Studio: international art (52.1911)

Art School Notes

(Owned by Mr. Seiichi Sakuma)

he wished to evoke in interest j his desire was
always so clear in the relation between himself
and his work, and accidentally he succeeded as if
by magic in establishing the same relationship for
us, the onlookers. It goes without saying that the
pictures of such an artist are richer than they
appear; while he used only Chinese ink in his
pictures, our imagination is pleased to see them
with the addition of colour, and even voice. He
might be well called a colorist in the best sense.

YONE NOGUCHI.

ART SCHOOL NOTES.

LONDON.—At the first of Sir William
Richmond's lectures on painting, at the
Royal Academy, serious illness prevented
the Keeper from attending, and, in his
absence, Sir George Frampton occupied the chair.
Sir William's address was on " Choice of Subjects,"
and in it he argued strongly against the present
tendency to divorce the art of the painter from
literature. He said that if the painter wished to
preserve his imagination, he must stimulate it from
all sources, and in urging the students to illustrate
the great past, the lecturer laid stress upon the
inexhaustible range of subjects offered by the
Bible, and by our vast store of legends. Why
should not they be illustrated ? Painting and litera-
ture were of the same genus, and there was no
hard and fast line between them. Touching briefly
on Impressionism, he said that it was not a new
art, but that it had called attention to attributes
in a picture that were unimportant to the Pre-

Raphaelites. But both these strong movements
had been of value, and he saw in a union between
them the possibilities of new and great develop-
ments of art in the future.

Only in modern times has the work of sculptor-
students of the Royal Academy attracted much
attention at the prize distributions. In the early
Victorian period the painters monopolised such
glory as was to be gained on these occasions, and
it was not until the beginning of the renaissance of
sculpture in England that the art of the modeller
asserted itself. Although a living sculptor of dis-
tinction, Mr. Brock, won the Gold Medal as far
back as 1869, the revival at the Academy schools
did not commence until a few years later, perhaps
not until 1875, when the same award was carried
off with consummate ease by Mr. Hamo Thorny-
croft. Since then the standard of execution has
risen rapidly, and the work shown on the Academy
prize night in December fully justified the praise
bestowed upon it by the President. An illus-
tration is given on the next page of a carefully
modelled Design for a Wall Fountain, by Mr.
Edmund T. W. Ware, to which a prize was
awarded in December.

"niwo" (study) by hogai kano