Studio: international art (32.1904)

Studio-Talk

even pressure not so much feeling can be produced STUDIO-TALK
as with the rubbing process—in fact, the rubbing (From our Own Correspondents)

is similar to the course pursued in proving an W ONDON.—The announcement that Pro-
engraving, and it resembles the overlaying process fessor von Herkomer has finally with-
in printing blocks where an even pressure is not drawn from all part in the direction of
required. Some parts being required heavier or ^ » the famous art-school at Bushey will be
blacker than others, unless extra pressure is put on received with universal regret. This school, which
those parts by overlaying the block comes out he organised and has controlled for twenty-one
nearly one flat tone. Rubbing is resorted to by years, has done admirable work, and has taken a
many distinguished monotypists, including one of place in the front rank of such institutions. Some
the cleverest Americans, Mr. Warren Eaton, of of the best known of our younger artists have been
New York, who has produced many gems. But educated there; and, altogether, it may fairly be
why should monotyping be considered a black- said that hardly any other teaching-place can show
and-white process only ? It has no more limita- such a record of things accomplished within a
tions than painting on canvas or paper, and schemes comparatively short term of years. The Professor's
are just as applicable in monotype as in any other withdrawal will, it has been decided, necessitate
way. One may, in fact, use a full palette just the closing of the school, as the institution could
the same as in painting on canvas from nature. not be continued on its original lines without his
The most difficult and interesting fact to be con- co-operation. His reasons for taking a step which
sidered in monotyping is that, although in oils, he has had under consideration for the last five
the shadows and heaviest parts have to be painted years are purely personal. He recognises that as
thickest, the white tile or silvered plate on which time goes on the need for some economising of his
the work is done standing for the lights, so that energies becomes more urgent, and that he can
the technique of painting in oil is reversed. only keep himself in a proper condition for doing
This is somewhat puzzling at first. However, his own work by diminishing his activity in other
after a little experience,
one soon becomes used to
this. Some artists find that
the second impression or
printing of the work is the
better. This means that too
much paint has been used
in the first instance, and it
has required one printing to
take off the superfluous
paint; but if the painting
is properly managed on the
tile (the original) very little
should be left after the
printing is done—and no
monotype should have the
effect of being squeezed.

There can be no doubt
that when monotyping is
better known the prints
should be just as valuable
as any other work of art,
for only good artists can
produce good art; and as
only one impression can
be properly taken of a
painting, that alone should
enhance its value. „a little vagabond" by franz hals

A.HENRY fullwood. (In possession of'James van Alen, Esq.)

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