DOI Heft:
Nr. 102 (Septembre 1901)
DOI Artikel:D'Anvers, N.: Robert Weir Allan and his work
DOI Artikel:Glasgow international exhibition, [3]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19788#0268
Glasgow Exhibition
to delight his many admirers with fresh renderings
of the familiar home scenery. His North Ford
Uist, purchased in 1898 by the Aberdeen Corpora-
tion for their permanent gallery; his Wild North
Sea—exhibited at the Royal Academy in 1897,
with the Pastoral, which attracted so much notice
in the Salon of 1897—illustrate well the latest
phase of his art. Vigorous, truthful, and harmonious
in colour, full of the feeling of open air, they show
that Robert Allan's vivid insight into Nature's
secrets is yet undimmed, and that his right hand
is still gaining rather than losing in cunning.
In 1887 Robert Allan was elected an Associate
of the old Water-Colour Society, and nine years
later he became a full member. Since then he
has been elected a member of the Society of
Painters in Oil Colours; he is represented in the
public galleries of Manchester, Leeds, Aberdeen,
Sydney, Dunedin, and Melbourne; he received
medals at the two last International Exhibitions in
Paris, making him hors concours ; and he was one
of the original founders of the Landscape Exhibi-
tion held annually in the Dudley Gallery.
Nancy Bell.
GLASGOW INTERNATIONAL
EXHIBITION. (PART III).
Flanking the Art Object Room
north and south are two pavilions, the one
facing Kelvingrove Park being given over to the
Arts and Crafts, and the other to the work ex-
hibited by various art schools. In these two
rooms is to be found much to interest, stimulate,
and delight, for the collection of objects brought
together bears witness to the manner in which
art is becoming with us a matter of universal
PANEL WITH
ENAMEL PLAQUE BY GERTRUDE SMITH
application. Sculpture, decorative work, book-
binding, jewellery, embroidery, and evidences of
the application of aesthetic principles in the
making of useful objects, all have their places in
the collection here brought together. The time is
past when the arrogant claims of one particular
branch of art could place the rest under a sort
of stigma, as though the pursuit of them were
something less honourable than that of picture
painting. From a show such as the one under
notice it is possible to trace the almost imper-
STEEL CASKETS
BY FLORENCE CAMM
237
to delight his many admirers with fresh renderings
of the familiar home scenery. His North Ford
Uist, purchased in 1898 by the Aberdeen Corpora-
tion for their permanent gallery; his Wild North
Sea—exhibited at the Royal Academy in 1897,
with the Pastoral, which attracted so much notice
in the Salon of 1897—illustrate well the latest
phase of his art. Vigorous, truthful, and harmonious
in colour, full of the feeling of open air, they show
that Robert Allan's vivid insight into Nature's
secrets is yet undimmed, and that his right hand
is still gaining rather than losing in cunning.
In 1887 Robert Allan was elected an Associate
of the old Water-Colour Society, and nine years
later he became a full member. Since then he
has been elected a member of the Society of
Painters in Oil Colours; he is represented in the
public galleries of Manchester, Leeds, Aberdeen,
Sydney, Dunedin, and Melbourne; he received
medals at the two last International Exhibitions in
Paris, making him hors concours ; and he was one
of the original founders of the Landscape Exhibi-
tion held annually in the Dudley Gallery.
Nancy Bell.
GLASGOW INTERNATIONAL
EXHIBITION. (PART III).
Flanking the Art Object Room
north and south are two pavilions, the one
facing Kelvingrove Park being given over to the
Arts and Crafts, and the other to the work ex-
hibited by various art schools. In these two
rooms is to be found much to interest, stimulate,
and delight, for the collection of objects brought
together bears witness to the manner in which
art is becoming with us a matter of universal
PANEL WITH
ENAMEL PLAQUE BY GERTRUDE SMITH
application. Sculpture, decorative work, book-
binding, jewellery, embroidery, and evidences of
the application of aesthetic principles in the
making of useful objects, all have their places in
the collection here brought together. The time is
past when the arrogant claims of one particular
branch of art could place the rest under a sort
of stigma, as though the pursuit of them were
something less honourable than that of picture
painting. From a show such as the one under
notice it is possible to trace the almost imper-
STEEL CASKETS
BY FLORENCE CAMM
237