Studio: international art (10.1897)

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French Illustrated Programmes

trated programme, suggested
in my opening remarks.
Maybe this has no very im-
portant bearing on the future
of French art—I should hesi-
tate to assert that it had; but
at the same time one likes to
see an artist, worthy of the
name, devote himself steadily
and conscientiously to his
work, however insignificant it
be, with a definite object in
view, and a due regard for the
means by which that object
may be attained. That is to
say, he should, in the case in
point, consider strictly what is
required in an illustrated pro-
gramme, instead of contenting
himself with providing a draw-
ing which might just as well
be utilised elsewhere for some
altogether different purpose.

The illustration or ornamen-
tation of a programme is not
like that of a book, any more
than of a poster. The ideal,
of course, would be that it
should contain, in a form both
clear and complete, as much
as is possible in the smallest
possible compass. It is the
eternal question of getting the
utmost effect by the simplest
means.

For this a few lines, with a
dash or two of colour, suffice,
p-5$&Ss£v&.! no doubt, but they must also
correspond sufficiently with
programme cover by t. toorop the inner meaning of the play

design for programme cover
242

by louis moru