Studio: international art (25.1902)

Gilbert Bayes

"sea-horses" by gilbert bayes

of independent genius, like Segantini, broke away it is not one that has a strong bent towards monu-
from the Old Masters, and gave themselves up mental and architectural sculpture; its real forte
gladly to the art tendencies of their own time, is a fanciful distinction that is most attractive in
One may say, then, of Mr. Gilbert Bayes, that he sculpture of a small size; in household sculpture,
showed wisdom in the manner in which he spent more effective in homes than in public galleries,
his time as a travelling student of the Royal This is why Mr. Gilbert Bayes wins so much
Academy. His quick run through Italy was a sympathy by his admirable statuettes and by such
delightful holiday after much hard work; while the decorative panels as A Derelict and Jason plough-
nine months of study in Paris kept him abreast itig the Acre of Mars. In the Jason—an admirable
of the most potent influences of present-day piece of work—may be seen one of the sculptor's
sculpture. strongest points—namely, his love of animals and

The work illustrated in this paper is all of recent his knowledge of their natures,
date, and anyone who studies it will detect its In his horses Mr. Bayes takes us far away from
graces and its limitations. The talent that produced the clap-trap of Landseer, who prepared most of his

animals for the picture-
market by making them
pretty with an expression
of girlish intelligence. He
humanized most of his
horses, whereas Mr. Gilbert
Bayes likes a horse for
its own sake, and keeps
all the humanity for the
rider. How characteristic
is that little group of
mounted knights in the
act of charging! They
have reached the crest of
the hill, and you may see
in the heavy movement
of the powerful horses
that the weight of an
armoured knight tells on a
rising ground. Touches like
this one speak of close ob-
servation ; but, on the other
'at the crest of the hill" by gilbert KAYEs hand, are the knights quite

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