DOI Page / Citation link:
https://doi.org/10.11588/diglit.43447#0447
THE INTERNATIONAL STUDIO
July, ign
0]
I
£
I
I
c y
i Ji
IL
FRANK ALVAH PARSONS, Director SUSAN F. BISSELL, Executive Sec’y
SUMMER SESSION
The New York School of Fine and Applied Art
J1=] S S l—I LL'I!1.'..1. |l
CHESTER, MASS.
_ . . . . [I]
INDIVIDUAL, DAILY INSTRUCTION
DELIGHTFUL AND REASONABLE LIVING
PRINCIPLES RATHER THAN FACTS
BROADEST POSSIBLE CURRICULUM
ARTISTS, TEACHERS, DECORATORS, CRAFTSMEN
We invite your special attention to our catalogue and our work- Send for circular
2237 BROADWAY NEW YORK CITY
Marthas Vineyard
SCHOOL OF ART
ARTHUR R. FREEDLANDER, Instructor
VINEYARD HAVEN, MASSACHUSETTS
Outdoor Classes in Landscape, Marine and Figure
Painting. Class in Portraiture. Special Course for
Students of Architecture—to Develop Facility in the
Use of Water Color and Washes.
PRATT INSTITUTE
ART SCHOOL
BROOKLYN, NEW YORK
Applied Design, Jewelry, Silversmithing, Life, Portrait,
Illustration, Composition, Oil and Water-Color Painting.
Architecture—Two and Three-Year Courses.
Normal Art and Manual Training—Two-Year Courses.
30 Studios; 35 Instructors; 24th Year
WALTER SCOTT PERRY, Director
SKETCH CLASS
EAST GLOUCESTER, MASS.
APPLY
RHODA HOLMES NICHOLLS
39 West 67th Street, New York
Miss Edith Diehl
BOOKBINDER
INSTRUCTION IN HAND BOOKBINDING
ORDERS TAKEN FOR BINDING BOOKS IN
LEATHER OR VELLUM
FINISHING DEPARTMENT IN CHARGE OP
MONSIEUR ADOLPHE DEHERTOGH
Late Head Finisher of the Club Bindery
STUDIO: 131 EAST 31 ST ST., N. Y.
All A MTTTJ—By Western furniture, carpet and dra-
"rt.ll t LV pery house, a competent designer for
interior decorative work. One who thoroughly under-
stands high-class interior decorations and able to
do mural paintings. Address, care of "Studio.”
PENNSYLVANIA
School of Industrial Art
OF THE PENNSYLVANIA MUSEUM
BROAD AND PINE STS., PHILADELPHIA
Thorough work under trained
specialists in all branches
of Fine and Industrial Art
Special provision for classes in Illustration, Archi-
tecture, Decorative Painting and Sculpture, Pottery
Metal Work, Industrial Design, Textile Design and
Manufacture.
L. W. MILLER, Principal
C. F. HAMANN
Instructor in JEWELRY, ENAMELING and
SILVERSMITHING at
PRATT INSTITUTE, BROOKLYN, NEW YORK
Will have a SUMMER SCHOOL during the months
of JULY and AUGUST at
LAKE RONKONKOMA, LONG ISLAND
For terms address Mr. Hamann at Pratt Institute
G/>e HENRI SCHOOL 0/ ART
SUMMER CLASS at Chester, Nova Scotia
SEASON 1911—June 15 to Sept. 15
HOMER BOSS - Instructor
For catalog and all information address
THE HENRI SCHOOL OF ART, 1947 Broadway, N.Y.
ADELPHI COLLEGE
Lafayette Ave., Clifton and St. James Place, Brooklyn, N. Y.
ART DEPARTMENT
Antique, Still Life, Portrait and Figure Classes. Work
in all Mediums. Six of the Best-Equipped Class Rooms in
Greater New York.
Course of 20 weeks, commencing at any time, with indi-
vidual instruction. All day or half-day sessions.
Prof. J. B. WHITTAKER, Director
304-310 East 23d Street
NEW YORK
PHONE: 1147 GRAMERCY
^xiaisnc The Wolfer Press
Printing1
individually fo*
PAINTING CLASS
ATSTART bay
by a former professor of the Academic Delecluse, Paris.
