DOI Heft:
No. 235 (October 1912)
DOI Artikel:Baldry, Alfred Lys: A notable decorative artist: George Sheringham
DOI Artikel:Taylor, Ernest Archibald: Some etchings from the recent salons in Paris
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21158#0037
Etchings from the Paris Salons
A decorator with such a well-poised judgment
and with such a temperate view of his obligations
is the more to be welcomed at this moment because
there is a marked inclination among our younger
artists to deny the authority of the past and to
substitute a sort of anarchy for the judicious modifi-
cation of ancient principles which are showing a
tendency to become stereotyped. Mr. Sheringham
demonstrates convincingly that the effort to keep
touch properly with the past does not involve any
sacrifice of his instinctive originality, and that he is
by no means obliged to be old-fashioned because
he has, as a sober student, taken the trouble to
learn what his predecessors have done. There is
no need for him to disregard their achievement or
to refuse to profit by the traditions they have
handed down; his individuality is better displayed
in the use he makes of the knowledge which has
been gathered together through many centuries of
artistic progress than it could possibly be in un-
controlled excursions beyond the legitimate bounds
of the artist’s practice. A. L. Baldry.
SOME ETCHINGS FROM THE
RECENT SALONS IN PARIS.
In making a comparison between the “ Old
Salon ” of the Societe des Artistes Fran£ais and
the “New Salon” of the Societe Nationale des
Beaux-Arts very little appreciable difference will
be found in the standards attained in painting,
and there would - be practically none were the
former dismantled of its mass of unquestionably
mediocre work forming the bulk of the great
assemblage of exhibits.
In the sections devoted to the decorative arts and
etching, however, the difference artistically and in
arrangement is more notably distinct. To its etcher
adherents the New Salon devotes a not aggressively
large gallery wherein there is little crushing and
their work can be seen in a good light, while the
prints unavoidably hung in the passage below the
dome do not paper the walls to the ceiling. In
the Old Salon, on the other hand, every available
space is utilised, and etchings and engravings are
A decorator with such a well-poised judgment
and with such a temperate view of his obligations
is the more to be welcomed at this moment because
there is a marked inclination among our younger
artists to deny the authority of the past and to
substitute a sort of anarchy for the judicious modifi-
cation of ancient principles which are showing a
tendency to become stereotyped. Mr. Sheringham
demonstrates convincingly that the effort to keep
touch properly with the past does not involve any
sacrifice of his instinctive originality, and that he is
by no means obliged to be old-fashioned because
he has, as a sober student, taken the trouble to
learn what his predecessors have done. There is
no need for him to disregard their achievement or
to refuse to profit by the traditions they have
handed down; his individuality is better displayed
in the use he makes of the knowledge which has
been gathered together through many centuries of
artistic progress than it could possibly be in un-
controlled excursions beyond the legitimate bounds
of the artist’s practice. A. L. Baldry.
SOME ETCHINGS FROM THE
RECENT SALONS IN PARIS.
In making a comparison between the “ Old
Salon ” of the Societe des Artistes Fran£ais and
the “New Salon” of the Societe Nationale des
Beaux-Arts very little appreciable difference will
be found in the standards attained in painting,
and there would - be practically none were the
former dismantled of its mass of unquestionably
mediocre work forming the bulk of the great
assemblage of exhibits.
In the sections devoted to the decorative arts and
etching, however, the difference artistically and in
arrangement is more notably distinct. To its etcher
adherents the New Salon devotes a not aggressively
large gallery wherein there is little crushing and
their work can be seen in a good light, while the
prints unavoidably hung in the passage below the
dome do not paper the walls to the ceiling. In
the Old Salon, on the other hand, every available
space is utilised, and etchings and engravings are