DOI Heft:
No. 296 (November 1917)
DOI Artikel:Reviews
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21264#0101
Reviews
nation whose policy and practices he has
exposed so mercilessly is in itself significant,
but what is more important is that he is an
artist of remarkable calibre. It is this un-
doubtedly that has been chiefly responsible on
the one hand for the antipathy which his car-
toons have aroused in Germany, and on the other
hand the emphatic success which has attended
their publication in Allied countries, where they
have been a potent means of bringing home to
the public generally the gravity of the issues
at stake in this greatest of all wars, for he has
laid bare the true meaning of Prussian militarism
with greater precision and force than any words
are capable of. In the present series of Cartoons,
as in that' published last year, the serious or
satiric note predominates, but in some of the
drawings the artist's sense of humour takes a
lighter turn, as in Bunkered at Verdun, in spite
of its tragic implications. All the plates are
accompanied by notes, which give such explana-
tion as is necessary as to the particular incident
upon which the drawing turns.
On Collecting Japanese Colour-Prints. By
Basil Stewart. (London: Kegan Paul,
Trench, Trubner and Co.) 6s. net.—This volume
appeals to the amateur collecting Japanese
prints for the first time, and will be found
especially useful to him in the detection of
forgeries, imitations, and reprints. Much, how-
ever, still remains to be discovered in relation
to these somewhat difficult subjects. For
example, varieties of colouring are often ob-
servable in early issues of Hokusai plates;
and these differences are not only noticeable
in plates originally printed at different periods
of the artist’s lifetime, but also in later im-
pressions from the same blocks. The transla-
tions of the script and signatures upon the
prints illustrated are a praiseworthy feature of
this volume.
Suggestions for the Study of Colour. By
H. Barrett Carpenter (Rochdale: Published
1>S’ the Author.) 5s. net.-—The importance of a
systematic study of colour relations does not
seem to be generally recognized in the training
of art students, and to this defect is perhaps due
in considerable measure the fact that not only
the students themselves but many artists of
mature years are shy of using pure, strong
colour. This shyness might to a large extent
be eradicated if they were encouraged to ex-
periment freely in colour treatment, and as a
step in the right direction the suggestions put
forward by the Head Master of the Rochdale
Art School will be found deserving of attention.
His own experiments have resulted in the
verification of Rood’s conclusions respecting
the national order of colours and have led him
to formulate a new principle, derived from the
reversal of 1 his order and suggested by the
analogy of music, which he designates by the
term “ discord.” Thirty-five illustrations in
colour accompany the text, not as examples of
beautiful chromatic arrangements, but solely
to give point to the principles enunciated and
as hints to the student for the exercise of his
own initiative. It is to be noted that in the
author’s treatment of the subject the term
“ colour ” is used in its commonly understood
sense and does not include white or black, the
employment of which—and especially the
latter, as exemplified in a good deal of modem
decorative design—adds greatly to the possi-
bilities of colour treatment in its widest sense.
An Introduction to French Music. By G. Jean-
Aubry. Translated by Percy A. Scholes.
(London : Palmer and Hayward.) 2s. net.—To
those desiring to know something about the
progress of French Music in recent times, this
little volume may be cordially recommended.
Beginning with a reference to the Harpsi-
chordists of the seventeenth and eighteenth
centuries, some account is given of the influence
of Berlioz (1803—1869), followed by an illumi-
nating criticism of the work of Saint-Saens,
Chabrier, Lolo, Gabriel Faure, Franck and his
disciples, Debussy, and others.
Serbian Songs and Poems: Chords of the
Yugoslav Harp. Translated by J. W. Wiles,
M.A., English Lecturer, University of Belgrade.
(London : George Allen and Unwin, Ltd.) 2s.
net.—This little collection of Serbian national
poetry, conscientiously rendered into English
by one who has gained his knowledge of the
language from intercourse with the people
themselves, is to be welcomed as an aid to a
better understanding of a nation that has
endured untold sufferings in its long struggle
for independence. These sufferings have left
an indelible mark upon the utterances of the
national muse, but though here and there one
finds a suggestion of fatalism, the dominant note
is one of manly perseverance against adversity—
a characteristic which augurs well for the future
of this courageous people.
