
it  not  so  our  arts  would  long  ago  have  ceased  to 
allure  and  the  "  tubes  lain  twisted  and  dried."  There 
are,  however,  few  artists  who  at  the  outset  of  their 
career  have  not  attempted  to  render  in  paint  that 
which  only  belongs  to  language,  but  who  by  a  well- 
tabulated  formula  have  gained  an  enviable  reputa- 
tion as  artists,  though  they  have  added  nothing  to  art 
and  have  unwittingly  shown  a  way  to  others  more 
commercially  inclined  who  wander  in  seemingly 
sentimental  streams  and  produce  the  lids  for  the 
chocolate  box  and  help  to  disfigure  the  harmony  of 
our  ancient  homes  with  soap  and  whisky  calendars. 


LA    CONVALESCENTE  ' 
260 


BY    FREDERICK    C    FRIESEKB 


lis    PERR<  M  il   ETS" 
BY    F.  C.   I  RIESEKE 


The  Paintings  oj  /•'.  ( '.  Frieseke 


The  greatest  difficulties  that  beset  an  artist  lie  in 
the  paths  in  which  he  would  discover  himself. 
Elusive  fame  will  tempt  him  with  the  easy-fitting 
dress  of  others  and  fortune  offer  him  a  i  l<  ik 
opaque  ;  sentiment  will  lure  him  to  gain  gl 
the  paltry  and  sacrifice  the  sad,  by  which  his  path 
through  life  will  seem  to  be  made  a  glittem 
It  is  all  very  easy  too  ;  any  one  can  be  taught  to  draw 
— wily  advertisers  have  found  that  out — and  any  i  me 
can  be  taught  to  paint,  so  that  in  a  few  months 
their  work  will  pass  a  sheepishly  trained  jury  and 
perhaps  thereafter  shamelessly  adorn  the  walls  of  a 
gallery  maintained  at  the  expense  of  ratepayers. 
Despite,  however,  the  American  and  European 
honours  which  have  fallen  to  the  lot  of  E.  ( '. 
Frieseke,  no  one  can  justly  claim  that  they  were  un 
deserved  or  discreditably  attained. 

In  his  rapturous  eagerness  to  portray  light  there  is 
another  danger  besides  the  one  of  singular  appeal 
and  technical  attainment — the  danger  of  realism 
i  ncroaching  on  the  functions  of  the  camera  or  the 
commonplace,  which  is  oft-times  only  discoverable 
in  the  completed  work.  This  maybe  most  excellent 
in  poetry  which  tunes  jt  to 
music  by  words  and  utter- 
ances from  which  the  mind 
can  conjure  for  itself  a 
separate  ideal  or  charm  of 
memories  and  association. 
Singularly  set,  however,  in 
colour  and  line  no  matter 
how  fair  they  may  be,  the 
result  will  retain  no  lastingly 
living  qualities  ;\  like  tech- 
nical finish  which  lacks  the 
spiritual  element,  it  remains 
dead  despite  any  semblance 
of  colour-vibration  it  may 
possess.  This  is,  perhaps, 
why  certain  illustrated  books 
fail  to  charm  through  the 
conscientiousness  of 
the  illustrator.  Nature  sub- 
jects delineated  in  such  a 
way,  though  vastly  interest- 
ing to  the  painter,  are  after 
all  but  essays  and  exercises, 
a  truth  which  many  fail  to 
realise  ;  and  no  matter  how 
well  done,  no  frame  will 
make  them  complete  or 
transform  them  into  works 
of  art.  It  is  at  this 
point    that   art    and    nature 


must  cross  swords,  and  the  artist  be  al 
main  suggestions  rather  than  be  simply  satis 
Red  to  lie  down  believing  that  by  correctly 
tered  subject  and  substance — 
a  lot  that  haplessl)  befalls  the  man)  and  satisfies 
iwd  until  the  artist  b  1  fol   its 

salient    enthusiasm     which     will     i  b     aught 

them  something 
hing  "f  himself.  It  is  indeed  no  easy  task  ; 
no  mere  drawing,  n<>  mere  painting  "i-  faultless 
execution  will  suffice,  ami  not  until  the  brail) 
controls  the  palette  ami  the  thought  unravels 
the  tangle  SO  that  the  mind  may  follow  and 
the  hand  obey,  will  nature  bow  to  the  artist's 
superiority. 

As  a  master  who  has  overcome  these  snares  and 
difficulties  Frieseke  excels.  1  le  has  i  arefull) 
what  will  and  what  will  not  symbolise  his  gathered 
intentions  and  has  acquired  a  master)  which  is 
onl)  gained  by  personal  experience,  theexpi  i 
of  others  being  of  little  importance  except  to 
warn  the  unwary.  In  the  hands  ol  the  less  com 
pi  i<  ni  the  danger  would  lie   in  the  unsifted  know 


BY    PRI 

263 


The  Paintings  of  F.   C.  Frieseke 


ledge  producing  a   fatal  set  of  receipts  by  which 
any  further  development  or  progress  is  retarded. 

In  regarding  the  accompanying  illustrations 
it  will  be  noted  that,  with  the  exception  of  L ' Heure 
du  The  and  .-///  bord  de  la  Aler,  the  subjects  are  of 
interiors,  one  important  reason  for  this  being  that 
Frieseke's  open-air  work  lends  itself  less  success- 
fully to  reproduction  in  black  and  white.  Never- 
theless the  two  examples  of  out  door  work  by  which  he 
is  represented  give  an  excellent  idea  of  recent  paint- 
ings which  worthily  reveal  his  compositional  interest 
and  technical  achievement.  CHeure  du  The  is  at 
present  on  exhibition  at  the  Anglo-American 
Exposition  in  London,  and  his  Aic  Bord  de  la  J/er, 
painted  in  the  brilliant  sunshine  of  Corsica  during 
the  month  of  February  1913,  was  one  of  his 
fascinating  exhibits  in  the  Salon  of  the  Societe 
Nationale  of  that  year.  Turning  to  the  other 
works  illustrated,  his  La  Convalestente  is  a  unique 
example  which  clearly  exhibits  in  a  charming 
composition  the  dexterity  with  which  the  artist 
wielded  his  brush  in  the  earlier  days  of  his 
enthusiasm  ;  the  whole  picture,  by  reason  of  the 
mahogany-coloured  bed  and  red  carpet,  being  in 
a  warmer  scheme  than  that  which  attracts  him  to- 
day and  arrests  the  ad- 
miring attention  of  others. 
In  Les  Perroqitets,  in  spite 
of  its  brilliance  of  colour 
and  personal  fancifulness 
of  arrangement,  a  more 
staid  and  thoughtful 
method  of  painting  is  evi- 
dent ;  while  Jeanne,  La 
Pojtdreuse,  and  Corai 
Earrings  all  belong  to  his 
more  recent  period.  The 
accompanying  delicately 
coloured  plate  of  A  Girl 
Sewing  is  from  his  latest 
interior  subject,  painted  in 
June  of  this  year  before 
going  off  to  the  country  in 
response  to  its  call  of 
yellow  sunshine  and  violet 
shadows.  It  will  be  seen 
from  this  coloured  repro- 
duction that  the  cold  tones 
of  variable  blue  and  the 
still  colder  ones  of  violet 
to  which  he  is  so  partial 
in  no  way  aggressively 
assert  their  oft-times  de- 
fective quality  in  the 
264 


picture  as  a  whole,  nor  does  his  introduction  of  com- 
plementary orange-reds  and  greens  give  an  unduly 
grey  effect,  depriving  them  of  their  aid  to  maintain 
the  light  and  subtleties  which  he  had  sought  and 
has  achieved. 

Though  he  is  an  occasional  contributor  to  the 
International  Society's  exhibitions  in  London 
Frieseke's  work  is  less  known  in  England  than  in 
America  or  in  France  where,  as  an  honoured 
member  of  the  American  Art  Association  in  Paris 
and  of  the  Societe  Nationale,  his  annual  exhibits 
are  looked  forward  to  with  no  little  interest  by  his 
fellow-artists  and  others.  He  is  represented  in 
the  Musee  du  Luxembourg  and  many  other 
g  tileries,  and  he  gained  the  Temple  gold  medal  of 
the  Pennsylvania  Academy  of  the  Fine  Arts, 
Philadelphia,  in  1913.  For  some  years  the  little 
village  of  Giverny,  made  famous  and  favoured  by 
many  well-known  French  artists,  has  been  to  Frieseke 
the  premier  summer  painting  ground  ;  but  whe  n  I 
left  him  some  few  months  ago  he  was  in  doubt  as  to 
where  he  should  go  and  what  he  would  do  for  the 
exhibition  of  the  work  of  prominent  American  artists 
in  Paris  which  was  to  have  been  held  in  the  Georges 
Petit  Galleries  this  month. 


BY    FREDERICK    C    FRIESEKE 


.:-'- 


Nn 


AT    B(  >K  I  >   DE   LA    MER 
BY   I".  C.   FRIESEKE 


g*g  - 


r: 


z  - 


IVhat  is  a  Garden  ? 


i 


rtide) 


w 


HAT  IS  A  GARDEN?  BY 
THOMAS  H.  MAWSON 
HON.  A.R.I.B.A. 


Whatever  be  our  work  in  life,  in  whatever 
sphere  our  vocation  lies,  we  shall  never  achieve 
success  if  for  a  moment  we  lose  sight  of  first 
principles.  This  is  more  especially  so  if  we  are 
engaged  on  work  which  ministers  directly  to  the 
pleasure  and  even  the  luxury  of  others,  for  then 
there  is  the  added  danger  of  extravagance  result- 
ing from  our  very  desire  to  please  and  gratify 
the  senses.  The  only  corrective  or  preventive 
of  such  a  state  of  things  is  constantly  to  get 
back  to  fundamentals  and  never  for  a  moment 
to  lose  sight  of  the  root  principles  which  should 
guide  all  our  efforts. 

It  is  for  this  reason  that  I  have  chosen  for  the 
title  of  this  article  the  question,  "  What  is  a 
Garden  ?"  Of  course,  there  immediately  comes  up 
to  the  mind  that  brilliant  passage  with  which  Dean 
Hole  opens  his  remarkable  book  on   gardens  in 


which  he  gives  the  opinions 
of  various  classes  of  persons 
on  this  very  subject,  but 
while  the  learned  Dean 
displays  a  wonderful  know- 
ledge of  human  nature,  and 
has  shown  how  a  garden 
can  be  viewed  by'different 
people  from  very  diverse 
standpoints,  he  has  not 
attempted  j  in  any  way  to 
give  that  of  the  man  whose 
whole  life  is  devoted  to  the 
planning  of  parks,  gardens 
and  open  spaces. 

It  is  from  this  standpoint 
that  I  wish  to  look  at  it  in 
this  article,  not  so  much 
with  a  view  to  justifying  my 
own  existence  as  a  planner 
of  gardens,  but  rather  in 
order  to  win  the  intelli- 
gent sympathy  of  others 
for  the  aims  and  ideals 
of  the  modern  garden- 
maker. 

One  of  the  most  promi- 
nent ways  in  which  a 
garden  may  be  viewed  is 
as  a  setting  for  the  house 
which  it  surrounds  and 
which  it  is  to  beautify. 
Art  and  nature  judely  thrust  into  juxtaposition 
with  neither  apology  to  Nature  for  the  intrusion  on 
her  domain  nor,  ]on  the  other  hand,  any  softening 
off  of  Nature's  rugged  picturesqueness  to  bring 
it  into  keeping  with  the  polished  products  of  art, 
sensitive  as  it  must  be  to  the  smallest  incon- 
gruities, can  never  be  resthetically  right  and  can 
never  satisfy  the  artistic  mind.  If  we  may  so  express 
it,  we  use  the  garden  to  "  vignette  "  the  house  on 
to  the  landscape,  beginning  near  the  former  with 
parterres  as  formal  and  architectural  as  it  is  itselt 
and  gradually  proceeding  by  easy  stages  to 
pleasaunces  which  are  nearly  as  rugged  as  untamed 
Nature  and  which  owe  all  their  beauty  to  the  fact 
that  here  her  handiwork  is  encouraged.  The 
accompanying  illustrations  will  show  what  I  mean 
more  clearly  than  any  amount  of  description.  One 
is  a  view  from  the  garden  entrance  to  the  house  at 
Kearsney  Court  near  Dover,  and  it  is  particularly 
interesting  as  it  shows  a  garden  the  architectural 
adjuncts  of  which  are  in  that  most  intractable  of  all 
materials  brick,  thus  giving  added  weight  to  what  I 


KV    FREDEKKK    I.'.     FKIKSEKE 


What  is  a  Garden  ? 


am  saying,  as  in  this  case  it  was  necessary  to 
vignette  a  brick  house  on  to  the  landscape  which  is 
seen  in  the  distance.  That  this  was  done  with 
a  considerable  measure  of  success  will  be  evident 
from  the  illustration,  even  though  it  is  from  a 
photograph  taken  almost  immediately  after  the 
garden  had  been  planted  and  before  there  had  been 
any  time  to  obtain  proper  foliage  effects.  Him  the 
hard  lines  of  the  brick  walls  were  ultimately 
softened  is  shown  in  the  illustration  on  p.  270, 
which  is  reproduced  from  my  book,  "  The  Art 
and  Craft  of  Garden  Making."  Much  is  due  of 
course  to  the  careful  preservation  and  the  incor- 
poration into  the  scheme  of  the  large  trees  which 
existed  on  the  site  when  I  was  called  in  t<  1  1 
the  gardens,  and  thus  we  have  one  form  of  happ) 
co-operation  helping  another,  that  is,  the  blend  of 
the  old  with  the  new  helping  the  blend  of  Art  and 
Nature. 

In  this  first  illustration  we  have  before  us  the  whole 
process,  for  close  to  us  is  a  terrace  purely  formal  in 
treatment,  and  as  the  distance  from  the  house 
increases,  this  formality  is  gradually  merged  into 
the  natural  scenery  so  that  the  whole  forms  effec 


tivelya  logically  expressed  architectural  and  artistii 
■  1  lion. 
In    two    of    the    other    illustrations    (p.    2711    we 

have  a  very  different  ed.     Here  we  have 

.1  garden  as  wild  and  as  like  Nature  as  anything 

Could   possibly   be.        I  lie  photographs  wen'   taken 

.11   l  nderley  Hall  and  pny  ndid  example 

of  a  form  of  gardening  which  has  always  appealed 

with  particular  lone  to  the  Englishman  in  his 
great  love  anil  reverence  for  Nature.  He  feels  tint 
hi  is  working  hand  in  hand  with  the  greal 
of  which  he  is  sui  li  an  ardent  devotee  and  is 
helping  her  to  express  herself  to  the  utmost.  As 
we  have  already  hinted  then'  is  room  in 
everj  domain  for  gardens  of  both  kinds,  the  purely 
architectural  and  the  purely  natural,  and  betwi  1  u 
these  two  there  is  every  variety  of  gradation  and 
infinite  possibility  of  expression  which  should 
preclude  the  slightest  tendency  to  repetition  or 
sameness  in  the  treatment  of  different  sites.  And 
SO  we  see  that,  in  dealing  with  a  first  practical 
necessity  of  garden-making,  we  come  to  realise  verj 
largelj  the  motif  which  should  underlie  all  good 
garden  design. 


269 


W licit  is  a  Garden  ? 


