Studio: international art (79.1920)

STUDIO-TALK

"JUNE IN JAPAN ”■
BY TAKE SATO

(In the possession of
George Murrell, Esq.)

STUDIO-TALK.

{From our own Correspondents.)

LONDON.—As our frontispiece this
t month we give a reproduction of a
delightful landscape by Mr. H. Hughes-
Stanton, who was recently elected a Royal
Academician after holding the rank of
Associate since 1913. The new Acade-
mician, though still only in middle life—
he was born in 1870—has gained an assured
place among the first landscape painters of
our day, and on both sides of the English
Channel he is highly appreciated as an
artist of deep poetic feeling and an up-
holder of the best traditions of the painter's
craft. 0 0 0 0 0

The water-colours of Mr. Take Sato,
which we reproduce here, are from a recent
exhibition at the Burlington Gallery in
Green Street, Leicester Square, which was
started a year or two ago for the purpose of
affording opportunities, to young artists
more particularly, of showing their work
184

to the public. Mr. Take Sato is a native of
the Shinano province of Japan, a highland
region noted for its beautiful scenery. He
began to study art according to native
traditions early in his teens, but after-
wards came in contact with an art teacher
who had visited Europe and taught the
Western style. Later, he studied at the
Japanese Water-Colour Institute, Tokyo,
and in 1914 he settled in England, pur-
suing his studies at the Chelsea Poly-
technic School of Art. He has exhibited at
the Royal Institute, the International,
and other shows. He works only in water-
colour ; for though he has experimented
with the oil medium, he has never been
able to adapt himself to it, and has given it
up in favour of the more fluent medium.
As is almost universally the case with the
artists of the Far East, the memory plays
an important part in his work. The picture
of North Devon cottages, for instance, was
not painted direct from a given stretch of
country, but conveys a memorized im-