DOI issue:
Nr. 144 (March 1905)
DOI article:Wood, T. Martin: A decorative sculptor: Miss Ruby Levick (Mrs. Gervase Bailey)
DOI Page / Citation link: https://doi.org/10.11588/diglit.20711#0119
Ruby Levick
, jj.ii.ii >.M;.j, ■ contribution towards the science
* which broadens every century
pSjt A , • ; the fields of artistic expression,
we have raised work contributing
thus to an exalted position ; but
is it not certain that scientific
„ (; contribution, thoughtful invention,
VlBfe?<'.- j-^ in short, all the many ideas that
have contributed to the twistable
'Mj: >^^iL.,- Jp^gM logic of painting and sculpture.
II -HI have not come in any one case from
j , m a woman, and so are not likely to
'*^hHK 1 ' come from her? And this leaves
• it*1^ us, in looking at woman's work,
Ijr / 1 ' mb at the mercy, if not of emotion,
■L*»~ / i if 1 1teu| at least °f ;l possible revelation
i iWm in it of the finer instincts that
are hers.
ffl Very naturally, Miss Levick has
drifted into the portraiture of child-
'1 ren; it is this which gives her
her chief pleasure, when such
opportunity comes to her amongst
other commissions. These other
commissions have included many
ME-. ji jjjfl things. She is now engaged in
'l^LL__^^^*^*'3r. . making a decoration for a shop-
V,,. front in Sloane Street; it is the
ambition of the proprietor of that
^S^Bfcws*^^^"' shop to make it outwardly the most
beautiful in that accidentally beauti-
qm_ „<xtT.T „ „ „ ful street. In connection with her
side panel, "our lady side panel, " st. edmund .
in the chapel at hunstanton in st. edmund and our lady decorations in the little chapel at
by ruby levick in the chapel at hunstanton
by ruby levick
of course, includes anything in art that has
passed out of the regions of theory, out of the
realm of learnable facts into that realm where
all interesting art commences—namely, where
it expresses not a view of art, but a view of
life ; where it expresses the artist's feelings
towards life in the same way that an instru-
ment expresses a musician's. Just to remember
that his material takes the place in the artist's
hand that an instrument takes in a musician's
gives us the secret of where art ceases to be
imitative and becomes creative; and that is
where it ceases to strive for form so much as
for expression through form—the one having,
where mastery is attained, if only to a degree,
become, in extent according to that degree,
synonymous with the other. For the sake of
extraordinary invention, for the sake of any coloured plaster panel by rubylevi
, jj.ii.ii >.M;.j, ■ contribution towards the science
* which broadens every century
pSjt A , • ; the fields of artistic expression,
we have raised work contributing
thus to an exalted position ; but
is it not certain that scientific
„ (; contribution, thoughtful invention,
VlBfe?<'.- j-^ in short, all the many ideas that
have contributed to the twistable
'Mj: >^^iL.,- Jp^gM logic of painting and sculpture.
II -HI have not come in any one case from
j , m a woman, and so are not likely to
'*^hHK 1 ' come from her? And this leaves
• it*1^ us, in looking at woman's work,
Ijr / 1 ' mb at the mercy, if not of emotion,
■L*»~ / i if 1 1teu| at least °f ;l possible revelation
i iWm in it of the finer instincts that
are hers.
ffl Very naturally, Miss Levick has
drifted into the portraiture of child-
'1 ren; it is this which gives her
her chief pleasure, when such
opportunity comes to her amongst
other commissions. These other
commissions have included many
ME-. ji jjjfl things. She is now engaged in
'l^LL__^^^*^*'3r. . making a decoration for a shop-
V,,. front in Sloane Street; it is the
ambition of the proprietor of that
^S^Bfcws*^^^"' shop to make it outwardly the most
beautiful in that accidentally beauti-
qm_ „<xtT.T „ „ „ ful street. In connection with her
side panel, "our lady side panel, " st. edmund .
in the chapel at hunstanton in st. edmund and our lady decorations in the little chapel at
by ruby levick in the chapel at hunstanton
by ruby levick
of course, includes anything in art that has
passed out of the regions of theory, out of the
realm of learnable facts into that realm where
all interesting art commences—namely, where
it expresses not a view of art, but a view of
life ; where it expresses the artist's feelings
towards life in the same way that an instru-
ment expresses a musician's. Just to remember
that his material takes the place in the artist's
hand that an instrument takes in a musician's
gives us the secret of where art ceases to be
imitative and becomes creative; and that is
where it ceases to strive for form so much as
for expression through form—the one having,
where mastery is attained, if only to a degree,
become, in extent according to that degree,
synonymous with the other. For the sake of
extraordinary invention, for the sake of any coloured plaster panel by rubylevi