International studio (19.1903)

71%<? ////// 07v//?v Av/7/7/7/7//

sitown its fuit dimensions, wiii suddenly become
one of the first order. Compiete durabiiity! It
is a revolution of happy augury."
'' But how wiii one be abie to distinguish between
an oii-painting and an oii-pastei ? "
" By the character of the work. . . . In short, it
wiil be the same thing. Both wiii be oii paintings ;
but when the work has the character of a drawing it
may be termed an oii-pastei, and when the work is in
the nature of a painting it wiii be an oii-painting."
"But in the exhibitions where wiii they piace
these new works ? "
" Whatever be their nature, ail these works
shouid be put with the oil-paintings. Paintings have
aiways been divided in the exhibitions according
to the medium employed by the artist—oil-paintings
or water-colours—and as aii these paintings wiii be
in oiis, they must inevitabiy be ciassed with the
oii-paintings."
" Do you think that hereby a new Schooi is
being formed ?"
"Not at all. A new rnethod, yes; but that
does not mean a new Schooi. I have no preten-
sion to become the head of a new Schooi by means
of this discovery. Each of us maintains his own
position in the striving after beauty."
" And is your method spreading abroad ? "
" Certainiy, and with astonishing rapidity. I
hear of it from all sides, and it wiil be seen in the
exhibitions about to be held, after Paris, in London,
Munich, Diisseldorf, Beriin, and Venice; and
centres are being formed in towns of the rnost
diverse description—AVarsaw, the Hague, Rome,
St. Petersburg, and New York "

" You are very iucky in having associated your
name with such a WMA.M7M of oii-painting."
" I have no wish to Hatter myself on a discovery
which is beautifui only in its results—over which I
have no controi. So here I stay quietly at my
easel, looking on with pleasure certainly, but
calmly and unaffectediy."
And the artist takes his colours between his
ftngers again, to trace on his canvas the long
shadows projected on the green fields by the iast
rays of the sun setting behind the hills.


STENCIL 1DESIGN BY E. IKGRAM TAYLOR


STENCIL DESIGN

BY E. INGRAM TAYLOR

^T'HE ARTS AND CRAFTS
' EXHIBITION AT THE
t NEW GALLERY. FIRST
NOTICE.
A FAiRLY iarge and intelligent section
of the sight-seeing public has now come
to regard the Arts and Crafts Exhibifions at
the New Gailery as a kind of trienniai
festival of decorative art, serving at once as
a standard of taste and a record of progress
in Engiish workmanship and design. This
view, no doubt, is quite as inadequate as
that which accepts the Royal Academv a's
the sum total of a year's achievements in
painting. That the sight-seeing element,
chalienged by the display of miscel-
laneous works of art in a place they were

27