Studio: international art (51.1911)

A lexander

conquered. The group will receive the same
attention that he bestows upon his statuettes; the
metal surfaces will be given the varieties of texture
and colour in which he, as a craftsman, takes so
much pleasure ; and inlayings of mother-of-pearl
and other coloured materials will be applied to
increase the sumptuousness of the general effect.
The pedestal on which the group is to stand is
made of teak and ebony—as the group is being
treated with the idea that it will occupy a situation
indoors, a wooden pedestal has many advantages,
and not the least of them is that it will be much less
ponderous than one of marble or stone.

In all these varied activities, Mr. Reynolds-
Stephens never fails to choose the way which will
lead him most surely to the clear statement of his
own convictions. The style he has formed—a
style which, personal as it is, has no taint of man-
nerism—is the one which best explains his artistic
sentiment, and it is the
direct outcome of his very
practical study of the
many forms of expression
with which he concerns
himself. There is no
second-hand inspiration in
his art, no borrowing of
ideas or methods which
have to be taken on trust,
and no blind or careless
acceptance of passing fas-
hions or of the dogmas of
this or that school. He
follows no popular leader
of any section of the art
world; indeed, he admits
no leadership save that of
the greater aesthetic prin-
ciples which he has been
all his life at such pains to
understand, and which he
has analysed and tested to
make certain that his read-
ing of them is correct. He
has, in a word, a person-
ality which he has shaped
by self-discipline and
strengthened by a sort of
Spartan training of his
mind ; and this personality
dominates the whole of his
effort and is manifested in
every phase of his produc-
tion. A. Lys Baldry.

Jamieson

The paintings of Alex-
ander JAMIESON. BY J. B.
MANSON.

Although in this country, it will be conceded,
innovations in art forms are regarded with sus-
picion, and to original schools of thought we are
immediately antagonistic, it must be admitted that,
as the days of Royal Academic ascendency are
on the wane, more advanced, more real, and more
personal methods of painting and regard of Nature
are at length finding support and comprehension
among an ever-increasing number of people who,
casting off the shackles of convention, and coming
more into direct contact with life, demand an art
that is natural, vital, and expressive. Perhaps,
thanks to the teachingand influence of the Academy,
we shall never be entirely free of the clap-trap,
sentimental anecdote expressed pictorially; nor

“LE PAVILLON FRANJAIS, TRIANON” BY ALEXANDER JAMIESON

(Goufil Gallery Salon, igio j

274