International studio (16.1902)

Studio-Talk


s>iOW-STORM ”

BY HASHIMOTO GAHO

^refm
His "0rker, with a sound respect for tradition.
4. Contributions to modern architecture have
"ays u
°een mai'ked by good taste, though they
tlr ^|ot often departed from the beaten track,
^ti ‘ Ridley Corbet, the new Associate, is in
He u ^ what Mr. Bodley is in architecture.
ti a. _-_j „ -3

:ough

a certain feeling for poetry, and a sound

''ith” * n0t Ver^ subde colour sense ; and he paints
EL’ Ser*°usness, though not often with inspiration.
^Jects he prefers are generally Italian land-
Hnf ’ an<^ these he treats after the manner of
utess0r p
i^Y k Y-osta, among whose closest followers he
reckoned. Both Mr. Bodley and Mr.

Corbet were chosen by very small majorities. The
former only beat Mr. G. J. Frampton by a single
vote, and Mr. Corbet was only two ahead of Mr.
Edward Stott, the most prominent of the candi-
dates arrayed against him. Among the other
outside men who were well supported for the
vacant Associateship, Mr. Arnesby Brown, Mr.
Albert Goodwin, Mr. John Charlton, Mr. F. D.
Miller, and Mr. J. Aumonier were the most
prominent of the painters, Mr. Pomeroy of the
sculptors, and Mr. J. W. Simpson and Mr.
Colcutt of the architects.

By the death of Mr. T. Sidney Cooper the
Academy loses not, it must be admitted, one of its
most distinguished painters, but certainly one of
its most interesting members. Mr. Sidney Cooper’s
art was sound and thorough, and invariably marked
by sincerity both in intention and realisation ; but
it belonged to a period when technical ideals were
not so high as they are to-day, and its qualities
were not those which artists now are accustomed
to seek after. Yet for many years past his con-
tributions to the exhibitions at Burlington House
have excited widespread interest because they have
represented a painter whose working life has been
extended far beyond the ordinary limits. Mr.
Sidney Cooper would have been ninety-nine in the
later months of this year, but there was little
evidence in his pictures of failing powers or of any
of those technical weaknesses which might fairly
have been expected at his advanced age. Never a
great artist, he was always a good one ; and the
excellence of his draughtsmanship, the precision of
his touch, and the pleasantness of his sentiment
remained unimpaired to the last. His productions
often looked hard and old-fashioned among the
more summary works of the younger men; but
their Early Victorian defects came not from
senility but from the associations among which the
painter was trained. He was an interesting sur-
vival from a comparatively remote time, and he
deserves a place in history.
MUNICH.—For months past reports have
been spread by the German press that
Munich as a home of art was declining
In order to find what credence was to
be attached to those rumours, a writer on art here
thought proper to make an inquiry on the subject
among artists and authors.. The result of this
investigation has just been published by F. Bruck-
mann, and contains the opinions of Lenbach,
Stuck, Uhde, Liebermann, Muther, and others.

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