International studio (17.1902)

Studio-Talk

can be heartily praised as an interesting and com-
prehensive gathering of good things. Nearly all
the works which have been brought together are of
more than average merit; and as many schools of
practice are represented, the show summarises well
the more important phases of artistic activity on the
other side of the Channel. Among the landscapes
and studies of open-air subjects the best contribu-
tions are M. E. A. Boulard’s Edge of a Pine
Forest; M. L. Dambeza’s strong and serious
record of Nature, At Dau'n ; M. Maurice Eliot’s
Landscape in the Ardeche and Life in the Fields,
an excellent note of brilliant sunlight; M. C.
Guignard’s Sand Hills near Etaples : M. E. Isem-
bart’s well-drawn and cleverly-painted An Arm oj
the Sea near Quimper; M. P. Franc Larny's The

Road; M. E, Petitjean’s Autumn Mist at Marseilles;
M. F. J. Quignon’s Apple Tree Blossoms and Hills
at Nesles, both full of sunny atmosphere; M.
Raffaelli’s admirably-treated landscape in delicate
tones of grey, The High Road; and M. Leon
Tanzi's Saint-Cloud and A Bite 1 The best figure
pictures are The Torrent and Last Rays, by M.
Paul Chabas, very soundly studied and delightful
in colour; M. Guiraud Scevola’s water-colours,
Adoration and A Ladv of the Renaissance Period;
and the series of minutely-elaborated and shrewdly-
observed portraits by M. J. J. Weerts. There
is a wonderful pastel, Ln Port, by M. Le Gout-
Gerard ; and M. P. D. Bergeret’s still-life picture,
Shrimps, must be highly commended for its charm
of handling and harmonious colour. In addition
to the pictures, there is
on view some admirable
sculpture, and a room is
devoted to etchings and
engravings by many of the
best modern masters.

“So / was great, and increased more than
all that were before me . . . and, behold,
all was vanity and vexation of spirit”

138

At the Clifford Gallery
an exhibition of cabinet
pictures by Glasgow artists
has been recently opened.
It is strongest in lands-
capes and sea-pieces, but
there are a few figure
pictures of some import-
ance. Mr. Patrick Downie’s
Banks of Clyde and Clear-
ing after Rain, on the Clyde;
Mr. W. A. Gibson’s Ln
the Fields near Ipswich,
In the Meadoivs, and A
Country Roadway ; Mr. A.
Frew’s Sunlight and Shadow
and A Westerly Breeze;
and Mr. A. McBride’s On
the Fleet, Kirkcudbright-
shire and In Amber ley,
Sussex are memorable as
good notes of colour set
down decisively and with
sound technical knowledge.
Mention must also be made
of Mr. David Fulton’s In
the Dark Wood; Mr. Harry
Spence’s A Galloway Farm ;
Mr. James Kay’s Launch of
by byam shaw a Hner ; and Mr. Barcley
Henry’s The Rising Tide.