DOI issue:
No. 234 (September 1912)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.21157#0350
Studio- Talk
Browne’s Low Tide, Mr. Edmund Morris’s Sas-
katchewan Landscape and Coming Storm—The
Country of the Crees, Mr. Clarence Gagnon’s Ln
the Laurentians— Winter and Late Summer After-
noon—Les Andelys on the Seine, Mr. G. B. Bridg-
man’s The Magic Circle, an early example done when
evidently he was strongly under the influence of
Cabanel, Mr. William H. Clapp’s Landscape, and
five very exquisite small panels of architectural and
interior subjects by Mr. J. Kerr Lawson.
Sculpture was represented by the work of Mr.
A. Phimister Proctor and Mr. Walter Allward,
the former sending a large bronze American Bison,
which, though well modelled, was scarcely con-
vincing. Too obviously the model had been bred
in captivity, and the fierce, indomitable spirit was
not there. Mr. Allward’s sketch model for a statue
to be erected at Brantford, Ontario, in honour of
the Bell telephone system was both original and
poetical in conception. H. M. L.
TOKYO.—A few of our young artists who
have come to the front in recent years
have by attempting to revolutionise
the existing condition of things given
promise of leaving lasting impressions upon the
progress of Japanese painting during the Meiji era—
an era characterised by hopeless confusion in art
and literature, an inevitable concomitant of the
transition through which our nation is passing.
Prominent among those who became centres of
attraction was Hishida Shunso, of Tokyo. Un-
fortunately, however, he died last autumn at the
early age of thirty-seven, just as public interest in
his work was at its height. For the purpose of giving
the art student an opportunity of studying his com-
paratively short life’s work, over three hundred of
his paintings and drawings were brought together
recently and shown at the Tokyo School of Fine Art.
Shunso’s work was classified according to five
different periods. The first group consisted of his
work while a student at the Tokyo School of Fine
Art. It was only natural that these pictures should
betray the influence of Kawabata Gyokusho, his
teacher, but they showed evidences of unusual
ability and justified in a way the public estimate
of young Hishida as “ a genius of the Meiji era.”
At the time of his graduation from the art school he
used Shuko as his nom de plume. It wras in the
following year that he began to call himself Shunso
—a name made up of two characters, shun meaning
“the spring” and so meaning “grass.”
“THE MAGIC CIRCLE
328
BY GEORGE B. BRIDGMAN
Browne’s Low Tide, Mr. Edmund Morris’s Sas-
katchewan Landscape and Coming Storm—The
Country of the Crees, Mr. Clarence Gagnon’s Ln
the Laurentians— Winter and Late Summer After-
noon—Les Andelys on the Seine, Mr. G. B. Bridg-
man’s The Magic Circle, an early example done when
evidently he was strongly under the influence of
Cabanel, Mr. William H. Clapp’s Landscape, and
five very exquisite small panels of architectural and
interior subjects by Mr. J. Kerr Lawson.
Sculpture was represented by the work of Mr.
A. Phimister Proctor and Mr. Walter Allward,
the former sending a large bronze American Bison,
which, though well modelled, was scarcely con-
vincing. Too obviously the model had been bred
in captivity, and the fierce, indomitable spirit was
not there. Mr. Allward’s sketch model for a statue
to be erected at Brantford, Ontario, in honour of
the Bell telephone system was both original and
poetical in conception. H. M. L.
TOKYO.—A few of our young artists who
have come to the front in recent years
have by attempting to revolutionise
the existing condition of things given
promise of leaving lasting impressions upon the
progress of Japanese painting during the Meiji era—
an era characterised by hopeless confusion in art
and literature, an inevitable concomitant of the
transition through which our nation is passing.
Prominent among those who became centres of
attraction was Hishida Shunso, of Tokyo. Un-
fortunately, however, he died last autumn at the
early age of thirty-seven, just as public interest in
his work was at its height. For the purpose of giving
the art student an opportunity of studying his com-
paratively short life’s work, over three hundred of
his paintings and drawings were brought together
recently and shown at the Tokyo School of Fine Art.
Shunso’s work was classified according to five
different periods. The first group consisted of his
work while a student at the Tokyo School of Fine
Art. It was only natural that these pictures should
betray the influence of Kawabata Gyokusho, his
teacher, but they showed evidences of unusual
ability and justified in a way the public estimate
of young Hishida as “ a genius of the Meiji era.”
At the time of his graduation from the art school he
used Shuko as his nom de plume. It wras in the
following year that he began to call himself Shunso
—a name made up of two characters, shun meaning
“the spring” and so meaning “grass.”
“THE MAGIC CIRCLE
328
BY GEORGE B. BRIDGMAN