The International Studio, Volume 41New York Offices of the International Studio, 1910 |
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admirable Albin Müller ALFRED ALFRED EAST ALFRED PHILIPPE ROLL American architect architectural Art School attractive beauty Beaux Berlin blue brush building canvas CARL MILLES carving CECILIA BEAUX character characteristic charm collection colour decorative delicate delightful display drawings effect English etchings ETTORE TITO examples excellent executed exhibition expression figure flowers French Gallery garden German GERMANTOWN CRICKET CLUB give glaze HARRY PAYNE WHITNEY Illus illustrations impression influence interesting interior Japanese painting Kampo KAWAI GYOKUDO KIOTO Kyoto Lady landscape light London master ment Miss modern nature Orchardson painter painting panels Paris pieces porcelain portrait pottery present Prof Pueblo pupil recent represented reproduced Salon scene scheme School of Art sculpture sense shadow shown sketches Society spirit Street style things tile tion Tokyo vase wall water-colours William WILLIAM ROTHENSTEIN wood young
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Page 138 - Five years have past; five summers, with the length Of five long winters! and again I hear These waters, rolling from their mountain-springs With a soft inland murmur. — Once again Do I behold these steep and lofty cliffs, That on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky.
Page 138 - Once again I see These hedge-rows, hardly hedge-rows, little lines Of sportive wood run wild: these pastoral farms, Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees! With some uncertain notice, as might seem Of vagrant dwellers in the houseless woods, Or of some Hermit's cave, where by his fire The Hermit sits alone.
Page 142 - In darkness, and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart, How oft, in spirit, have I turned to thee, O sylvan Wye! Thou wanderer thro' the woods, How often has my spirit turned to thee!
Page 138 - The landscape with the quiet of the sky. The day is come when I again repose Here, under this dark sycamore, and view These plots of cottage-ground, these orchard-tufts, Which at this season, with their unripe fruits, Are clad in one green hue, and lose themselves Among the woods and copses, nor disturb The wild green landscape. Once again I see These hedge-rows, hardly hedge-rows, little lines Of sportive wood run wild...
Page 78 - Institute, has been appointed by the President of the Board of Education to the newly created post of Chief Inspector of Secondary Schools ; and Mr.
Page xxvii - Among the men who have done most to infuse an authentic note of nationalism into contemporary American art Edward W. Redfield occupies a prominent position. He is the standard bearer of that progressive group of painters who are glorifying American landscape painting with a veracity and force that is astonishing the eyes of the Old World, long accustomed to a servile aping of their standards. He is...
Page xxxiv - While the greater part of his work celebrates the glories of winter his whole output reveals a great diversity of subjects ; one feels the lack of a formula — each canvas has the freshness of a first discovery. There is nothing flamboyant or rhetorical in his art. He neither epitomizes nor philosophizes, nor is his work touched with any of that dreamy and speculative hyperestheticism that is emasculating a section of our art.
Page 184 - New York, in 1825, the son of a retired grocer, he was apprenticed as a youth to an engraver. This, as we have seen, was the profession in which those landscape painters of the Hudson River School, Kensett, Durand, and Casilear, began by achieving success.
Page 164 - Chinese artist of unknown date, though they might have been written yesterday. Some extracts may be of interest: — "Excellence does not consist in multiplicity of detail, nor in bare simplicity; difficulty is not art, nor is ease: non-accordance with rules does not ensure an artistic style, and with overmuch method the result may be highly inartistic. First give rigid attention to all rules, then follow your genius and break away from them.
Page xxvii - He presents glimpses of nature with all the actuality of a scene viewed through a window, in which his art is a direct antithesis to that of Whistler and his followers, which is nature viewed through a temperament...