Studio: international art (40.1907)

Reviews and Notices

it, she involuntarily attempts to veil what mortal
eye is not to behold.

The Diana, never before exhibited, was one of
the principal features distinguishing the opening of
Mr. Ernst Arnold’s new galleries. These new
galleries, containing five top-lighted saloons and
four side-lighted ones, may well be ranked along
with the most important private exhibition galleries
in Europe. The staircase, hall, and two exhibition
rooms for drawings and etchings were designed by
H. Vandevelde; one of the sculpture galleries by the
Dresden architect, W. Ivreis; another, by M. H.
Kuhne. At the moment of writing there are three
excellent one-man shows on view there, embracing
the work of O. Zwintscher, of Dresden; L, von
Hofmann, of Weimar, and William Strang, of Lon-
don, who has sent half-a-dozen canvases, a number
of oil-studies, a set of marvellous and variegated
drawings, and about a hundred of his most impor-
tant etchings, including a proof set of his illustra-
tions to “Ye Ancient Mariner.” H. W. S.

LEIPZIG.—In the Gutenberg Hall of the
Buchgewerbemuseum, the Graphic Ex-
hibition of the “ Kiinstlerbund ” was
opened in February and will last till
April 21. The exhibition has the great advantage of
being small, limited to two rooms only. The princi-
pal characteristic element appears to be the strong
tendency towards simplicity in regard to broad effects
in wood engraving and printing. Coloured litho-
graphic prints are numerous, and there are also
some excellent examples of coloured and toned
wood engravings, but the predominant feature
here is black and white. In the wood-engraving
section I may point to the names of Emil Rudolf
Weiss (Friedenau), Weidemeyer (Worpswede)}
Daniel Staschus (Miinchen), Emil Orlik (Berlin),
Margarete Havemann (Grabow), and C. Schmoll
von Eisenwerth (Miinchen). Emil Nolde (Soest)
contributes some strong black and white work. In
coloured etching Olaf Lange (Dachau) and Edvard
Munch (Kosen) are conspicuous, while in work with
the needle and burin only Prof, von Stuck has
(besides some fine drawings of male nudes) a plate
called Sin and Sensuality, showing a snake encircling
a woman’s body. Graf Kalckreuth, Louis Corinth,
Carlos Grethe, Otto Friedrich (Wien), Alexander
Eckener (Stuttgart), Hermann Daur (Otlingen),
Hans am Ende (Worpswede), Arthur lilies (Mel-
lingstedt), Georg Jahn (Dresden), and R. Jettmar
(Wien) are characteristically represented in litho-
graphy as well as in etching. W. S.

REVIEWS AND NOTICES

The Essentials of aEsthetics. By George Lan-
sing Raymond, Litt.D. (London : John Murray.)
i os. 6d. net.—To treat within the limits of a single
volume the essential qualities of all the arts would
appear to be an almost superhuman task, yet the
author of this new work on aesthetics evidently
embarked on his enterprise with a light heart and
no doubt as to his complete success. “ The pheno-
mena of the arts of the highest class,” he says,

“ have been traced to their sources in material
nature and in the human mind ; the different arts
have been shown to be developed by exactly similar
methods ■ and these methods have been shown to
characterise the entire work of artistic imagination,
from the formulation of psychical concepts to that
of their most physical expressions in rhythm, propor-
tion, and harmony.” Conjointly with these subjects
he adds, “the effects of all the arts together upon
everything that makes for culture and for humanity
have been considered in themselves as well as in
their relations to religion and science, to both of
which art is somewhat allied.” How far this most
ambitious programme has been carried out it must
be for those who use the book to determine, but
the probability is that the proficients in the arts
considered — Music, Poetry, Painting, Sculpture,
and Architecture—will feel a certain sense of in-
adequacy, for no outsider can ever hope to go to
the very root of the matter. On the other hand,
Dr. Raymond has collected a vast amount of
information and many very suitable illustrations
that will be of no little value to the teacher and
student of art. Some of his essays, notably that
on Rhythm, are full of interesting suggestion, and
prove that their author, whatever else he may lack,
is a master of literary style.

Fernand Khnopff. Par L. Dumont-Wilden
(Brussels: G. Van Oest & Cie.) io frs.-—Readers
of “The Studio” are familiar with the work of the
famous Belgian painter, whose rare personality is por-
trayed in the pages of this monograph. M. Dumont-
Wilden, in his most interesting study, has sought the
lines along which the artist’s sensitive and dreamy
temperament has evolved until at this moment his
art stands a symbol of the philosophic attitude of
his day towards material beauty in relationship to
the unknowable that surrounds us. The book,
which is in French, is an exceptionally thoughtful
example of a kind of monograph to which in the
present times we are accustomed. It is admirably
illustrated from the painter’s works. The illustra-
tions include the Study for Isolde here reproduced.

Glass. By Edward Dillon, M.A. (London :

249