Studio: international art (37.1906)

The International Society's Exhibition. First Notice

pieces of work respectively by M. Rodin, M.
Bartholome and the late Constantin Meunier col-
lected together, implies that all that is strongest
and most vital in modern sculpture was represented:
all that is most certain of commemorating in future
years the heights which the art of sculpture touched
at the commencement of this century. That to-day's
sculpture will not be remembered only by foreign
work is proved by the work of such sculptors as
John Tweed, Havard Thomas, J. H. M. Furse and
others.

In dividing their exhibition this year into two
sections the International Society have, we think,
acted very wisely. It is true that one misses the
variety of passing from oil to water-colour, from
painting to black and white, but, on the other hand,
one approaches the latter arts in a mood receptive
of their slighter appeal when one has not previously
tramped a gallery of oil paintings, especially such a

gallery as the " International," where in every other
pict ure is apparent the struggle for a tour de force—
a noble struggle which gives its peculiar character to
the International Society's exhibitions. The Inter-
national Society has always been the champion of
the claims of black-and-white art; it has never
admitted it to be a meaner affair than painting.
Recent elections to the Royal Academy prove that
such a protest has not been made in vain, and in
giving to black-and-white art this year especial
representation, the Society is true to its own best
traditions. It may seem curious to speak of tra-
dition in connection with a society only now
holding its sixth exhibition. But from the first the
International made it clear that it had come to stay ;
after its first exhibition it did not establish itself at
once, but its want was felt. It fills just as distinc-
tive a place in the parliament of art as an opposition
does in the politics of the House of Commons ; the