Studio: international art (47.1909)

The National Competition of Schools of Art, ipop

DESIGN FOR NECKLET AND PENDANT

BY ETHEL M. CHARNLEY (LEICESTER)

appearance from any things of the same kind
that had been seen before. There was a wel-
come sanity about the general tone of the work
at South Kensington this year, and a fairly high
level of accomplishment, both in design and
craftsmanship, but, nevertheless, looking at the
exhibition as a whole, it
is impossible to help
agreeing in some mea-
sure with the views
expressed in the report
of the judges in the
pottery section. They
complain of the paucity
and poverty of the
designs for domestic
articles — which were
confined this year to
plates, cups and saucers
—and regret that the
attention of the students seems to be concen-
trated almost exclusively upon what it is the
fashion to call “ art ” pottery. This tendency
was noticeable also in other sections of the
National Art Competition. The things that
most of the students design and make are too
ornate and too expensive for common use, and

DESIGN FOR SILVER
BROOCH
BY EVELYN E.

FRANK (LEEDS)

THE NATION-
AL COMPE-
TITION OF
SCHOOLS OF
ART, 1909.

If we may judge by the
exhibition of the 'National
Art Competition works
held at South Kensington
last month the “New Art ”
craze of a few years ago
no longer influences our
young designers. Of eccen-
tricity there was, indeed,
very little trace in the
exhibition, and although
originality was not lacking,
there was evidence in much
of the work shown that
the designers had aimed
at fitness and at what they
regard as beauty, rather
than at the production
of objects whose chief
quality was difference in
286

DESI'GN FOR SILVER SUGAR-BASIN

BY CLARENCE V. FRAYN (BRADFORD)