His foundation he lays as follows : ' Platitudes notwithstanding,
the definite common-sense basis of art criticism, really does exist.
Secondly, it is in some measure speedily attainable.' The last
somewhat revolutionary statement is qualified by the reservation
that the capacity to appreciate form and colour is denied some
people, and that no opinion is of value which is not founded on
intelligent study. In addition to these qualifying clauses, we should
prefer the word ' appreciation ' in place of criticism, and the omis-
sion of the attractive term 'speedily.' The general attitude of the
public in a picture gallery is, for the most part, pathetic in its
childlike naivety, and the avidity with which information is wel-
comed from any one who seems to know, renders sound counsel
additionally valuable. The elements of all pictures Mr. Geddes
designates as 'Scene, treatment, and idealisation,' or 'Head,
hand, and heart,' or 'Sight, skill, and feeling,' and he advocates
the endeavour on the part of all who wish to appreciate works of
art, to approach them on the outlook for any or all of these qualities.
The author himself is no partisan, showing throughout his pam-
phlet sympathies both varied and strongly felt. For the recent
development of a living body of artists in Glasgow he claims not
only interest, but respect ; and in general reference to the art of
the present and future, his attitude is not pessimistic.but hopeful.
We had marked many passages for quotation, but want of space
compels their omission. From beginning to end it is a bright httle
work, pregnant with matter for thought and comment. Only one
slip we notice : on page 35, Matthew Maris' beautiful little ' Mont-
martre ' is attributed to his brother James.
Mr. W. M. Conway, 22 Albemarle Street, Piccadilly, W.,
Hon. Secretary of the National Association for the Advancement
of Art, writes ; ' The first Congress of the National Association
for the Advancement of Art, which is to be held at Liverpool
towards the close of November next, will not accomplish the
object its promoters have in view unless it brings together a
representative assembly, not of artists only, but of the leaders of
industrial enterprise also. The chief difficulty by which we are
now met is that of putting ourselves in communication with the
large body of manufacturers, scattered about in different parts of
the country and as yet united by no common bond, who have been
led, by the necessities of their daily work, to face the problems of
industry in its relation to art. We know that there are many such
men ready to assist, and capable of ably assisting, in the work we
have in hand ; but unless they put themselves in communication
with us we shall scarcely be able to reach them.' Those interested
will receive any information they may desire on application to Mr.
Conway, or the Association's secretary, at the Walker Art Gallery,
Liverpool.
The Competition for the 'Owen Jones' Prizes. — The
prizes in the competition for the 'Owen Jones ' Prizes, 18S8 {in-
stituted by the Society of Arts in 1878), have been awarded. The
prizes are given to ' students of the School of Art who, in annual
competition, produce the best design for household furniture,
carpets, wall-papers and hangings, damask, chintzes, etc. , regulated
by the principles laid down by Owen Jones.' The prizes are
awarded on the results of the annual competition of the Science
and Art Department. The following is a list of the successful
candidates : — i. James J. F. King, School of Art, Glasgow —
Design for Persian Carpet. 2. Herbert Cole, School of Art,
Cavendish Street, Manchester — Design for carpets. 3. Andrew
Richmond, School of Art, Glasgow — Design for printed hanging.
4. Eniily Batters, School of Art, Hertford — Design for tiles. 5.
Samuel H. Moss, School of Art, Macclesfield — Design for tiles.
6. George Pettitt, School of Art, Cavendish Street, Manchester
— Design for printed hangings.
The Constable Pictures.— By Miss Isabel Constable's gift
to South Kensington, of what we suppose to be about half a
hundred examples of her father's art, the nation is (says the
Standard) in possession of much better means than it has enjoyed
before of studying the individuality of a leader of landscape
painting, and of claiming acquaintance with his methods. The
large series of this really great man's studies, shown henceforth at
South Kensington, are, for purposes of estimate and inquiry, the
complement of what is at the National Gallery. It is possible to
see now, not only a few — a very few — of his most deliberate and
ordered efforts — Constable en grande ienue, so to say — but to
appreciate the variety, such as it was, of his moods, and to be sure
what it was that he chiefly cared for, and how it was that he por-
trayed it. The National Gallery contains some four or five finished
canvases, one of the most notable being the ' Cornfield ' ; one of
the most interesting being a picture of a house at Hampstead,
ordinary enough in itself, but surrounded by the charm of weather ;
and the masterpiece being unquestionably that ' Hay Wain ' ex-
hibited at the Salon in 1824, which revolutionised, even too
completely, French landscape art, and which only a few years
since came to Trafalgar Square, in proof, if that were wanted, of
the generosity of a living donor. The gift which South Kensington
has received, and now displays, includes a goodly number of
smallish, but, of course, broadly painted oil pictures, many slighter
studies, and a few drawings and engravings.
Messrs. T. & A. Constable announce a work commemorative
of the Loan Collections in the Glasgow Exhibition, on parallel
lines to the volume on the Edinburgh Art Exhibition which we
reviewed last month. The Glasgow book, however, will have two
volumes, one devoted to the Historical and Archceological Collec-
tion, as well as one dealing with the Paintings, Drawings, and
Sculpture. In the first volume, special prominence is to be given
to the relics of Mary Queen of Scots, of the i6th century
struggles, and of the Jacobite risings ; the work will be under the
superintendence of some of the most eminent of our Scottish
antiquaries, among others. Dr. Anderson, of the National Museum
of Antiquities, Professor Story, and Mr. David Murray. The
Art volume will contain about one hundred illustrations, a
certain proportion of which will be full-page plates in etching
and heliogravure, while the remainder, in the best process avail-
able, will be included in the text. The letterpress will be the
work of Mr. W. E. Henley, and Mr. Robert Walker, Secretary of
the Fine Arts Section of the Exhibition, w hile the illustrations are
to be the work of Mr. William Hole, A.R.S.A., and others,
among whom we may mention Mr. Roche.
The Edinburgh Exhibition of Decorative Handiwork.
— It is proposed to hold, during the month of November 1888,
and two following months, an Exhibition of Decorative Handi-
work, comprising examples of carving in wood and ivory, inlaying,
decorative work in wrought iron, brass, copper, and precious
metals, modelled ornament, and work in such other materials as it
might ultimately be deemed desirable to include in exhibition with
these. The Exhibition will be held in the Galleries of the Royal
Scottish Academy, the use of which has been granted by Her
Majesty's Board of Manufactures. The scheme of the Exhibition
will be twofold. In the first place, an opportunity will be given
for those skilled in any of the forms of handiwork comprised within
the scheme, both professional workers and amateurs, to exhibit
specimens of their craft, and prizes will be offered for excellence of
design and of workmanship. In the second place, a Loan Collec-
tion will be formed, consisting of selected examples in the several
departments, representing various periods and nationalities —
special prominence being given to examples of Scottish work of
the sixteenth and following centuries. The Committee, consist-
ing of gentlemen well-known in connection with art matters,
appeal for the co-operation of those possessing specimens of such
work, and important help has already been promised in this
department. Mr. C. L. Blaikie, C.A., 4A St. Andrew Square, Edinburgh, is Secretary.
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THE SCOTTISH ART REVIEW
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