Studio: international art (24.1902)

Studio-Talk

generative movement in art to
this hybridizing of their birth-
right traditions. They admit
that interesting fashions may
spring from it, but they believe
that the styles produced by
such fashions are altogether at
variance with the conservatism
of the East and of the West,
and are sure to revert to their
original stock, becoming
wholly European or wholly
Japanese. If so, then they
cannot be expected to fare

' sx. george : " coloured relief by james r. cooper better than that passion for

Chinese art which Sir Wil-
liam Chambers introduced

the traditions of style which he acquired in his into England, about 1760, and which faded out of
native country and brought with him to England, being after a life as short as it was active, without
The result of this union between two entirely
different forms of art is worth close attention. A
pleasing " cross " in asstheticism, a hybrid in artistic
practice, it bears a very remarkable and near
resemblance to the sketches done by Vallaton,
and by other Europeans who have been emulative
students of Japanese methods and styles. Thus,
whether a European goes to Japan for his aesthetic
inspiration, or a Japanese comes to Europe for his,
the result, considered from a point of view of art,
is approximately the same.

Attention has been drawn to this more than
once, and there are many who contend that
neither Europe nor Japan will ever owe a new and

"cyril bruce-joy " by a. bruce-joy

leaving the least permanent trace of its influence
on the English household arts.

But, however this may be, a critic cannot fail
to take interest in the results produced by
" crossing" art traditions. An early chair by
Chippendale, designed in what he described as
"the Chinese manner," is as attractive historically
as a later chair in his own style; and it is possible
that the work of Vallaton and Yoshio Markino
may have some day a similar historic interest to
students of the past.

-reen ry guy halliday

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