DOI Heft:
No. 268 (July 1915)
DOI Artikel:The spring exhibition of the international society
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21213#0130
The International Society
The spring exhibition of
THE INTERNATIONAL
SOCIETY.
An exhibition of the International from which
more than half the members are absent, including
such distinguished supporters of the Society as
Aiming Bell, Philip Connard, Alexander Jamieson,
David Muirhead, William Nicholson, William Orpen,
Glyn Philpot, James Pryde, Charles Shannon, and
Havard Thomas, can hardly rank as a thoroughly
representative show; but at a time such as the
present we prefer to dwell rather upon achievements
than upon shortcomings. If the Society’s Spring
exhibition at the Grosvenor Gallery cannot be
described as of outstanding importance, it is fully
deserving of attention as a creditable and in-
teresting display. The presence of works by a
number of artists who are not members of the
Society has given it variety, while the contributions
of various Belgian artists have helped to maintain
an international character.
Besides good work on familiar lines by A. I).
Peppercorn, F. C. B. Cadell, H. M. Livens, who
showed, besides oil-paintings, a number of his
excellently composed and simply handled gouache
drawings, Louis Sargent, and W. W. Russell, we
noted in the large room an interesting picture by
Algernon Talmage, Mary by the Western Sea, in
which a certain charm of colour and decoration
compensated for a lack of cohesion and proper
relation between the studio-painted figure and the
plein-air background ; Emily Court’s The Morning-
room Window, a bright and happy study of flowers
upon a table; a Pastoral Decoration by Ethel
Walker; a clever painting, The Dancer, by George
J. Coates; Still Life—The Red Ca7idle, by Walter
Bayes ; and two paintings by William Strang. We
reproduce Charles Ricketts’s The Descent from the
Cross, fine in composition and in colour, and Francis
Howard’s Interlude, which, though not devoid of a
trace of artificiality, is yet a work of much charm in
its refined and delicate colouring and in the graceful
pose of the little girl in pale pink on the sofa. D. Y.
Cameron’s Dunstaffnage is a good example of his
noble and dignified art, and besides A Sussex Stone
“ THE OLD CASTLE
FROM THE PASTEL BY L. RICHMOND
no
The spring exhibition of
THE INTERNATIONAL
SOCIETY.
An exhibition of the International from which
more than half the members are absent, including
such distinguished supporters of the Society as
Aiming Bell, Philip Connard, Alexander Jamieson,
David Muirhead, William Nicholson, William Orpen,
Glyn Philpot, James Pryde, Charles Shannon, and
Havard Thomas, can hardly rank as a thoroughly
representative show; but at a time such as the
present we prefer to dwell rather upon achievements
than upon shortcomings. If the Society’s Spring
exhibition at the Grosvenor Gallery cannot be
described as of outstanding importance, it is fully
deserving of attention as a creditable and in-
teresting display. The presence of works by a
number of artists who are not members of the
Society has given it variety, while the contributions
of various Belgian artists have helped to maintain
an international character.
Besides good work on familiar lines by A. I).
Peppercorn, F. C. B. Cadell, H. M. Livens, who
showed, besides oil-paintings, a number of his
excellently composed and simply handled gouache
drawings, Louis Sargent, and W. W. Russell, we
noted in the large room an interesting picture by
Algernon Talmage, Mary by the Western Sea, in
which a certain charm of colour and decoration
compensated for a lack of cohesion and proper
relation between the studio-painted figure and the
plein-air background ; Emily Court’s The Morning-
room Window, a bright and happy study of flowers
upon a table; a Pastoral Decoration by Ethel
Walker; a clever painting, The Dancer, by George
J. Coates; Still Life—The Red Ca7idle, by Walter
Bayes ; and two paintings by William Strang. We
reproduce Charles Ricketts’s The Descent from the
Cross, fine in composition and in colour, and Francis
Howard’s Interlude, which, though not devoid of a
trace of artificiality, is yet a work of much charm in
its refined and delicate colouring and in the graceful
pose of the little girl in pale pink on the sofa. D. Y.
Cameron’s Dunstaffnage is a good example of his
noble and dignified art, and besides A Sussex Stone
“ THE OLD CASTLE
FROM THE PASTEL BY L. RICHMOND
no