DOI issue:
Studio-Talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.43448#0072
Studio- Talk
the Austrian capital, and received commissions
from the Imperial house and members of the
aristocracy. About 1890 he commenced a series
of busts of the “Famous Musicians,” feeling the
scarcity of plastic representations of any of our
foremost musicians. He made the friendship of
Brahms, and carried out the best likenesses that
have been made of that composer. Mr. Hedley is
also a painter. Plaques in oxidised silver con-
stitute his latest achievement, and his portrait in
this style of Madame Clara Butt was acquired by
the late King Edward. A plaquette of Paderewski
was purchased by the Belgian Government.
Mr. Fred Stratton, whose oil painting Morning
we are reproducing, has already been introduced to
readers of The Studio. As an artist he appears
to descend from the Barbizon school. In com-
position, some of the charm of Corot seems to find
a successful reflection in his pictures, but in style
Mr. Stratton works upon a line of his own.
One of the last panels to be added to the
decorations in the Royal Exchange, is by Mr. J. H.
Amschewitz. Our illustration gives an adequate
representation of his style, and it will be seen that
every regard has been paid to decorative massing.
The emphasis to colour which the method gives is
easily imagined. The successful precedent of the
late Mr. E. A. Abbey’s work was the foundation of
this theory of mural effect.
Art, in the sense of presenting things effectively
and beautifully to the eye, seems to have invaded
every province of modern life except the theatre
—at least in this country, where in matters per-
taining to the stage tradition maintains a firm
grip and anything in the shape of an innovation
has little chance of acceptance. Mr. Gordon
Craig, who has been living and working on the
Continent for a long time past, has lately returned
to England, and the Leicester Gallery has wisely
taken advantage of his arrival to exhibit some
of his designs and models for “ Macbeth ” and
other plays. The drawings and models for
‘‘ Macbeth ” were made on request of a London
management, but were never used. To the actor-
manager there would seem to be only one art of
the theatre—his own acting ; and only one use
for lime-lights—to illuminate himself. Mr. Craig
has, however, as is well known, conceived the idea
that by means of an imaginative instead of a
“ MORNING”
58
( The property oj G. Gribble, Esq.)
BV FRED STRATTON
the Austrian capital, and received commissions
from the Imperial house and members of the
aristocracy. About 1890 he commenced a series
of busts of the “Famous Musicians,” feeling the
scarcity of plastic representations of any of our
foremost musicians. He made the friendship of
Brahms, and carried out the best likenesses that
have been made of that composer. Mr. Hedley is
also a painter. Plaques in oxidised silver con-
stitute his latest achievement, and his portrait in
this style of Madame Clara Butt was acquired by
the late King Edward. A plaquette of Paderewski
was purchased by the Belgian Government.
Mr. Fred Stratton, whose oil painting Morning
we are reproducing, has already been introduced to
readers of The Studio. As an artist he appears
to descend from the Barbizon school. In com-
position, some of the charm of Corot seems to find
a successful reflection in his pictures, but in style
Mr. Stratton works upon a line of his own.
One of the last panels to be added to the
decorations in the Royal Exchange, is by Mr. J. H.
Amschewitz. Our illustration gives an adequate
representation of his style, and it will be seen that
every regard has been paid to decorative massing.
The emphasis to colour which the method gives is
easily imagined. The successful precedent of the
late Mr. E. A. Abbey’s work was the foundation of
this theory of mural effect.
Art, in the sense of presenting things effectively
and beautifully to the eye, seems to have invaded
every province of modern life except the theatre
—at least in this country, where in matters per-
taining to the stage tradition maintains a firm
grip and anything in the shape of an innovation
has little chance of acceptance. Mr. Gordon
Craig, who has been living and working on the
Continent for a long time past, has lately returned
to England, and the Leicester Gallery has wisely
taken advantage of his arrival to exhibit some
of his designs and models for “ Macbeth ” and
other plays. The drawings and models for
‘‘ Macbeth ” were made on request of a London
management, but were never used. To the actor-
manager there would seem to be only one art of
the theatre—his own acting ; and only one use
for lime-lights—to illuminate himself. Mr. Craig
has, however, as is well known, conceived the idea
that by means of an imaginative instead of a
“ MORNING”
58
( The property oj G. Gribble, Esq.)
BV FRED STRATTON