DOI Heft:
Nr. 190 (January 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20965#0325
Studio-Talk
“MISS LILLAH MCCARTHY AS DONA ANA ” BY MELICENT STONE
Goupil Salon last month the illustration of the
statuette of Miss Lillah McCarthy, by Melicent
Stone. Miss Stone is not a prolific worker, but all
her work has its own character, a certain delicacy
of conception, charming enough in these days of
clumsiness and embryo-Rodinesque work.
Excellent as were Mr.
Edmund Dulac’s illustra-
tions for “The Arabian
Nights,” he has made a
considerable advance in
his pictures for “ The
Tempest” exhibited at the
Leicester Galleries. If an
artist is grotesque he must
be so with variety, or he
will tire his public. We
do not believe that the
true vein of Mr. Dulac
is the grotesque, since
in his last book it took
the very limited form of
a gentle exaggeration of
the features of his male
figures ; his invention in
the grotesque scarcely
seemed to go beyond this.
A sense of beauty is apt
to limit a man’s irrever-
ence, and in acknowledg-
302
ing this sense in Mr. Dulac we credit him
with something better than that which we
deny to him. The dreamy attitude of Mr.
Dulac was the foil of a whole collection of
Phil May drawings in the other room. Phil
May’s genius was the genius of a Dickens.
As a realist he was not interested in the
reality of beauty as Degas, or even Beardsley,
but in the reality of the existence of ordinary
people, who are disturbed in mind by the
word beauty and not conscious of its presence
in the aspect of their everyday life.
The drawings which we reproduce by Phil
May, though included in the exhibition just
referred to, have not been reproduced before.
They show the artist’s pencil skilfully treating
two diverse subjects. In that of the costumed
figure the model might stand for Sir Walter
Scott’s Wildrake in “ Woodstock,” in one of
that hero’s less admirable moments, the very
antithesis of the erudite bibliophile on the
opposite page.
Mr. Harry Becker, whose vigorous work in both
oil and water colours will be remembered by
visitors to the Royal Academy Exhibitions of
recent years, was at the early age of fourteen one
of a group of enthusiastic students in the Academy
“ARRIVAL OF THE DUTCH REFUGEES IN COLCHESTER” (PAINTING)
BY HARRY BECKER
“MISS LILLAH MCCARTHY AS DONA ANA ” BY MELICENT STONE
Goupil Salon last month the illustration of the
statuette of Miss Lillah McCarthy, by Melicent
Stone. Miss Stone is not a prolific worker, but all
her work has its own character, a certain delicacy
of conception, charming enough in these days of
clumsiness and embryo-Rodinesque work.
Excellent as were Mr.
Edmund Dulac’s illustra-
tions for “The Arabian
Nights,” he has made a
considerable advance in
his pictures for “ The
Tempest” exhibited at the
Leicester Galleries. If an
artist is grotesque he must
be so with variety, or he
will tire his public. We
do not believe that the
true vein of Mr. Dulac
is the grotesque, since
in his last book it took
the very limited form of
a gentle exaggeration of
the features of his male
figures ; his invention in
the grotesque scarcely
seemed to go beyond this.
A sense of beauty is apt
to limit a man’s irrever-
ence, and in acknowledg-
302
ing this sense in Mr. Dulac we credit him
with something better than that which we
deny to him. The dreamy attitude of Mr.
Dulac was the foil of a whole collection of
Phil May drawings in the other room. Phil
May’s genius was the genius of a Dickens.
As a realist he was not interested in the
reality of beauty as Degas, or even Beardsley,
but in the reality of the existence of ordinary
people, who are disturbed in mind by the
word beauty and not conscious of its presence
in the aspect of their everyday life.
The drawings which we reproduce by Phil
May, though included in the exhibition just
referred to, have not been reproduced before.
They show the artist’s pencil skilfully treating
two diverse subjects. In that of the costumed
figure the model might stand for Sir Walter
Scott’s Wildrake in “ Woodstock,” in one of
that hero’s less admirable moments, the very
antithesis of the erudite bibliophile on the
opposite page.
Mr. Harry Becker, whose vigorous work in both
oil and water colours will be remembered by
visitors to the Royal Academy Exhibitions of
recent years, was at the early age of fourteen one
of a group of enthusiastic students in the Academy
“ARRIVAL OF THE DUTCH REFUGEES IN COLCHESTER” (PAINTING)
BY HARRY BECKER