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The author talks about industrial design in Great Britain as of November 1961. He cites the emerging trends of the use of young designers and the internationalization of design and practice in the art community. He says that a scheme has been developed for young designers wherein they undergo selective training in specialized skills before joining the organization. Also noted is the effect of the employment of foreign and British artists on public taste for display and advertising in England.

The author reflects on the paintings exhibited during the Biennale where thirty countries were presenting their best in art in Venice, Italy. He is critical of the art representing Great Britain, whose selections were made by Sir Philip Handy, director of the National Gallery in London, England. He names several countries with impressive achievements in the graphic field such as Italy, Egypt and Poland. He notes how the art of Italy has shown more vitality than any other country and how he felt elated by his visit at the Italian pavilion.

The article provides information on the exhibition The Artist's Vision: Romantic Traditions in Britain, on view at the National Gallery of Art in Washington, D.C. through March 18, 2007. The exhibition highlights fine British prints and drawings from the late 18th through the early-20th century. Trends in British romantic art from this period include renewed interest in medieval art and subject matter. Featured are pieces from David Cox and John Ruskin, among others.

Reviews the art exhibition "To Observe and Imagine: British Drawings and Watercolors From the Morgan Library, 1600-1900" at the Frick Art & History Center in Pittsburgh, Pennsylvania through December 31, 2005.