The  second  answer  we  would  give  to  this  question, 
'•  What  is  a  garden  ?  "  is  that  it  is,  in  its  way,  a 
portion  of  the  dwelling  house.  When  we  consider 
what  a  large  part  the  English  garden  plays  in 
organised  recreation  in  the  form  of  games  and  also 
in  social  life  through  garden  parties,  fetes  and  the 
like,  and  also  as  a  retreat  for  the  enjoyment  of  quiet 
leisure  in  undisturbed  privacy,  we  come  to  see 
that  it  fulfils  much  the  same  purpose  as  the  enter- 
taining and  living  rooms  of  the  mansion  in  its  more 
prominent  parts,  while  its  private  and  secluded 
portions  take  the  place  out-of-doors  of  the  boudoir 
and  the  library.  From  this  it  is  evident  that  in 
the  planning  of  our  garden  we  must  not  only  have 
the  open  extended  view  and  the  broad  stretch  of 
unbroken  green,  but  we  must  also  provide  the 
secluded  portion,  "  the  outdoor  apartment  "  as  the 
writer  has  so  often  called  it,  which  is  found  in  its 
perfection  in  the  old  English  garden  enclosed  by 
yew  hedges  and  set  about  with  seats  for  rest,  and 
adorned  with  brightly  hued  flowers  to  give  a 
suggestion  of  decorative  furnishing  and  at  suitable 
points  with  choice  statuary  or  garden  ornaments. 
While  I  am  opposed  to  the  cutting  up  of  small 
areas  of  ground  into  little  pokey  gardens  of  various 
periods  so  that,  in  the  effort  to  do  everything  at 
once  we  lose  all  sense  of  breadth  and  proportion 
and  accomplish  nothing,  still  on  the  other  hand, 
I  feel  that  it  is  equally  wrong  to  level  all  fences  and 
clear  away  all  obstructions  and  treat  the  ground 
round  the  house  as  a  large  open  plateau  in  one 
style,  every  part  visible  from  every  other  and  with 
no  sense  of  shelter  or  comfort,  and  none  of  that 
variety  which  can  only  be  obtained  by  a  change  in 
style  to  suit  various  aspects  and  portions  of  the 
work.  My  sympathy  goes  out  to  the  writer  who, 
treating  of  this  very  subject,  says  : 

"  One  of  the  most  beautiful  gardens  I  ever  knew 
depended  almost  entirely  on  the  arrangement  of 
its  lawns  and  shrubberies.  It  had  certainly  been 
most  carefully  and  adroitly  planned,  and  it  had 
every  advantage  in  the  soft  climate  of  the  west  of 
England.  The  various  lawns  were  divided  by 
thick  shrubberies,  so  that  you  wandered  on  from 
one  to  the  other,  and  always  came  on  something 
new.  In  front  of  these  shrubberies  was  &  large 
margin  of  flower-border,  gay  with  the  most  effective 
plants  and  annuals.  At  the  corner  of  the  lawn  a 
standard  Magnolia  grandiflora  of  great  size  held  up 
its  chaliced  blossoms,  at  another  a  tulip  tree  was 
laden  with  hundreds  of  yellow  flowers.  Here  a 
magnificent  Salisburia  mocked  the  foliage  of  the 
maiden-hair,  and  here  an  old  cedar  swept  the  grass 
with  its  large  pendent  branches.  But  the  main 
270 


breadth  of  each  lawn  was  never  destroyed,  and 
past  them  you  might  see  the  reaches  of  a  river,  now 
in  one  aspect  and  now  in  another.  Each  view  was 
different,  and  each  was  a  fresh  enjoyment  and 
surprise. 

"  A  few  years  ago  I  revisited  the  place ;  the 
'  improver '  had  been  at  work,  and  had  been  good 
enough  to  '  open  up '  the  viewr.  Shrubberies  had 
disappeared,  and  lawns  had  been  thrown  together. 
The  pretty  peeps  among  the  trees  were  gone,  the 
long  vistas  had  become  open  spaces,  and  you  saw 
at  a  glance  all  that  there  was  to  be  seen.  Of  course 
the  herbaceous  borders,  which  once  contained 
numberless  rare  and  interesting  plants,  had  dis- 
appeared, and  the  lawn  in  front  of  the  house  was 
cut  up  into  little  beds  of  red  pelargoniums,  yellow 
calceolarias,  and  the  rest.* 

We  see  then  that,  on  the  practical  side,  the  garden 
performs  two  great  functions,  one  architectural  and 
the  other  domestic.  I  am  afraid  I  may  have  fallen 
foul  of  some  of  my  more  artistic  readers  by  con- 
sidering these  two  practical  points  before  the  aesthetic 

*  The  English  Flower  Garden,  by  Henry  A.  Bright. 


I'ART    OF     TERRACE     AT     KEARSNEY     COURT,    DOVBR" 
DESIGNED   BY  T.    H.    MAWSON 


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//  'hat  is  a  Garden  ? 


ones  which  come  naturally  uppermost  to  the  mind 
v.  In  n  speaking  on  the  subject  of  gardens  and  garden 
making.  If  so  I  would  plead  that  in  so  doing  I  am 
merely  following  our  great  instructress  in  art, 
Nature  herself,  who  always  does  this.  The  great 
purpose  of  all  her  products  is  primarily  a  practical 
one  and  generally  associated  with  the  purpose  of 
reproduction  of  the  species,  and  when  we  come  to 
think  of  it  there  is  no  part  of  a  flower,  a  tree  or  a 
shrub  or  any  other  of  Nature's  beautiful  productions 
which  is  not  designed  solely  for  a  practical  pur- 
pose. It  is  not  too  much  to  say  that  its  beauty 
proceeds  from  the  efficient  accomplishment  of  this 
practical  purpose  and  I  have  always  felt  that  if  we 
are  to  design  fine  gardens  which  shall  not  only 
dazzle  by  their  extent,  variety,  or  colour  in  the  first 
instance,  but  shall  continue  throughout  many  years 
to  give  lasting  pleasure,  this  pleasure 
must  be  based  upon  a  solid  founda- 
tion which  can  only  be  obtained  by 
the  satisfaction  of  practical  needs  in 
an  aesthetic  manner. 

Turning  now  to  the  aesthetic  side 
of  our  subject  and  asking  the  same 
question,  "  What  is  a  garden?",  we 
have  in  the  literature  of  this  country 
alone,  and  especially  in  its  poetic 
literature,  sufficient  answers  many- 
times  to  fill  the  volume  of  which 
this  article  is  a  part  so  that  it 
will  be  only  possible  to  take  two 
of  the  more  obvious  of  them  for 
consideration. 

The  first  and  most  obvious  answer 
is,  that  the  garden  is  a  place  for  the 
cultivation  of  beautiful  flowers  for 
their  own  sakes  and  not  only  for 
their  own  sakes  but  also  for  the 
creation  of  colour  effects  and  blend- 
ings,  harmonies  and  contrasts.  All 
the  rest  is,  in  a  sense,  but  the  frame- 
work on  which  to  build  this  feature. 
Our  terrace  walls  are  incomplete 
unless  swarthed  in  rampant  roses, 
our  yew  hedges  lose  half  their  purpose 
unless  they  form  a  background  for 
the  brilliant  hues  and  huge  masses 
of  hardy  perennials,  and  paths  and 
walks  are  meaningless  unless  they 
clearly  and  inevitably  contribute  to 
our  enjoyment  of  the  greenery  and 
flowers.  All  other  effects,  whether 
architectural  or  scenic,  are  subsidiary 
to  them. 
272 


Nevertheless,  the  scenic  side  of  garden  de- 
sign very  nearly  equals  in  importance  that  we 
have  been  considering.  There  are  some  gardens, 
and  quite  successful  gardens  too,  that  owe 
nothing  to  their  surroundings  or  to  that  blend- 
ing of  distant  prospects  with  beautiful  and  many- 
hued  foreground  which  is  so  much  to  be  desired. 
Two  of  our  illustrations  (p.  273)  show  such  a 
garden  which  was  designed  by  me  for  a  client  in  a 
manufacturing  district  where  pleasant  prospects 
without  the  garden  were  impossible  and  so  all  the 
interest  had  to  be  concentrated  on  the  scheme 
itself  and  a  sense  of  scale  and  perspective  obtained 
without  any  help  from  surrounding  objects.  In 
most  instances,  however,  the  garden  would  lose  half 
its  beauty  if  it  were  not  treated  so  as  to  make 
the  most  of  its  surroundings.     This  is  of  course 


THE   GARHENS,    I. EVENS    HAIL.    WESTMORLAND 
(Reproduced  by  permission  from  ' '  The  Art  and  Craft  of  Garden  Making" ) 


GARDENS  AT  PRESTON,  LANCS. 
W.  W.  GALLOWAY,  ESQ.  DE- 
SIGNED BY  THOMAS  II.  MAWSON 


//  '//at  is  a  Garden  ? 


especially  so  where  they  are  of  an  exceptionally 
interesting  or  picturesque  nature,  but  even  where 
they  are  of  the  tamest  possible  kind  pleasing  vistas 
may  be  produced  by  judicious  planting  so  disposed 
as  to  make  the  very  most  of,  and  frame  into 
pictures,  those  features  such  as  cottages  or  the 
distant  spire  or  tower  of  a  church,  while  where  the 
surroundings  are  undulating,  by  such  methods 
rolling  expanses  of  country  which  may  even  appear 
monotonous  when  viewed  in  unlimited  extent  may 
be  diversified  and  composed  into  pictures  by  the 
careful  arrangement  of  the  foreground.  It  is,  how- 
ever, necessary  in  this  class  of  work  to  be  careful 
that  a  misguided  zeal  for  artistic  composition  does 
not  lead  us  into  the  little  meannesses,  palpable 
tricks,  and  impossible  extravagances  which  became 
such  a  part  of  the  art  of  landscape 
gardening  fiftv  to  a  hundred  years 
ago  as  to  bring  the  whole  art  into 
disrepute. 

These  four  main  aspects  of  the 
purpose  of  a  garden,  as  a  setting 
for  the  house,  as  a  sphere  for 
recreation,  as  a  place  for  the  culti- 
vation of  beautiful  flowers  and 
lastly  as  providing  material  for 
artistic  composition  on  a  large 
scale,  if  considered  in  conjunction 
with  practical  requirements,  will 
point  the  way  very  clearly  indeed 
to  an  understanding  of  almost  the 
whole  theory  of  garden  design. 
Practice  is  of  course  a  more  com- 
plex matter  and  here  there  is  room 
for  the  application  of  a  life-time  ot 
experience  and  of  the  study  of  pre- 
cedents. 

Garden  making  is  perhaps  more 
than  any  other  art  (if  we  except 
domestic  architecture)  bound  by 
practical  considerations,  and  this 
is  why  I  have  laid  so  much  stress 
on  the  creation  of  beauty  which 
shall  be  inherent  and  not  super- 
imposed. 

We  have  only  to  imagine  a  con- 
crete instance  to  see  how  true  this 
is.  In  the  placing  of  the  house 
on  the  site,  the  arrangement  of  the 
entrances,  the  route  to  be  followed 
by  the  carriage  drive  connecting 
with  the  highway,  the  widths  and 
levels  of  the  terraces  and  lawns  for 
games,  in  the  choice  of  sites  for 
274 


the  formation  of  gardens  to  accommodate  plants 
of  varying  classes  such  as  Alpines  or  bog  plants, 
and  in  everything  from  start  to  finish,  practical 
considerations  will  influence  our  design  and  it  is 
only  by  acknowledging  the  close  inter-relationship 
of  the  practical  and  the  aesthetic  at  every  turn  that 
we  can  hope  for  success.  When,  however,  success 
does  attend  our  efforts  it  will  be  of  a  lasting  order 
and  of  that  practical  kind  which  harmonises  with 
our  daily  life  and  assimilates  and  blends  with 
human  interests.  It  is  this  sympathetic  factor 
which  gives  a  garden  its  greatest  charm,  which 
infuses  into  the  sunlight  there  a  greater  brilliancy 
and  warmth,  which  gives  the  flowers  an  added 
lustre  and  the  distant  prospects  an  infinity  which 
leads  the  mind  to  higher  things. 


GARDEN    AT    LEES    COURT 


DESIGNED    BY   T.    H.    MAWSON 


(  Reproduced  by  permission  from  "  7 he  Art  and  Craft  of  Garden 
Making") 


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The  National  Competition  of  Schools  of  Art,  IQ14 


HE   NATIONAL  COMPETITION 
OF  SCHOOLS   OF   ART,    1914. 


Although  threatened  with  dissolution  three 
or  four  years  ago  the  National  Art  Competition 
still  survives  and  will,  it  is  to  be  hoped,  continue 
to  do  so  in  spite  of  the  ill-advised  efforts  to  abolish 
it.  The  fact  that  the  Competition  works  have 
been  shown  for  two  successive  seasons  in  the 
Victoria  and  Albert  Museum  may  perhaps  be 
regarded  as  a  sign  that  the  authorities  at  the  Board 
of  Education  recognise  the  importance  of  the 
exhibition  and  do  not  intend  to  allow  it  to  be 
banished  again  to  the  back-yard  to  which  it  was 
so  long  relegated.  The  old  North  Court  of  the 
Victoria  and  Albert  Museum  in  which  the  Com 
petition  works  were  shown  in  1913  and  again  last 
month  is  admirably  fitted  for  the  proper  display  ol 
these  curiously  varied  collections  of  objects  of  art 
and  industry,  drawn  together  from  all  parts  of 
England  and  from  a  few  districts  in  Scotland, 
Ireland,  Wales,  and  New  Zealand.  The  North 
Court  affords  ample  space,  and  the  light,  good  last 
year,  was  improved  for  the  recent  exhibition  by  a 
re-arrangement  of  the  blinds  thai  screen  .1  portion 


of  the  glass  ro         I         thi   stained  glass,  which  is 
always   difficult   to  show,  1  ould   l>< 
last   month  b  ously   devised 

system  of  artificial  illumination. 

Assuming  that  a  proper  place  of  exhibition  is 
now  assured  foi  the  National  Competition  works 
the  question  of  the  date  when  they  are  shown 
should  be  considered  by  the  authorities.  li, 
exhibition    hitherto    has   always   been    held    at    the 

most  inconvenient  times,  opening  late  in  July  and 
dosing  in  September.  Bj  this  arrangement,  the 
supposed  reasons  for  which  were  given  in  The 
Sti  dio  last  year,  when  describing  the  exhibition 
ot  1913,  the  National  Competition  works  are  to  be 
seen  only  when  ninety-nine  per  cent,  of  thosi 
inti  rested  in  questions  concerning  the  fine  arts  are 
absent  from  London, 

In  point  of   ment  tin    exhibition  that  has    just 

closed  was  as  good  as  most  of  those  of  the  past 
decade,  but,  like  that  of  last  year,  it  contained  very 
little  of  uncommon  excellence.  In  sonic  1 
recenl  competitions  students  have  submitted  ad- 
mirable examples  ol  pottery,  tiles,  enamels,  and 
jewellery  ,  but  in  the  exhibition  of  last  month  there 
was   nothing  of  Outstanding  merit   in  any  of  these 


DESIGN     FOR     I  III. 


VTION    OF     \     DR  IWING     HI  ' 


kl  KNEV     IN-  I 

*77 


The  National  Competition  of  Schools  of  Art,  IQ14 


sections.  There  were  numbers  of  creditable  works 
among  the  examples  of  applied  art  but  none  of  real 
distinction  ;  and  it  seems  unlikely  that  the  general 
standard  of  the  work  shown  in  the  competitions 
will  be  raised  until  the  practical  side  is  more  fully 
developed.     Until  that  is  accomplished  the  teach- 


almost  equalled  in  the  fine  arts  section,  but  here 
there  was  at  least  one  work  of  distinction.  This,  a 
modelled  figure  of  a  kneeling  girl  by  Francis  Wiles, 
of  the  Metropolitan  School  of  Art,  Dublin,  was 
one  of  the  best  things  of  its  kind  that  have  been 
shown  at  South  Kensington  and  well  deserved  the 
award  of  a  gold  medal  and  the  praise  bestowed  upon 
it  by  the  sculptor-judges,  Mr.  W.  R.  Colton,  A.R.A., 
Mr.  F.  W.  Pomeroy,  A.R.A.,  and  Mr.  F.  Derwent 
Wood,  A.R.A. 

