International studio (27.1905/1906(1906))

Studio-Talk



“THE THREE JOVIAL HUNTSMEN” BY A. R. MARTIN
(See Liverpool Studio-Talk)

“THE THREE RAVENS” BY A. R. MARTIN
(See Liverpool Studio-Talk)


inasmuch as the show oi members’ works has
usually been confined to Birmingham. Prominent
amongst them are a number of Venetian water-
colours from the facile and masterly brush of
Moffat Lindner. His Venetian Bragozzi, a canal
scene with boats, is characterised by a fine realisa-
tion of the subtleties of light and shade on water
and a pleasing Suggestion of atmo-
sphere; The Salute from St. Markts
Basin is well composed; and The
Rialto: Evening, is a clever technical
achievement. Fred Whitehead, R.B.A.,
exhibits a number of charmingly spon-
taneous and atmospheric water-colours,
of which Heather and Ploughing are
the best. He also shows a large canvas,
A distant View of Poole, which is notice-
able for its breezy freshness. One of
the most satisfying works is W. H.
Allcott’s Pastoral, a poetic and fanciful
painting, distinguished by charming
decorative and technical qualities.
The best figure work is a portrait by
Edward S. Harper, which shows sorne
originality of treatment. It is painted
in a low tone, the subject being en-
hanced and the composition improved
by a figure arrangement vaguely intro-
duced in the background. A busy
Night at the Mill is a pleasingly un-
conventional treatment of a moonlight
subject by E. Gabriel Mitchell. Other
works of considerable rnerit are: A Rift study (See Paris Studio-Talk) by emile bourdelle

in the Lute, by W. J. Wainwright, R.W.S.;
When thi King shall enjoy his own again, by J.
Finnemore, R.I.; Moonrise near St. Ives, by James
T. Watts, R.C.A. ; several sketches by A. E. V.
Lilley and Alfred Priest; All amongst the Barley,
by H. Foster Newey; Sunny Devonshire, by Bernard
Munns ; and Autumn Twilight., by J. V. Jelley.