Steamers stop at Plymouth, near Slapton. Mrs. Ertz
meets ladies. In August a holiday sketching part}’ will
be taken to a quaint fishing village in France. Address
Edward Ertz, F.N.B.A., Slapton, S. Devon, England.
V
OUGA CELEBRATED FINE ART STUDIES
Flower, Fruit, Figure, Landscape and Animal Studies
for copying in Oil or Water Colors.
Illustrated Catalogue, with discounts and premiums,
80 cents. Only one and two cent U. S. A. Stamps ac-
cepted. No foreign money or stamps.
Agent, M. G. PRICE, 359 West 118th St, New York
THE MISSES MASON
(Design
Water-Color Painting
Decoration of Porcelain
126 East 24th Street. New York
JOHN LANE COMPANY, 114 West 32d Street,
--NEW YORK
SERVICE AND SPORT IN THE SOUDAN
A Record of Administration in the Anglo-Egyptian Soudan,
with Some Intervals of Sport and Travel
By BIMBASHI D. COMYN 8vo. Profusely Illustrated. $4.00 net. Postage 20cents
JUNGLE BY-WAYS IN INDIA
Leaves from the Note-Book of a Sportsman and a Naturalist
By E. B. STEBBING 8vo. Profusely Illustrated.
$4.00 net. Postage 20 cents
ture is no longer content to serve architec-
ture or even to work side by side with it
toward the same end, but tends to take the
form of independent statuary. Reims
marks the point at which the disintegrating
forces of individual ideas became strong
enough to destroy all possibility of the un-
derstanding between builder and decorator
that made Chartres a triumph of unswerv-
ing purpose and deliberate sacrifice of ev-
erything foreign to the central conception.
Sixteenth-century reaction against the
joyful art of two centuries before doubtless
accounts for almost as many bare portals
as does the Revolution. The Huguenots
mutilated wherever they went, but Catho-
lics themselves were better disposed to rep-
resent the devil helping a man to carve a
female figure than to defend the sculpture
of a more tolerant age. Still, enough re-
mains to give a complete idea of its
character. To imagine that the study of
Roman models was the principal factor in
the formation of this school would be to
misunderstand it hopelessly. There were
a few sculptors who knew and loved the
Roman convention above all others, it is
true, but many more developed the style
they had inherited from the twelfth cen-
tury, modifying it continually by working
from life, which they observed with most
moving freshness and sincerity. Among
the blessed in the Doom in the west porch
of Bourges Cathedral a lovely naked girl
steps forward smiling, and near her are
many other superb nude figures. Reims
abounds in studies of every human type
sculptors of that day could have seen. Of
religious fervor I see very little, or, to be
be quite truthful, none at all, in the best
work. Love of life and gladness for the
beauty and wonder of this world filled the
hearts of these matchless stone cutters—
lathomi, as they called themselves—so full
that there was no room for the fear of hell.
The latter part of the fourteenth century
and the first half of the fifteenth were dis-
tressful times on the Domaine Royal. Bet-
ter work was done in the south, where,
after a long eclipse, sculpture again ap-
pears radiant in Bordeaux Cathedral, the
Chapelle de Rieux at Toulouse and at
Avignon. Burgundy, which in the thir-
teenth century had not fulfilled its promise
of the twelfth, produced a school as vigor-
ous and original as any the world has seen.
Philippe le Hardi (of Burgundy, 1404) and
his undaunted descendants gathered to-
gether the best sculptors they could find,
and gave them splendid opportunities for
work in the Chartreuse de Champmol at
Dijon. Fortunately we know the authors
of the groups of Philippe le Hardi and his
wife, Marguerite de Flandre; the mourners
round the ducal tombs and the prophets in
the Puits de Moise. Jean de Marville,
Claus Sluter, Claus de Werve and those
who followed them were very great artists
indeed, creators of a school that exercised a
profound influence on the revival of French
sculpture that gladdens the close of the fif-
teenth century. Many towns and regions
then become intensely active. Troyes owns
a particularly brilliant school, Toulouse and
Albi forget Simon de Montfort and the des-
olation be visited upon them, Touraine
and the Ile-de-France are distinguished
again by the purity of their art. Though
Jean Texier still worked for churches, the
time was near when greatest sculpture
should no more be associated with religious
architecture. Medieval art was at an end.