The  work  in  stained  wood  was  once  more  a 
feature  in  the  National  Art  Competition,  and  Miss 
Gwen  White,  of  the  Polytechnic,  Marylebone,  who 
won  a  gold  medal  last  year,  gained  a  similar  award 
for  a  box  and  a  triptych.  The  principal  feature 
of  the  box  was  a  circular  picture  in  colour,  on 
the  lid,  of  a  girl  in  a  beautiful  dress  of  the 
eighteenth  century  looking  with  admiration  at  the 


DESIGN     FOR    A     WALL     DECORATION     IN     TEMPERA 
BY    EDITH    A.    HENDRY    (IPSWICH) 


ing  of  the  applied  arts  in  our  schools  can  never  give 
really  satisfactory  results.  Our  methods,  it  is  true, 
are  better  than  they  were  a  generation  ago,  but  they 
still  encourage  a  large  amount  of  designing  on 
paper  which  cannot  be  carried  out,  or  if  carried  out 
is  incongruous  with  the  material  and  with  the  con- 
structive character  of  the  object.  The  consistent 
combination  of  theory  and  practice  is  a  prominent 
feature  of  such  important  institutions  as  the  Cen- 
tral School  of  Arts  and  Crafts  in  London  and  the 
Glasgow  School  of  Art,  which  do  not  take  part  in  the 
National  Competition,  and  on  the  Continent  it  has 
produced  excellent  results  in  the  schools  of  Austria 
where  the  arts  and  crafts  movement  has  been  taken 
up  with  enthusiasm,  although  in  England,  where 
the  movement  originated,  it  seems  to  be  to  some 
extent  moribund  through  lack  of  encouragement. 

The    general     mediocrity    of   the    applied    art 
seen     in    the     National     Art     Competition     was 
278 


DRAWING  FOR  ILLUSTRATION.      BY    BERNICE 
A.    S.    SHAW    (LEICESTER) 


.4 


v     •■■-^■i  - *»      *»     'f 


mit?  "£r 


TXptng-  *>wn  the  i  • 

I     "pipinq  »01XJ5'<  bloBSUA  i)!***, 

I 

AodJie  UtigliAiaf  ■    ' 

I  J\pe  fc  sntvi  ftbout  ft  l.\mb  : 
I    So  \  pip*d  wUh  mrrr\  cho*i- 

5olf*|»-*'    lio  «*wpt  Id  ho***. 

ijrop  thy  pipe,  thy  h<vppy  pif*". 
5\nq  thy  *iivp  liOxvppy  chevr! 
5©l  sung  iho  s&m 
\Vh*Le  ho  <*<mt  with  joy  to  Hum* 

-*- 

?ip*r:  mL  Uiw  down  and,  wrttc. 
In  a.  book  tlul  ail  me.y  roftd-— 
So  h«  vftnisK'oL^rom  mv  sight; 
And.  I  pUick'J .  &.  hollow  reed. 

/\otL  I  n»d©  a  njnxL  pen, 

And,  I  italnAt  the  wft.icr  dcwu-, 
And  I  wmte  my  '»ppy  **<**}* 
Ewrv  child,  iivvv  I- 


.4fc 


'.lAM-TBLAKE 


, ., 


DESIGN  FOR  BOOK  ILLUSTRATII  >N 
AND  DECORATION.  BY  I  AROLINE 
HALL    SUNDERLAND 


The  National  Competition  of  Schools  of  Art,  n;i : 


reflection  of  her  face  in  a  hand-minor,  and  warned 
by  her  lover  in  the  background  :— 

Sweet,  be  not  proud  of  those  Uvoejes 
Which  starlike  sparkle  in  iheir  skies. 

The  seventeenth-century  ladies  and  their  admirers 
on  the  inner  sides  of  the  doors  of  Miss  White's 
triptych    recalled    in   their    skilful   grouping    and 
pleasant  colour  those  painted  by  her  last  year  cm 
the  gold  medal  panel  that  was  afterwards  presented 
to  the  Queen,   together    with  a  card  tabic-  top  by 
Miss  Hester  M.  W'agstaff,  which  also  gained  a  gold 
medal  on  that  occasion.     Miss  Wagstaflf  showed  at 
the-    exhibition    of    last    month    an    oblong    mirror 
frame  with  a  panel  on  either  side    thai   illu 
with  dexterity  and  humour  scenes  from  the  drama 
of  Punch  and  Judy  as  played  in  the    little  tra 
theatres    in  the    streets.     One  of  the  best  ol   the 
stained  wood  examples  was  tin-  box  adorned  with 
numerous  tiny    panels  of  flowers  by  Miss  Louise 
benjamin,  who  also  showed  an  interesting 
frame.       A    corner    cupboard    with  a   pane  \ 
senting  children    in    fairy  land,   by   Miss  Grac       B 
Lodge,  ami   a  bowl   by    Miss    Lucia    B.    Be 
were    other    good    examples  ol   stained   wood   that 
gained    high    awards    in    the    competition.       Mi 
Wagstaff,    Miss  Benjamin,    Miss  Lodge,  and   Miss 
Bergner   are,    like    Miss  Gwen   White-,  stud 
the  Polytechnic  Institute-.     A  i  hess  board  table  top 
in  stained  wood  by  Miss  Eva  Bilson  "I  West   Ham 
Municipal  Technical   [n  titute  had  an  ingeniously 


BY    LEONARD    K.    SQUIRREI.L   (IPSVVII  III 

designed   border    representing  seaweed  and  swim 
tiling  fish. 

Among  the  many  boxes  and  caskets  should  be 
mentioned  one  ol  carved  boxwood  with  brass 
mounts  by  Miss  Ethel  W.  Watson,  of  Birmingham 

iret    Street);   another     with    decorations     in 
gesso  of  a  figure  of  Justice  with   sword  and   stales 
l>v    Miss    Marjorie    L.    Best,    ol    the    Polyi 
Institute  :  and  a  glove  box  in  walnut,  with   cl(  verlj 


BOW  I    '.\  I  III  Willi  E   IjROUSI).       BV   M  i 

-I  Mil  31  HMlni    (f.RRBNM  |l  II    5 

z8i 


The  National  Competition  of  Schools  of  Art,  igi4 


treated  panels  in  colour, 
by  Miss  Isabel  Airey,  of 
Kendal  School  of  Art. 

Book  illustration  was  well 
represented  by  a  large 
variety  of  drawings  and 
designs,  both  in  colour  and 
black  and  white.  The  ex- 
aminers in  noticing  the 
designs  by  Miss  Alma  K. 
Elliott  and  Miss  Bernice 
A.  S.  Shaw,  of  the  Leicester 
School  of  Art,  deplore 
"  the  regrettable  tendency 
towards  the  prevailing  but 
morbid  fashion.''  They 
referred  apparently  to  the  in- 
fluence of  Aubrey  Beardsley, 
but  nevertheless  gave  a 
silver  medal  to  Miss  Shaw, 
whose  design  certainly  be- 
trayed this  influence  in 
marked  manner.  Miss 
Shaw's  skill  of  hand  should 
lead    her    to    better    things 


MODELLED    I>F.SIC 


LEATHER    BOOK-COVER.      BY    DOROTHEA  COWTE   (ACTON    AND 
CHISVVICK    l'OLYTECHXIC) 


FOR    PANEL    FOR    A    SCHOOL    ENTRANCE 

BY   GEORGE   R.   HOFF   (NOTTINGHAM) 


when  she  learns  to  see  for  herself  instead 
of  through  the  eyes  of  another;  and 
there  is  considerable  promise  in  the 
delicate  pencil-drawing  of  Miss  Elliott. 
Mr.  Leonard  Squirrell,  the  accomplished 
young  Ipswich  student  who  had  gained 
many  awards  in  previous  competitions, 
showed  among  many  clever  things  a 
vigorous  pencil-drawing  of  a  rough  track 
leading  to  a  Claydon  sandpit,  and  an 
etching  of  a  tidal  river,  tender  in  tone 
and  full  of  suggestions  of  atmosphere. 
From  the  Ipswich  school  came  also 
some  capital  studies  in  line  of  pine  trees 
and  their  branches  and  cones — the  kind 
of  drawings  that  Ruskin  encouraged  his 
pupils  to  make — by  Miss  Constance  D. 
Murray.  Sincere  feeling  for  nature 
characterised  an  etching  of  a  cloudy, 
low-toned  landscape  by  Mr.  William 
H.  Potter,  of  Chelmsford  School  of 
Art ;  and  other  good  illustrations  were 
the  bold,  strong  drawing  of  a  river 
and  dyke,  with  a  church  well  placed 
on  the  farther  bank,  by  Mr.  Stanley 
Peck,    of   Hornsey  School  of  Art :  the 


T/ic  National  Com  pet  it  ion  of  Schools  of  Art,  rgi 


MODELLED    DESIGN    FOR    PANEL    FOB     \ 


HOOL    LSI RANCE 
BY   GEORGE    K. 


lithographs  ot  street  scenes  and  incidents  by  a 
Leicester  student,  Mr.  Robert  S.  Austin  :  and  the 
study  of  a  Pierrot  singing,  sketched  in  broad, 
simple  masses  of  black  and  white,  by  Mr.  Walter 
R.  Carter,  of  Bristol  (Kensington)  School  of  Art. 
With  these  may  be  mentioned  a  clever  design  in 
reel,  blue  and  yellow  for  a  calendar,  Little  Maidens 
of  Many  Centuries,  by 
Miss  Caroline  Hall,  of 
Sunderland.  The  maidens, 
each  of  them  representing 
a  month,  were  littli 
attired  in  the  costumes  of 
twelve  centuries,  the  ninth 
to  the  twentieth  inclusive. 
Two  interesting  book 
plates,  printed  from  wood- 
blocks, were  shown  by 
Mr.  William  Lib  v.  ol 
Sunderland  S  :hool  ol  Art, 
together  with  a  circular 
colour-print  in  red,  black 
and  yellow. 

As  already  remarked, 
the  pottery  designers  did 
not  distinguish  themselves 


at   the    recent    exhibition 

of  die  National  Art   <  !om 
petition,  and  althi  it  \ 

ghl  that  the 
work  submitted  was  about 
up  to  the  avi  ragi    ol   the 

last  few    Mars    it    is    - 

rant  that  they  i  onsidered 
nothing  worth)  of  a  h 
award  than  a  bronze 
nudal.  The  judges  point 
out  a  singular  fact  that 
should  be  ootid  b\  masters 
anil    stu  i  hools 

■  if  art  where  potter)  IS 
produced.  Only  one 
small  modelled  figure  was 
submitted  in  this  si 
although  interesting 
figuri  S  m  i"  -lb  i\  . >r  por 
celain  are  being  produced 
i  i instantl)  b)  Hie  <  rafts 
men  in  most  Km 
countries.  Among  the- 
best  things  in  the  pottery 
eases  in  tlie  North  <  nun 
were  two  sgraffito  vases 
with  figures  in  b 
elephants  and  camels  by  Mr.  Ivor  II.  Cole,  of 
Portsmouth  School  of  Art  :  a  bowl  with  a  blue  floral 
design  on  a  white  ground  b)  Miss  Marger)  S. 
Stahlschmidt,  ol  Greenwich  ;  and  two  lustre  jars  by 
Mr.  Joseph  P.  Thorley,  of  Stoke  on  1'rent  1 1  lanley) ; 
and  Mr.  Capey  Keen,  ol  Stoki  on  Trent  (Burslem). 

The  examples  of  tiles  exhibited  were    far  below  the 


[OFI     i  M.I  I  INGHAM) 


ABIN'ET,    WALNI    I     1M 


AID    Wl  i  ii    ■    ■ 

BY    ANNIE    BURMAN    (BIRMINGHAM,    MAR 

*83 


The  National  Competition  of  Schools  of  Art,  igi-/. 


INLAID   CHESSBOARD  TABLE-TOP    IN    STAINED   WOOD 

BY   EVA    BILSON    (WEST   HAM   TECHNICAL    INSTITUTE) 


-*       ,.,.;  •i...  ■■■'M3^.i±--.-.<  >3«      ..fill  !^5-Q 


STAINED-WOOD    MIRROR    FRAME 


BY    HESTER    M.    WAGSTAKE   (POLYTECHNIC    INSTITUTE.    MARYLEBONE) 


The  National  Competition  of  Schools  of  Art,   /<;  / 


among  the   jewellery  on  the  singular 

colour    almo  the   gold   ol 

which  it  was  chiefly  composed.     Some  intei 
examples   of  jeweller)   came   from   the    Islington 
London  County  Council  (Camden)  School  ol  Art. 

n   was  a    necklace  bj    Miss  Di 
Ballan  >l    gold 

l  h.mi,   .11). i  B 

in   which   thi 

[lowers  were  supported  b)  rich     oloured  enamels 

and   stones.     Miss   Josephine   de    Rohan   ol   the 

d  the  praise  of  the  examiners  for 


OSS    SET    WITH    STONES 
BY    SOPHIE   J.    HI  'Will 


average.     The    must    praiseworthy,    perhaps,    were 
some  tiles  of  pale  green  with  a  design  of  heraldii 
lions,  shown  by  Mr.  Harry  Hoyle,  of  Accrington. 
Miss   Alice    M.  Camwell  of  Birmingham  (Mai 
garet    Street)    showed   an    enamelled    necklet    ol 
extraordinarily  minute   finish  that  was  conspicuous 


5 


SI  UNED-WOOD     MIRRI  ''      ' 

BY  LOl NJAM1N      [POl  I  II''  HNH       I 

MARYI  l 


,  BY     WAI  I 

>.K1  .    BIRMINGH  VM) 

handle   "i    silver,  which, 
howevi  meNvhat  heav)  for  the  purpose 

for  which  it  was  designed.     <  »tl  wellery 

from    Islington    was   contributed    b      Mi 

and     Miss    Mar)     A.    Gilfillan.     A    well 

kle  in  silver  set  with  octagonal  plaques 

■i  and  blur  enamel,  b)   Mr.  Charles  A.  Rich, 

,,,   Derb)  School  of  An;  a  dainty  silver  <  n^,  b) 

I :  i  rome  .   and  a  very 

simple   but  attractive   pendant   of  copper   with  a 

.  b)    Mr.    John    I.  Wii 

lion. 

Xhe   silversmiths'    work   and   small   articles   in 

*»5 


The  National  Competition  of  Schools  of  Art,  1Q14 


BOOK-PLATES    F'RINTEI)    FROM   WOOD   BLOCKS 


BY    WILLIAM    LILEV   (SUNDERLAND) 


'  LITTLE      MAIDENS     OF       MANY     CENTURIES."         DESIGN      FOR      A 
CALENDAR    BY   CAROLINE   HALL    (SUNDERLAND) 
286 


some  earlier  years,  but  interesting  pieces 
were  to  be  found  here  and  there  among 
the  exhibits  :  as,  for  example,  a  silver 
hot  water  jug  with  a  design  of  grapes  in 
repousse,  by  Mr.  Walter  J.  West  of 
Birmingham  (Margaret  Street):  a  silver 
fruit  dish  supported  on  pillars  and  set 
with  amethysts,  by  Mr.  Tom  Stewart  of 
Xorthwich  School  of  Art ;  and  a  copper 
jar  with  cover  by  Miss  Elsie  E.  West  of 
Leicester. 

