Studio: international art (90.1925)

JAMES DURDEN

unquenchable. Of this the specimens
here reproduced give ample proof. 0
Vienna lace has already become a thing
specific; for its loveliness and variety of
design, its beauty of execution, it is sought
for eagerly by those who still prefer the
real to the imitation, intrinsic beauty to
outward show. A. S. L.

JAMES DURDEN. BY JESSICA
WALKER STEPHENS. 000

THE paintings of James Durden are
strong and highly satisfactory examples
of the work of the objectivist-decorative
school whose hold on British artists has
lasted so long and which has been so little
challenged. Modern thought is beginning
to challenge objectivism, which is probably
quite stimulating for objectivism and for
modern thought. Whether we lean to-
wards the school to which Mr. Durden
apparently belongs or not, one all-important
fact emerges upon examination of his work
—this artist is a very gifted and able
member of that school. 000
The objectivist, concerning himself with
translating grouped objects into a decora-
tive composition, makes his appeal to the
critical faculty and to that aesthetic emo-
tion which the average citizen finds so
elusive. Objective art does not, save
among a minority of people, rouse the
emotions which ordinarily cloud the critical
faculties : these faculties are consequently
left free to act, and the pleasure of exercis-
ing them is produced by the executional
skill present in the work. The cool
pleasure of appreciating sheer skill is not
to be underrated, and this pleasure is
certain in such work as Mr. Durden's.
The aesthetic emotion is produced in
certain people by certain pictures, but this
is a subtle and elusive matter, even as the
average citizen supposes. The aesthetic
emotion is rather like the u expression
of the artist's mind." Both are more
effective when unintentional than when
self-conscious, and should not be adver-
tised. The objectivist has this virtue, that
he does not wallow in introspection, but
deals primarily with material objects as
such. His weakness is in the direction of
detachment from life : this weakness the
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present subject escapes by loving sunshine
and a certain gaiety of colour and by wish-
ing constantly for the human element in
his pictures of interiors. Human subjects,
especially portraits, maintain an artist's
touch with life and prevent him from be-
coming abstract and concerned only with
painter's problems. It is not easy to give
to artistic problems the attention demanded
by exacting standards of technique and to
retain at the same time the unpremeditated
passion which is life : yet without some of
this passion no art of any school is success-
ful. In the search for it many moderns
have thrown representative and other
technical correctness to the winds, and
have then failed. Art is so stern that she
demands all perfections. A few old masters
satisfied her greed, giving vitality and
material imitation both in perfection. An
honest and fervent modern may follow
in their tracks as his period allows, and
this James Durden seems to be doing. 0
Manchester has produced a great many
artists who are not always easily found
but who may be discovered outside of
Manchester. Mr. Durden is one of these
unexpected sons of Manchester and he

TWILIGHT, CUMBERLAND "
BY JAMES DURDEN