International studio (27.1905/1906(1906))

Studio- Talk


BOOK-COVER BY FRANCES HORSLEY
(See London Studio-Talk)

The artist usually requires to have his work
noticed and bought by the public, and, as to
achieve this is not a small matter, he is, to a great
extent, bound to accept the help of the middleman.
Painters and sculptors are not so badly off, even
if they seil through the art dealers. They, and
especially the former, have a thousand ways of
keeping the public in touch and sympathy with
themselves, but for craftsmen and decorators,
artistic jewellers, etc., the chances are not so many;
they depend too much on the commission of the
dealer, and he depends, to a great extent, for his
economic welfare on the doubtful taste of unknown
clients. A man with much money and little taste
will offen buy a good picture of which he under-
stands nothing, but will never buy a piece of furni-
ture or metalwork or a modern tapestry unless the
thing is fashionable, or the object cheers him up a
little.

Now it is not difffcult to understand how little
art is necessary to work in such a way as to appeal
to men with much money and little taste. Offer
them neo-Assyrian carpets, French wall-papers and

M. Rodin and a bust by
Professor Lanteri, one may
select Mr. Percy Ports-
mouth’s spirited relief,
Labour, and Mr. David
MacGill’s refined Statue,
London, for a word of
praise. J. L. C.
Glasgow.—
Even an artist
must think of
how to live,
provided he has first
thought of art. The two
questions can seldom be
considered apart, as in
most cases an artist needs
to Support himself by his
work. When mankind is
nearer to its chief aim,
the realisation of beauty
in life, all this will, no
doubt, be rearranged prc-
perly; in the meantime
those who are in need
have to provide.


TRIPTYCH (See Lo?idon Studio-Talk)

BV GERAL DINE CARR

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