Studio: international art — 42.1908

Page: 215
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1 cm
Birmingham Painters and Craftsmen

books, topped by a red cushion in
which nestles a gold frame. In the
darker portion of the room are
some paintings of the Italian
school and an Italian bust, and
from the ceiling hangs a wooden
mermaid with tapering tail of horn.
The walls of the library, painted in
Pompeian red, like those of the
dining-room, afford the artist an
opportunity, which he uses to ad-
vantage here and in the dining-
room series, of bringing out a whole
gamut of tones affected by this

There are six pictures dealing
with the novelist's bed-chamber,
which is the only room in the
house, besides the salon, whose
walls are not painted. Here they
are covered with a golden-yellow
embroidered silk, forming an ad-
mirable setting to the beautifully
carved wood chimney-piece, and
the mahogany inlaid writing-desk
with red and white marble top,
which are visible in the last of our
illustrations. On the artist's canvas,
the brighter yellow of the central
portion shades off towards the left
into greenish hues of chatoyant
aspect that are a foil to the
vivid colouring of the desk and
Louis XVI. chair, whilst the right " the schooner " by joseph e. southall

side descends through purples and
russets, which are met and gilded

or blazed by the fire below. The bureau, on Exhibition, the proposal to purchase one of his
which Anatole France opens his correspond- pictures for the State, and the general enthusiasm
ence, was painted one afternoon just as it had aroused, are something more than mere compli-
been left, with the famous red skull-cap and the ment. They are recognitions of sterling merit,
spectacles of the writer almost touching the edge of Fredk. Lawton.

the desk, and all the papers in disorder. The

carpet, of authentic old Smyrna manufacture, is sea- "¥~^V IRMINGHAM PAINTERS AND
green in the centre, and has a border with delicate I 3 CRAFTSMEN AT THE FINE
hues of red and green. Above, where the shadow ^§ ART SOCIETY'S GALLERIES
strikes athwart masterpieces of the school of > J

Greuze or Fragonard, its progressive deadening The leading characteristic of this collection as a
of the natural tints is finely expressed. whole is its architectural basis, its sense of the

Pierre Calmettes is to be congratulated. What unity of all the arts in due subordination to the
he has done here promises a great future for him master craft. Notwithstanding individual differ-
■—great by the quality of his work, and great, it is to ences of outlook and the variety of methods and
be hoped, by his renown. Indeed he has already of materials employed, this principle everywhere
begun to bear his blushing honours. The presence underlies painting and craft-work alike, shown here
of the Minister for Fine Arts at the opening of the in the choice of subject, there by a certain decorative

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