Studio: international art — 21.1901

Page: 105
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1 cm
Old Steel Work

kinds lend themselves well to expression in flat
colour and in the sharp, supple outline from the
wood. Another field that may be suggested is
that of vivid impressionist portraiture—that rapid
summing-up of essentials which yields a perfect
characterisation without becoming a caricature.
We may recognise frankly the limitations of the
method—that it is ill-fitted to render subtleties,
intense or elaborate, and that it cannot at present
cope with prolific reproduction. But even these
limitations may serve to teach us a great deal by
the way : lessons, precious, indeed, if they bring
us back to that fine economy which we have lost
from all the arts—an economy which is not sparse-
ness, but the power to get the best results from
few and simple materials. It may seem a little
invidious to recommend anything as "good prac-
tice" apart from the fulfilment of its own artistic
purpose—reminding one of the pianoforte-teacher's
idea of the chief use of Bach, but the knowledge of
such a handicraft, and still more the practice of it,
can hardly fail to influence art generally in the
direction of breadth and simplicity of expression.
It must be remembered that colour-printing is not,

and can never be, a hobby to be taken up in one's
spare time. So arduous and exacting are its
methods that the most expert of the artists re-
ferred to declares himself completely exhausted
after printing some thirty impressions from a design.
So many sources of possible failure have to be
borne in mind, that the most alert and prompt
intelligence, over and above dexterity of fingers, is
needed to avoid mishap. These dangers, in the
eyes of the enthusiast, only increase the fascination
of his task ; but it is well to insist on them for the
discouragement of those who seek a handicraft
yielding more easily controllable results. To at-
tempt to popularise it in the direction of crudity, or
to put it for a moment into competition with other
reproductive processes, would be fatal to the con-
scientious personal workmanship which is essential
to its charm, and to the leisured patience it demands
for success. Esther Wood.


The collections brought
together in the small but
well - proportioned and
lighted gallery of the Bur-
lington Fine Arts Club in
Savile Row are always im-
portant, and should on no
account be missed by the
Art Student. Though
ostensibly open to mem-
bers and their friends only,
applications for cards of
admission are rarely refused
by the courteous secretary,
it being the desire of the
Club that not only amateurs,
but craftsmen, designers
and students should find
the gallery accessible. In
their exhibitions, whether
of enamel, bookbindings,
miniatures, Greek or
Persian art, nothing unless
excellent of its kind
passes the critical com-
mittee of selection, and it
is the fact that objects ad-
mitted acquire a sort of
hall-mark which must be

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