Identifier: internationalstu70newy (find matches)
Title: International studio
Year: volume LXXI , n° 280 , july 1920
Authors:painting from Richard Jack
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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nt 69 BOOKS REVIEWED Art of Arthur Streeton, The. SpecialNumber of Art in Australia . . . Batiks, and How to Make Them. ByPieter Mijer Charm of Oxford, The. By J. Wells, M. A., Warden of Wadham College Fine Arts of Photography, The. By Housing Book, The. Compiled by Wil-liam P. Comstock Interior Paintings. By Patrick W.Adam, R. S. A. With an introduc-tion and biographical note byPatrick J. Ford 160 Japanese Names and How to ReadThem, By Albert J, Koop, B. A.and Hogitaio Irada of Kioto. . . 100 Jeunesse de Titien, La. Par Louis Hourticq 159 Joke About Housing, The. By Charles Harris Whittaker xxxiv NoA NoA. By Paul Gauguin . . . xxxvi Outlines of Chinese Art.. By John Calvin Ferguson 198 Pictorial Photography in America, 1920 XXXV Strategic Camouflage. By Solomon J. Solomon, R. A 80 War Posters Issued by BelligerentAND Neutral Nations,. 1914-1919.Selected and edited by Martin Har-die and Arthur K. Sabin ... 200 Wilderness, A Journal of Quiet Ad-venture IN Alaska. By RockwellKent Ixxxii
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THE
INTERNATIONAL
STUDIO

VOL. LXXI, No. 280 Copyright, 1920, by John Lane Company JULY, 1920

LANDSCAPE PAINTING IN
AMERICA
BY AMEEN RIHANI

Part II. (Sec May Issue.)
With the Oriental artist, the Hindu
or the Japanese, a landscape is a state of the
soul,—a manifestation, like the human em-
bodiment, of the mind of the universe,—a
token and an avowal of unity and oneness.
Indeed, nature and humanity and the spirit of
the divine that pervades them are one. Th
human figure in a landscape is not made the
puppet of the artists caprice; nor is a land-
scape decked to serve the human will. Neither
is subservient to the other; both spring from
the same source, metaphysical and terrene;
both stand out in an embodiment that pro-
claims their common heritage; in both is an
expression of the enduring, the eternal,
whether it be a fluid beauty, an articulate ter-
ror, a grotesque incarnation, or a material
token of the divine silences. The harmony
is always supreme. And although the en-
semble is sometimes vague, mystical, and,
from an artistic point of view, inexpressive,
the detail is always exquisite.

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