Studio: international art — 5.1895

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necessary size, are introduced by a friendly mouse pleasantly and instructively, not only about the

to Mouseland, where they see many remarkable Pre-Raphaelites, about Rossetti, Burne-Jones, Ford

sights. The character of the illustrations may be Madox Brown, Millais, Holman Hunt, Arthur

judged from the one we are here permitted to repro- Hughes, and of William Morris and Walter Crane,

duce. They are excellent examples of decoration, but he also writes of the Birmingham School, and

well drawn and full of " colour." The book is one of Ricketts and Charles Shannon, Anning Bell, and


that should certainly be acquired by those who are
interested in that particular phase of Black and
White art which we, in England, associate, more
especially, with the works of Walter Crane and of
the Birmingham School. It is to be hoped that
an English edition of the work may be published.

Passe le Detroit. Par Gabriel Mourey. (Paris :
Paul Ollendorff. Price 3 francs 50c).—English
men and women are always curious and interested
to see what impression they create upon the
foreigner, while they do not take the unfavourable
criticism they often hear very much to heart. In
the work now before us we find that a most appre-
ciative critic has been among us from across the
Channel. Frenchmen are not, as a rule, supposed
to know much about English Art, and in the quite
modern phase of it they are believed to be lament-
ably ignorant.

But Mr. Mourey proves this to be not the case.
In the book just written by him he discourses

Aubrey Beardsley, and of other book illustrators
and decorators. Mr. Mourey is a graceful writer
with a keen appreciation of Art and broad ideas
thereon. His book is pleasantly written, and we
can cordially recommend it to our readers. The
cover is designed by R. Anning Bell.

Pen-Drawing. By Eric Meade. (London:
L. Upcott Gill. 2s. 6d.)—To find, on the chance
opening of this book, "pen-drawers" used as a
definition for draughtsmen who work with a pen,
is a warning that style is not to be expected herein.
But although you limit your expectations to dis-
covering facts clearly set forth, yet you are doomed
to be disappointed. Example No. 9, for instance
a half-tone block, with the high lights cut away, is
vaguely described as "awash drawingand com-
pared with another half-tone to show that " the
blending of the black and white is more brilliant"
in the first instance, without (so far as you can
discover), a single explanation of the half-tone
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