Studio: international art (41.1907)

Reviews and Notices

Naegele's Hercelia. Among excellent marine the nature of the motives which alone are re-
pieces Marcius Simons' Silver Hour was especially sponsible for artistic success.

noteworthy. Mention of many other meritorious The Colour of London : Historical, Personal, and

works must necessarily be omitted because of lack Local. By W. J. Loftie, F.S.A. Illustrated by

of space, there being over one hundred artists the Japanese artist, Yoshio Markino. With an

represented in the collection. S. Armstrong. Introduction by M. H. Spielmann, F.S.A., and

an Essay by the Artist. (London : Chatto &

_„_tt„tt7_ . ,t_ ■nt^t-t/^t-o Windus), 2qs. net.—London has been a fruitful

REVIEWS AND NOTICES. v - , ,

source of inspiration to so many writers, that one

On Art and Artists. By Max Nordau. would have thought it impossible to treat the
(London : T. Fisher Unwin). 7s. 6d. net.—As subject from a fresh standpoint. Mr. Loftie, how-
a contribution to the literature of aesthetics this ever, has succeeded in producing a book on London
book is a disappointment coming from so clear treated in an original and interesting manner, and
a thinker, but a scientist gifted with artistic sym- is to be congratulated accordingly. He has inter-
pathy and with. an unusual amount of courage, preted the term " colour " in its broadest sense and
Dr. Nordau writes interestingly; he is not at has drawn extensively upon the wonderful tradi-
pains to square his opinions with accepted ones tions of the great metropolis; indeed, the most
of the day, and his contempt for insincere and interesting chapter in the volume is devoted to the
evasive criticism is admirable. In our opinion history and description of the Tower. To many,
one of the most illuminating chapters in the however, the most attractive feature of the book will
book is that on "Whistler's Pyschology," which be the series of delightful illustrations by Mr. Yoshio
attempts a scientific explanation of the unprece- Markino, reproduced in colour and monotone, the
dented nature of Whistler's visual gifts. In the originals of which were recently exhibited at the
first pages of this criticism the scientific method Clifford Gallery in the Haymarket. Possessing a
is used at its best; further on, it loses in authori- delicate sense of colour and tone harmony, the
tativeness from a less scrupulous use of scientific artist has been inspired by some typical scenes
terms; and the last two pages may we think be dis- of London street life to produce a number of
missed as showing us nothing but the propensity of a drawings which are extremely fascinating, and bear
specialist for inventing the presence of a favourite the stamp of exceptional ability. Mr. Spielmann,
disease. In his effort to prescribe the boundary in his introduction to the volume, says " it is the
within which the art of sculpture should find its mean- night scenes that arouse Mr. Markino's greatest
ing, a too logical method of thought has, we think, enthusiasm, and many of the studies made when
betrayed the writer; for, after all, it is outside the the streets are ablaze with artificial light are preg-
strictly logical that art enters upon the field of its nant with subtle beauty." The best of these evening
happiest expression. With Rodin, sculpture does subjects, Lights in Piccadilly Circus, forms the
but follow the other arts, as in turn they have frontispiece to the book, while another, The
signified their recognition that with man as the Alhambra, Leicester Square, though not so rich in
subject for representation some symbol must pass tone, is full of charm. Of the sepia drawings,
in acknowledgment of the atmosphere always Feeding the Gulls, Blackfriars Bridge, is the most
surrounding him, which would seem to claim him successful, excellent both as regards its fine atmo-
with invisible hands as part of the universal scheme, spheric quality and clever draughtsmanship.
Like the painter Carriere, it would seem Rodin Alfred Stevens et son CEuvre. By Camille
understands how " to make mystery the gate of an Lemonnier. (Brussels: G. Van Oest et Cie.)
unreserved revelation." Nowhere does Dr. Nordau Three editions, 300, 200, and 80 francs.—Aptly
speak with greater feeling than in his essay on called the painter of Parisian grace, for he stands
Eugene Carriere, for here he writes from the almost alone amongst modern interpreters of French
experience brought him by his own sympathy; fashionable women, Alfred Stevens, whose life-work
Despite its faults as a purely critical work, the was reviewed in The Studio soon after his death,
book throughout has one quality which ranks it has found a very sympathetic biographer in his
with the most valuable art criticism, and that is its fellow-countryman, Camille Lemonnier. Few will,
author's skill in stripping from his subjects those we think, be disposed to endorse the latter's corn-
pretensions to literary motive, which in so many parison between the popular portrait-painter and
cases obscure the minds of thinking people as to Millet le Rustique, for the natures and aims of the
the real issues in discussion of the plastic arts and two artists were essentially different, but with this
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