Conspicuous  among  the  leather  work 
was  a  box  for  chessmen  with  ivory 
mounts,  by  Mr.  Arthur  G.  Small,  of 
Birmingham  (Moseley  Road),  to  which 
a  gold  medal  was  awarded.  The  box, 
circular  in  shape,  was  of  an  uncommon 
red  colour,  and  decorated  with  a  small 
interlaced  design  in  green  and  white. 
There  was  a  suggestion  of  the  influence 
of  West  African  native  art  in  Mr.  Small's 
chess-box,  and  in  the  red  leather  card- 
cases  and  foot-stool  by  two  other- 
Moseley  Road  students,  Miss  Dorothy 
A.  Rowe  and  Miss  Gladys  F.  Ward,  in 
which  a  somewhat  similar  pattern  was 
seen.  Mr.  Frederick  R.  Smith  of 
Wolverhampton  School  of  Art  showed 
a  chalice  case  of  tooled  leather  that  was 


'/\'^:-;-^.._ 


y*z$bt. 


•  - 


h 


Q^'fi^.  W>-   2^..    i 


THE  SANDPIT."     LEAD-PENCIL   DRAWING 
BY    LEONARD   K.  SQUIRRELL     IPSWICH 


The  National  Competition  of  Schools  of  Art,   IQ14 


Morte  D' Arthur,  by 
Miss  Dorothea  Cowie 
of  Chiswick ;  and  a 
third  by  Mr.  George 
Taylor  of  Leicester  in 
which  the  gold  thistle 
heads  embodied  in  the 
design  were  well  suited 
to  a  cover  for  a  book  of 
poems  by  Robert  Burns. 
A  striking  and  elabo- 
rate design  for  a  woven 
tapestry  frieze,  depicting 
a  castle  on  a  hill  and 
two    knights    in     full 


DESIGN  FOR  LACE  KAN.  BY 
DOROTHY  M.  NICHOLSON 
(DUBLIN,      METROPOLITAN 

SCHOOL    OF    ART) 

of  more  than  average  in- 
terest. The  leather  book- 
bindings were  in  no  way 
remarkable,  but  a  few  were 
pleasant  in  design.  Among 
these  were  a  cover  for 
Bruce's  African  Travel  with 
a  floral  design  of  gold  on 
blue,  by  Mr.  Robert  J. 
Gardiner,  of  Camberwell, 
L.C.C.  School  of  Arts  and 
Crafts  ;  another  of  Malory's 


r^ 


STAINED-WOOD    MAKE-UP    BOX. 

BY      HESTER      M.      WAGS  I  All 

(POLYTECHNIC        INSTH  11  E, 

MARYLEBONE) 


GESSO  BOX.  BY  MARJORIE 
L.  BEST  (POLYTECHNIC 
INSTITUTE,    MARYLEBONE) 


armour  charging  one 
another  in  the  foreground, 
was  shown  by  Mr.  Arthur 
Mottram  of  Macclesfield  ; 
and  from  the  same  school 
came  two  charming  de- 
signs for  furniture  silks  in 
blue  and  purple  by  Mr. 
Frank  Brocklehurst  and 
Mr.  \  William  Clowes  re- 
spectively.  Among  the 
stencils  should  be  men- 
tioned a  novel  design  for 
a  border  by  Miss  Agnes 
M.      Hawker     of     Bristol 


The  National  Competition  of  Schools  of  Art,   IQ14 


SILVER    BUCKLE    ENAMELLED    AND    51 

A   STONE.      BY    CHARLES    A.    RICH    (DERBY) 


(Kensington)  with  a  composition  <>t 
running  deer  and  Indian  hunters  on 
a  brown  ground,  which  gained  a  gold 
medal  in  its  section;  and  among  the 
lace  a  round  doily  by  Mis->  Klizabeth 
Anglin  of  the  Crawford  Municipal  Tech 
nical  Institute,  Cork  ;  and  a  fan  by  Miss 
Dorothy  M.  Nicholson,  of  Dublin.  A 
damask  serviette  by  Mr.  Robert  I  >.  Burt 
of  Dunfermline  :  a  design  for  the  decora- 
tion of  a  panelled  drawing-room  by  Mr. 
Horace  C.  Harvey,  of  Hackney  Institute 
School  of  Art ;  a  panel  painted  in  tempera 
by  Miss  Edith  A.  Hendry  of  Ipswich: 
and  the  circular  modelled  panels  by  Mr. 
George  R.  Huff  of  Nottingham  may  be 
mentioned  among  many  other  examples 


that  deserved  notice  in  the  National 
Art  ( lompetition  ol  1914. 

In  the  section  of  an  hitectural  designs 
the  report  of  the  examiners  i^  not 
favourable.  They  call  attention  more 
especially  to  the  want  of  thought  shown 
in  planning  and  construction. 

A  note  appended  to  tin-  official  li^i 
essful  1  ompetitors  issued  by  the 
Board  of  Education  states  that  two 
hundred  and  ninety  nine  schools  of 
art,  art  classes  and  kindred  institutions 
partii  ipated     in     the     National      I   om 


*  1  mm  ]     'A  1  "-'l>  BOX.    B\ 
BENJAMIN  (P01  YTEI   HIS 


SILVER    FRUIT    DI 


SH   SET  WITH    STl  BY  Tom    STEWART   (N0RTKW 


petition       of      1914.        <  H.  1 
two     hundred     and 

.  ish,  the 
small  residue  representing 
-.  hools  in  Wales,  Si  otland, 
Ireland,    the    Isle    ol     Man 

Dominion  ol    N 

/calami.     The    number   ol 

works  submitted    uas  over 

twelve     thousand,     and     of 

nearlj   two  thousand 

:  awards  in  one  shape 

'.  ranging  from  cum 

mendations  t<>  th<    1 

gold  medal. 

was    made    at 
289 


The  National  Competition  of  Schools  of  Art,  191 4 


N     GOLD     AND     SILVER     WITH     ENAMEL     PANELS     SET    WITH     STONES. 
DOROTHY   BALLANTINE    (CAMDEN    SCHOOL   OF   ART,    ISLINGTON) 


such  as  this,  but  having 
regard  to  the  necessary 
limitation  of  space  a  liberal 
selection  has  been  made. 
A  few  things,  however, 
which  it  was  intended  to 
include  and  which  are  re- 
ferred to  above  have,  un- 
fortunately, had  to  be 
omitted  because  the 
authorisations  were  not 
received  in  time  to  permit 
of  the  works  being  photo- 
graphed, owing  to  the 
absence  of  the  students 
from    home.      In    some 


the  outset  of  this  article  to 
the  threats  of  dissolution 
which  have  been  uttered 
with  regard  to  the  National 
Competition.  An  official 
notice  issued  by  the  Board 
of  Education  after  the  fore- 
going article  was  written 
makes  it  clear  that  whether 
the  intention  is  seriously 
entertained  or  not,  it  will 
not  be  carried  out  in  the 
immediate  future,  for  the 
regulations  for  the  National 
Competition  ot  19 14  are  to 
be  operative  for  the  year 
1915. 

A  word  or  two  in  con- 
clusion apropos  of  the 
illustrations  accompanying 
these  notes.  It  is  obvious 
that  out  of  the  total  number 
of  works  exhibited  only  a 
very  small  proportion  can 
be   illustrated    in   a  review 


BROOCH    AND    NECKLACE   IN    GOLD   AND   SILV1 
290 


SET   WITH   STONES 

BY    DOROTHV   BALLANTINE   (CAMDEN   SCHOOL  OF   ART,    ISLINGTON) 


DESIGN  FOR  WOVEN  I  A  1*1  SI  RY 
FRIEZE.  BY  ARTHUR  MOT!  R  \M 
MAC  LESFIELD 


The  National  Competition  of  Schools  of  Art,  1Q14 


cases  the  authorisations  were  signed  by 
the  head  master  of  the  school  and  were 
on  that  account  not   accepted   by  the 
authorities  of  the  Board  of  Education. 
W.  T.  Whitley. 


At  the  Victoria  and  Albert  Museum 
an    opportunity     is     now    afforded    to 
students  of  Old   English    Furniture  of 
observing  one  of  the  best-known  speci- 
mens   extant    of  the    Pre-Reformation 
Period.     Mr.    F.     Harris    Mitchell,   of 
Chard,    has    lent    to  the   Museum    the 
famous  Gothic  Bench,  for  many  years 
in  the  "  Green  Dragon  "  Inn,  at  Combe 
St.  Nicholas,  Somerset  ;  and  this  is  now- 
exhibited  in  the  Department  of  Wood- 
work, in  Room  No.  21,  near  the  Exhi- 
bition Road  entrance.     This  bench  has 
long  been  known  to  connoisseurs,  and 
was    illustrated,    in    1859,    in    Parker's 
"Domestic    Architecture   in    England." 
The  wood-cut  in  this  work,  in   spite  of 
its    bad    drawing,    shows    that    an    im- 
portant   detail   of  decoration  has  been  lost  since 
Parker's  day,  viz..  the  figure  of  an  angel  bearing  a 
shield,  which  formerly  constituted  the  terminal  of 
the  curious  overhanging  beam  on  the  left  side  of 
the  bench,  and,  if  preserved,  might  have  afforded 
a  clue  to  the  origin  of  the  bench.      It  can  hardly 
have  been  made  in  the  first  place  for  a  small  village 


FOR     I.ACE     DOILY.       BY     ELIZABETH     ANGLIN_ 
TECHNICAL    INSTITUTE,    CORK) 


inn,  but  probably  had  its  first  home  in  the  re- 
fectory of  some  monastic  establishment.  The 
table,  with  a  Gothic  arcaded  frieze,  had  also  dis- 
appeared before  Mr.  Fred.  Roe  made  the  drawing 
of  the  bench  for  his  work  on  Old  Oak  Furniture. 
In  spite  of  this  mutilation  and  loss,  the  fine  pro- 
portion and  execution  of  the  linen-fold  back  and 
other  details  give  this  piece  of  furniture  a 
special  value  to  students.  It  has  been 
set  up  against  a  background  of  linen-fold 
panelling,  and  adjacent  to  a  Gothic 
window-frame  in  oak,  from  Hadleigh, 
Essex,  recently  presented  to  the  museum 
by  Mr.  A.  H.  Fass,  while  other  appro- 
priate furniture  is  placed  in  the  neigh- 
bourhood. The  English,  French  and 
Gothic  woodwork  has  now  all  been  re- 
arranged in  this  Gallery  where  it  can  be 
seen  to  better  advantage  than  in  its 
former  situation.  In  Room  52  is  also  dis- 
played a  recent  purchase  of  considerable 
interest,  a  quantity  of  plaster  work, 
decorated  in  grisaille,  which  was  acquired 
for  the  Museum  from  an  old  house  in 
Kent. 


DESIGN    FOR    DAMASK    SERVIETTE.      BY    ROBERT    D.    BURT 
(LAUDER    TECHNICAL   COLLEGE,    DUNFERMLINE) 
292 


The  Trustees  of  the  National  Gallery 
have  appointed  Mr.  C.  H.  Collins  Baker 
Keeper  and  Secretary  of  the  Gallery  in 
place  of  Mr.  Hawes  Turner,  retired. 


A 


American  Art  at  the  Anglo-American  Exposition 


MERICAN      ART 

ANGLO-AMERICAN 

TION. 


Each  year  that  the  large  Exhibition 
Bush  has  opened  its  -airs  to  tin- public  on 
most  interesting,  and  to  our  mind,  most  valuable 

features   has   been    the    Fine    Art    Section.      II 
in  spacious  well-lighted  galleries  it  is  possible  to  see 
well  and  enjoy   thoroughly   the  large  number  of 
works    for   which    the    rooms    afford    ample    and 
comfortable  wall-space. 

This  year  at  the  Anglo-American  Exposition,  as 
on  previous  occasions,  an  interesting  and  a  fairly 
comprehensive  display  of  modern  British  art 
occupies  a  number  of  the  galleries,  and  taken  as  a 
whole  the  collection  is  a  good  one  both  as  regards 
the  pictures  and  the  sculpture.  Ample  room  is 
provided  for  the  exhibits,  and  the  sculpture, 
agreeably  disposed  with  bay-trees  and  shrubs  at 
intervals,  is  seen  perhaps  to  better  advantage  than 
elsewhere  in  London  exhibitions,  where  our 
sculptors  rarely  have  justice  done  to  them.  As, 
however,  the  majority  of 
the  exhibits  in  the  British 
Section  are  productions  of 
artists  whose  works  are 
frequently  illustrated  in 
these  pages — quite  a  num- 
ber of  them  having,  in- 
deed, already  appeared  in 
The  Studio  — it  will  be  of 
greater  interest  if  our  at- 
tention is  devoted  to  an 
examination  in  detail  of 
the  American  Section,  as 
containing  works  with 
which  the  British  i 
of  this  magazine  are  !<  ss 
familiar. 

Perhaps  the  most  pro- 
nounced characteristic  ol 
American  art  as  here  dis 
played  is,  speaking 
generally  and  also  some 
what  paradoxically,  its  lack 
of  any  pronounced  charac- 
teristics —characteristics, 
that  is  to  say,  which  betray 
and  reveal  its  nationality. 
Sufficient  time  has  s< 
as  vet  elapsed  in  the  history 
of  the  art  of  the  United 
States    to    allow    of    the 


AT      T 1 1  K     ■  volution    i  attributes 

EXPOSI-     'n    tnat   art  >  traditions  are   unquestionably 
slowly   formed,    but   their  roc,; 
enough,  nor  are  they  at  present  of  sufficiently  long 
duration     to     have     resulted    in    the    flowering    of 
anything  distinguishable  so  far  as  a  purely  American 
style.     There  is  incontestable  e\  greater 

I     lien,  h    as   opposed    to    British 

influence  in  the  work  of  many  American  painters, 

It  it  be  true  that  all  good  Americans  when  ti 
go  to  Paris,  it  would  seem  to  be  equally  true  that 
the  majority  of  those  who  belong  to  the-  artistic 
fraternity  migrate  thither  beforehand  and  spend 
a  good  part  of  their  lives  in  la  ville  lumiire. 
So  it  is  that  in  looking  around  the  exhibition  one 
is  immediately  struck  by  the  strong  affinity  between 
this  art  and  contemporar)  French  painting,  though 
one  would  not  overlabour  this  point,  tor  m. my  of 
those  who  are  represented  have  become  so  ac 

i)    their    lon_  in    Paris    thai    the  II 

regular  contributions  to  the  Salons  arc  sometimes 
more  Parisian  than  the  Parisians. 

Five  rooms  are  set  apart  for  pictures  by  artists 


Ii  Kill  KK    LIEBE    -A    MORNING 


>  SHOVEN 


"VILLAGE     RIDER" 
BY  J.  C.  JOHANSEN 


-     — _-.. 


( The  property 

I  'ily) 


■  LADY    IN    Will  I  E  " 
:     VV.    DEWING 


American  Art  at  the  Anglo-American  Exposition 


resident  in  the  United  States  and  before  proceeding 
to  discuss  them  in  detail  we  must  not  omit  to 
record  our  thanks  to  the  artists  and  to  Mr.  Hugo 
Reisinger,  who  organised  this  section,  for  giving 
us  permission  to  illustrate  the  spaciously  treated 
Rider,  by  J.  C.  Johansen  ;  the  subtly 
atmospheric  Lady  in  White,  a  little  reminiscent  of 
Whistler,  by  T.  W.  Dewing;  J.  Rolshoven's  sunny 
picture  of  a  girl  in  bright  blue,  Dichter  Liebe — a 
Morning  in  May,  John  W.  Alexander's  fine  and 
imposing  portrait  of  a  gentleman  ;  and  the  large 
snowy  landscape,  Hill  Farm  in  Winter,  by 
Gardner  Symons. 