July, ign
0]
I
£
I
I
c y
i Ji
IL
FRANK ALVAH PARSONS, Director SUSAN F. BISSELL, Executive Sec’y
SUMMER SESSION
The New York School of Fine and Applied Art
J1=] S S l—I LL'I!1.'..1. |l
CHESTER, MASS.
_ . . . . [I]
INDIVIDUAL, DAILY INSTRUCTION
DELIGHTFUL AND REASONABLE LIVING
PRINCIPLES RATHER THAN FACTS
BROADEST POSSIBLE CURRICULUM
ARTISTS, TEACHERS, DECORATORS, CRAFTSMEN
We invite your special attention to our catalogue and our work- Send for circular
2237 BROADWAY NEW YORK CITY
Marthas Vineyard
SCHOOL OF ART
ARTHUR R. FREEDLANDER, Instructor
VINEYARD HAVEN, MASSACHUSETTS
Outdoor Classes in Landscape, Marine and Figure
Painting. Class in Portraiture. Special Course for
Students of Architecture—to Develop Facility in the
Use of Water Color and Washes.
PRATT INSTITUTE
ART SCHOOL
BROOKLYN, NEW YORK
Applied Design, Jewelry, Silversmithing, Life, Portrait,
Illustration, Composition, Oil and Water-Color Painting.
Architecture—Two and Three-Year Courses.
Normal Art and Manual Training—Two-Year Courses.
30 Studios; 35 Instructors; 24th Year
WALTER SCOTT PERRY, Director
SKETCH CLASS
EAST GLOUCESTER, MASS.
APPLY
RHODA HOLMES NICHOLLS
39 West 67th Street, New York
Miss Edith Diehl
BOOKBINDER
INSTRUCTION IN HAND BOOKBINDING
ORDERS TAKEN FOR BINDING BOOKS IN
LEATHER OR VELLUM
FINISHING DEPARTMENT IN CHARGE OP
MONSIEUR ADOLPHE DEHERTOGH
Late Head Finisher of the Club Bindery
STUDIO: 131 EAST 31 ST ST., N. Y.
All A MTTTJ—By Western furniture, carpet and dra-
"rt.ll t LV pery house, a competent designer for
interior decorative work. One who thoroughly under-
stands high-class interior decorations and able to
do mural paintings. Address, care of "Studio.”
PENNSYLVANIA
School of Industrial Art
OF THE PENNSYLVANIA MUSEUM
BROAD AND PINE STS., PHILADELPHIA
Thorough work under trained
specialists in all branches
of Fine and Industrial Art
Special provision for classes in Illustration, Archi-
tecture, Decorative Painting and Sculpture, Pottery
Metal Work, Industrial Design, Textile Design and
Manufacture.
L. W. MILLER, Principal
C. F. HAMANN
Instructor in JEWELRY, ENAMELING and
SILVERSMITHING at
PRATT INSTITUTE, BROOKLYN, NEW YORK
Will have a SUMMER SCHOOL during the months
of JULY and AUGUST at
LAKE RONKONKOMA, LONG ISLAND
For terms address Mr. Hamann at Pratt Institute
G/>e HENRI SCHOOL 0/ ART
SUMMER CLASS at Chester, Nova Scotia
SEASON 1911—June 15 to Sept. 15
HOMER BOSS - Instructor
For catalog and all information address
THE HENRI SCHOOL OF ART, 1947 Broadway, N.Y.
ADELPHI COLLEGE
Lafayette Ave., Clifton and St. James Place, Brooklyn, N. Y.
ART DEPARTMENT
Antique, Still Life, Portrait and Figure Classes. Work
in all Mediums. Six of the Best-Equipped Class Rooms in
Greater New York.
Course of 20 weeks, commencing at any time, with indi-
vidual instruction. All day or half-day sessions.
Prof. J. B. WHITTAKER, Director
304-310 East 23d Street
NEW YORK
PHONE: 1147 GRAMERCY
^xiaisnc The Wolfer Press
Printing1
individually fo*
PAINTING CLASS
ATSTART bay
by a former professor of the Academic Delecluse, Paris.
