International studio (23.1904)

Studio- Talk

craftsmanship, that the chances of producing really
fine works of art must exist. The difficulties are,
of course, not trifling, but a way should be found
to put the school to higher tests. A. S. W.
BRISTOL.—To the generosity of the late
Mr. Staats Forbes, Bristol was largely
indebted for the unusual interest of its
annual exhibition. The paintings by
masters of the Barbizon school, which the deceased
gentleman allowed to be included in the exhibition,
together with works of many modem painters from
his collection, contributed in no small way to give
a character of unusual variety to this year’s show.
To other collectors as well the city was indebted,
and to many painters whose work has not been
seen before in Bristol, but who readily sent examples
at the invitation of the energetic committee who
have things in hand this year. We reproduce
three works in the exhibition. A head of an old

woman, by Jean Vybond, lent by Mr. A. Ludovici,
was noticeable among the etchings and drawings
which formed an important part of the exhibition,
including as they did works by Sir Charles Holroyd,
Milcendeau, Prof. Legros, D. Y. Cameron, Rothen-
stein, Muirhead Bone, and others. There were also
a few original pen drawings by Raven-Hill and a
considerable number of etchings by Whistler, the
latter lent by Mr. S. J. Loxton. Bristol itself was
well represented in each section of the exhibition.
The painting of The Avon Gorge, by Mr. F. A.
W. T. Armstrong, calls for particular attention;
inspired by the regret which every artist feels that
the beautiful valley every year sacrifices large
spaces of wooded banks to sacrilegious quarry-
men. The work of Mr. Armstrong always
compels attention when he exhibits in London.
His landscapes are characterised by unusual breadth
and freedom of handling, and a nice adjustment of
values. Were it not for a depressing lack of the
colour sense which most of his works
seem to exhibit, nothing could prevent
him attaining front rank as a landscape
painter. Of the younger Bristol artists,
the work of Miss Ludlow in water-
colours is most noteworthy. In the
Black-and-White Room local talent was
best represented by the originals of
drawings by Mr. R. C. Carter, which
have appeared in “Punch,” “The
Sketch,” and others of the better-
known humorous papers Mr. Carter is
not in every case artistic, for apparently
he does not care to be, but his work
always has humour, and this counts
in art of the kind, although it would
seem as if this had yet to dawn on
some of the contributors to our comic
papers. When Mr. Carter works in his
favourite medium, a few simple lines
and wash, his drawing is marked by
the strength and decision that are the
outcome of an accomplished technique.
Chief amongst the artists contributing
from outside, and those whose names
were represented by loans from private
collections were Frank Brangwyn, A. R. A.,
C. H. Shannon, Alfred Parsons, A.R.A.,
C. Napier Hemy, A.R.A., Alfred East,
A.R.A., T. C. Gotch, Sir Wyke Bayliss,
P.R.B.A., G. Clausen, A.R.A., Robert
Fowler, A. S. Hartrick, Yoshio
Markino, Harold Speed, A. Ludovici,
Moffat Linder, and Frederick Catchpole.
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“a WATCHER” BY ROBERT FOWLER, R. I.