Besides  the  works  just  referred  to,  E.  W.  Red- 
field  exhibits  a  good  snow-painting,  On  the 
Delaware,  and  A  Garden  by  the  River,  a  work  of 
most  delightful  colour  to  which  a  reproduction  in 
black  and  white  would  do  scant  justice.  Other 
good  things  are  L.  Kronberg's  harmoniously 
coloured  In  the  Dressing  Room;  the  Still-Life  by 
E.   Carlsen;  W.    M.   Chase's  Portrait  of  Miss  C. 


and  clever  painting  of  Fish ;  Pauline,  by  Miss 
H.  M.  Turner;  The  Circus,  by  George  Bellows; 
The  Mirror,  by  E.  V.  Cockroft  :  and  Albert 
Sterner's  The  Japanese  Print.  Miss  Cecilia  Beaux 
exhibits  a  Portrait  Study,  decoratively  if  a  trifle  too 
arbitrarily  posed,  of  a  girl  in  a  magnificently  painted 
purple  and  yellow  brocaded  robe,  against  a  dark 
background  ;  and  W.  Elmer  Schofield's  Waterfall 
is  an  admirable  and  typical  example  of  his  personal 
art.  Childe  Hassam  sends  six  works,  among  them 
an  extremely  clever  painting  of  an  interior,  Room  of 
flowers,  full  of  light  and  colour  ;  but  more  typical 
of  his  work  in  general  are  the  pictures  entitled 
Young  Woman  Reading,  Moonlight  Landscape, 
and  The  Window  Curtain.  Gardner  Symons  is 
also  represented  by  a  painting,  Across  the  River,  in 
which  the  slow  moving  greenish  water  is  rendered 
with  great  fidelity  to  nature;  the  artist  has  here 
achieved  an  admirable  composition  into  which  he 
introduces  some  agreeable  colour  notes  in  the 
painting  of  the  boats  moored  in  the  foreground. 


BY   GARDNER   SYMONS 


PORTRAIT."      BY  JOHN    W.   ALEXANDER 


American  Art  at  the  Anglo-American  Exposition 


C.  W.  Hawthorne  exhibits  a  fine  work,  Refining  Oil, 
rich  in  harmonies  of  green  and  blue  ;  a  beautifully 
restrained  Girl  with  Rose,  and  The  Fisherman  ; 
while  Horatio  Walker  is  represented  by  a  rather 
dramatic  canvas  Ploughing,  First  Gleam. 

Two  rooms  contain  pictures,  most  agreeably  hung, 
by  American  artists  resident  in  France  ;  the  work  of 
most  of  them  has  been  illustrated  from  time  to 
time  in  these  pages,  notably  in  the  interesting 
articles  by  Mr.  E.  A.  Taylor.  Richard  Miller  con- 
tributes two  examples,  a  charmingly  sunny  The 
Green  Parasol  and  Lady  with  Red  Hair,  the  latter 
here  illustrated.  Another  artist  who  delights  to 
flood  his  canvas  with  sunlight  is  F.  C.  Frieseke, 
whose  large  picture  The  Garden  Umbrella  is  attrac- 
tive but  hardly  as  satisfactory  as  the  subtle  and 
most  interesting  piece  of  painting  In  the  Boudoir, 
which  is  reproduced  with  other  examples  of  his 
work  elsewhere  in  this  number.  A  work  in 
which  the  problem  of  figure  painting  in  sunlight  is 
treated  with  marked  success  is  Dejeuner  by  Louis 
Ritman.  Here,  with  perhaps  some  reminiscence 
of  the  work  of  Miller,  the  artist  has  achieved  a 
composition,  happy  alike  in  colour  and  design,  in 
which  the  whole  is  as  it  were  tremulous  with  morning 
sunlight  and  the  promise  of  a  glorious  unclouded 
day.     George  OberteufTer  shows  three  robust  and 


characteristic  works,  one  a  very  clever  impression, 
}  achts  on  tlie  Havre,  a  boldly  treated  Notre  Dame 
de  Paris,  and  a  vision  of  St.  Sulpice  seen  through 
the  tender  green  of  trees  in  Springtime  i?i  Paris. 
Other  works  which  call  for  notice  are  those  of 
Elizabeth  Nourse  ;  E.  P.  Ullmann,  whose  clever 
studies  of  Parisian  types  are  marred  by  a  little 
unpleasantness  of  colour ;  the  water-colours  of 
Frank  Boggs,  and  work  in  the  same  medium  by  Miss 
Florence  Este  ;  Walter  McEwen's  highly  finished 
works  reminiscent  somewhat  of  the  Dutch  Interior 
painters ;  a  fine  Gari  Melchers — The  Smithy ;  the 
paintings,  a  little  too  brusque  and  summary  in 
their  statement,  by  Roy  Brown  ;  the  large  portrait 
of  Madame  Bohm  by  Max  Bohm,  of  which  a  colour 
reproduction  appeared  in  this  magazine  some  two 
years  ago  ;  the  amusing  mosaic-like  Paris  Plage 
by  John  Noble  ;  and  a  decorative  composition  An 
Idle  Morning  by  T.  R.  Hopkins. 

Four  galleries  comprise  the  British-American 
Section,  and  are  filled  with  the  productions  of 
artists  whose  work  is  very  familiar  to  us,  since  they 
all  reside  and  exhibit  their  work  in  Great  Britain  ; 
indeed  many  of  them  have  become  so  closely 
identified  with  the  British  art-world  that  one  had 
quite  forgotten  in  some  cases  their  American  origin. 
Mr.  Sargent,  who  fills  a  wall  with  a  dozen  of  those 


'JOSEPH    PENNELL   ETCHING" 
298 


BY  J.    MCLURE    HAMILTON 


- 


t*i 


**•#'**, 


'  u*  ■   *  r-  ^r»- 


^  >  rte 


w 


& 


»W*Afj 


4*  ^ 
I 


••  DEJEUNER."     BY 
LOUIS    KIT. MAX 


"LADY   WITH   RED   HAIR 
BY   RICHARD   MILLER 


American  Art  at  the  Anglo-American  Exposition 


superb  water-colour  impressions  which  only  his 
amazing  vision  is  enabled  to  comprehend  and 
record  with  Mich  precision  and  such  masterl) 
technique,  and  Mr.  Pennell,  who  shows 
number  oi  his  well-known  lithographs  from  the 
Panama,  the  New  York  ami  the  Philadelphia  series, 
we  certainly  look  to  find  represented  here  ;  hut  one 
did  not  know,  or  had  lost  sight  of  the  fact,  that 
work  by  -Mark  Fisher,  Gwelo  Goodman,  Henry 
Muhrman,  and  Jacob  Epstein  might  appropriately 
be  classed  as  British-American. 

Besides  good  work  by  the  men  just  mentioned 
there  are  in  this  section  a  number  of  lithographs  and 
etchings  by  Whistler,  some  of  the  excellent  pen  and 
ink  drawings  by  Abbey,  whose  large  decorative 
picture,  The  Duke  of  Gloucester  and  the  Lady  Anne 
(which  if  we  mistake  not  was  the  fine  work,  exhibiti  d 
at  the  Royal  Academy  in  1S96,  which  gained  him  his 
Associateship),  represents  his  painting :  etchings 
by    Donald  Shaw     MacLaughlan  ;    paintings    and 


lal  drawings  b)  Frank  Mura  ;  lithographs  and 

by  J.  Mel. urc  Hamilton,  who  also  show-, 
three  interesting  paintings,  one  a  portrait  of  Mr. 
( Gladstone  in  his  study  and  two  of  M  r.  Pennell. 

Space   does    nol    allow   of  detailed  mention  of  a 

greal   number  of  the  admirable  works  exhibited, 

ate  drawing 
Study  of  a  fa  Rosales,   Eli 

\i mi  e's    1  levei    watei  1  of  mi  ..    1  hi 
Clifford  Addams  and  some  inter    ting  paintings  by 
In.     Addams,  particularly  The  Death  of  Lua 
ili'    very  beautiful  Daphne ;  also  the  Lithographs  of 
Albert  Sterner  and  in  particular  his  Amour  mort.\\ 
Pierrot  mourning  his  dead  love. 

The  room  reserved  lor  the  American  Society  of 
Illustrators  contains  work  in  a  branch  in  which 
artists  across  the  Atlantic  unquestionably  cm  el,  and 
their   robust  illustrative  and  decorative  magazine 

work  can  well   support    iparison  with  the  best 

that  is  being  done  anywhere  at  the  present  day. 


|i 


SPRINGTIME    IN    PARIS 


IRGB    "HI  R  I  BUI  I  I  K 

3°' 


Studio-  Talk 


From  the  ensemble  one  misses  the  very  personal 
work  of  Myron  Barlow,  and  the  clever  interiors  of 
Walter  Gay,  both  of  these  painters  being  unrepre- 
sented ;  there  is  no  example  of  the  art  of  Winslow 
Homer,  and  one  regrets  the  absence  of  any  canvas 
by  Whistler.  These  omissions  apart,  the  exhibition 
is  one  of  much  interest,  presenting,  as  it  does,  to 
the  British  public  a  fine  collection  of  work  by 
painters  whose  art  both  for  its  own  sake  and  for 
the  sake  of  our  close  national  kinship  one  would 
desire  a  better  acquaintanceship  with  on  this  side 
of  the  Atlantic.  A.  R. 


STUDIO-TALK. 
(From  Our  Own   Correspondents.) 

ION  DON. — The  month  of  August   to  which 
most  of  us  look  forward  as  a  period  of 
peaceful  relaxation  and  rest  has  this  year 
— '  opened  with  the  most  stupendous  upheaval 
of  armed  force  that  the  world  has  ever  witnessed- 


What  the  ultimate  effect  of  this  great  war  will  be 
on  the  progress  of  art  it  is  impossible  to  say,  but 
it  must  inevitably  have  far-reaching  consequences. 
Its  immediate  effect,  however,  is  nothing  short  of 
disastrous  to  the  vast  majority  of  those  engaged  in 
the  practice  of  one  or  other  branch  of  art.  Even 
portrait  painters  who  in  normal  times  are  rarely 
without  a  commission,  find  themselves  idle  owing 
to  commissions  being  cancelled  in  consequence  of 
the  financial  disturbance,  and  a  large  number  of 
artists  who  depend  for  a  livelihood  on  work  of  a 
more  or  less  "  commercial "  character  are  having  a 
hard  time. 

In  turbulent  times  such  as  these,  when  the  air 
is  filled  with  echoes  from  the  battlefield,  it  is 
a  welcome  relief  to  turn  for  a  moment  to 
things  which  remind  one  of  the  calm  and  peace 
of  the  sanctuary.  Such  are  the  two  altar  cards 
of  which  we  give  reproductions.  They  were  exe- 
cuted by  Mr.  W.  H.  Cowlishaw,  architect,  of  Letch- 


ILLUMINATED    ALTAR    CARD   FOR   THE   CHURCH   OF   ST.    HUGH,    LETCHWOKTH 
302 


BY    W.    H.    COWLISHAW 


ILLUMINATED  ALTAR  CARD  FOR  1  HE 
(  HURCH  OF  ST.  HUGH,  LETCHWORTH 
BY   VV.   II.  ('  IWLISHAW 


Studio-  Talk 


ill      INE,"      SILVER     STATUETTE      INLAID 

WITH      Gl \\n     OTHER     METALS.      KY    E.     O.    DE 

Ri  ISALES 

(By  permission  of  Messrs.  IV.  Marc  haul  and  Co., 

Goupil  Galley ) 


worth,  for  the  church  of  St.  Hugh  in  this  town  ot 
"garden-city  "  fame  and  are  very  engaging  examples 
of  illuminated  lettering.  The  cards  were  written 
with  a  slanted  quill  pen  on  Roman  vellum  in 
seventh-century  capitals,  with  Chinese  black  ink 
and  vermilion.  All  the  gold  lettering,  such  as  the 
small  capitals  to  •■  Deus.  Pater"  &c,  and  part  of 
the  ••Credo"  beginning  "  et  homo,"  &c,  were 
written  with  a  similar  pen.  The  large  capitals  were 
written  with  a  pen  cut  broader  at  the  tip.  The 
whole  of  the  decorative  outlines  were  executed 
with  a  tine-cut  quill  pen  in  black,  lapis  lazuli,  white 
and  vermilion  inks,  and  filled  in  with  a  fine  brush 
with  oxide  of  chromium,  vermilion,  lapis  lazuli  or 
white.  The  fifteen  mysteries  of  the  Rosary  are 
symbolised  in  the  fifteen  large  capitals  of  the  centre 
triptych.  The  large  capitals  in  the  side  cards  have 
Lenten  lily  diaper  patterns  emblematic  of  the  time 
of  the  year  'he  work  was  completed,  namely 
Easter  1914.  The  borders  of  the  triptych  are 
3°4 


composed  of  the  vine,  wheat,  white  rose  and 
shamrock.  The  thorny  rose-stems  are  used  freely 
and  suggest  the  human  path,  interpenetrated  by  the 
radiance  of  the  Cross.  The  metalwork  was  executed 
by  Mr.  R.  C.  Price  and  consists  of  dark  bronze 
metal  frames  with  supporting  angels  in  oxidised 
silver  at  both  of  the  lower  corners,  but  these  have 
been  omitted  from  the  illustrations  so  as  to  permit 
of  the  cards  themselves  being  shown  on  a  larger 
scale.  The  originals  are  of  course  considerably 
larger  than  our  reproductions.  The  whole  of  the 
work  is  mounted  on  mahogany  panels  which  slide 
into  the  metal  frames  and  is  all  under  glass. 


The  two  very  charming  statuettes  by  Mons.  E.  O. 
de  Rosales  which  we  reproduce  on  this  page  were 
recently  on  view  in  an  exhibition  of  the  artist's  work 


PAVLOVA      IN     THE     SWAN      DANCE,        STATCETTE 

SILVER    AMI   COLD.       BY   E.    O.    HE   ROSALES 

(By  permission  of  Messrs.  IV.  Marekant  and  Co., 

Goupil  Gallery) 


MILAN.  FROM    A    WOOD    ENQRAVINO 

ev    O.    WYNNE    APPERLEY.   R.I. 


Studio-Talk 


familial  to  visit 
London  exhibitions,  more 
ill)  those  of  the 
Royal  Institute  ol  Painters 
in  Water  ( 'olour,  of  which 
he  is  a  member.  The  print 
we  reproduce  a^  a 
ment  is  a  capital  example 

of     his    work     in     another 

branch  of  art.     The  print 

was  produced  fn  >m 

block    and    subsequently 

tinted  to  the  effect  desired. 


— .     -_ 


"THE     PLOUGHMAN'S    TRAM."      FROM    AN     ETCHING     KV    E.    HERBERT   WHVDALE 


at   the  Goupil    Gallery    in    Regent   Street,   and    in 
common  with  other  statuettes  reveal  a  peculiarly 
refined  sense  of  form  and 
decoration.       Statuettes 
such  as  those  ill  us  u 
in  which    the    precious 
metals  are    employed, 
represent  of  course  a  very 
luxurious  form  of  art,  but 
most    of  the    figures   ex- 
hibited   were    in    bronze, 
and  there  was  also  one  in 
gilded  and  painted  ■ 
The   artist    is    Italian    by 
birth,   but   studied   at   the 
Ecole  des    Beaux  Arts  in 
Paris    and    has    regularly 
exhibited  at   the   Salon  ol 
the  Artistes  Francais  since 
1901.     His  lin mzes  li.i\ e 
been  purchased  by  the 
Musee    du    Luxemb 
Paris,  the  Musee  d'Art  at 
Lyons   and   the    Nal 
Gallery,  Rome. 


means  of  line. 
is    worth    notin: 


Mr.  Win  dale,   of  whose 
art    as    an    etc  her    v. 
produce  four  examples,  is 
an  artist    in    that    1 

31  inal  view  in 
a    medium    whose    limita- 
tions   he    recognises  and 
1 1  i  ^    problem 
all   true 
etchers,  namely,  to  suggest 
the    man i fold    planes    and 
colours    of    Nature    by 
quality  in  his  work  which 
trie  k\ 


Mr.   Wynne   App 
work   as   a    painter    is 


■  IIVDA1  F. 

