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Studio: international art — 24.1902

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First International "Studio" Exhibition

THE FIRST INTERNATIONAL process itself has often starved the intellectual and
"STUDIO" EXHIBITION, imaginative side of decoration.
PART II "^he ent:rance °f women into the ranks of

designers for textiles of the larger kind cannot fail
We have already remarked upon the good quality to re-act well upon their needlework, the planning
of the decorative needlework and other fine- of carpets and curtains giving the embroiderer a
wrought textiles at this exhibition. Especially in greater breadth and individuality of treatment and
the matter of design, the improvement which has a keener sense of proportion, composition, and
taken place in modern embroideries is very decorative line. Exigencies of space rather cur-
significant. In the sheer technique of the needle- tailed the exhibits which might have run in this
crafts, women have always excelled; but in design direction, but some half-dozen remarkably good
they have flagged periodically, and been content portieres were included. Two of these were by
to diffuse in laborious detail the steady energy, the Beatrice M. Venables : one a strong and simple
enthusiastic patience, that characterise so much of applique decoration on deep-red linen; the other a
their work in art. Prodigality of effort in the more ambitious composition representing a field of

corn, with birds flying over
it, cleverly worked out in
corn-yellows and greens on
a sky-blue ground, with a
bright glint of poppies at
the base. The necessary
flatness and restraint of
treatment were very well
observed. An admirable
piece of decoration was the
portiere by George Duxbury
and Agnes Smith. Here
the composition centred in
a small panel of rich colour,
high up in the body of the
curtain, bearing a conven-
tional figure of a ship; the
subdued treatment of the
ornament surrounding and
leading up to this, and
carried out in soft dark
blues and greens, secured
an altogether harmonious
and pleasing scheme of
colour. The workmanship
fully sustained the quality
of the design. Near it was
an interesting and effective
convention of a growing
tree with fruit, by C. Oxen-
ford, carried out in silk and
velvet applique on grey
serge ; the ruddy fruit
making the chief points of
light among the sober
foliage. Two woven por-
tieres, of heavier quality,


(Salon, 1888) technique. One by V.

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