DOI Heft:
No. 135 (May, 1908)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28254#0261
Studio-Talk
his etching showed him,
perhaps, at his best as a
master of the needle-point,
by his treatment of the
perspective, buildings lead-
ing to the archwayed
opening and the wonder
of the beyond, the care-
fully loose rendering of
reflections, overcoming
too the difficult task of
preserving the sensation
of running water. The
same achievement was
attained in Charles Op-
penheimer’s Spring-day.
One felt the movement
and the prevailing spirit
of his subject in a lifeful
charming sketch. In his “ludlow” (oil painting) by Charles oppenheimer
larger picture, The End of
ihe Day, he has sought
the magic of nature, and listened for the hushed
tread of peace that tip-toes before the dusk.
Notable, too, was his little harmony in quiet grey-
greens of Ludlow, with its wealth of feeling and
delicate restraint, painted in a manner fulfilling the
Club’s motto, “Con amore.” In his wrater-colour,
A Whitby View, the same attentiveness is felt in
the invigorating handling of the brush in the near
red roof-tops and the tenderness in the distance,
tempting one to the river end.
has the power and can
rid himself of a certain
tightness that prevails in
his larger sea-scapes. The
smaller studies by C.
Waldo Adin, a man of
undoubted talent, ap-
pealed by their daring
directness. W. Maxwell
Reekie’s small canvas A
Calm Day, a vigorous
little blue-toned gamut of
the time and tide, was the
one outstanding sea pic-
ture of the exhibition.
In the same medium H. C. D. Chorlton, one of
the stronger members, claimed the aquarellists’
praise, his sixteen exhib'ts giving a representative
opportunity of judging his individuality, which is
felt more intensely in his composition, and warm
brown and silvery-grey toned vision, The Arno,
Florence, and the decorative treatment of The Road
to Mozzano, Italy. In W. Neville Denby’s Sunny
Corner in the Village and A Sunny Corner in
Sherwood, the freedom of technique shows that he
Figure work was not a
strong feature of the ex-
hibition, the best efforts
being shown by A. J. C.
Bryce in his Lady in
“a whitby view” (water-colour) by Charles oppenheimer Brown, H. Maurice Birks’
239
his etching showed him,
perhaps, at his best as a
master of the needle-point,
by his treatment of the
perspective, buildings lead-
ing to the archwayed
opening and the wonder
of the beyond, the care-
fully loose rendering of
reflections, overcoming
too the difficult task of
preserving the sensation
of running water. The
same achievement was
attained in Charles Op-
penheimer’s Spring-day.
One felt the movement
and the prevailing spirit
of his subject in a lifeful
charming sketch. In his “ludlow” (oil painting) by Charles oppenheimer
larger picture, The End of
ihe Day, he has sought
the magic of nature, and listened for the hushed
tread of peace that tip-toes before the dusk.
Notable, too, was his little harmony in quiet grey-
greens of Ludlow, with its wealth of feeling and
delicate restraint, painted in a manner fulfilling the
Club’s motto, “Con amore.” In his wrater-colour,
A Whitby View, the same attentiveness is felt in
the invigorating handling of the brush in the near
red roof-tops and the tenderness in the distance,
tempting one to the river end.
has the power and can
rid himself of a certain
tightness that prevails in
his larger sea-scapes. The
smaller studies by C.
Waldo Adin, a man of
undoubted talent, ap-
pealed by their daring
directness. W. Maxwell
Reekie’s small canvas A
Calm Day, a vigorous
little blue-toned gamut of
the time and tide, was the
one outstanding sea pic-
ture of the exhibition.
In the same medium H. C. D. Chorlton, one of
the stronger members, claimed the aquarellists’
praise, his sixteen exhib'ts giving a representative
opportunity of judging his individuality, which is
felt more intensely in his composition, and warm
brown and silvery-grey toned vision, The Arno,
Florence, and the decorative treatment of The Road
to Mozzano, Italy. In W. Neville Denby’s Sunny
Corner in the Village and A Sunny Corner in
Sherwood, the freedom of technique shows that he
Figure work was not a
strong feature of the ex-
hibition, the best efforts
being shown by A. J. C.
Bryce in his Lady in
“a whitby view” (water-colour) by Charles oppenheimer Brown, H. Maurice Birks’
239