Studio: international art (65.1915)

Studio-Talk

artistic expression—the impression which the
collection as a whole leaves on us is that of a quite
extraordinary genius, and that if in some cases this
genius expresses itself with a frankness to which
we are unaccustomed, it is entirely sincere—that,
in short, Ivan Mestrovic, to quote the remark of
one of the Italian critics just mentioned, is not
only a great sculptor but also—and even more—a
great poet. _

The work of the Italian painter, Commendatore
Aristide Sartorio, has been frequently referred to
in the pages of this magazine during the past dozen
years or more, and in our Special Number of
Italian Peasant Art, published in 19 t 3, two typical
examples of his water colours of the Roman
Campagna were reproduced in colours. This
region the artist has explored and studied under
its most diverse aspects, and it is, as Mr. Selwyn
Brinton remarks in his preface to the catalogue of
a collection of these pictures recently exhibited in
the galleries of the Fine Art Society, “ a theme of
compelling interest, a land of magic whose romance
has not yet been cheapened by modern conditions.”
The reproduction we give of The Horses’ Watering
Place, Via Appia, will give an idea of the artist’s
direct and forceful statement of the aspect of
nature and the character of the district; this was
one of the best among the seventy works exhibited,
most of them executed in a mixture of pastel and
tempera, and the original gave a wonderful im-
pression of heat and sunlight. We much regret to
gather from reports in the daily press that the artist,
who on the outbreak of hostilities volunteered for
service in an Italian cavalry regiment, has been
taken prisoner by the Austrians.

Mr. Frank Beresford’s portrait of Mme. Tamaki
Miura, which we reproduce, is a capital presentment
of the talented Japanese prima donna as she
appeared recently in the role of Madama Butterfly
in Puccini’s popular opera at the London Opera
House. Mr. Beresford knows Japan and the
Japanese well, and he is, we believe, the first
British artist to receive an award at the annual
exhibition held under Government auspices in
Tokyo. _

The study in water-colour of the jovial knight of
the Merry Wives of Windsor, and King Henry IV,
of which, by the courtesy of Sir William Garth, we
are enabled to give a reproduction in facsimile, was
one of Mr. W. J. Wainwright’s exhibits at the last
Winter Exhibition of the Royal Society of Painters

in Water Colours. The artist, who has been a full
member of the Society since 1905, takes an active
part, in his native town of Birmingham, as a member
of the Royal Birmingham Society of Artists, to
which he is also Professor of Painting. His
presentation of Honest Jack Falstaff follows upon
Shakesperean lines in making the bluff and amorous
old toper a likeable scoundrel enough, despite his
roistering proclivities; and the facial expression,
the joviality and general bonhotnie of the old
reprobate, is admirably expressed. Almost we
seem to hear him giving utterance to those
characteristic sentiments : “If I had a thousand
sons, the first human principle I would teach them
should be—to forswear thin potations, and to
addict themselves to sack.”

“mme. tamaki miura” by frank e. beresford
(Roval Society of Portrait Painters)

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