International studio (25.1905)

"A TIVOLI" BY CONSTANTIN GUYS

sculpture. In this art the minds of artists seem
hemmed about with traditions—whether of Hellenic
beauty, or of Florentine expressiveness, or of the
rebellion that in Rodin's art gives form to imprisoned
spirituality. Out of England sculpture is aware of
the fact that there can be an art as a Rower growing
near to all these things, concerned with neither of
them—a natural, even a domestic, art, embodying
what is quite transient, the movement of a woman
in modern costume ; an art trivial often in its aims,
but not mean even then, because its inspiration
has been in triviality, and inspiration even of this
kind is more valuable in its contribution to sculp-
ture than are uninspired exercises in the classicism
of the Greeks, or insincere pretensions to the
emotionalism of a Meunier or of a Rodin. The
word ^ has entered the studios, to complete the
ruin of more than one
The world now has been divided up into gardens ;
and where the ancients tilled the ground, it is left
for us to grow our Rowers. And we may not
make the past of art art's future. All this bears
upon the subject in hand, upon Miss Levick's
sculpture, because in her art such conclusions have
been arrived at, though, perhaps, unconsciously.

By striving in her art for expression of the gentle
aspect of life which has appealed to her, even if
there may be sometimes hesitation in her technique,
her art is surely creating for itself its own atmosphere,
and at the same time setting itself free from a
cold scholasticism. T. MARTIN WooD.
A FORGOTTEN ARTIST : CON-
/\ STANTIN GUYS. BY HENRI
\ FRANTZ.
THE ardent curiosity of the awa/dMT* and the
artist, in reverting to the men and the things
of the Second Empire, would seem this time to
have attached itself deRnitely to the strange and
mysterious artist who styled himself Constantin
Guys. An interesting exhibition, organised in the
spring of last year, in the Barbazanges Galleries,
wherein Rgured a large number of drawings and
water-colours lent from the Luxembourg and the
Carnavalet Galleries by experienced collectors,
revealed to its full extent not only the power,
the diversity, and the vitality of this great talent,
but—what is more important still^showed the
induence exercised by this veritable precursor on
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