3°7 


'THE   PICNIC."      FROM   AN   ETCHING 
BY  E.   HERBERT   WHYDALE 


*  < 


Studio-  Talk 


Scholarship  in  191 3.  The  picture  was  com- 
missioned by  Miss  Elizabeth  Stevenson,  formerly 
Principal  of  the  Girls'  Collegiate  School  at  Port 
Elizabeth  for  presentation  to  the  school  as  a 
somenir  of  her  association  with  the  institution. 
The  figure  dominating  the  picture  represents  Truth 
clothed  in  white  with  a  mantle  of  blue,  and 
sapphires  are  introduced  into  the  mantle-clasp 
as  emblems.  Supporting  Truth  are  the  figures 
of  Purity  and  Honesty,  both  clothed  in  white. 
Praise  and  Justice  are  placed  at  the  foot  of  the 
throne.  Praise,  playing  the  cymbals,  is  clothed  in 
creamy-coloured  drapery  with  a  mantle  of  green, 
while  Justice  has  the  traditional  mantle  of  purple 
over  a  white  gown.  The  lettering  was  chosen 
by  Mi>s  Stevenson,  who  in  other  respects  left  the 
artist  a  free  hand. 


M 


ONTREAL. — The  feature  of  this  year's 
spring  exhibition  at  the  galleries  of 
the  Art  Association  of  Montreal  was 
the  number  of  interesting  canvases 
shown  by  three  or  four  of  our  younger  artists.  In 
this  connection  reference  should  be  made  in  par- 


THE    STEVENSON    PANEL — GIRLS  COLLEGIATE  SCHOOL, 

TORT     ELIZABETH.      S.A.         F.      FICKFORD      MARRIOTT, 

A.R.C.A.    (LO.ND.) 


printing,  for  in  the  majority  of  cases  he  wipes  his 
plates  quite  clean.  Seeing  that  he  is  still  young — 
he  is  only  twenty-eight — and  has  only  been  etching 
about  eighteen  months  (and  that  in  a  desultory 
fashion,  his  main  pre-occupation  being  with 
painting)  we  look  forward  with  confidence  to 
his  future  achievements  in  this  branch  of  art.  He 
has  exhibited  his  etchings  at  the  International 
Society's  exhibition  where,  last  autumn,  Mr. 
Gutekunst  was  quick  to  notice  him  and  in  the 
spring  of  this  year  organised  an  exhibition  at  his 
gallery  in  Grafton  Street,  Bond  Street. 

PORT  ELIZABETH.— Readers  of  this 
magazine  will  not  have  forgotten  the 
work  of  Mr.  Pickford  Marriott,  of  which 
various  examples  have  appeared  in  these 
pages  from  time  to  time.  For  some  years  past 
Mr.  Marriott  has  held  the  post  of  Art  Master  in 
the  Public  Art  School  at  Port  Elizabeth,  and  the 
silver  challenge  shield  and  allegorical  picture  now- 
reproduced  represent  some  of  his  recent  work.  The 
shield  was  modelled  by  Mr.  Gilbert  Ledward,  who 
won  the  Royal  Academy  Gold  Medal  and  Travel- 
ling Scholarship,  and  the  British  School  at  Rome 
3io 


SILVER  CHALLENGE  SHIELD  DESIGNED  BY  F.  PICKFORD 

MARRIOTT,  A.R.C.A.  (l.OND.).     MODELLED  BY  GILBERT 

LEDWARD 


— ^  -  „  .. 


"FROST  AND  SNOW." 
FROM  AN  OIL  PAINTING  BY 
MAURICE     CULLEN. 


Studio-  Talk 


ticular  to  the  powerfu  and  individual  work  of 
Mr.  A.  Y.  Jackson,  formerly  of  Montreal,  but  now 
of  Toronto.  There  can  be  no  doubt  that  Mr. 
Jackson  is  a  coming  man.  He  not  only  has  an 
admirable  colour  sense  and  a  fine  feeling  for 
decorative  design,  but,  what  is  more  important,  he 
has  something  worth  while  to  say.  His  expression 
is  eminently  personal.  It  is  at  once  simple,  din  i  i, 
and  forcible,  and  he  is  the  first  Canadian  artist  to 
attempt  with  real  success  the  interpretation  of  the 
more  distinctly  typical  Canadian  landscape  in 
moods  other  than  that  of  winter. 


ment  in  the  water  is  id,  while  the  work 

as  a  whole  displays  largeness  ol  vision. 


For  the  past  year  Mr.  Jackson  has  sought  and 
found  inspiration  in  the  lonely  places  oi  Northern 
Ontario.  His  sketches  and  pictures  suggest  poeti 
cally,  yet  strongly  and  truthfully,  the  grim  silent 
beautv  and  bigness  of  this  wilderness.  Some  ol 
the  paintings  are  of  very  high  pictorial  quality,  and 
notably  A  Squall  on  Georgian  Bay  and  The  La/ul 
of  the  Leaning  Pine,  exhibited  in  Montreal  this 
spring.  The  former,  here  produced,  is  an  arrange 
ment  of  dark  greens  and  violets,  rather  daringlj 
contrasted  yet  entirely    harmonious.     The 


M^s  Mabel   May,   Mr.    Randolph   Hewton,  Mr. 

Arthur   Rosaire,  and  Mr.  Albert   II.  Robinson  are 

also  young  Montreal  artists  of  original  outlook  and 

promise.     Among  the  work  shown  by 

mature  painters,  Mau  n's  Frost  and 

Snow&nA  The  !•<•  H 

their  truth  and  tonal  I  mtions 

of  Mr.  Brymner,  President  of  the   Royal  Canadian 
iv,  as  usual  attracted  attention. 

II.    M.    1. 

T(  >R<  >X  I "< ). — The  season  of  1913-14  was 
remarkable  for  artistii  activity  in  the 
"(Minn  City"  of  Canada.  The  <\ln 
bition  of  the  Ontario  Societj  ol  Artists, 
noticed  in  these  pages,  led  the  way,  and 
was  followed  by  a  very  admirable  display  of 
Japanese  Prints  at  the  Orange — the  temporary 
home  of  the  Toronto  Art  Museum,  and  formerly 
tin  n  sidence  of  the  late  Prof.  Goldwin  Smith.  In 
the  grounds  a  permanent  gallery  of  the  Fine  Arts 


'October"  (Art  Association  of  Montreal)  FROM  AN 


S   oil     PAIN  I  ING    BY    ttlll  [AM    B*V  M 

3 '  3 


H  Lil 

~  < 

£  >♦ 

H  » 


Studio-  Talk 


A    SQI    MI.    ON    GEORGIAN    BAY 


II  \     A .     '.  . 


is  about  to  be  erected.  This  exhibition,  an  entirely 
new  departure  in  Canada,  attracted  much  interest. 
Following  upon  this  was  the  Second  Annual 
Exhibition  of  "  Little  Pictures.''  This  is  an  effort 
by  a  few  younger  painters  to  popularise  their  work 
in  the  homes  of  the  middle-class  citizens,  where- 
wall  space  is  insufficient  for  the  display  ol 
canvases.  Many  new  aspirants  for  painting 
honours  were  invited,  and  the  work  of  si 
was  included.  Mr.  J.  E.  H.  Macdonald,  A.R.C.A., 
among  the  older  men,  was  the  most  SUCO 
exhibitor.  Later  the  Women's  Art  Association 
threw  open  their  Galleries  for  a  loan  collection  of 
lace  and  art-needlework,  with  contributions  Ire  mi 
the  South  Kensington  School  of  Needlework,  and 
Lady  Egerton's  famous  Greek  lace  colli 
This  was  followed  by  an  exhibition  of  paintings 
by  Canadian  artists,  past  and  present— a  very 
interesting  display.  At  the  same  time  members 
of  the  Association  staged  many  examples  of  their 
own  handiwork  as  craftswomen.  Many  beautiful 
objects  were  shown.  The  Association  numbers 
2000  efficient   members,  with   galleries  and  work 


rooms  in  the  principal  cities  of  Canada.      1"  the 

lit.   Mrs.    I lignam     a  verj   i  apabli 
and    craftswoman     is    largely  due    the    sui  i 

m,  which  has  been  in  existent  i    foi 
nearly  thirty  J.  E.   S. 

WtNNIP]  G.  Among  th<  mon 
Art  Institutions  in  the 
Colonies  is  the  Winnipeg  Museum 
Vrts,  which  was  opi  ned 
in  nil  2,  with  an  exhibition  i 'I  ( Canadian  Art.  Sim  e 
then  the  Art  Committee  have  placed  on  view 
exhibitions  b 
nental  as  well  as  British. 


The  exhibition  ol    the    Royal    British   Colonial 
list-,  whii  li  has  just  i  lost  d,  ai 

ended.     I  asi 
month  -i  by  several 

;its  of  that  mediun  n,  along  with 

a  collection  of  black  and  white-  work  b) 

I-'..   J.   Sulllv.m,    R.    Anning    B<  II, 
•ii  Robinson,  and  • 


Studio-  Talk 


In  Gallery  i  there  is  an  exhibit  of  special 
interest  to  the  citizens  of  Winnipeg,  consisting  of 
drawings,  paintings,  and  designs  by  the  students 
of  the  Winnipeg  School  of  Art,  which,  including 
the  works  which  were  successful  in  gaining  Scholar- 
ships and  Bursaries  tenable  in  the  session  1914-15, 
represent  the  results  of  the  first  session,  for  the 
school  was  opened  on  September  2,  191 3,  in 
direct  connection  with  the  Art  Gallery.  The 
Principal  is  Mr.  Alec  J.  Musgrove,  who  came  over 
from  Glasgow  to  take  up  the  position. 


year  after  the  opening  of  the  Gallery,  the  school 
commenced  its  first  session. 


The  Winnipeg  Museum  of  Fine  Arts  was  in- 
augurated this  year  to  meet  the  growing  demand 
for  aesthetic  education  on  the  part  of  the  citizens, 
and  since  its  opening,  has  placed  on  view  good 
exhibitions,  thereby  affording  opportunities  to  see 
the  work  of  many  notable  artists.  Already  the 
nucleus  of  a  permanent  collection  has  been  formed 
and  this  is  being  added  to  from  the  various  ex- 
hibitions by  purchase  and  by  presentation.  The 
Galleries  are  open  daily,  free,  and  the  attendance 
is  large.  So  great  was  the  appreciation  shown  by 
the  public  that  the  Committee  decided  to  open 
the  proposed  school  at  once,  with  the  result  that  a 


M 


ELBOURXE.—  Mr.  Will  Ashton,  an 
Australian  artist  who  recently  returned 
from  an  extended  European  trip,  has 
just  had  a  very  successful  exhibition 
of  his  work  at  the  Guild  Hall.  Most  of  the  work 
has  been  done  in  Paris  and  Venice  and  is 
remarkable  for  its  eminently  sane  outlook,  while 
being  fine  in  tone  and  colour.  Mr.  Ashton's 
latest  productions  as  exhibited  at  the  Paris  Salon 
and  elsewhere  seem  to  promise  him  a  high  place 
in  the  history  of  art  work  by  Australians.  Among 
his  Italian  pictures  special  mention  should  be 
made  of  Xo.  1  Santa  Maria  del/a  Salute,  and  the 
Ponte  alle  Grazil,  River  Arno,  Florence,  and  among 
the  Dutch  pictures  the  fine  Rotterdam  so  full  of 
movement  and  life.  The  Evening  Seascape, 
Tintagel,  Cornwall  shows  the  quieter  side  of  Mr. 
Ashton's  art. 


Mr.  Clewin  Harcourt,  a  well-known  Paris  Salon 
exhibitor,  has  been  showing  some  fine  work  at 
the  "Centreway."     His  capabilities  as  a  portrait 


1  ROTTERDAM,  HOLLAND" 
316 


BV  WILL  ASHTON 


■EVENING  SEASI    \N-:.    I  IN  I.V.LL. 
CORNWALL."     BY  WILL  ASHTON 


Studio-Talk 


painter  were  well  displayed  in  his  Salon  success 
Reading  Aloud,  and  The  Smile,  the  latter  possessing 
an  almost  Hals-like  quality.  J.  S. 

PHILADELPHIA.  Pennsylvania.— In 
connection  with  the  recent  International 
exhibition  of  paintings  at  the  Carnegie 
Institute,  Pittsburgh,  the  following  awards 
have  been  announced.  The  First  Prize  of  a  gold 
medal  and  one  thousand  five  hundred  dollars  has 
been  awarded  to  Mr.  E.  W.  Redfield  in  respect  of 
his  Village  in  Winter;  the  Second  Prize  of  one 
thousand  dollars  and  silver  medal  to  Mr.  Richard 
Jack,  A.R.A.  of  London,  for  his  painting  entitled 
String  Quartette  (exhibited  at  the  Royal  Academy- 
exhibit  ion  last  year)  :  the  Third  Prize  of  five  hun- 
dred dollars  and  a  bronze  medal  to  Mr.  George 
Bellows:  and   honourable    mentions  to  Mr.   Will 


nTp<LS     iTMCoS- 


"  VARIOUS   TYPES    (MADRID)."      FROM    A   CHALK 
DRAWING    BY   J.    P.    TI]  I    V 


Ashton,  the  Australian  painter,  Miss  Hilda  Fearon 
and  Mr.  G.  Spencer  Watson  of  London,  Herr 
Erich  Kips  of  Berlin,  Miss  Beatrice  Howe,  Paris, 
and  Mr.  Charles  Rosen  of  Pennsvlvania. 


"  BISCAYAN   TYPES   (BILBAO)."      FROM   A   CHALK 

DRAWING    BY   J.    P.    TILLAC 
318 


There  will  be  no  International  Exhibition  of 
paintings  at  the  Carnegie  Institute  next  Spring. 
This  course  was  decided  upon  by  the  Fine  Arts 
Committee  in  view  of  the  fact  that  the  government 
will  present  an  international  exhibition  of  paintings 
at  the  Panama-Pacific  Exposition,  at  San  Francisco, 
next  Spring. 

BORDEAUX.  —  Mons.      Tillac,     whose 
sketches  of  market  scenes  in  Madrid  and 
of  types  of  the  people  met  with  in  the 
Spanish  Capital  and  elsewhere  we  here 
reproduce  is  a  much  travelled  artist  and  his  sketch- 


V>     ,jg 


SKETCHES  OF  MARKET  LIFE 
IN  MADRID.  FROM  CHALK 
DRAWINGS    BY    J     P.    TILLAC. 


