Studio: international art (57.1913)

Studio-Talk

as being imitative of Beardsley, and
Beardsley’s own work dismissed as being
under the influence of Botticelli, Man-
tegna, and the Japanese, all the praise
due to his wonderful line and workman-
ship, his creative ability and design,
being withheld. To know Ciolkowski,
the last thing one would condemn him
for would be imitating any one but
himself. In his head-pieces for a book
dealing with the little Bavarian town of
Bamberg there is observable a quaint
subconsciousness untrammelled by tra-
dition, and his means of interpreta-
tion are distinctly personal, the more
national associations being seen in his
decorative tail-pieces and the vigorous
little drawing of La Bonne Petite
Maison dans les Bois. Personally Ciol-
kowski is an impulsive dreamer, and
seeks the tangible expression of his
dreams in those aspects of nature which
others are so apt to pass by. His in-
terpretations are always spontaneous,
and in his quiet little studio at Bellevue
little more than suggested, is a restful setting, and both personalities of the artist work together—the
the vista of corridor on the right with the palace skilled draughtsman and the submerged unsleeping

guards is beautifully lit through the stained windows. self—controlling the necessary labour in his many

The scheme is altogether
well thought out. Mr.

Hope has done a good deal
of decoration in church and
mansion, and by this, his.
latest work, he gives evi-
dence of his versatility in
the treatment of diverse
themes. ’ A. E.

PARIS. —In the
decorative draw-
ings of H. S.
Ciolkowski one
recognises certain charac-
teristics not uncommonly
associated with Eastern
Europe, which might give
a clue to his nationality. I
do not suggest that his art is
national, as the only national
quality about art is the in-
herent expression of past
or present associations and
observances. I have heard
some of his work dismissed
58

BY H. S. CIOLKOWSKI