DOI Heft:
No. 367 (October 1923)
DOI Artikel:[Studio-talk]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21398#0230
LONDON
sketch may possibly be the result of a
happy inspiration ; but a good study can
be achieved by nothing but persistent in-
dustry and unremitting effort. We feel that
Sir Joshua might have approved of Down
deny, near Plymouth, for there is much
in this “ modern-English " water-colour
which adheres to the old tradition of early
British water-colour. Indeed, the modern-
ity lies not in the firm structure of the
underlying design, but in the colour ; for
it is a distinguishing characteristic of Mr.
Ginner’s art that in his work a Pre-
Raphaelite love of detail is accompanied
by an impressionist’s passion for full-
blooded colour. Just as he delights in de-
tails as elements wherewith to enrich his
design, so he pursues subtleties of illu-
mination and broken tints as precious
notes which swell the grandeur of his
symphony of colour. 000
An artist so original in his point of view,
and so sure in his execution, is certain
sooner or later to have an effect on his
contemporaries, and we seem to see traces
of Mr. Ginner’s influence in Mr. W. Rat-
cliffe's The Spaniard’s Inn Garden. There
is not here quite the same alertness in the
registration of detail, for Mr. Ratcliffe's
outlook is inclined to be more romantic
and less keenly intellectual than that of
Mr. Ginner; but there is the same sound
basis of draughtsmanship and design and
the same tendency to superimpose on the
drawing a veil of impressionist colour. 0
Firm drawing is also the sub-structure
of Mr. Robert Bevan’s Polish Village, but
his tendency is rather to eliminate detail
so as to accentuate the simple structure of
his design. He also is “ modern ” in his
colour, delighting in the violet shadows of
the impressionists ; but here, also, his love
of simplification shows itself, and the
larger planes of his colour—like his more
boulder-like masses—tend to give his work
a decorative, rather than a deliberately
realistic aspect. Frank Rutter.
The Rural Industries Intelligence Bur-
eau has been founded under a trust deed,
with the primary object of giving useful
information and advice to rural workers,
or to persons wishing to engage in, or to
promote, rural industries. The bureau is
publishing leaflets dealing with the general
aspects of rural industries, and, in detail,
210
with certain industries and crafts which
already exist or which can be re-established
or introduced in country districts. These
leaflets are written from a practical stand-
point, and should be of interest to artistic
craftsmen, for among the subjects treated
are wood-work, metal-work, mat-making
and basket-making. The bureau has at its
disposal in an advisory capacity, the ser-
vices of competent artists, who have
studied and are researching on the tech-
nical as well as the artistic sides of various
handicrafts. The address of the bureau is
258-262 Westminster Bridge Road, S.E.i.
The Association of Old Students of the
Royal College of Art, South Kensington, is
organising an exhibition of works by past
students which is to be opened in the
Victoria and Albert Museum early in
December. To make this exhibition as
representative as possible, the Association
wishes to obtain works by the chief artists,
designers, and craftsmen, who were trained
in the College or in its predecessor, the
National Art Training School, and it will
be grateful for offers of suitable contribu-
tions to the collection. Communications
should be addressed to the President,
Mr. Alexander Fisher, 12, St. Mary Abbot's
Place, Kensington, W. 8 ,* or to the Hon.
Secretary, Mr. E. L. Mackenzie, 13,
Palliser Road, Baron’s Court, W. 14. 0
The two wood panels illustrated are by
Mr. A. Borlase Eady, the well-known
angler-artist. The combination of angler
and artist is not necessarily productive
of the best result. The angler, from his
close personal knowledge of his subject, is
tempted to exaggerate detail which the
artist must suppress. Mr. Eady is to be
congratulated on the manner in which he
has combined accuracy of knowledge with
breadth of treatment. His technique is
good, and the texture of the wood is skil-
fully turned to advantage. Design and
execution show distinct but not excessive
evidence of Japanese influence. 0 0
Mr. Dudley Short’s entertaining and
expressive series of pen drawings which
we are able to reproduce herewith were
shown in the recent exhibition held by
The Junior Art Workers’ Guild to which
reference was made in the September
number of The Studio. Mr. Short’s
methods are superficially akin to those of
sketch may possibly be the result of a
happy inspiration ; but a good study can
be achieved by nothing but persistent in-
dustry and unremitting effort. We feel that
Sir Joshua might have approved of Down
deny, near Plymouth, for there is much
in this “ modern-English " water-colour
which adheres to the old tradition of early
British water-colour. Indeed, the modern-
ity lies not in the firm structure of the
underlying design, but in the colour ; for
it is a distinguishing characteristic of Mr.
