DOI Heft:
No. 90 (September, 1900)
DOI Artikel:Wood, Esther: The national competition, 1900
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19785#0301
Studio- Talk
programmes, and menu designs from the same hands.
The excellent colour-drawings for block-printing,
by Thomas B. Blaycock (South Kensington) hardly
lend themselves to illustration here, but their strong
and imaginative treatment is well adapted to the
process in view. The same may be said of
the Lambeth colour-prints, which form an impor-
tant and very interesting group. The work of
Ethel K. Burgess, always individual and adven-
turous in colour, has gained in sobriety and
dignity of form. The designs by Gertrude Steele
and Daisy Hansford also show a delicate fancy and
a skilful use of contrast in form and colour. The
exhibits of Alice Giles strike us as falling a little
below the high standard of draughtsmanship and
careful finish which her former work has led us
to expect. With regard to posters, it is probably
telt that designs in the modern style are not
much encouraged or appreciated at headquarters,
so it is not surprising that the attempts are poor.
That the arts of decoration and of advertising
are by no means incompatible the French and
Americans have distinctly proved, while in England
this important fact is unfortunately realised only
by a few.
266
STUDIO-TALK.
(From our own Correspondents.)
LONDON.—Mr.F. F. Foottet, three examples
of whose subtle and imaginative land-
scape work in lithography are illustrated
here, has had a somewhat chequered
career in art. His earliest efforts in oil-painting
were made more than a quarter of a century ago,
and they bring one in touch with that precise style,
often so small in handling and so narrow in vision,
which most Englishmen found attractive before the
great revolution worked by the Impressionists. As
early as 1873 Mr. Foottet sent a picture to
Burlington House, where it was accepted and hung.
It was a landscape entitled December, and it
attracted considerable attention. Ruskin noticed
it and liked it, but said, with characteristic
faith in his own teaching, "Yes, the artist
is painting trees, but is he sure that he can
draw a leaf?" Mr. Foottet was willing to try,
and Ruskin, who lived then at Heme Hill,
was ready to help him with advice, and several
months were passed in making elaborate studies of
fruit and leaves. Shortly afterwards the young
programmes, and menu designs from the same hands.
The excellent colour-drawings for block-printing,
by Thomas B. Blaycock (South Kensington) hardly
lend themselves to illustration here, but their strong
and imaginative treatment is well adapted to the
process in view. The same may be said of
the Lambeth colour-prints, which form an impor-
tant and very interesting group. The work of
Ethel K. Burgess, always individual and adven-
turous in colour, has gained in sobriety and
dignity of form. The designs by Gertrude Steele
and Daisy Hansford also show a delicate fancy and
a skilful use of contrast in form and colour. The
exhibits of Alice Giles strike us as falling a little
below the high standard of draughtsmanship and
careful finish which her former work has led us
to expect. With regard to posters, it is probably
telt that designs in the modern style are not
much encouraged or appreciated at headquarters,
so it is not surprising that the attempts are poor.
That the arts of decoration and of advertising
are by no means incompatible the French and
Americans have distinctly proved, while in England
this important fact is unfortunately realised only
by a few.
266
STUDIO-TALK.
(From our own Correspondents.)
LONDON.—Mr.F. F. Foottet, three examples
of whose subtle and imaginative land-
scape work in lithography are illustrated
here, has had a somewhat chequered
career in art. His earliest efforts in oil-painting
were made more than a quarter of a century ago,
and they bring one in touch with that precise style,
often so small in handling and so narrow in vision,
which most Englishmen found attractive before the
great revolution worked by the Impressionists. As
early as 1873 Mr. Foottet sent a picture to
Burlington House, where it was accepted and hung.
It was a landscape entitled December, and it
attracted considerable attention. Ruskin noticed
it and liked it, but said, with characteristic
faith in his own teaching, "Yes, the artist
is painting trees, but is he sure that he can
draw a leaf?" Mr. Foottet was willing to try,
and Ruskin, who lived then at Heme Hill,
was ready to help him with advice, and several
months were passed in making elaborate studies of
fruit and leaves. Shortly afterwards the young