Studio: international art (87.1924)

LONDON—LIVERPOOL

plate. It makes a commanding appeal by
its masterly restraint and by its extra-
ordinarily correct balance of the qualities
which have to be considered in the
creation of a really complete design. 0
The second colour plate, The Slave-Ship
Ransomed, illustrates another type of
decoration and another kind of convention
in art. Miss Violet Oakley, the American
artist responsible for it, has achieved
success because, like the Japanese painter,
she has approached her task with sincerity
of intention and has carried it out with a
full sense of responsibility. Miss Oakley
has made a very high reputation in her
own country, and was entrusted with the
task of executing mural paintings repre-
senting scenes from the life of William
Penn, for the Pennsylvania State Capitol.
Our illustration is the original drawing for
one of these, and both this and The Trial
of William Penn have been acquired by
the Victoria and Albert Museum. 0

The early painting by Degas, which
was recently shown in the Goupil Gallery
Salon, has been purchased by the
Courtauld Committee for the modern
foreign section at the Tate Gallery. The
acquisition of this picture is welcome, not
only because it is pictorially and technically
of unusual importance, but also because it
represents a phase of the artist's practice
with which British art lovers are more or
less unfamiliar. 0 0 0 0

The Swiss Minister, Monsieur C. R.
Paravicini, has lent to the Victoria and
Albert Museum seven panels of early
stained glass which are now exhibited.
Three of these panels, originally in the
Cathedral Passau, belong to the Salzburg
School and are dated 1494* Of the re_
mainder, two are either the Constance or
the Zurich School of about 1430, and two
are heraldic panels dating from about
1440. 000000

LIVERPOOL.—A Municipal Art School
is, like an omnibus, expected to carry
all sorts of passengers and to land each
and all of them at some destination.
Omnibus passengers generally know where
they wish to arrive—art students are often
quite vague about it. To induce the young
person who is dreamily expectant of
becoming (quite easily) a Titian to do

“ the dice.” pen-drawing

FOR BOOK ILLUSTRATION BY
BEATRICE C. GUERCIO
(Liverpool School of Art)

something practical in a practical subject
is no small task, and it is a main task of
the modern art school. 0 0 0

The Liverpool School of Art is one of
those nucleus schools which may be called
the Art Universities. It has a well
equipped building and a staff of strong and
artistic masters: Mr. George Marples,
A.R.C.A., A.R.E., the energetic Principal
(whose etching, The Jackdaws of Chartres,
was recently reproduced in The Studio),
is assisted by Mr. C. J. Allen, Mr. W. C.
Penn, R.O.I., Mr. Frederick Carter, Mr.
Charles Sharpe, Mr. Hodel and other
effective artists and craftsmen. The school
is catholic in outlook and does not regard
itself solely as a place where teachers are
taught to teach teachers to teach. All
sides of art craft are dealt with, and the
recent School show gave evidence of far-
reaching results, sculpture, painting,
etching, metalwork, illustration and print-
ing and all branches of commercial art

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