Studio-  Talk 


"STREET    MARKET,     CALLE     \.     FIGUF.ROA,     MADRID 
FROM    ,\   I  HALK    DRAWING    BV   J.    P.     riLLAI 


books  are  full  of  reminiscem  eo  he  lias 

visited   both  in  the  Old  World  and  in  th 
In  Spain,  where  he  lias  spent  a  considerable  time, 
he  has  amassed  a   large    collection    of   drawings, 
chiefly  of  street  scenes  in  cities  where  Castilian  or 
Basque  types  are  found,  such  as  Madrid,    I 
and   Bilbao.     A  shrewd  observer,  he  has  a  kirn 
eye  for  the  characteristics  of  the  people  he  portrays 
as  may  be  seen  particularly  in  his  studies  of  the 
Basque   type  of  humanity  whose  anthropo 
status  has  puzzled  the  learned.    Mons.  I 
at  the  Ecole  des  Beaux-Arts  in   Paris  under  MM. 
Gerome,  Cormon  and  Waltner,  and  at  the  Salon 
of  the  Artistes  Francais  in  1905  he  was  awa 
mention     honorable.       Since    th  Spent 

most  of  his  time  in   travelling.     In  his   di 
such  as  those  reproduced,  he  uses  a  little  colour 
by  way  of  rehaussanent. 


T 


i<  IKYO.     Recently   the  Imperial  Si  hool 

ol  An.  I  okyo,  the  1 ier  institution  of 

ill''     kin. I     in     Japai  d,     with 

appropriate    ceremonies    and    with    an 

exhibition  of  its  treasures,  the  twenty-fifth  anniver- 

sar)  ofits  foundation.    A  brief  history  of  the  school 

may   prove   of  value   to   those   interested  in  the 

3S  of  art  and  art  education  in  Japan. 


It  was  in  July  1SS5  that  1  committee  was 
appointed  by  tin-  Department  of  Education  to 
investigate    matte-  g    th,-    teaching    of 

drawing  in  schools.  As  a  result,  a  bureau  fordi 
was  established  in  November  ol  the  1-' 
This  bureau  was  thepioneerol  the  Imperial  : 
ol    Ail.    Tokyo,    which    came    into    existence    by 
Imperial   order   en  October   4.    :  mie   to 

01  1  upj    the   pn  si  nt    splendid    position    in    I 
Park  which  was  formerlj  used  bj  the  Educational 

Museum.  The  Art  S.  hool  was  opened  "ii  February  1. 
1890,  under  the  directorship  ol  Baron  Ilamao. 
The  curriculum  then  consisted  of  painting,  lacquer 
work,  wood  carving  and  metal  chasing, 
two  different  courses,  one  taking  two  and  the  other 
three  years  to  complete.  There  was  also  a  normal 
In  October  1891  Mr.  Kakuzo  Okakura, 
w  hose  death     .  to  in  Tin   Sti  dio  .t  few 

month-  agi    '         March  No.,  |  me  the 

dire.  tor.     In   November   [893  a  four-year  course 
was  instituted,  in  addition  to  ,1  preliminarj  ■ 

lasting  one  year,    and    metal   casting  was  added    to 

the  curriculum. 


In    May  1895    tne  instruction   in  painting 
carving   was    dividi  styles, 

based  upon  the  three  distim  1  periods  in  the  history 

an.     In   the  following  year  the  repousse" 

mras  introduced  into  the  course  of  instruction 
in  metal  work,  and  a  course  in  design  and  another 
in  the  European  style  of  painting  were  added.     In 

1899  Mr.  Okakura  was  succeeded  by  Mr. 

Takamine,   and  the   method 
devised   by    his   predecessor   was   altered.      Claj 

lich  was  bound  to  affect  our  sculpture 

to  a   1  onsiderabli  d    into 

Ii  partment,  and  came  to  be  adopted 

lor   the   first    time   in    making    sketches    for    w I 

sculpture  in  the  folli  In   January  1900 

Mr.  Kanae  K  ubota  be<  ame  tin-  direi  tor.  onlj  to  be 
superseded  in  the  following  jear  b)  Mi.  Naohiko 
Masaki,  under  who  ctorship  the  school 

still  continues  to  train  young  artists.     Foui 
later,  th  n  1905,  tin-  si  hool  adopttd  the 

five-year  1 


Stmiio-Talk 


THE    IMPERIAL    SCHOOL    OF    ART,    TOKYO 


322 


Studio-  Talk 


As  the  edifice  became  inadequate  for  the 
increasing  demands  oi  the  growing  institution,  the 
building  used  by  the  Imperial  Librarj  came  to 
serve  as  class-rooms.  In  1907  the  Departm 
Education  decided  to  provide  the  school  with  a 
group  of  new  buildings,  and  the  work  was  com 
menced  in  July.  In  January  191  1  the  old  building 
was  destroyed  by  lire,  and  soon  after  a  new  one- 
was  erected  on  its  site,  so  that  the  school  is  now 
equipped  with  brand-new  buildings  si  atten  d  among 
the  beautiful  old  trees  in  the  park.  The  main 
edifice  is  very  beautiful,  the  style  being  a  com 
bination  of  Japanese  and  European  architi 
indicating  in  a  way  the  ultimate  evolution  of  the 
architectural  style  of  Japan. 


The  Imperial  School  of  Art,  Tokyo,  is  now 
equipped  for  the  training  of  students  in  the  follow 
ing  seven  courses:  Japanese  painting,  Kuropean 
style  of  painting,  sculpture,  design,  metal  work, 
casting,    and  lacquer   work,   and    it  also   offers   a 


special  cours                                                      draw- 
ing m    Normal.    Middle,   and  Gi  -    I Is. 

One  of  the  striking  developments  in  recent  years 
is  the  1    in   the  number  of  applicants 

lor   instruction  in   1  n   Style  "I    painting, 

which  has  been  accompanied  b)  a  corresponding 
decrease  of  students  for  the  course   in   Jap 
painting       I  irk  done  by  the  graduates  in  the 

Japam  .  enerally  speaking, 

been    infused  with  an  indefinable  something  that 
from  an  effort  to  improve  an 

'img  new.  There  is  invan.iliK  something  in 
it  which  is  foreign  to  the  traditional  quality,  though 
not  necessarily  betraying  European  influence.  And 
in  the  sculpture  also  a  glance  is  sufficient  to  dis 
tinguish  the  work  of  those  who  h.n  e  bei  n  named  in 
the  art  school.  There  is  something  solid  and  pro  ise 
in  the  modelling,  and  the  realistic  touch  i.-,  apparent 


A  brief  survey  of  the  principles  by  which  the 
school   is  guided  in  training  the  young  arlists  will 


>l     IAPANESB    PAINTING    SECTION,    IMPB1  'I     *»T,    TOKVO 


Studio-Talk 


SECTION,    IMPERIAL 


>F    ART,    TOKVC 


enable  the  reader  to  understand  more  thoroughly 
the  Tokyo  Bijutsu  Gakko,  which,  following  the 
official  translation,  stands  for  the  Imperial  School 
of  Art,  Tokyo.  Art  is  long  and  the  five  years 
course  of  school  life  is  entirely  inadequate  for  the 
full  development  of  an  artist's  capabilities.  To  be 
able  to  produce  a  work  worthy  of  being  handed 
down  to  posterity  as  a  masterpiece  of  art  one  must 
be  favoured  with  considerable  gifts  and  unusual 
talent.  While  genius  is  rare  among  us,  each  of  us 
has  some  special  gift  or  talent  to  develop  and  it  is 
the  aim  of  the  school  to  find  what  that  is  and  to 
foster  it  to  its  fullest  possibility.  And  what  the 
school  is  able  to  do  is  to  give  the  students  in- 
struction in  subjects  calculated  to  develop  hidden 
possibilities  in  them  and  merely  start  them  in  the 
branch  of  art  to  which  they  are  to  devote  their 
lives.  The  work  worthy  of  themselves  can  only 
be  looked  for  from  the  life  of  constant  effort  and 
perseverance  after  they  finish  the  school.  Such  is 
the  view  held  by  the  school. 


In  the  course  of  Japanese  painting,  the  students 
324 


in  the  last  year  are  divided  into  three  classes,  each 
•with  a  special  teacher.  During  the  first  four  years 
they  are  taught  to  understand  the  mental  attitude 
and  the  peculiarities  which  characterise  the  brush 
work  of  both  old  and  modern  painters,  by  copying 
the  paintings  of  old  masters  and  those  of  their 
teachers.  Sketching  also  plays  a  very  important 
part  in  the  curriculum.  Students  are  first  taught 
to  sketch  such  simple  objects  as  grass,  trees, 
flowers  and  fruit.  Then  they  proceed  to  sketch 
insects,  birds,  and  beasts,  either  in  the  class-room 
or  in  the  zoological  garden  situated  close  at  hand. 
Subsequently  they  enter  on  a  course  of  drawing 
from  the  living  model.  Armour  and  helmets. 
State  robes  as  worn  in  the  olden  times,  as  well  as 
the  dresses  of  the  present  day  are  used  in  order  to 
acquaint  the  students  with  the  manners  and  customs 
of  different  periods  and  with  the  composition  of 
colours.  Throughout  the  course  they  are  en- 
couraged to  apply  in  their  compositions  the  know- 
ledge they  have  gained,  and  thus  an  endeavour 
is  made  to  foster  originality.  Their  ability  to  paint 
is    also    turned    towards    design,    beginning    with 


Studio-Talk 


simple  floral  subjects  and    gradually  \ 
more    complex   and    elaborate   decorative    motifs 
The  students  often  go  on  sketching  tours  with  or 
without  their  teacher. 


For  the  students  who  are  taking  the  course  in  the 
European  style  of  painting  special  stress  is  laid  on 
charcoal  drawing  from  casts  during  the  first  year, 
in  addition  to  the  normal  instruction  in  instrumental 
drawing,  anatomy  and  perspective.  Lessoi 
oil-painting  of  still-life  and  landscape  are  also  given. 
From  time  to  time  they  are  given  subjei 
composition,  using  only  charcoal,  water-colour  or 
pencil.  In  the  second  year  they  are  taught  to 
make  charcoal  drawings  of  the  human  body,  and  in 
the  third  and  fourth  years  they  substitute  oil  for 
charcoal.  In  oil-painting  of  still-life  subje< 
landscape,  as  well  as  the  subjects  for  composition, 
they  proceed  gradually  from  the  simple  to  the 
complex.  The  first  semester  of  the  last  year  of  the 
course  is  devoted  to  the  composition  of  diploma 
pictures  to  be  finished  in  the  second  semester, 
together   with   a  self-portrait   in   oils.      Historical 


subjects  or  ti  the  manners  and  customs 

of  different  periods  are  generally  given  fi 
tion.     At  the    end    of    each    semester   the   works 
executed  by  the  students  are  exhibited  and  judged. 


The  department   of   sculpture  at    the    Imperial 
School    of    Art   is    divided    into    modelling,    wood 
carving    and    ivory    carving.     For    the    i  la 
modelling  floral  and  other  decorative  subji 

are  given  to  be  copied,  and  later  animals  and 
human  heads.     After  the  second  year  the  students 
are  set  to  make  clay  sketches  of  birds  and  at 
either  in  the  class  room  or  in  tl  garden, 

followed    later    by    models    from    the  living  figure. 
They  are  also  taught  how  to   make   plaster  easts, 
and    the    last    year   of    their    school    is    di 
to  their  diploma  work.      The  order  of  instruction 
in  the  classes  for  wood  carving  and  ivory  car  ■ 
similar  to  that  pursued  in  modelling. 


In  the  design  class  lessons  are  given  in  designing, 

painting  and  clay  modelling.     The  instruction   in 

tag  is  intended  to  familiarise  them  with  the 


ATELIER    ok    M .[  I  IV.    SEl    l!"\.    IMPERIAI 


Studio-Talk 


FOUNDRY   OF    METAL-CASTING   SECTION,    IMPERIAL  SCHOOL   OF   ART,    TOKYO 


form  and  colour  of  the  designs  of  different  periods, 
and  they  are  required  to  sketch  plants  and  animals 
and  evolve  new  designs  therefrom.  The  instruction 
in  painting  comprises  the  copying  in  colours  of  the 
works  of  ancient  and  modern  masters,  the  painting 
of  flowers,  animals,  costumes,  armour,  weapons, 
&c,  and  the  students  have  also  to  make  charcoal 
drawings  of  architectural  decorations,  animals  and 
figures,  so  as  to  learn  how  to  make  indentations 
and  master  the  effect  of  light  and  shade.  In  the 
course  of  clay  modelling  they  are  made  to  copy  old 
and  new  decorations  and  articles  of  home  and 
foreign  origin,  and  finally  to  work  out  some  new 
designs.  Lectures  are  given  on  such  subjects  as 
the  methods  of  designing,  architecture,  perspective, 
instrumental  drawing  and  applied  art. 


The  two  subjects  of  metal  chasing  and  repousse 
are  taught  in  the  department  of  metal  work.  The 
former  comprises  instruction  in  the  methods  of 
carving  metals  with  the  chisel,  and  the  latter 
that  of  beating  metal  into  the  required  shapes. 
326 


Industrial  chemistry  is  one  of  the  important  studies 
prescribed  for  this  department.  The  first-year  class 
in  chasing  begins  with  carving  on  metal,  from 
a  model,  straight  lines  and  curves  and  the  students 
are  expected  to  carve  some  patterns  of  their 
own.  By  degrees  they  are  trained  in  katakiri-bori, 
(the  method  of  engraving  which  reproduces  the 
brush  work  of  Japanese  paintings),  metal  inlay,  and 
maru-bori  (the  method  of  carving  a  metal  all  round 
into  a  shape).  In  the  repousse  class  the  work 
begins  with  hammering  copper  and  iron  into  simple 
objects,  and  then  gradually  advances  to  the  produc- 
tion of  water  jars,  flower  vases,  incense  burners, 
fishes,  birds  and  animals.  Students  in  this  class 
also  receive  lessons  in  painting,  design  and  clay 
modelling. 


In  the  department  of  casting,  students  begin  by 
making  plaster  casts  of  simple  objects  and  end 
in  making  metal  casts  of  statues,  &c,  including  the 
method  of  colouring  metals.  Students  who  take 
the   course   in    lacquering  are    taught  the  art  of 


Studio-Talk 


hira-makiye,  or  flat  lacquering,  and  faka-makiye, 
high  or  raised  lacquering,  and  of  preparing 
of  different  colours.  As  in  all  other  cases,  they  are 
encouraged  to  devise  and  produce  something 
original,  and  they  are  allowed  the  utmost  freedom 
in  the  execution  of  their  diploma  work.  To  widen 
their  knowledge  of  art  and  ennoble  their  thoughts, 
certain  general  studies  are  prescribed,  such  as 
foreign  languages,  the  history  of  manners  and 
customs,  and  of  Oriental  and  Occidental  art. 
aesthetics  and  western  archaeology.  In  teaching  some 
of  these  subjects  photographs  and  lantern  slides  and 
the  Imperial  Household  Museum,  which  is  in  close 
proximity  to  the  school,  are  freely  made  use  of 
in  order  that  real  and  accurate  knowledge  may  be 
acquired.  

The  Imperial  School  has  enlisted  the  services  of 
the  best  artists  available.  On  its  staff  of  instructors 
there  are  five  Court  artists.  Two  of  them, 
Takamura  Koun,  professor  of  modelling,  and 
Takenouchi  Hisakazu,  professor  of  wood,  ivory 
and  decorative  carving,  have  been  teaching  there 
for  twenty-live  years,  that  is  from  the  beginning  of 


a  1    wini    PLIQUE   A  JOUB    ENAMB1     BORDER 
\:\     I  DWARD   THORNTON 
(City  and  Guilds  of  London  Institute) 


the    school.     Also     Prof.     Kojima    of    the    First 
Higher    School    has   been   teaching    instrumental 
drawing  at  the  art  school  ever  sin<  e  its  foundation. 
At    the   celebration   of   the    twenty-fifth 
anniversary   of    the    school,    to    which 
nee  was  made  at  the  commence- 
ment of  these  notes,  a  suitable  recogni- 
tion was  made  of  the  long  and 
services  rendered  by  the  three  teachers 
just  mentioned. 


