Studio: international art (79.1920)

“SUNDAY AT COPENHAGEN (H.M.SS.
'CONCORD' AND 'CARDIFF')”
WATER-COLOUR BY CECIL KING

(The property of the Imperial War
Museum)

STUDIO-TALK
(From our own Correspondents.)

LONDON.—A very charming example
j of needlecraft is given in the coloured
reproduction of Miss Ruth Rayner's panel,
A Vase of Marigolds, which forms the
frontispiece to this number of The Studio.
Miss Rayner possesses an instinctive feeling
for decorative fitness, and in dealing with
floral motives such as those upon which
she has here exercised her dainty skill, she
invariably avoids results which are incon-
gruous with the means employed, at the
same time that she succeeds admirably in
portraying the natural characteristics of
her models. 0 a a 0 0

Mr. Cecil King's work as a marine
painter was exemplified by two reproduc-
tions in our recent Special Number on
“ British Marine Painting," and some
further examples are here given from the
70

important collection of drawings executed
by him in the winter of 1918-1919, during
a mission to the Baltic at the instance of
the Imperial War Museum. It is unfor-
tunate that a painter of his capacity should
not have been selected as one of the
Official War Artists, and should indeed
have had to wait until after the Armistice
before having an opportunity of contribut-
ing to the national records. An enthusiastic
Territorial for years before the war, he
joined his unit for active service in August
1914, and for a year commanded a company
on coast defence. Drafted to France in
1916, he served with a cyclist company in
the Arras sector, and was subsequently
transferred to the Map Service of the Sixth
Corps, many of the maps used in the
Battle of Arras in 1917 being made under
his supervision. Later he was selected to
assist Mr. Norman Wilkinson in developing
the system of “ dazzle " painting which in