Studio: international art (34.1905)

Ruby Levick

till t^tl£r ^elu'-tiiii^rii lM" sLif m<

correct proportion the de-
sign. Sufficient evidence
of the movement contained
m the design and of its
originality remains, but
the best example of the
artist's coloured plaster
work is the panel with
flowers and child. This
panel had a particularly
refined quality of colour,
and in the treatment of
the flowers, in the. disposi-
tion of the child's hair, LilVti'Vl I tU" Lu"l :
and in the sensitive face,
there is presented the

essentials of Miss Levick's design for memorial tablet by ruby levick

art. The simplicity of the
modelling in the child's

dress gives a pleasant relief to the detailed flowers, flower in the tall hollyhock which the fairy kisses
though there are to be seen in the surface of this in the silver panel, and the dainty fancy here could,
dress some of the not quite completely felt lines it seems to us, have received more the polish of
that here and there mar slightly the full value extreme finish, as when one shuts a pretty fancy
of Miss Levick's modelling. She returns to a in a few lines of polished verse. Some of the

modelling, especially in the
lower part, is scarcely ex-
pressive, and this quality
of unfinish has not achieved
that emphasis which it is
the aim to gain when any
one part of a design is so
left. Returning to the heads
of children modelled by
Miss Levick in her studio,
her studies hint at what a
field for work in this di-
rection lies open for her,
because they are very few by
whom the delicate beauty
of children's faces can be
carried into a portrait bust,
though the beauty is so
apparent. Not until one
comes to think over it does
one realise how scarce it is
to find in women indiffer-
ence to this beauty, and yet
how scarce it is to see it
retained in their arts.

We give an illustration of
the chapel at Hunstanton
because, if any place was
the place for Miss Levick's

'spring"; coloured plaster relief by ruby levick sculpture, this is it. The

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