File:Joseph E. Southall - The Barque.jpg

Identifier: internationalstu62newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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en up becausewhat results from it is false and misleading.If the noble sentiment of war is perverted intowashv sentimentality the artist fails in his mis-sion and makes his achievement worse thanvalueless. How then is war to» be painted ? The facts, I think, will have to be limitedto minor incidents, to the smaller episodes inthe military life, I mean, suggested the YoungPainter ; and the fancies will have to be putin a svmbolical form which will give some scopefor imagination. The suffering, the self-sacrifice,the horror, and the tragedy of war cannot bemade intelligible by trivial paintings of domesticscenes or semi-religious pictures of the populartype. We want something greater than that. It seems to me that we shall want theartists as well as the art, said the Man withthe Red Tie. Well, let us hope that out of the strife ofwar will come the masters who can paint it asit should be painted, replied the Critic. Theworld is ready for them and their welcome isassured. The Lay Figure.
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THE BARQUE. tempera paintingby JOSEPH E. SOUTHALL The Paintings of Joseph Sonthall THE PAINTINGS OF JOSEPHSOUTHALL. BY ARTHUR FINCH. IN view of the prominence given by thePress nowadays to the feverish contor-tions and slushy abstractions of theultra-moderns of art, it is not surprisingthat few English people outside art circlesand visitors to the exhibitions of the NewEnglish Art Club know much about the workof the artist who is the subject of this article.On the Continent, however, and especially inParis, his work is much better known. It may be also that the lack of appreciationfor, and acquaintance with, the work of one ofthe most distinguished modern artists in themedia of tempera and fresco is due no less tothe high standard of technique set up, andsubtleties of colouring which his work reveals,than to the temperament of the artist himself.Joseph Southall is an habitue of the studio;he shrinks from the publicity of the crowd. Tounderstand him, and thereby his art, it isnecessary

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