DOI issue:
No. 65 (August, 1898)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21969#0230
Studio-Talk
“ VENUS ” MIRROR BY A. FISHER
gratified, if insular, pride that one returns to his
work after a visit to the Paris Salons. For, with-
out prejudice or bias, one may claim in him an
artist of remarkable power, one that any country
may deem itself fortunate to number among its
sons.
The Royal Academy is to be commended for
its discretion in having chosen Mr. E. A. Abbey
to fill the vacancy left by the death of Mr. Calde-
ron. Not only does this election add to the roll
of the Academicians an artist of very remarkable
capacity, but it has also a certain significance as
an acknowledgment of the claims of decorative art
and black-and-white drawing. Mr. Abbey is an
admirable representative of the varied practice
which distinguishes many of the modern men. He
is a painter of great inventiveness and of rare
popularity, a designer of wonderful resource, and
without a rival as an illustrative draughtsman.
The evidences that he has given of his power in
199
hausted and will continue to exhaust his best
supply. A visit to Mr. Fisher’s studio makes one
feel that the old days of great craftsmen are come
again. Nowhere is there evidence of idea tram-
melled by inadequate technique to express j nor, on
the other hand, do we find mere virtuosity lack-
ing idea. Between both dangers he steers so
naturally that it is difficult to realise the perils by
the way. Rarely indeed can one find a chance to
be adversely critical, and by that means to accen-
tuate the triumph.
In the frame to the enamel portrait, however,
the “ C ’’-like line seems a little below Mr.
Fisher’s standard of design. For this debatable
detail we are inclined to thank Mr. Fisher, who
may not realise the dilemma of a commentator
upon his work who cannot be captious, because
“ there is nothing whatever to grumble at.” But,
dropping the mood of banter, it is with most
“VENUS” MIRROR BY A. FISHER
“ VENUS ” MIRROR BY A. FISHER
gratified, if insular, pride that one returns to his
work after a visit to the Paris Salons. For, with-
out prejudice or bias, one may claim in him an
artist of remarkable power, one that any country
may deem itself fortunate to number among its
sons.
The Royal Academy is to be commended for
its discretion in having chosen Mr. E. A. Abbey
to fill the vacancy left by the death of Mr. Calde-
ron. Not only does this election add to the roll
of the Academicians an artist of very remarkable
capacity, but it has also a certain significance as
an acknowledgment of the claims of decorative art
and black-and-white drawing. Mr. Abbey is an
admirable representative of the varied practice
which distinguishes many of the modern men. He
is a painter of great inventiveness and of rare
popularity, a designer of wonderful resource, and
without a rival as an illustrative draughtsman.
The evidences that he has given of his power in
199
hausted and will continue to exhaust his best
supply. A visit to Mr. Fisher’s studio makes one
feel that the old days of great craftsmen are come
again. Nowhere is there evidence of idea tram-
melled by inadequate technique to express j nor, on
the other hand, do we find mere virtuosity lack-
ing idea. Between both dangers he steers so
naturally that it is difficult to realise the perils by
the way. Rarely indeed can one find a chance to
be adversely critical, and by that means to accen-
tuate the triumph.
In the frame to the enamel portrait, however,
the “ C ’’-like line seems a little below Mr.
Fisher’s standard of design. For this debatable
detail we are inclined to thank Mr. Fisher, who
may not realise the dilemma of a commentator
upon his work who cannot be captious, because
“ there is nothing whatever to grumble at.” But,
dropping the mood of banter, it is with most
“VENUS” MIRROR BY A. FISHER