Studio: international art (56.1912)

Studio- Talk

one seem less and less
likely of fulfilment as time
passes. The club is
rapidly gaining in strength
and influence, and its repu-
tation has been further
enhanced by the character
of the fifth annual exhi-
bition held recently in
Toronto, which would
have been an entirely
representative exhibition
of present-day Canadian
painting and sculpture but
for the regrettable omis-
sion of the work of women
artists. The club has
adopted in this regard a
narrow and prejudiced
view-point, not at all in
keeping with its preten-
sions and purposes. There
is, at least, one woman
painter among resident
collar in needlepoint lace by ir^ne d’olszowska artists whose work for

power and truth of expres-

the design which carried off the prize in the com- sion, ranks with that of any of her contemporaries

petition she herself promoted. The best lace- of the other sex. The average standard of the
workers of Turnhout, an
important centre of the
industry known as Malines
lace, were at work for more
than eight months on this
wonderful piece. Mile.

Irene D’Olszowska, a pupil
of Prof. A. Crespin, whose
very sane teaching has
already borne some re-
markable results, has also
made designs for some
pieces of lace offered to the
Queen of Holland. The
reproductions give a proof
of her knowledge of the
different “points” and of
the technique generally of
this art. F. K.

Toronto.—

P r e d i ctions,
erstwhile freely
vented, that the
career of the Canadian
Art Club would be a brief
326

COLLAR IN NEEDLEPOINT LACE

BY IRi!NE D’OLSZOWSKA