Studio: international art (69.1916)

THE STUDIO

THE TRUE ROSSETTI. BY water-colours which we have under review. These
T MARTIN WOOD. water-colours show a pattern in each case rich

in that sheer music of design that is associated
The acquisition of the Rae collection of in our minds with primitive art—a music that
Rossetti water-colours for the National Gallery of Post-Impressionism appears to think it can revive
British Art is one of the events in the history of merely from its own consciousness that such music
the National collections upon which the nation is can be created.

most entitled to be congratulated. To appreciate I was permitted to see the Rae water-colours on
the importance of the acquisition it is necessary to the very day that they arrived at the Tate Gallery,
recall that we have in these water-colours the true good fortune having brought me to the Keeper's
Rossetti: that is, the Rossetti
whose influence was perhaps

contributed to the Romantic ^^MSE3^^aK^|ro^^MiraMMm^^^,:' JL^S^"- ■■

movement in England — a $M$$RKB&&fc< ^^^MOMSR^^Si?^ ~?*M

to certain aspects of indus- ^} rHK^ ' ■/ '

lower national ideals. Hs £^ 'tLjl^KffirWmXkL ^Hfe ■B^aWBg^-

In every artist's life-work M W^A

there is one moment that for " \ X I

There is a moment when what
is most purely of himself finds
absolutely free expression. I I

their first manner, sometimes -^P^^Sp^jjS^^^y JS

to lose themselves again ; B^NW '" _' 'miX^^' ' • ; ' <

others are late in coming | m

to themselves. An artist

changes ; it may be said that Ki>:l':' S MwiXf^^EmMm

lie is not always the same ^HSi "'I ^flflkVl;

chaiactcristic of ^reatest jtl^lii^^l^^MB^^^^^^^^^^^^j^

Rossetti's art was never so

fully charged as in 1857, when "the blue closet" water-colour by d. g. rossetti

he produced the series of (National Gallery of British Art)

LXIX. No. 283.—October 1916

Bibliothek

desWurttemb.
Landesgewerbeamts
Stuttgart

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