International studio (20.1903)

chance which brought everything into its right
place as a matter of course. But this seeming
spontaneity was really the result of extreme pre-
cision, and the outcome of methods which were
unusually exact and carefully contrived. He
concealed with astonishing success the labour
which actually he expended upon everything
he did. Few artists have aimed so deliberately
at what is per-
haps the most
difficult form
of draughts-
manship, and
very few have
solved withsuch
completeness
the problem of
combining the
minutest study
of nature with
the sketcher's
QUEEN VICTORIA BY EMiL FUCHS summariness
of treatment.
When, how-
ever, he had once formed his style, he never failed
in his technical mastery, and to the very last he
kept a perfect command
over executive refinements.
Many people have at-
tempted to imitate his draw-
ings, but scarcely anyone
has come near him in those
peculiar characteristics of
handling which belong to
him distinctively. Indeed,
no copyist who did not
understand what intimate
knowledge must underlie
a method as straight-
forward as Phil May's could
ever hope to rival him.

BY EMIL FUCHS

STUDIO-TALK.
W ONDON. — As in
b the case of Mr.
h! Alphonse Legros,
^ Mr. Emil Fuchs
ras been especially at-
racted by medal work,
ind it is in this particular
irt—once more restored
o honour by modern
.rtists — that he has

KING EDWARD VII.

LORD CHARLES BERESFORD
BY EMIL FUCHS

achieved his greatest
successes. In the me-
dallion of His Majesty
King Edward VII.,
from which was taken
the design for the new
postage stamps; and in
the Coronation medals,
the artist has succeeded
in imparting to the
Royal countenance an
importance and graciousness of expression—charac-
teristic traits of the original—which happily have
not been lost in the process of multiplication.
Next should be noticed the medals of Major-
General Sir Arthur Ellis, of Lord Charles Beres-
ford, of Sir George White, and of two charming
juvenile heads, Master Robert Hartmann and
Master Anthony de Rothschild, all of which may
be regarded as good examples of low relief. Again,
in the medallion of Queen Victoria, so boldly and
at the same time so delicately treated, we find
that queenly bearing characteristic of her late
Majesty strongly accentuated.

It is interesting to note the artist's energy and

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