Studio: international art (86.1923)

STUDIO-TALK

Toronto in 1906 he has placed himself in
a foremost position as a decorative artist,
equally at heme with a book-plate and a
stained glass window. Year by year he
finds time to keep his end up as a distinctly
progressive landscape artist. His sketches
are full of interest, though unequal. They
show an elaborate sense of design sponta-
neously at work side by side with a Words-
worthian submissiveness to Nature. The
two often conflict as they do in his recent
canvases. The same conflict shows itself
right through the younger landscape move-
ment in Ontario. To be quite up-to-date,
one might call it the clash between expres-
sion and impression. It is not peculiar to
Canada, but it takes on a distinctive
character here because it grows out of the
nature of the country-side. Mr. Mac-
donald’s complex, responsive temperament
is thus at grips with the fundamental
Canadian problem in landscape. B. F.

PARIS.—For some years past the art
of theatre decoration has been making
great progress in France. Painters of
repute have bestowed their talent on the
production of new designs, and some of
the best among them have received com-
missions from M. Rouche, the discerning
director of the Opera, which have resulted
in magnificent creations, while elsewhere
Jean Gabriel Domergue has been at work
on those remarkable evocations of the
Far East about which something has
already been said in The Studio. Hitherto,
however, there has been nothing of par-
ticular interest to note in the way of
experiments with the theatre curtain, which
has remained outside the purview of our
artists ; and yet the curtain is of great
importance as a means of influencing the
mood of the spectator before a play begins.
From this point of view a work emanating
from M. Jaulmes, one of our best architects

“COQ ” (en taille directe)

BY FRANCOIS POMPON

(By courtesy of “ Art et
Decoration,” Paris)

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