International studio (14.1901)

Studio- Talk

Gareloch, Mr. Albert Godwin’s Durham, Mr. James
Paterson’s Glencrosh, and in the sea-piece, Way
Enough, by Mr. R. W. Allan; Mr. R. Anning
Bell’s decorative fancies, The Mirror and A Cup
of Water, the two dainty little figure subjects,
Turtle Doves and A Reverie, by Mr. Walter West,
and the fascinating, Mermaid, by Mr. J. R. Weguelin,
are more than ordinarily attractive ; and The Stable,
by Mr. G. Clausen, can be reckoned as one of the
cleverest pieces of handling, and one of the most
subtle studies of light and shade, that he has ever
exhibited. The View of the River from above
Aysgarth Force, by Mr. Eyre Walker, is delicate
in colour and tenderly treated ; and as a technical
exercise the large study of a peacock by Mr. Edwin
Alexander is most memorable. A note must also
be made of the Silvery Sunset, by Mr. David
Murray, a prettily rendered effect of gentle colour.

The New English Art Club made during April
and May an admirable assertion of the convictions
of the group of young artists who are responsible
for its policy and direct its operations. Among
the shows that have been held this season the
•exhibition at the Dudley Gallery certainly ranks as
one of the most consistent and best balanced, and
as one of the best all-round displays of artistic effort.
Mr. P. W. Steer’s delightful colour arrangement,
Hydrangea; Mr. W. W. Russell’s broadly painted
and luminous landscape, A Holiday; Mr. J. L.
Henry’s atmospheric notes, Hayle Harbour and
The River Bar; Mr. Moffat Lindner’s St. Ives
Harbour: Moonlight; and
The Pool, by Mr. Mark
Fisher, were, perhaps, the
most striking contributions.

But there were also good
pictures from Mr. A. S.

Hartrick, Mr. Arthur Tom-
son, Mr. Hugh Carter,

Mr. Rothenstein, and Mr.

Orpen; excellent portraits
from Mr. George Thomson,

Mr. C. W. Furse, and Mr.

P. W. Steer ; and notable
water-colours by Mr. A. W.

Rich, Mr. F. E. James, and
Mr. H. B. Brabazon. Most
of the more prominent
members of the club were
represented, and a great
deal of good work came
from outsiders as well.

The summer show of modern Dutch art that has
been arranged at the Holland Fine Art Gallery
is in every way convincing. The pictures and
drawings brought together include some of the
best examples of the school that have been seen in
London for some considerable time. A particu-
larly fine work, The Harbour, Dordrecht, by James
Maris; two delightful little landscapes by M. Boks;
a cleverly painted snow-scene by L. Apol ;
Bosboom’s broadly handled Stavoren; In the Wood,
by J. Neuhuys; and a little grey and green
landscape, In the Meadows, by W. Maris, are
the most notable of the oil pictures; and among
the water-colours there are good things by Th. de
Bock, W. Maris, and G. Poggenbeek, and a
superb sketch, Fishing Boats, by James Maris.
The selection of material for the Exhibition has
been made with very sound judgment, and the
arrangement is thoroughly effective.

The founders of the institution which is known
as the Poster Academy may congratulate them-
selves upon the results of their efforts. The first
exhibition of art posters gave every promise of
good things to follow, and if the Poster Academy
succeeds in attaining the ends for which it has
been established a very great move in the right
direction will have been made. The chief object
which this new institution has in view is “to
convince the advertiser that the artistic poster is
more effective than an inartistic one ’’—that is to
say, the Poster Academy is striving by more diplo-