Steamers stop at Plymouth, near Slapton. Mrs. Ertz
meets ladies. In August a holiday sketching part}’ will
be taken to a quaint fishing village in France. Address
Edward Ertz, F.N.B.A., Slapton, S. Devon, England.
V
OUGA CELEBRATED FINE ART STUDIES
Flower, Fruit, Figure, Landscape and Animal Studies
for copying in Oil or Water Colors.
Illustrated Catalogue, with discounts and premiums,
80 cents. Only one and two cent U. S. A. Stamps ac-
cepted. No foreign money or stamps.
Agent, M. G. PRICE, 359 West 118th St, New York
THE MISSES MASON
(Design
Water-Color Painting
Decoration of Porcelain
126 East 24th Street. New York
JOHN LANE COMPANY, 114 West 32d Street,
--NEW YORK
SERVICE AND SPORT IN THE SOUDAN
A Record of Administration in the Anglo-Egyptian Soudan,
with Some Intervals of Sport and Travel
By BIMBASHI D. COMYN 8vo. Profusely Illustrated. $4.00 net. Postage 20cents
JUNGLE BY-WAYS IN INDIA
Leaves from the Note-Book of a Sportsman and a Naturalist
By E. B. STEBBING 8vo. Profusely Illustrated.
$4.00 net. Postage 20 cents
ture is no longer content to serve architec-
ture or even to work side by side with it
toward the same end, but tends to take the
form of independent statuary. Reims
marks the point at which the disintegrating
forces of individual ideas became strong
enough to destroy all possibility of the un-
derstanding between builder and decorator
that made Chartres a triumph of unswerv-
ing purpose and deliberate sacrifice of ev-
erything foreign to the central conception.
Sixteenth-century reaction against the
joyful art of two centuries before doubtless
accounts for almost as many bare portals
as does the Revolution. The Huguenots
mutilated wherever they went, but Catho-
lics themselves were better disposed to rep-
resent the devil helping a man to carve a
female figure than to defend the sculpture
of a more tolerant age. Still, enough re-
mains to give a complete idea of its
character. To imagine that the study of
Roman models was the principal factor in
the formation of this school would be to
misunderstand it hopelessly. There were
a few sculptors who knew and loved the
Roman convention above all others, it is
true, but many more developed the style
they had inherited from the twelfth cen-
tury, modifying it continually by working
from life, which they observed with most
moving freshness and sincerity. Among
the blessed in the Doom in the west porch
of Bourges Cathedral a lovely naked girl
steps forward smiling, and near her are
many other superb nude figures. Reims
abounds in studies of every human type
sculptors of that day could have seen. Of
religious fervor I see very little, or, to be
be quite truthful, none at all, in the best
work. Love of life and gladness for the
beauty and wonder of this world filled the
hearts of these matchless stone cutters—
lathomi, as they called themselves—so full
that there was no room for the fear of hell.
The latter part of the fourteenth century
and the first half of the fifteenth were dis-
tressful times on the Domaine Royal. Bet-
ter work was done in the south, where,
after a long eclipse, sculpture again ap-
pears radiant in Bordeaux Cathedral, the
Chapelle de Rieux at Toulouse and at
Avignon. Burgundy, which in the thir-
teenth century had not fulfilled its promise
of the twelfth, produced a school as vigor-
ous and original as any the world has seen.
Philippe le Hardi (of Burgundy, 1404) and
his undaunted descendants gathered to-
gether the best sculptors they could find,
and gave them splendid opportunities for
work in the Chartreuse de Champmol at
Dijon. Fortunately we know the authors
of the groups of Philippe le Hardi and his
wife, Marguerite de Flandre; the mourners
round the ducal tombs and the prophets in
the Puits de Moise. Jean de Marville,
Claus Sluter, Claus de Werve and those
who followed them were very great artists
indeed, creators of a school that exercised a
profound influence on the revival of French
sculpture that gladdens the close of the fif-
teenth century. Many towns and regions
then become intensely active. Troyes owns
a particularly brilliant school, Toulouse and
Albi forget Simon de Montfort and the des-
olation be visited upon them, Touraine
and the Ile-de-France are distinguished
again by the purity of their art. Though
Jean Texier still worked for churches, the
time was near when greatest sculpture
should no more be associated with religious
architecture. Medieval art was at an end.