International studio — 30.1906/​1907(1907)

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The Society of Twenty-Five English Painters


such advantage as a jewel derives from a good
All the members are painters of acknowledged
repute, and this exhibition fairly represents the
qualities upon which each separate reputation has
been made. Exhibiting here to the greatest advan-
tage the strength of the ex-
hibition proves itself in the
fact, that individually this
year the members seem at
their best in their distinc-
tive fields. The Cottage
Mead represents Mr. Ber-
tram Priestman’s art to the
full. In it he treats a
sunny landscape effect and
cattle with that regard for
its idyllic possibilities which
is part of the character of
his work. Some smaller
paintings reveal his mastery
in entirely naturalistic ef-
fects, and his quick appre-
hension of the beauty that
awaits the true artist in the
simplest scene. In A Misty
Day—North Wales, he re-
veals the inner secret of
colour which, mystically
woven, make an effect of
black and grey. Mr. Sydney “ norman ARCHES

Lee has a very decorative
way of treating his subjects,
an almost, we think, sub-
conscious sense of the de-
corativeness which seems
to lie in most things, if we
could so view them. He
has a method of handling
his paint which is variable
and spontaneous and sug-
gested to him by the
texture of the object to be
represented. He spares no
pains to achieve in his
canvases a variety and
interest of texture which
form a happy accompani-
ment to his decorative
sense of colour. In con-
trast to this curiosity as to
the actual surfaces of near
objects is the evanescent
but refined art of Mr.
Grosvenor Thomas, about whose methods there
is something wistful and delicate, which partly
constitutes the charm of his art. His colour is
controlled always by his sensitiveness to atmo-
spheric effect. In every landscape there is the
essentials of its sentiment, just as there are essen-


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