Studio: international art (11.1897)

The Munich Exhibition

lion ,ul intense richness of colour. In the English signed in the style of the fifties and sixties. These
room are also hung the works of Muhrman, are only a few examples. Merely to name all the
the pastelist—all, including a painting in oils, good work in this collection would take up far too
expressing the deep, quiet harmony and tender much space.

seriousness which distinguish the Anglo-American As will be seen from the above enumeration, a
artist. E. A. Walton's Ferry delights the eye by few Scotchmen have found hospitality in the English
the indescribably hazy charm with which the room ; whereas in their own gallery the artists from
atmosphere of a sunny morning, still bathed in over the Tweed reign supreme. This exclusiveness
mist, is reproduced. Constance Walton gives us has a wonderfully rich and satisfying effect. As
again a few of her tasteful water colours. Austen we gaze on these works we are no longer in the
Brown, who last year excited much admiration with Scottish section of the Munich Glas Palast, but in
a portrait, is this time, as in the Academy, repre- Scotland itself. We are standing with Paterson on
sented by rich and powerful landscape work. some summit in the Highlands, and watching far

The English room is further adorned by a collec- above the tree tops the reflection of distant lakes,
tion of selected pictorial works—etchings by the chains of far-off mountains, with the bold
Seymour I laden, which, without irreverence, may masses of cloud floating high overhead in the fresh
be ranked with the landscape etchings of Rem- moist air. And midway in the broad landscape
brandt; etchings and lithographs by Oliver Hall, we see an old picturesque castle, with the genial
full of power and artistry; a large selection sunshine playing on its walls. With Stevenson, we
from the studio of William Strang, who, with all dream in the cosy twilight, under the birches skirt-
his eclecticism, remains original and powerful; ing the quiet lake. The strong sea breeze blows
illustrations and designs by Walter Crane ; and straight from the canvases of David Martin, shining
wood engravings by Thomas Sturge Moore, de- with the glamour of the sunlit sea. Thus all these

painters—Gould and Hamilton, Spence
and Murray, whoever they be—give us
pictures of their homes, until one almost
feels a nostalgia for that northern land
under whose " sadder sky " there flourish
artists such as these, where tender, soulful
^IPM*^ works of nature like these are fashioned.

y\v And even if these artists transport us to

J scenes outside Scotland itself, they remain

y^Mm^/ true to themselves in the force and

f * \ sentiment of their productions. Thus

J T { we see Millie Dow, in An Apennine

. Sg&TlIt—,— I'd/ley, with a fine harmony of colour

\W> \ 1 m white-blossomed trees and light-

Wkf*i \ brownish soil ; thus Hornel and Sturdee,

SmlWWWf vnl'1 t'K'r gorgeous-hued pictures from

HH/ Japan. Full of graceful simplicity, and

%| Hr equally admirable in its technical aspect,

^V^^V^V -g tju, genre picture. At the Window, which

Alexander Roche exhibits, together with
jjp some powerful landscapes. How splendid,

""frlHfctoo, in their childlike unconsciousness, are
nifTMmi * F-v,|WilBHy New bay's children's groups. Among

IL^^ar/" W^W ~*&mc\ Stuart Park's flower-pieces, from which our

wTS^^^^^^^WBHBBBBBy flRtk •; '-^2 German flower painters have learned much

^^^S^^j^j^^ already, the premier place is occupied this

unexampled in observation and extremely
copper casket and kettle designed by eugene berner softly painted. Crawhall's Reiterin (Horse-

executed by e. muller woman), one of his best and boldest pro-

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