International studio (45.1912)

Studio- Talk




EXECUTED

photography is

upon, say, the art of etching. That is putting the
point a little boldly, but the necessary thing is
that just at this moment when
realising its possibilities it
should be put. In regard to
composition alone, there are
within the range of photography
many aspects and points of
view which are practically im¬
possible to any other art, and
we were glad to see many artists
in this exhibition taking ad¬
vantage of this fact, and creating
for us a conception of com-
position as individual and
characteristic of the medium
employed as the Impressionists
of France created for their style
of painting. Among the most
interesting prints in the exhi¬
bition were the following : The
Terrace Garden, by A. H. Blake;
Winter Landscape, Finse,
Norway, by Will. A. Cadby;
The Muerte, Notre Dame de
Paris, and The Rhinoceros, by
P. Dubreuil; Repairing Win¬
chester Cathedral, and Amboise,
by C. David Kay; Evening in
the Harbour, by E. T. Holding;
The Dyke Bridge, by H. F.
Franzmann; Tea in the Open

“ SERAPIS ” FAIENCE VASE. DESIGNED BY KARL KLAUSS, EXECUTED BY
ERNST WAHLISS

“SERAPIS” FAIENCE VASE. DESIGNED BY KARL KLAUS,
BY ERNST WAHLISS

Edinburgh.—About a
couple of years ago Mr. T.
Duncan Rhind exhibited a
pen-and-ink drawing of
Melrose Abbey at an exhibition in
the club-house of work by members
of the Scottish Arts Club. The
drawing elicited warm commendation
from some members of the Royal Scottish Academy,
who advised Mr. Rhind to turn his attention to
etching. An architect by profession and a very

.
V

Air, by C. H. Hewitt; Looe Harbour,
by C. H. L. Emanuel ; Bahnliof in
Winter, by H. Oesterreich; Reverie
dune Jeune Fille, by Thomas Petty;
The Sun Maiden, by W. Harold
House; Refreshing Moments, by J.
B. B. Wellington ; Study of Trees, by
Mrs. Minna Keene; Baby Study, by
Marcus Adams; Saltburn Sands, by
J. C. Warburg; A Day in June,
by F. J. Mortimer; and Chartres
Cathedral (A Bay of the North
Porch), by Frederick H. Evans.

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