Studio: international art (65.1915)

Studio-Talk

THE MEAD, WRITTLE, ESSEX REGINALD A. RIX, A.R.I.B.A., ARCHITECT

of vitreous tiles in red and purple. The panelling
rises to a height of seven feet six inches, and the
plaster-work is relieved by patterns of vine, fruit,
and roses. Over the fireplace is a decoration with
a similar motif. A large bay window, with antique
glass and coloured medallions, is a feature of the
room. The whole of the cartoons and models for
the carving, glass, and plaster are the work of the
architect, Mr. James A. Swan, F.R.I.B.A., of
Birmingham.

STUDIO-TALK.

{From Our Own Correspondents.)

IONDON.—A year has passed since the Great
Powers of Europe entered on the most
stupendous struggle which the world has
—J ever witnessed, and the issue of which, so
far as the ordinary mortals can judge, is still in
doubt. The art historian of the future, however,
looking back on this interval of time, fraught with
such tragic events, will hardly fail to note the
■comparatively slight interruption of the normal
course of affairs in this country. Twelve months
ago the outlook in regard to art seemed very dark,
and many of the fixtures for the autumn and early
winter season were at once cancelled, but as time
went on more hopeful feelings prevailed, and

though there has been an almost inevitable
falling off in the number of “ one-man ” shows
the exhibitions of the leading societies have been
held as usual this season in London and other
centres, apart from the numerous special exhi-
bitions which have been held in aid of war funds.
And though no statistics are available as to the
number of visitors to these exhibitions, there is
reason to believe that in this respect also there has
been no marked falling off.

Among the artistic events of the season which
has now come to an end with the closing of the
Academy, sculpture claims the chief place. First
there was the magnificent addition to the art
treasures of the nation represented by the sculp-
tures of Auguste Rodin, whose gift has been and will
always be deeply appreciated by art lovers in this
country, where the great French sculptor’s work
has a host of admirers. And now within the last
fewr weeks at the Victoria, and Albert Museum,
hard by the gallery where Rodin’s masterpieces
are displayed, we have had another remarkable
manifestation of plastic art in the collection of
works by Ivan MeStrovie, the Serbo-Croatian
sculptor, perhaps the greatest artist and, without
doubt, the greatest sculptor that any Slavonic
nation has yet produced. Hitherto his work has