We are pleased to be able to reproduce here the first issue of The Studio, as it was known until the early 1960s, when it was renamed Studio International. It is presented in the format of a digital book, enabling you to read the articles and enjoy the great works and its design exactly as it appeared on publication.
Here is the link to The Studio, Vol 1 No 1 as well as links to the individual articles:
Artists as craftsmen. No. 1.—Sir Frederic Leighton, Bart., P.R.A., as a Modeller in Clay
With Nine Illustrations from Photographs, page 1.
The growth of recent art. By R.A.M. Stevenson, page 7.
Letters from artists to artists. Sketching Grounds No. 1 – Spain. By Frank
Brangwyn. With Five Illustrations by the Author, page 12.
A new illustrator: Aubrey Beardsley. By Joseph Pennell. With Eight Illustrations, page 14.
The Studio: An Illustrated Magazine of Fine and Applied Art, Vol 1, No 1, April 1893, pp18-19.
Spitalfields brocades. By Lasenby Liberty (Illustrated), page 20.
Designing for book-plates. With Eight Illustrations from examples by R.A. Bell,
Herbert O. Horne, Washington Hogg, and Alan Wright, page 24.
The Fitzroy Picture Society. (Illustrated), page 28.
A history of furniture. (Illustrated), page 30.
The Newlyn point of view. By a Newlyn Painter, page 32.
The Crafton Gallery. A Summary. By C. W. Furse, page 33.
Current notes on the applied arts. (Illustrated), page 34.
Studio Gossip. By A Laodicean, page 36.
Architectual Notes. By Horace Townsend, page 37.
Decorative trees in gilded metal. Designed by C. F. A. Voysey, page 38.
Paris Notes. page 38.
New publications: Adeline’s Art Dictionary – Old Wedgwood – Crane’s Lecture on Art – Hardy’s Book-Plates – Whitechapel to Camelot – Marriot-Watson’s Diogenes in London – Sedding’s Art and Handicraft, page 38.
The lay figure speaks, page 40.
Calendar for January, February, March, and April 1893, page ix.
Prize competitions. Rules and Particulars, page x.
Using the same digital format, we will reproduce every issue from 1965 to 1975, providing a historical record of that time, a period during which all Studio International’s covers were created by renowned contemporary artists.
Robert Rauschenberg: Combines
It was only a matter of time before the work of Robert Rauschenberg would again receive a star billing in Paris, and there could be no better venue than the Centre Pompidou. The reason is that the work literally benefits from the implied temporariness of the 'rooms' at the Centre.
Papunya painting: out of the desert
Art is a central force in Aboriginal culture and a critical political tool. Through an understanding of the art it has been possible to make a case for Aboriginal rights. The Sydney Olympics in 2000 were used both to expose the dreadfully inhuman conditions under which many Australian Aborigines still lived, and also to incorporate Aboriginal art and ritual into contemporary culture. Thousands of Aborigines took part in the superb theatrical ceremony; a great part of which was inspired and dedicated to the history of Australia before the arrival of white European settlers.
Art, Consciousness and Other Intractable Problems
'Neuroscience is emerging as one of the grand belief systems informing the imagination of artists and writers in the twenty-first century',1 writes the neuropsychologist and author Paul Broks in the catalogue that accompanies this exhibition. It is certainly a rapidly evolving field, and undoubtedly the coming advances in our understanding of the brain will pose radical questions about our notions of selfhood and responsibility, even more than the emergence of psychoanalytic theories did at the start of the 20th century.
Book review: Sir John Vanbrugh: Storyteller in Stone
A new biographical study of the architect Sir John Vanbrugh (1664-1726) is most timely. The historical importance of this remarkable polymath has been in need of revision for four decades or more. Vanbrugh was positioned in different ways by Sir John Summerson, for example, or by Sir Niklaus Pevsner. On one hand, due recognition was paid to him for the designs of Castle Howard, and for Blenheim Palace, especially. But in the past two decades, the relationship of such buildings to their total landscape has been reconsidered, as has the work by Vanbrugh's collaborators, such as Nicholas Hawksmoor, and even successors, such as Capability Brown.