Ginner’s art that in his work a Pre-
Raphaelite love of detail is accompanied
by an impressionist’s passion for full-
blooded colour. Just as he delights in de-
tails as elements wherewith to enrich his
design, so he pursues subtleties of illu-
mination and broken tints as precious
notes which swell the grandeur of his
symphony of colour. 000
An artist so original in his point of view,
and so sure in his execution, is certain
sooner or later to have an effect on his
contemporaries, and we seem to see traces
of Mr. Ginner’s influence in Mr. W. Rat-
cliffe's The Spaniard’s Inn Garden. There
is not here quite the same alertness in the
registration of detail, for Mr. Ratcliffe's
outlook is inclined to be more romantic
and less keenly intellectual than that of
Mr. Ginner; but there is the same sound
basis of draughtsmanship and design and
the same tendency to superimpose on the
drawing a veil of impressionist colour. 0
Firm drawing is also the sub-structure
of Mr. Robert Bevan’s Polish Village, but
his tendency is rather to eliminate detail
so as to accentuate the simple structure of
his design. He also is “ modern ” in his
colour, delighting in the violet shadows of
the impressionists ; but here, also, his love
of simplification shows itself, and the
larger planes of his colour—like his more
boulder-like masses—tend to give his work
a decorative, rather than a deliberately
realistic aspect. Frank Rutter.
The Rural Industries Intelligence Bur-
eau has been founded under a trust deed,
with the primary object of giving useful
information and advice to rural workers,
or to persons wishing to engage in, or to
promote, rural industries. The bureau is
publishing leaflets dealing with the general
aspects of rural industries, and, in detail,
210
with certain industries and crafts which
already exist or which can be re-established
or introduced in country districts. These
leaflets are written from a practical stand-
point, and should be of interest to artistic
craftsmen, for among the subjects treated
are wood-work, metal-work, mat-making
and basket-making. The bureau has at its
disposal in an advisory capacity, the ser-
vices of competent artists, who have
studied and are researching on the tech-
nical as well as the artistic sides of various
handicrafts. The address of the bureau is
258-262 Westminster Bridge Road, S.E.i.
The Association of Old Students of the
Royal College of Art, South Kensington, is
organising an exhibition of works by past
students which is to be opened in the
Victoria and Albert Museum early in
December. To make this exhibition as
representative as possible, the Association
wishes to obtain works by the chief artists,
designers, and craftsmen, who were trained
in the College or in its predecessor, the
National Art Training School, and it will
be grateful for offers of suitable contribu-
tions to the collection. Communications
should be addressed to the President,
Mr. Alexander Fisher, 12, St. Mary Abbot's
Place, Kensington, W. 8 ,* or to the Hon.
Secretary, Mr. E. L. Mackenzie, 13,
Palliser Road, Baron’s Court, W. 14. 0
The two wood panels illustrated are by
Mr. A. Borlase Eady, the well-known
angler-artist. The combination of angler
and artist is not necessarily productive
of the best result. The angler, from his
close personal knowledge of his subject, is
tempted to exaggerate detail which the
artist must suppress. Mr. Eady is to be
congratulated on the manner in which he
has combined accuracy of knowledge with
breadth of treatment. His technique is
good, and the texture of the wood is skil-
fully turned to advantage. Design and
execution show distinct but not excessive
evidence of Japanese influence. 0 0
Mr. Dudley Short’s entertaining and
expressive series of pen drawings which
we are able to reproduce herewith were
shown in the recent exhibition held by
The Junior Art Workers’ Guild to which
reference was made in the September
number of The Studio. Mr. Short’s
methods are superficially akin to those of