The Studio: An Illustrated Magazine of Fine and Applied Art, Volume One (April to September 1893)
The first bound volume of The Studio, the London monthly of fine and applied art: its first six issues, April to September 1893.
What it is
The first bound volume of The Studio, the London monthly of fine and applied art: its first six issues, April to September 1893. It treats wallpaper, metalwork, book-plates and posters as seriously as painting. The first issue opens with Sir Frederic Leighton's clay models and carries Joseph Pennell's A New Illustrator: Aubrey Beardsley, which praised Beardsley's Morte d'Arthur drawings and the process blocks that printed his own pen line. Later issues bring Lasenby Liberty on Spitalfields brocades, Walter Crane on gesso, a symposium asking whether the camera is friend or foe of art, Charles Holme on the art of Japan, Charles G. Harper on drawing for reproduction, and C. F. A. Voysey's wallpapers. Charles T. J. Hiatt's The Collecting of Posters dismisses English hoardings and holds up Jules Chéret, whose posters stop people in the street. It ends with The Lay Figure column and a poster by Arthur Haward.
Why read it now
Read it for Hiatt on posters and Pennell on Beardsley. Hiatt's test holds: an ad is applied art, so a handsome one that fails to advertise has failed, and a poster seen from yards away needs broad colour and one focal point, not fine finish. Outdoor industry guidance today says the same, a few words and one dominant image, because a driver sees a board for seconds. Pennell's point, that new reproduction methods reward artists who design for them instead of imitating hand work, applies to every format since, from the half-tone to the phone screen. The magazine is also a lesson in editorial authority: by treating wallpaper and posters as worth collecting, it made applied design respectable and made its contributors known. What has dated: the contempt for English commercial art, and a habit of judging Chéret by the delight he gives rather than what he sold; the volume holds no evidence of any ad's effect on sales. Use: before approving a billboard or a feed ad, view it at the size and distance your audience will, and cut until one image and one idea carry it.
Passages worth keeping
the decorative chair on which it is uncomfortable to sit, the wall paper with which it is unpleasant to live, are merely futile, and the advertisement that does not advertise is a contradiction in terms.
الفن التطبيقي يُحكم عليه بأداء وظيفته أولًا، فالإعلان الذي لا يعلن ليس إعلانًا مهما كان جميلًا.
His splendidly audacious colour and broad execution rarely fail to bring the man in the street to a standstill.
ألوان شيريه الجريئة وضربات فرشاته العريضة توقف المارة، وهذه هي المهمة الأولى للملصق في الشارع.
To collect English posters would be mere childishness comparable to the treasuring up of postmarks
يرى الكاتب أن الملصقات الإنجليزية في زمنه رديئة لا تستحق الجمع، على خلاف الفرنسية، وهو حكم ذوقي قاسٍ أكثر منه دليل.
he has recognised that he is living in the last decade of the nineteenth century, and he has availed himself of mechanical reproduction for the publication of his drawings
بيردسلي فهم أدوات عصره، فصمم رسومه لتُطبع آليًا بدل أن يقلد أساليب الطباعة اليدوية القديمة.
this mechanical artist, which has killed the miniaturist, banished the lesser portrait-painters, rendered the wood-engraver obsolete, and generally disturbed the commercial relations of art much as the steam-engine upset the old systems of ships and coaches.
الكاميرا قضت على مهن فنية كاملة وغيّرت سوق الفن كما غيّرت الآلة البخارية النقل، وهذا ما تفعله كل تقنية جديدة بالمهن القائمة.
The scanned text has OCR errors. The passages are quoted from it, with only obvious slips fixed.
What it teaches best
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