Studio: international art — 90.1925

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http://digi.ub.uni-heidelberg.de/diglit/studio1925a/0286
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JOHN PLATT

MARGARET. WATER-
COLOUR BY JOHN PLATT

received well-deserved recognition both especially noticeable in drawings, and

at home and in International Exhibitions media largely dependent on drawing—

abroad, particularly in those that have etchings, woodcuts and woodblock colour

been organised by that very original and prints. It may be that the ideas which

active Society of the California Print are having such far-reaching effects on

Makers, who hold an International Exhibi- industrial art (witness the D.I.A. and the

tion every year at Los Angeles, representa- B.I.I.A.) are influencing fine art also. In

tive of the most modern work of American fine art also there is a growing feeling for

and European etchers and print makers. ** the right use of material," that is, the

In their 1922 exhibition Mr. Piatt's print expression of the subject in terms of the

The Giant Stride was awarded the gold medium in such a way as to emphasise

medal for the most distinguished print the qualities of the materials used. A

in any medium, and in 1925 the Storrow work of art is gradually built up by the

Prize for the best colour woodcut. 0 interplay of imaginative insight and tech-

My own association with him in the nical dexterity, so neglect to bring out

work at the Edinburgh College of Art has the full beauty of the material is as fatal

left memories of a colleague of high to a work of art as a lack of artistic vision,
ambition and a rare devotion to severe In the great masterpieces of woodblock

and laborious study. 000 colour printing, such as the works of

Frank Morley Fletcher. Hokusai and Utamaro, this mutual inter-

__ play of vision and technique is perfectly

balanced. The Japanese with their extra-

NOTES ON WOODBLOCK COLOUR ordinary sensitiveness to the qualities of

PRINTING. BY JOHN PLATT materials have perfected a medium of

Among the diverse tendencies notice- great beauty. Now that this medium,

able in modern art exhibitions there is through the researches of Mr. Frank

increasingly evident one which may be Morley Fletcher, is available to Europeans,

described as respect for material. This is it is up to us to use it in a way worthy of

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