THE ARTS.
Places. By Paul Nash. (Wm. Heinemann. 10s. 6d. net.) The interest in book production is rapidly spreading from the rare specialist to the publisher and through• him to the general reader. Type, "lay-out," decoration, illustration and binding, and the relation of these to the matter of the book, are the principal problems to be grappled with. Unfor- tunately, the usual proceeding of the publishers is to borrow, more or less promiscuously, from the productions of the past. Not only does this show a lack of vitality, but it generally results in a hotch-potch of styles which is fatal to artistic unity. Messrs. Heinemann have made a most interesting experiment in their production of Mr. Nash's seven woodcuts Places. The whole book is the work of Mr. Nash : wood blocks, type design, decoration, binding and prose illustra- tions. The type is cut from Mr. Nash's handwriting, and the decorations arc free, effective and, naturally, in complete sympathy with the woodcuts. We feel that the book is a success, visually, but Mr. Nash does not express himself so satisfactorily in the prose. It is difficult to say whether a professional writer could have remedied this defect without introducing something of his own personality and spoiling the present unity. It is a nice problem which could only be solved by a close similarity of vision in an artist and a writer, a rare but not impossible combination. Mr. Nash shows a conscious and sincere effort to write, but without a true feeling for words, for prose rhythm or for precision of statement. His literary style has not developed with his visual expression. Mr. Nash has never been a facile craftsman and he is not yet as successful with the woodblock as he is with water-colour or oil. Facility is a dangerous gift for an artist, and Mr. Nash's continual struggle has helped to produce his continual progress. That section of the public which is only familiar with his early War work should consider the new painting of Dymchurch Wall at the National Gallery, Millbank (the Tate). His technical advance is more clearly demon- strated in the medium of oil than in the woodcuts under con- sideration. Mr. Nash has a fine feeling for rhythmic form, s sense of his materials and a rare individuality of vision. He is, perhaps, the least under French influence of the young painters of to-day, and is rather a part of the modern move- ment than a follower of modern artists. It is right that he should be associated with this production, in which the publisher is taking his place beside the artists in an effort to break with a tired tradition.
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