Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
Metadaten

International studio — 15.1901/​1902(1902)

DOI Heft:
No. 60 (February, 1902)
DOI Artikel:
The first international "Studio" exhibition, [2]
DOI Artikel:
Sickert, Oswald: The twenty-seventh exhibition of the New English Art Club
DOI Seite / Zitierlink: 
https://doi.org/10.11588/diglit.22772#0327

DWork-Logo
Überblick
loading ...
Faksimile
0.5
1 cm
facsimile
Vollansicht
OCR-Volltext
The New English Art Club

The twenty-
seventh

EXHIBITION
OF THE NEW
ENGLISH ART
CLUB. BY OSWALD
SICKERT.

The New English Art
Club has passed the stage
when its exhibitions raised
the question whether or
no it was a considerable
body, and not the least
potent among the factors
that have brought about
the general acceptance of
the club as an important
phenomenon is the general
acknowledgment that Mr.
Wilson Steer is a con-
siderable artist. His ad-
mirers are not far to seek,
and if admiration is in
some cases crossed with a
certain uneasiness, that

“THE THUNDERSTORM” BY A. A. MCEVOY

(By permission of Miss I.ovise Salaman)

taste, of pearl and enamel with simple settings
of gold. Another beautiful set of buckles was
by Arthur Berger ; these were refreshingly simple
in form, consisting of a few broad lines and
curves of plain silver, giving the utmost value
to the single jewel of turquoise or garnet which
afforded the centre point of the design. A
silver brooch by William A. Davidson, and a
panel, with repousse and pierced jewellery, by
P. Wylie Davidson, were the sole exhibits of these
two craftsmen. Professor Paul Horti, whose work
in other branches of decoration has already been
noticed, sent a dainty little series of buckles and
brooches. Bernard Cuzner
added to his silver table-
ware, mentioned in our
former article, some equally
praiseworthy items of per-
sonal jewellery ; and the
quaint shoe-buckles, set
with small green enamels,
by Talwin Morris, were
happy instances of his
versatility as designer and
craftsman.

tinge of reluctance is caused by what is, indeed,
a surprising peculiarity of his work—to wit, its
variety.

I do not think the most entire believer in Mr.
Steer’s genius need deny a certain sympathy with
those among his admirers who complain that he
is always changing. How far he does change, in
what measure, for instance, the present picture of
The Mirror differs from the stark model on the
bed, painted six years ago; or that from the
girl in the chair with the artist reflected behind
her, and that from Jonquil,, and Jonquil from the
girls by the pool, and they from Miss Jenny Lee ;

263
 
Annotationen