I'.N  1MB]  s    Fl  'K    A    BOOK  BY    MIS 

(  City  and  Guilds  of  London  Institute,  In: 


Upon  that  occasion  a  bronze  bust  of 
the  late  Hashimoto  Gaho  and  another 
of  the  late  Kawabata  <  iyokusho,  both 
of  whom  had  taught  at  the  school  and 
in  their  capacity  of  tea;  hers  and  article 
contributed  much  towards  the  pi 
of  Japanese  painting,  were  presented  to 
the  school  by  their  followers  and  now 
occupy  positions  in  the  peaceful  shade 
of  the  trees  in  the  school  garden,  where 
them  by  many  of 
their  monjin.     By  the  efforts  of  these 

Hishida  Shunso,  and  ( )kakura  Kakuzo, 
all  of  whom  are  now  dead  and  gi 
well  as  of  those  living  artists  now  con 
with  the  institution,  which 

in  the 
art  world  of  Japan. 

H AR ADA    I 


Art  School  Notes 


(City  and  Guilds  of  London  Institute) 

ART  SCHOOL  NOTES. 

LONDON. — In  a  recent  number  of  The  Studto 
some  illustrations  were  given  of  enamel 
work  executed  during  the  past  year  or 
— '  two  by  Mr.  Alexander  Fisher,  who  in 
this  branch  of  art  has  established  a  high  reputation, 
and  now  in  the  accompanying  illustrations  our 
readers  have  an  opportunity  of  seeing  some  of  the 
work  executed  by  his  pupils  at  the  City  and  Guilds 
of  London  Insititute,  where  the  classes  in  enamel- 
ling, gold  and  silversmiths'  work  and  jewellery  are 
under  Mr.  Fishers  charge.  The  classes  are  held 
at  the  Technical  College,  Leonard  Street,  City 
Road,  Finsbury,  on  three  evenings  a  week,  Monday, 
Wednesday,  and  Thursday,  from  seven  till  half-past 
nine,  and  the  instruction  which  is  of  a  practical 
character,  comprises  all  the  various  processes  of 
enamelling  and  the  methods  pursued  in  the  work- 
ing up  of  the  precious  metals  and  the  making  of 
jewellery.     The   Art   School   connected   with  the 


Institute  is  carried  on  at  122-124  Kennington  Park 
Road  on  the  south  side  of  the  Thames,  and  its 
curriculum  comprises  a  course  of  modelling  for 
sculptors,  architectural  carvers,  potters,  plasterers, 
&c,  and  a  course  of  drawing  and  painting. 

The  Chelsea  School  of  Art,  carried  on  in  con- 
nection with  the  South  Western  Polytechnic  in 
Manresa  Road,  has  two  scholarships,  each  of  the 
annual  value  of  ,£24,  which  are  awarded  to  enable 


y  4>     • 

5L    _     -J  *•    -/s   -* 


TRIPTYCH    IN   TRANSLUCENT  AND   I'LIQUE  A  JOU 
ENAMELS    AND    COPPER.       BY    W.    H.    FISHER 

(City  and  Guilds  oj  London  Institute) 

students  to  study  illustration  work.  The  course 
of  study  to  be  followed  is  planned  so  as  to  lead 
directly  to  the  execution  of  saleable  commercial 
work.  The  scholarships,  which  are  known  as  the 
"  (  hristopher  Head "  Scholarships,  have  few  re- 
strictions and  are  open  to  all. 


CLOISONNE    ENAMEL    CASKET  EY    MISS    SOPER 

(  City  and  Guilds  of  London  Institute) 
328 


From  enquiries  made  before  going  to  press  we 
learn  that  the  various  art  schools  carried  on  in 
London  and  the  provinces  will  re-open  at  the  ap- 


Reviews  and  Notices 


pointed  times.  Those  under  the  control  of  the 
London  County  Council  will  start  on  Septembei 
21  ;  the  Glasgow  School  of  Art  will  resume  its  work 
on  September  22,  and  the  Liverpool  City  School  ol 
Art  on  September  23  In  London  most  of  tin- 
schools  under  private  control  were  due  to  re-open 
early  in  the  month,  and  so  far  as  we  know  ni 
has  occurred  to  interfere  with  this  arrangement.  It 
is,  of  course,  to  be  expected  that  the  number  of 
male  students  in  attendance  will  be  considerably 
fewer  than  in  normal  times  as  many  young  men 
have  for  the  time  being  forsaken  the  arts  and  crafts 
of  peace  and  cheerfully  responded  to  the  call  of 
their  King  and  Country  by  joining  the  auxiliary 
forces. 

REVIEWS   AND   NOTICES. 

A  Pilgrimage  in  Surrey.  By  James  S.  Ogii  yv. 
With  4-  coloured  plates  by  the  Author.  (London  : 
George  Routledge  and  Sons.  Ltd.)  2  vols.  505. 
net.  So  great  has  been  the  expansion  of  London 
during  the  past  generation  that  one  has  almost  come 
to  regard  Surrey  as  in  the  main  a  suburban  county. 
Fortunately,  however,  though  the  county  stands  in 
point  of  size  among  the  minor  shires  of  Britain,  its 
confines  still  contain  a  big  store  of  attractions 
to  beguile  the  seeker  after  the  beauties  of  nature 
and  the  antiquarian.  In  this  dual  capacity  Mr. 
Ogilvy  has  explored  it,  though  the  work  of  nature 
more  than  the  handiwork  of  man  would  seem 
to  have  claimed  his  sympathies.  Surrey  does 
indeed  look  very  small  on  a  map  of  England,  yet 
we  find  the  author  at  the  close  of  the  narrative  of 
his  exploration  speaking  of  the  "thousands  of 
miles  of  dusty  roads  and  pleasant  paths  "  he  has 
traversed.  His  pages  abound  in  historical  and 
personal  reminiscences  of  the  hundreds  of  places 
visited,  beginning  with  Kew  and  Sheen,  as  Rich- 
mond was  once  called,  and  finishing  up  with 
Putney.  How  rich  the  little  shire  is  in  natural 
<  harms  and  famous  buildings  is  shown  by  the 
coloured  plates  from  water-colour  drawings  by  the 
author.  Architectural  subjects  are  in  the  majority 
here,  and  the  rendering  is  convincingly  veracious, 
but  there  are  also  some  attractive  landsi  api 
of  particular  interest  being  those  which  show 
broad  vistas  such  as  the  county  affords  at  many 
parts  from  its  hill  tops. 

Summer.  By  W.  Beach  Thomas  and  A.  K. 
Collett.  (London  :  T.  ( '.  and  E.  C.  Jack.)  \os. 
6d.  net.  With  this  volume  the  authors  bring  to  a 
conclusion  their  tripartite  work  on  "The  English 
Year,"  and  as  in  the  two  previous  books  whil  h  we 


lii\:-    aire. lily    noticed    in  [ins,    all    the 

Nature,  all  that 

ing    growth,    strugj  and    meta 

«is    in   field   and 

and  stream  whii  h  make  up  the  life  of  the 
countryside,  are  admirably  described  in  the  various 
essays.     Exquisite  as  is  the  prom  time, 

the  lavish  and  luxuriant  prodigality  of  Nature 
in  June.  July  and  August  makes  of  our  English 
Summer  a  season  of  surpassing  b<  auty,  and  of  this 
Messrs.  Beach  Thomas  and  Colletl  give  a  fascin- 

11  count.     Th 

or   in     Mr.    Allen    Seaby,    whose    delightful 

little    pen-drawings    in    the  ti  litional 

i    to    the    pages,    and    there    are    further    a 
reproductions    in    colour    of   paintings    by 
Sir    Alfred     East,     Mr.     loin     Mostyn     and     Mr. 
1  lam    Bi  1  ker. 

The  thirteenth  edition  of  the  Wallace  (  lollection 
Catalogue  of  Pictures  and  Drawings  embodies 
numerous  changes  which  greatly  enhance  its 
ness  tor  purposes  of  reference  and  study.  '1 
a  large  increase  in  the  number  of  the  illustrations, 
the  new  edition  containing  no  less  than  266,  and 
though  necessarily  small  in  size  they  are  admirabl) 
clear.  Of  more  importance,  howevi  r,  so  far  as  the 
student  is  concerned,  are  the  textual  improvements. 
The  notices  of  the  pictures  have  been  expanded, 
and  while  the  biographical  information  has  in 
certain  1  ases  been  abridged,  greater  detail  has  been 
introduced  in  the  case  of  obscure  artists.  As 
a  result  of  the  close  scrutiny  to  which  the  works  in 

ill lection  have  been  sub]'  1  ted  thi 

important  changes  of  attribution,  and  1  70  sign, 
1l.1t,  s  or  other  inscriptions  have  been  noted  for  the 
fust  time,  while  a  very  considerable  amount  of 
information  is  given  as  to  the  history  of  the  pictures. 
The  catalogue  is  arranged  in  alphabetical  order,  and 
is  supplemented  by  an  index  of  numbers,  a  list  of 

painters  grouped  a<  cording  to  school,  and  two  lists 

1  traits —  one    of    known    and    the    other    of 

unknown    sitters.      It    is   well   printed   and    at    the 

Of    one     shilling     is     a     remarkably 
publii  ation. 

Under  the  autho  '  '■  leyn's 

College  of  God's   Gift   at    Dulwich  Sir    Edward 

1,  revised  i 
the    pictures  in   their   gallery.     The   new   edition 
runs   to  over   360    pages    and    though   it    contains 
no  illustrations  it  is  replete  with  interesting  ai 
ful     informal  ol    the 

collection,  the  works  belonging  to  it  ami  the 
represented.      This    cal.C 
one  shilling. 


The  Lay  Figure 


T 


HE    LAY    FIGURE  :     ON     THE 
RECORD  OF  PASSING  EVENTS. 


1  What  a  remarkable  increase  there  has 
been  during  the  last  few  years  in  the  use  of  photo- 
graphy for  illustrative  purposes,"  said  the  Man 
with  the  Red  Tie.  "  It  seems  to  have  gone  on 
growing  until  it  has  ousted  the  draughtsman 
almost  entirely." 

'•  And  a  good  thing,  too,"  laughed  the  Plain 
Man.  "  Photography  gives  you  plain,  clear  facts  ; 
the  draughtsman  gives  you  more  or  less  irre- 
sponsible fancies.     I  prefer  facts." 

"  Facts,  indeed  !  "  cried  the  Man  with  Red  Tie. 
"Is  that  all  the  art  of  illustration  aims  at?  Has 
it  no  other  mission  than  to  present  you  with  a  dull 
statement  of  plain  realities?" 

"  Well,  I  cannot  see  what  other  purpose  it  can 
have,"  returned  the  Plain  Man.  "  Its  object,  I 
take  it,  is  to  record  for  our  information  what  is 
going  on." 

"  Wait  a  minute,"  broke  in  the  Art  Critic ; 
'■you  are  at  corss  purposes.  You  are  mixing  up 
the  general  art  of  illustration  with  one  particular 
application  of  it.  Pray  let  us  make  a  distinction 
between  them.  The  record  of  passing  events  has 
an  interest,  of  course,  and  a  by  no  means  incon- 
siderable measure  of  value,  but  it  is  not  the  only 
function  of  illustration." 

"  It  is  the  only  one  that  matters,  anyhow." 
asserted  the  Plain  Man;  "because  it  is  the  only 
one  that  has  a  direct  and  vivid  power  of  arresting 
attention.  Other  kinds  of  illustration  may  amuse 
us  or  appeal  to  our  aesthetic  sense,  but  they  fail 
to  impress  us  with  their  veracity  and  so  they  have 
no  practical  value." 

"That  I  am  naturally  not  prepared  to  admit," 
returned  the  Critic  ;  "  but,  for  the  sake  of  argu- 
ment, we  will  assume  that  you  are  right.  The  only 
purpose  of  an  illustration  is  in  your  opinion  to  be  a 
kind  of  pictorial  stop-press  paragraph — well,  what 
then?" 

"Then,  I  say  that  a  photograph,  which  gives 
you  things  exactly  as  they  are  is  worth  much  more 
than  a  sketch  by  a  draughtsman  who  is  trying  to 
produce  a  pretty  picture.  The  one  you  can  trust," 
declared  the  Plain  Man  ;  "  the  other  can  be  made 
anything  the  artist  chooses  and  must  always  be 
subject  to  suspicion." 

"  Oh,  you  think  a  photograph  is  always  infallible 
in  its  realism,"  laughed  the  Man  with  the  Red  Tie. 
"Have  you  never  heard  of  the  manufacture  of 
photographic  pictures  for  press  purposes  ;  do  you 
know  nothing  of  the  way  in  which  these  things 
33° 


are  made  up  or  of  the  tricks  and  devices  which 
photographers  use  ?" 

"  We  will  leave  alone  that  side  of  the  question," 
said  the  Critic,  "because  surely  we  all  know  that  a 
photograph  when  manipulated  can  be  made  to  tell 
almost  any  story  that  the  operator  wishes.  Of 
course  a  photograph  that  professes  to  be  a  record 
of  an  actual  incident  is  not  necessarily  more 
reliable  as  a  statement  of  fact  than  a  sketch  by  an 
artist — that  is  a  matter  of  common  knowledge.  I 
am  much  more  interested  in  the  argument  that  the 
primary  function  of  illustration  is  to  be  plainly 
realistic  and  that  its  aesthetic  quality  should  be 
ignored." 

"Well,  what  have  you  to  say  against  such  an 
argument  as  that?"  demanded  the  Plain  Man, 
"an  illustration,  I  repeat,  should  show  you  what 
is  going  on,  exactly  as  it  happens  ;  it  may  not  give 
jou  a  pretty  picture,  but  you  must  remember  that 
the  facts  of  life  are  not  pretty  and  you  must  accept 
them  as  they  are  if  you  are  going  to  record  them 
honestly." 

"  Quite  so,  you  must  accept  them  as  they  are," 
agreed  the  Critic  ;  "  but  >ou  want  to  make  people 
understand  them  and  you  want  to  put  them  in  such 
a  way  that  they  will  appeal  to  the  imagination  of 
thinking  men  as  well  as  to  the  dull  and  unobservant 
eye.  Now  a  photograph  is  apt  to  give  you  a  very 
small  and  unconvincing  view  of  the  subject  chosen ; 
it  is  almost  invariably  quite  literal  and  common- 
place in  its  statement  and  it  is  open  to  the 
objection  that  it  suggests  nothing  to  inspire  you 
or  set  you  thinking." 

"And  the  artist,  what  more  can  he  do  with 
the  subject  before  him  if  he  sticks  to  facts?" 
asked  the  Plain  Man. 

"  A  very  great  deal  more  if  he  understands  the 
genius  of  illustration,"  replied  the  Critic.  "With- 
out falsifying  facts  in  the  least  he  can  so  deal  with 
them  that  they  will  become  infinitely  more  illumin- 
ating than  they  could  ever  be  when  they  were 
literally  recorded  by  a  mechanical  apparatus  which 
is  incapable  of  discrimination.  Viewing  things  in 
their  proper  perspective,  he  can  eliminate  what  is 
trivial  and  unnecessary  and  therefore  make  the 
essential  details  more  convincing.  He  can  suggest 
by  his  manner  of  treatment  quite  as  much  as  he 
expresses ;  and  he  can  lead  people  on  by  appealing 
to  their  imagination  to  get  a  far  surer  grasp  of 
the  subject  to  which  his  illustrations  refer.  The 
personal  expression  of  the  artist's  understanding 
and  selective  sense  counts  for  much  even  in  a 
record  of  facts." 

The  Lay  Figure. 


N  Studio   international 

1 

S9 

v. 62 


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