Studio: international art (1.1893)

The Sketch-Book in the Street

that though knowledge comes through the micro-
scope, it comes also through the telescope. It A | A HE SKETCH-BOOK IN THE
would be sad to grow purblind to the talents of | STREET

others from looking at the textures and brushmarks I 0l, all the most frujtfu] places for

on one's own canvas. Norman Garstin. study to an artist with any eye for

Novel and masterly, with execution that is a tour character or natural grace in men and women,

de force of technique inspired by imagination of what can surpass the freest of all resorts, the public

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:

FROM SKETCHES BY MICHAEL DIGNAM

a high order, the lithographs by a young Dutch
artist, M. Bauer, are not merely among the most
interesting black and white that has been produced
for a long time, but in their way the most strikingly
individual production 1893 has given to Art.
Twelve illustrations to Flaubert's St. Julitn and
twelve to an old Dutch legend Card t/nde Elcgast
comprise all that may be seen in England. Mr.
Wisselingh, of 14 Brook Street, Hanover Square,
has portfolios of these on view, beside some ninety
etchings from the same hand, chiefly of scenes and
studies in Constantinople.

thoroughfare? The park and the pavement, the
restaurant, the police-court, and the halls, yield
types of startling diversity and endless human in-
terest. It is when persons are unconscious
subjects that characteristic expressions may be
seen; and though this may seem the stalest of
platitudes, it is only by experience that the greater
vitality possible in study from an unknowing sitter
may be realised. So much so, that one can easily
conceive the mental condition in which sittings
from the model might become intolerable.

The country is ransacked for subject, This

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