Studio: international art (26.1902)

Studio- Talk

CORK.—In the modern reaction in
favour of decorative art, the position of
women is strongly defined. Although
beautiful tapestries and laces were
given us by women of the past, their work was
rigidly restricted to the needle and shuttle. It is
only to-day that women are in the position which
enables them to hold representative exhibitions in
which almost every form of decorative art can be
shown. That these examples are not in every
case of the very highest, is due to facts which have
freely been discussed in reference to every study
wherein women compete with men; namely, that
women have not been given opportunities in the
past for the development of their capacities.

Judging from the collections of women's work
which have of recent years been seen, it may be
asserted that in all branches of handicraft women
are able to show talent and skill which warrant
their entering and holding a position of their own

in this field of artistic labour. The spirit of
modernity is no slower in its operation on the
mind of woman than of man, and in the best
craft-work of the women of to-day we can feel the
tide of the new renaissance flowing fresh and
strong.

In the exhibition now being held at Cork, there
is a section devoted to women's work as decorative
artists. The collection of exhibits here, although
interesting us chiefly from its comprehensive stand-
point, still contains a number of artistic objects
significant of the tendency of modern design
towards the simplicity of what has long since
passed away.

For mere originality of idea, some of the
enamels done by many lady enamellers are notice-
able, but where original beauty is striven for, the
strife becomes more evident than the beauty. In
the jewel work of Mrs. Gaskin, rightly well known,

ROOM DESIGNED BY A. MORROW

EXECUTED BY MESSRS. G. MORROW AND SONS

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