Studio: international art (24.1902)

Studio-Talk

lated in a strange manner with great skill;
and the soft green overglaze, with its
splashes of blue and purple, is a poem of
sweet harmonious colour. The richness of
the overglaze is rendered still more effec-
tive by contrast with the dull earth and the
partial underglaze. The very roughness of
the pot thus contributes to its value. No
machine-like perfection of form, no hard-
ness and rigidity of outline, no floral nor
other painted subjects are to be found in
or upon it.

But it is, nevertheless, a witness 01 art
applied to the potter's craft, for the coun-
terpart of which we may seek in vain
among the works of many of the great
potters of modern Europe.

Charles Holme.
(To be continued.)

L

STUDIO-TALK.

ONDON.—Mr. Yoshio Markino,
whose entertaining character-

'a life class" by yoshio markino | sketches of London outdoor life

are reproduced this month, is
produced in the manner known as Oribe, from the a young Japanese artist, and his work shows
name of the artist who originated the style. It is clearly the influence of European methods on
adapted only for the display

lacquer. It is fashioned by ;: \' '

hand with the help of a ; i ,

wooden spatula, and with- V I

out recourse to the wheel. I ' (

The marks made by the
fingers and the spatula are
retained, but^ not obtru- | 1 ^ Jf'^

of certain processes of *£' * f Ju

manufacture of which the ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

partly covered is manipu-

morning and evening : coloured relief by james r. cooper

57