. International Studio an Illustrated Magazine of Fine and Applied Art. well represented, nor must Franz Barwig be passed over, for his wood sculpture was art was well to the fore. Franz Simons(Paris) etchings were extremely good, and FerdinandMichl (Paris) exhibited charming etchings andmonotypes; but more must be said of their workanother time. Oskar Laske, Ferdinand Staeger,and Ferdinand Cold also sent good specimens oftheir work. The exhibition was arranged byJosef Urban, and was in every way a welcome one. A. S. L. REVIEWS AND NOTICES. George Morland: His Life and Works.
. International Studio an Illustrated Magazine of Fine and Applied Art. well represented, nor must Franz Barwig be passed over, for his wood sculpture was art was well to the fore. Franz Simons(Paris) etchings were extremely good, and FerdinandMichl (Paris) exhibited charming etchings andmonotypes; but more must be said of their workanother time. Oskar Laske, Ferdinand Staeger,and Ferdinand Cold also sent good specimens oftheir work. The exhibition was arranged byJosef Urban, and was in every way a welcome one. A. S. L. REVIEWS AND NOTICES. George Morland: His Life and Works. By SirWalter Gilhev, Bart., and E. D. Cuming.(London : A. & C. Black.) 20s. net.—This admir-able volume forms a valuable and important acquisi-tion to art literature on account of the completenessof the biographical portion and the excellence andnumber of the illustrations. The authors, writingwith authority and with evident knowledge of theirsubject, have produced a work interesting to thelay reader and helpful to the student. The posi- S3 Reviews and Notices. herons (tempera) by KARL HUCK (See Vienna Studio-Talk) tion of Morland amongst the painters of the earlyEnglish school is unique. The writers justlyaffirm, Morland had no predecessor, he had nosuccessor ... he founded no school. He stoodalone as a painter of peasant and humble life, andthe field he vacated has never been seriously takenup again. That he owed something to Stubbs (andin a lesser degree to VVheatley and Gainsborough)is admitted, but without sacrificing in any way hismarked individuality. We are disposed to agreewith the writers again when they say that no painter,not even Stubbs himself, ever painted horses withgreater penetration and knowledge than Morlanddisplays at his best. His pictures of rural lifein England form one of the noblest pages inthe art of this country, and that they are dulyappreciated is proved by the remarkable advancein their prices during recent years. The story ofMorlands life is n
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