85
nation whose policy and practices he has
exposed so mercilessly is in itself significant,
but what is more important is that he is an
artist of remarkable calibre. It is this un-
doubtedly that has been chiefly responsible on
the one hand for the antipathy which his car-
toons have aroused in Germany, and on the other
hand the emphatic success which has attended
their publication in Allied countries, where they
have been a potent means of bringing home to
the public generally the gravity of the issues
at stake in this greatest of all wars, for he has
laid bare the true meaning of Prussian militarism
with greater precision and force than any words
are capable of. In the present series of Cartoons,
as in that' published last year, the serious or
satiric note predominates, but in some of the
drawings the artist's sense of humour takes a
lighter turn, as in Bunkered at Verdun, in spite
of its tragic implications. All the plates are
accompanied by notes, which give such explana-
tion as is necessary as to the particular incident
upon which the drawing turns.
On Collecting Japanese Colour-Prints. By
Basil Stewart. (London: Kegan Paul,
Trench, Trubner and Co.) 6s. net.—This volume
appeals to the amateur collecting Japanese
prints for the first time, and will be found
especially useful to him in the detection of
forgeries, imitations, and reprints. Much, how-
ever, still remains to be discovered in relation
to these somewhat difficult subjects. For
example, varieties of colouring are often ob-
servable in early issues of Hokusai plates;
and these differences are not only noticeable
in plates originally printed at different periods
of the artist’s lifetime, but also in later im-
pressions from the same blocks. The transla-
tions of the script and signatures upon the
prints illustrated are a praiseworthy feature of
this volume.
Suggestions for the Study of Colour. By
H. Barrett Carpenter (Rochdale: Published
1>S’ the Author.) 5s. net.-—The importance of a
systematic study of colour relations does not
seem to be generally recognized in the training
of art students, and to this defect is perhaps due
in considerable measure the fact that not only
the students themselves but many artists of
mature years are shy of using pure, strong
colour. This shyness might to a large extent
be eradicated if they were encouraged to ex-
periment freely in colour treatment, and as a
step in the right direction the suggestions put
forward by the Head Master of the Rochdale
Art School will be found deserving of attention.
His own experiments have resulted in the
verification of Rood’s conclusions respecting
the national order of colours and have led him
to formulate a new principle, derived from the
reversal of 1 his order and suggested by the
analogy of music, which he designates by the
term “ discord.” Thirty-five illustrations in
colour accompany the text, not as examples of
beautiful chromatic arrangements, but solely
to give point to the principles enunciated and
as hints to the student for the exercise of his
own initiative. It is to be noted that in the
author’s treatment of the subject the term
“ colour ” is used in its commonly understood
sense and does not include white or black, the
employment of which—and especially the
latter, as exemplified in a good deal of modem
decorative design—adds greatly to the possi-
bilities of colour treatment in its widest sense.
An Introduction to French Music. By G. Jean-
Aubry. Translated by Percy A. Scholes.
(London : Palmer and Hayward.) 2s. net.—To
those desiring to know something about the
progress of French Music in recent times, this
little volume may be cordially recommended.
Beginning with a reference to the Harpsi-
chordists of the seventeenth and eighteenth
centuries, some account is given of the influence
of Berlioz (1803—1869), followed by an illumi-
nating criticism of the work of Saint-Saens,
Chabrier, Lolo, Gabriel Faure, Franck and his
disciples, Debussy, and others.
Serbian Songs and Poems: Chords of the
Yugoslav Harp. Translated by J. W. Wiles,
M.A., English Lecturer, University of Belgrade.
(London : George Allen and Unwin, Ltd.) 2s.
net.—This little collection of Serbian national
poetry, conscientiously rendered into English
by one who has gained his knowledge of the
language from intercourse with the people
themselves, is to be welcomed as an aid to a
better understanding of a nation that has
endured untold sufferings in its long struggle
for independence. These sufferings have left
an indelible mark upon the utterances of the
national muse, but though here and there one
finds a suggestion of fatalism, the dominant note
is one of manly perseverance against adversity—
a characteristic which augurs well for the future
of this courageous people.
85