DOI Heft:
No. 118 (December, 1906)
DOI Artikel:The second exhibition of the Society of Twenty-Five English Painters
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28250#0166
The Society of Twenty-Five English Painters
“KU-LOW: OLD ENTRANCE GATE TO NANKING” BY MONTAGUE SMYTH
tials of its colour and form. And, of course, what
in colour and form is essential to one artist in his
view of the scene is not so to another. This is
true also with regard to the sentiment of the
scene, and no true artist is ashamed of sentiment
in connection with landscape. If the Society of
Twenty-Five does nothing else but encourage a
return to the fact that an
artist must be as emotional
as other men, that he
cannot divorce the beauty
which his eyes receive from
the founts of nature and
life, from which all beauty
and emotion spring, it will
have done a great deal.
Repudiation of emotion on
the part of artists has been
in vogue somewhat of late.
That sentiment which Mr.
Withers derives from a
landscape has received the
homage of the older Eng-
lish landscape school—-
and others too, such as
Corot and Diaz. Mr.
Withers does not try to be
unconscious of the past
history of landscape paint-
ing, but rather would walk
a step with older masters,
that he may learn from them
of what beauty art can accept
from the beauty which nature
has to lavish. The art of
Mrs. Dods - Withers is not
altogether dissimilar, but she
seeks a more purely decorative
aspect of nature; she suggests
how much certain natural
scenes have in common with
the fascinating traditions of
literature and art. Mention
of Mrs. Dods-Withers brings
us to another member's work
—Miss Halford’s. Here we
have a sense of the exquisite-
ness of things and a wayward
fancy—a beauty of period and
costume, with the background
which Watteau discovered for
fine dresses on sunny days.
It is a delicate roseleaf art,
more actual than Mr. Conder’s,
more simple in its aims, and less tremendous in
imagination, but owing a distinct debt to that
master.
Imaginative art finds in Mr. Cecil Rea’s can-
vases excellent representation. A beautiful sense
of composition is in his work, coupled with refine-
ment in the scholarship of painting. His art in
A. DODS-WITHERS
LE CHATEAU DE LARROQUE-DES-ARCS ” 3 BY ISABELLE
“KU-LOW: OLD ENTRANCE GATE TO NANKING” BY MONTAGUE SMYTH
tials of its colour and form. And, of course, what
in colour and form is essential to one artist in his
view of the scene is not so to another. This is
true also with regard to the sentiment of the
scene, and no true artist is ashamed of sentiment
in connection with landscape. If the Society of
Twenty-Five does nothing else but encourage a
return to the fact that an
artist must be as emotional
as other men, that he
cannot divorce the beauty
which his eyes receive from
the founts of nature and
life, from which all beauty
and emotion spring, it will
have done a great deal.
Repudiation of emotion on
the part of artists has been
in vogue somewhat of late.
That sentiment which Mr.
Withers derives from a
landscape has received the
homage of the older Eng-
lish landscape school—-
and others too, such as
Corot and Diaz. Mr.
Withers does not try to be
unconscious of the past
history of landscape paint-
ing, but rather would walk
a step with older masters,
that he may learn from them
of what beauty art can accept
from the beauty which nature
has to lavish. The art of
Mrs. Dods - Withers is not
altogether dissimilar, but she
seeks a more purely decorative
aspect of nature; she suggests
how much certain natural
scenes have in common with
the fascinating traditions of
literature and art. Mention
of Mrs. Dods-Withers brings
us to another member's work
—Miss Halford’s. Here we
have a sense of the exquisite-
ness of things and a wayward
fancy—a beauty of period and
costume, with the background
which Watteau discovered for
fine dresses on sunny days.
It is a delicate roseleaf art,
more actual than Mr. Conder’s,
more simple in its aims, and less tremendous in
imagination, but owing a distinct debt to that
master.
Imaginative art finds in Mr. Cecil Rea’s can-
vases excellent representation. A beautiful sense
of composition is in his work, coupled with refine-
ment in the scholarship of painting. His art in
A. DODS-WITHERS
LE CHATEAU DE LARROQUE-DES-ARCS ” 3 BY ISABELLE