International studio (41.1910)

Studio-Talk

more generous, and the result is
that a far more comprehensive
representation of modern German
decorative and applied art is to be
found in their section, which has
the advantage of an independent
suite of buildings specially designed
for the occasion by the eminent
architect, Prof. Emanuel von Seidl.
These buildings, with their rough-
cast walls and dark tiled roofs, are
characteristically German, and
form a marked contrast to the
other buildings of the exhibition.
Nor has there been any stint in
the application of distinguished
talent to the fitting out of the
interiors. For most of these Prof.
Bruno Paul, the leading exponent
of "Raumkunst" in Berlin, is re-
sponsible, others who have been
entrusted with the interior arrange-
ments being Architect Otto Walter,
of Berlin, Prof. Peter Behrens,
Prof. M. Dulfer and Architect
Oskar Menzel, of Dresden, Prof.
Seeck, of Steglitz. Here again the
designs are significant of the aims
which the leading modern archi-
tects of Germany are seeking to
realise, and about which something
was said in the last volume of
"evening" (etching) by fritz pontini The Studio Year Book of

Decorative Art. For the artist-
sections, but in the British section the chief craftsman, however, the feature of principal interest
interest centres in the ceramic exhibits, which in the German section is the extensive suite of
collectively demonstrate the high position held by furnished rooms designed by leading architects,
British products of this class. The cases contain- and the rooms in which are displayed the pro-
ing the articles sent over by the Pilkington Com- ducts of German porcelain factories and potteries,
pany, Wedgwoods, the Ruskin Pottery Works, metal-work, and other branches of " Kunstge-
Doulton, and other potteries have attracted much werbe." These testify to the great forward strides
attention, and, to judge by the number of tickets which are being made in these directions by
bearing the word "Vendu,'' purchasers also. In German workers. When reviewing the various
other branches of applied art, however, the British manifestations of artistic activity at this exhibi-
section is disappointing in its meagreness, and, tion, as we propose to later, we shall refer more
taken as a whole, it cannot be said that the contem- fully to this display ; here we will only say that
porary arts and crafts of Great Britain are at all it is one which all who are interested in the
worthily represented. No blame for this attaches future of British applied art should see for them-
to those to whom the organisation of the section selves. It is generally recognised by German
was entrusted, for the grant made by the Treasury writers on applied art, as it is in the official cater
for this and the Italian exhibition to be held next logue of their section, that it was from England
year necessarily entailed limitations. that the ideas which underlie the modern develop-

__ ment of arts and crafts in Germany came to them ;

The German Government, however, has been but the question is whether the lead taken by

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