Studio: international art (50.1910)

A rt School Notes

ART SCHOOL NOTES.

LONDON.—Past students of the Royal
Academy will be interested to know that
there are many changes in the new
“School Laws, 1910,” which now super-
sedes the book of rules issued in 1903. The
alterations are most numerous in the prize list.
The regulations concerning the Gold Medal for
Historical Painting and for the Turner Gold
Medal for Landscape are unchanged, except that
the sizes of the canvases are no longer fixed, as
they have been for many years past. The size and
shape will in the future be at the discretion of the
Council for the time being. The rule about the
size of the Creswick landscapes has been altered in
the same way, and the value of this prize is now
^25. The prize of ^40 for a design for the
decoration of a portion of a public building has
wisely been divided, and in future there will be
a first prize of ^30 and a second of ,£10. To
the first medal for the painting of a figure from

TURIN.—The photograph
which we reproduce on
the opposite page is one
of a series of somewhat
kindred subjects from the camera
of M. Guido Rey, whose work we
have before had the pleasure of
introducing to our readers both in
these pages and in the Special
Number published five years ago
on “ Art in Photography,” where his
career as a worker in photography
was referred to at some length. His
oeuvre is now extensive and embraces
a great diversity of motifs, but it is
in such intimate homely themes as
that here illustrated that this in-
trepid alpine climber excels.

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“'the old house” (Photo, R. Lichtenber%) by jritz koch

distinction. M. Crosnier, who has spent much
time in England and Scotland, is a lover of British
landscape, and indeed is not without certain
affinities with British artistic traditions.

M. Silvestre, some of whose paintings are already
familiar to readers of The Studio, is one of our
most charming artists. His exhibition at the
Athende in Geneva was a veritable feast to the
eye. His springtide and summer landscapes on
the shores of the Lake of Geneva, and his winter
landscapes at Savieze—that delightful sketching-
ground in the Valais—are admirably executed,
and full of a persuasive charm. The CMitaigneraie
d’ Yvoire, in which the old grove of chestnut trees
is seen at the moment when the rising sun is
beginning to pierce the morning mist which hovers
over the lake and surrounding country is beautiful,
not only in its sensitive drawing but in its equally
sensitive effect of the play of the dawning light on
the tree trunks. _

I am pleased to be able to intro-
duce to readers of The Studio
M. Fritz Koch, a very interesting
and promising artist, who has taken
up his abode in Switzerland. M.
Koch is young, and full of possi-
bility. It may be interesting to the
public to know that the old house
which is the subject of the work
here reproduced is the one at Osna-
briick in which Jerusalem, the
original of Goethe’s Werther, lived.

R. M.