Studio: international art — 2.1894

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An American Critic on English Art

as Mr. Golding, and a hundred proofs shall to the World's Fair at Chicago has probably kept
puzzle your choice of the best ; for now that most of it from reaching these shores. Certain it
steel plating is general, once the plate has gained is that one signed article on English painters by a
its sterner face, the petty distinctions of the prominent American critic, would have received
various stages of proofs are mere devices of the more attention at other times than the miles of
market, and do not concern the artist a whit. Since columns devoted to the subject have attracted this
we are permitted to reproduce a liberal selection year.

from the group exhibited, it is needless to go A series of papers upon " Art and Architecture
through the Gallery with com-
ments upon each.

Among Mr. Watson's best,
are Cheyne Walk, Bayeux, Dor-
drecht, Storm and Flood, The
Mansion House (dry point), and
Garlick Hill. Of Colonel
Goff s Enkhausen (a very bold
treatment), the small plates of
A Backwater, Clewer, Hazy
Day, Brighton, and The Ferry,
Dordrecht are noticeably good.

No one seriously interested
in the Art of etching should
miss the opportunity of seeing
the work of these two notable
champions of the younger Eng-
lish school, who may be safely
trusted to carry on the best
traditions of the Art.




at the World's Fair," contributed to the New York

AN AM ERIC AN CR^ T ^ Tribune (as the initials prove) by Mr. Royal Cor-
ENGLISH ART ^ tissoz, a young, sympathetic, and well-informed
CHICAGO WORLD'S FAIR. an haye been reprinted in pamphiet
Very few people in their heart of form, and such passages as bear more distinctly
hearts echo the oft-quoted wish to see ourselves as upon the work of English painters may be worth
others see us. Criticism of our published efforts bringing before our readers, who might otherwise
in art or literature supplied in the daily press miss reading them. In these we have the ex-
awakens sufficiently unpleasant moments, and if pression of a well-intentioned, capable writer, who
by chance it is a foreign critic who publishes his is sympathetic, especially to the later movements
unreserved opinion, we can hardly restore our in English art, yet quite unfamiliar with the men
eace of mind by attributing the absence of who direct them. One who has a fair knowledge
laudatory appreciation to a public expression of a of European Galleries, and a wide circle of friends
private orudge Vt the same time it must be among Continental and American painters, and at
owned that a candid enemy's praise, however the same time little, if any, national jealousy or
stinted it may be, is worth more than the tribute prejudice against our own country or its artists,
of forced admiration from a friend who, being may at least be deemed as impartial in his
delicately situated, in sheer despair rushes to the utterance as any devotee of art can be ; for
opposite extreme from log-rolling—and is apt to catholicity and cosmopolitan sympathy are not so
roll our log heavily over ourselves as outward often the results of sympathetic appreciation of
expression of his incorruptible honesty, in place of the good in all the conflicting Schools, as admira-
rolling it gracefully and easily to our honour and tion of a very few, with contempt and indifference
profit t0 reSt' Doc,:or Johnson felt much such sym-
The very mass of newspaper criticism devoted pathy with the second-rate when he said there was

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