International studio — 36.1908/​1909(1909)

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subject of copyright, and that this copyright
shoutd belong to the artist, the author of the work.
(2) That the duration of copynght in works of art
shouid be sufHcientiy long to recompense the artist
for the years of speciai and costly training necessary
to produce works of the highest merit." These
principies are accordingly embodied in the Bill,
under which copyright remains vested in the artist
until he has executed an assignment in writing, and,
therefore, making the reservation now required
unnecessary. The duration of copyright of an
original work of fine art (an expression to which a
very broad meaning is given in the defining clauses)
is the term named in the International Conven-
tion, viz., the life of the artist and fifty years after
the year of his death, and this provision is to
apply to copyrights now existing. For derivative
works (such as engravings, etc.) and photographs,
the term is to be fifty years after the year of
completion. Registration of copyright is not
essential, according to our reading of the Bil),
provided the original work and authorised copies
of it are marked in a certain way, and in other
cases is only necessary as a preliminary to pro-
ceedings for infringement. We understand that
the present Chancellor of the Exchequer is
interesting himself in the question, and there is
a probabitity, therefore, of the subject coming
to the front in the near future, though it is
unlikely, we should think, that artistic copyright
will be dealt with separately, but only as part of a
comprehensive measure embracing all aspects of
the question.

The memorial tablet and the plaster panels
by Miss E. M. Rope illustrated on these pages
are among that artist's recent productions.
Miss Rope's work is very pleasing because of
the decorative feeling which distinguishes it.

The Chtnil Gallery, Chelsea, provided one of
the rnost interesting exhibitions of the month in
the etchings of Theodore Roussel. For long
the fervent disciple of Whistler, Mr. Roussel
shares the extreme sensitiveness to accidental
impressions which gave such a rare charm to
the master's art. We get a glimpse of Cheyne
Walk, just as the romantic old red-brick
houses impress themselves upon a susceptible
visitor to Chelsea—the red brick itself is re-
called, and everything else these old houses
suggest to the mind, on a plate of very small di
mensions. Sometimes it is a glimpse of the brown
river suggested by the colour of the paper itself,

defrned by surroundings expressed with an im-
aginative economy. Zl27*jr777'r
is one of the finest plates, though we are
sorry to see the convention of cumulus clouds
mounting up over the buildings — for this effect
has become a very conventional one indeed,
through being taken advantage of in precisely
this way over and over again in the last few years
by artists. The artist is happy in grouping figures
in the street, going very directly to life, conveying
with beautiful realism groups of untidy folk in the
purlieus of Chelsea. Some of his very little plates
of this kind, GYfAaM;? C/Mrfa
.&%<3a73<%K72d77/, are the best, but in single figures like
Zk72C7<^c—<z Z7w7Tvay, C<%fA?a, the frgure is not
nervously drawn and informed with life. For
the very best of Mr. Roussel we must come to

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