DOI issue:
No. 96 (February, 1905)
DOI article:Levetus, A. S.: Dr. Figdor's collection of old chairs, Vienna
DOI article:Studio talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.26963#0440
Studio-Talk
STUDIO-TALK
(From our Own Correspondents)
LONDON.—The winter exhibition of the
Royal Society of Painters of Water-colours
provided a more than usually interest-
ing mixture of works illustrating the
most diverse applications of the medium. The
society includes artists of so many schools of prac-
tice and with methods so definitely individual, that
it sums up with some approach to completeness
all the more important phases of the art of water-
swiss CHAIR
ABOUT 1600
BACK OK REVOLVING CHAIR SEVENTEENTH CENTURY
■ (See illustration, page 341)
colour painting, and gives a brief but effective asser-
tion of the possibilities of this fascinating form of
technical expression. In this exhibition there were
many things of memorable quality. Perhaps the
best were Sir E. A. Waterlow’s vigorous landscape,
Dorsetshire Downs, Corfe Castle, Mr. Robert
Little’s The Clyde from Glenan, Mr. James Pater-
son’s delicately atmospheric Barbuie, Moniave, and
the splendidly dignified Autumn on the Tay, by Mr.
^ r millers’ guild chair
D. V. Cameron; and, among the figure composi- seventeenth century
344
STUDIO-TALK
(From our Own Correspondents)
LONDON.—The winter exhibition of the
Royal Society of Painters of Water-colours
provided a more than usually interest-
ing mixture of works illustrating the
most diverse applications of the medium. The
society includes artists of so many schools of prac-
tice and with methods so definitely individual, that
it sums up with some approach to completeness
all the more important phases of the art of water-
swiss CHAIR
ABOUT 1600
BACK OK REVOLVING CHAIR SEVENTEENTH CENTURY
■ (See illustration, page 341)
colour painting, and gives a brief but effective asser-
tion of the possibilities of this fascinating form of
technical expression. In this exhibition there were
many things of memorable quality. Perhaps the
best were Sir E. A. Waterlow’s vigorous landscape,
Dorsetshire Downs, Corfe Castle, Mr. Robert
Little’s The Clyde from Glenan, Mr. James Pater-
son’s delicately atmospheric Barbuie, Moniave, and
the splendidly dignified Autumn on the Tay, by Mr.
^ r millers’ guild chair
D. V. Cameron; and, among the figure composi- seventeenth century
344