DOI Heft:
No. 218 (May, 1911)
DOI Artikel:Taylor, Ernest Archibald: The American colony of artists in Paris, [1]
DOI Artikel:Salaman, Malcolm C.: The engraving school at the Royal College of Art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20972#0302
The Royal College of A rt Engraving School
" A PROCESSION IN BRITTANY "
modern movement, which is grappling with problems
of light, rhythm, shape, and emotion, is doing much
for the future progress of art, and under the influence
of the poetical temperament combined with a
renewed interest in the world's too-much-ignored
commonplaces, and added to this a greater com-
prehension of the utility of the mediums they use
and their individual power of expression and
suitability more thought of, will give us another
phase of a higher order. Out of darkness came
light, and we may be in the grey dawn of a new
wave in spite of our analytical and scientific
tendencies to find out the materials of the old and
the spirit of matter.
Limited space will not permit of my endeavour
to interpret further on this occasion the influence of
the present-day movement or to speak of the work
of other prominent or promising American artists
who have settled in Paris. With some of these and
their achievements I propose to deal in a second
article to follow this at an early date.
E. A. T.
280
BY GEORGE OHERTEUFFER
HE ENGRAVING SCHOOL AT
THE ROYAL COLLEGE OF
ART. BY M. C. SALAMAN.
" Unless, towards the end of the day's work, your
class is as full of bustle, eagerness and red-hot
orderliness as a foundry in the last moments before
a casting, be sure that you are doing very little
good." Words to this effect were spoken by Mr.
Frank Short, R.A., when giving advice as to the
organisation of some new art school in the pro-
vinces; and they must have been drawn from
personal experience of the famous engraving school
at the Royal College of Art, South Kensington,
over which the distinguished President of the Royal
Society of Painter-Etchers and Engravers has ruled
since 1891. For there the spirit of real work and
enthusiastic endeavour is pervasive, actuating every
pupil to get the greatest possible value out of the
precious hours of the class, and the most out of his
own work, whether he be the veriest stripling newly
transferred from the painting class or some mature
" A PROCESSION IN BRITTANY "
modern movement, which is grappling with problems
of light, rhythm, shape, and emotion, is doing much
for the future progress of art, and under the influence
of the poetical temperament combined with a
renewed interest in the world's too-much-ignored
commonplaces, and added to this a greater com-
prehension of the utility of the mediums they use
and their individual power of expression and
suitability more thought of, will give us another
phase of a higher order. Out of darkness came
light, and we may be in the grey dawn of a new
wave in spite of our analytical and scientific
tendencies to find out the materials of the old and
the spirit of matter.
Limited space will not permit of my endeavour
to interpret further on this occasion the influence of
the present-day movement or to speak of the work
of other prominent or promising American artists
who have settled in Paris. With some of these and
their achievements I propose to deal in a second
article to follow this at an early date.
E. A. T.
280
BY GEORGE OHERTEUFFER
HE ENGRAVING SCHOOL AT
THE ROYAL COLLEGE OF
ART. BY M. C. SALAMAN.
" Unless, towards the end of the day's work, your
class is as full of bustle, eagerness and red-hot
orderliness as a foundry in the last moments before
a casting, be sure that you are doing very little
good." Words to this effect were spoken by Mr.
Frank Short, R.A., when giving advice as to the
organisation of some new art school in the pro-
vinces; and they must have been drawn from
personal experience of the famous engraving school
at the Royal College of Art, South Kensington,
over which the distinguished President of the Royal
Society of Painter-Etchers and Engravers has ruled
since 1891. For there the spirit of real work and
enthusiastic endeavour is pervasive, actuating every
pupil to get the greatest possible value out of the
precious hours of the class, and the most out of his
own work, whether he be the veriest stripling newly
transferred from the painting class or some mature