DOI Heft:
No. 137 (July, 1908)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28255#0095
Studio-Talk
Winter, by Gardner Symons; A Golden City, by
A. M. Foweraker ; Florence—Po7ite Vecchio, by
Giffard H. Lenfestey; and Sir Hubert von
Herkomer’s portrait of himself are among the
pictures prominent in their respective forms of
successful achievement.
The exhibition of Joaquin Sorolla at the Grafton
Gallery, which will remain open till the end of July,
well repays a visit. Snr. Sorolla’s work has been
made familiar to our readers by articles published in
April, 1904, and June, 1906. His art here is full
of vitality, and he is, we think, at his best, not in
official portraiture, but in the spontaneity and gaiety
of his renderings of figures in sunlight. His im-
pression is of the very best kind, not one of vision
only, but of emotion also—the outcome of an evident
enjoyment of all that speaks of energy and life. In
his little sketch panels he does a kind of work
which is attempted by so many with but meagre
success, and his slightest work is marked by his
unusual colour-sense and his deference to nature
and the beauty of her own effects.
At the Leicester Galleries last month, besides a
collection of water-colours by the late Mr. Buxton
Knight, whose art was fully discussed in our last
issue, there was an exhibition of portraits by Mr.
Harrington Mann, which showed the painter suc-
cessful in portraying variety of character with
diversity of style. The most attractive, and in
many ways the best perhaps, was Kathleen, the
brushwork in many of the others being scarcely so
sympathetic as the conception.
Mrs. Allingham’s work, which was lately to be
seen at the Fine Art Society, is so much the ex-
pression of a love for certain things that it never
fails to cast its spell upon anyone with kindred
sympathies. Her art is sometimes much too pretty,
but even with this there goes much true apprecia-
tion of colour and also of the properties of water-
colour.
BERLIN.—Emil Geiger, a young art-
student from Munich, who learned
ivory carving from his father at Meran,
has been delighting the visitors of the
Hohenzollern Kunstgewerbe-Haus by his miniature
sculptures—a most artistic kind of objets de luxe
in their choice combination of materials, ivory,
agate, pearls, and a very rare bluish-green soap-
figures in carved ivory, with agate, pearls, etc.
BY EMIL GEIGER
Winter, by Gardner Symons; A Golden City, by
A. M. Foweraker ; Florence—Po7ite Vecchio, by
Giffard H. Lenfestey; and Sir Hubert von
Herkomer’s portrait of himself are among the
pictures prominent in their respective forms of
successful achievement.
The exhibition of Joaquin Sorolla at the Grafton
Gallery, which will remain open till the end of July,
well repays a visit. Snr. Sorolla’s work has been
made familiar to our readers by articles published in
April, 1904, and June, 1906. His art here is full
of vitality, and he is, we think, at his best, not in
official portraiture, but in the spontaneity and gaiety
of his renderings of figures in sunlight. His im-
pression is of the very best kind, not one of vision
only, but of emotion also—the outcome of an evident
enjoyment of all that speaks of energy and life. In
his little sketch panels he does a kind of work
which is attempted by so many with but meagre
success, and his slightest work is marked by his
unusual colour-sense and his deference to nature
and the beauty of her own effects.
At the Leicester Galleries last month, besides a
collection of water-colours by the late Mr. Buxton
Knight, whose art was fully discussed in our last
issue, there was an exhibition of portraits by Mr.
Harrington Mann, which showed the painter suc-
cessful in portraying variety of character with
diversity of style. The most attractive, and in
many ways the best perhaps, was Kathleen, the
brushwork in many of the others being scarcely so
sympathetic as the conception.
Mrs. Allingham’s work, which was lately to be
seen at the Fine Art Society, is so much the ex-
pression of a love for certain things that it never
fails to cast its spell upon anyone with kindred
sympathies. Her art is sometimes much too pretty,
but even with this there goes much true apprecia-
tion of colour and also of the properties of water-
colour.
BERLIN.—Emil Geiger, a young art-
student from Munich, who learned
ivory carving from his father at Meran,
has been delighting the visitors of the
Hohenzollern Kunstgewerbe-Haus by his miniature
sculptures—a most artistic kind of objets de luxe
in their choice combination of materials, ivory,
agate, pearls, and a very rare bluish-green soap-
figures in carved ivory, with agate, pearls, etc.
BY EMIL GEIGER