International studio . ge painted tapestry soreen he does so in his own way,and with the ease of perfectmastery. There has been a greatdeal of the aping of mediae-valism in modem art, butfew are the modern artistsin whom a mediaeval soulwith its naivete, it6 passionfor the grotesque andstrangely beautiful, has re-appeared. M. Reuter. isamongst these few. To con-sider either the man or hiswork leads one almost tobelieve in is an artist who, livingat the beginning of thetwentieth century, thinksand feels mediaevally,andwho has produced duringa long series of years a work touc
International studio . ge painted tapestry soreen he does so in his own way,and with the ease of perfectmastery. There has been a greatdeal of the aping of mediae-valism in modem art, butfew are the modern artistsin whom a mediaeval soulwith its naivete, it6 passionfor the grotesque andstrangely beautiful, has re-appeared. M. Reuter. isamongst these few. To con-sider either the man or hiswork leads one almost tobelieve in is an artist who, livingat the beginning of thetwentieth century, thinksand feels mediaevally,andwho has produced duringa long series of years a work touched with themedifeval spirit. He has now reached a ripe old age, and thetime is fitting for a survey of a career that hasbeen consistent throughout and of an ensemble ofwork as varied as it is beautiful, achieved withan almost religious singleness of aim and Reuter was born at Geneva in 1S45. Hehad one inestimable advantage in his childhood—his parents looked with favour upon his first. BY EDMOND G. REUTER. BY Edmond G. Renter untutored efforts in art during his years of schoollife. Later he took drawing lessons with a dis-tinguished painter, which were, however, of tooacademic a character to exert any determininginfluence on his natural inclinations. This, hetells us, was probably the reason why he neverpaid attention to siijeis de genre and portrait-painting. But there was a still deeper cause : it lay in hisstrong predilection for landscape—specially sugges-tive of historical and legendary associations and ofthe medieval past and his taste for ornamentaldesign. He spent some time in Paris and Miilhausenas an amateur apprentice in the craft of designing forprinted fabrics, in which naturalistic flower-designplayed the principal part Later on he had theprivilege of accompanying ^L Edouard Naville, thedistinguished Swiss Egyptologist, on his first journeyto Egypt, and thus came under the spell of Orientalart. A year after his return he went to London
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