DOI Heft:
Nr. 161 (July, 1910)
DOI Artikel:The International Society's tenth exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19867#0048
The International Society s Exhibition
perfectly intelligible. Has that outer world any to say that there seemed to be few signs of pro-
claims which entitle it to ask for even more than gress and too much repetition of the same motifs
the perfect reconciliation of touch and vision handled in the same ways as of yore. The Vice-
which seems to make these canvases a final word President has made innovations, and perhaps Mr.
in a certain kind of painting ? Strang is the one painter we would wish had not
The same question arises in connection with a done so. The Conder Room of Mr. Nicholson
picture by Mr. Orpen in the galleries, called Living hardly established a place for him in this show such
the Life of the West, which in method effects an as he has formerly held. It is a subject of delicate
elaborate compromise between some very academic transitions of colour; in character it must be called
and some very unacademic qualities. It is one an " intimate " subject, but there is no intimacy in
of those miraculous productions which place Mr. the technique to correspond. There is an inter-
Orpen among the most accomplished artists of to- relation between subject and style in every problem,
day, but there is to be found in this picture, as in which an artist can take up, and to fail in making
the work of the French painters just referred to, no the treatment express this is very seldom a fault
apparent reason for its being painted at all beyond of this painter. His portrait of Lady Pearson is,
that of the technical problem it encounters. Such however, a canvas which does his powers much
paintings do not seem to put on record something greater justice, and is in many ways to be re-
which the artist had a passionate wish to say, and garded as a fine work. Mr. James Pryde has
missing this in any picture we wonder what can be a dramatic sense, and is often tempted to scenes
supposed to take its place
as a motif for creation.
The International, no
less than the Academy, /'<4a\ -jS? «***"* fl
has now a tradition, as
we are reminded every
year. Of the great artists
who have created and
maintained it, there is no
need to distinguish here
those who are living and
those who are dead, when
for the purposes of this
exhibition they are all
living in their art—such
artists we mean as Manet,
Fantin-Latour, Sisley, J.
L. Forain, Monet, Rodin.
From English contem- ^"^SB^'^^^^^^ffi^fl
porary painters there was
nothing this year which
created a sensation, \AlflpW .Mm .^^H
though Mr. D. Y. Cam- H^^^IL ^HBHP^flS'
eron, in The Marble tk VB*': jP* '
Quarry, has made a really ' . t \
impressive picture out of mL
yield little inspiration. »
Mr. Charles Shannon, too, ^>jfgY Vl-K ijS ^SlBl^lfc^J ^^jjJ^P^'"^*
advanced with another \ ' jt JmBI
stride upon a phase of mH^I
beauty known only to Lj
himself; but for the rest
we find ourselves bound "interior, 30 old burlington street" by j. e. blanche
24
perfectly intelligible. Has that outer world any to say that there seemed to be few signs of pro-
claims which entitle it to ask for even more than gress and too much repetition of the same motifs
the perfect reconciliation of touch and vision handled in the same ways as of yore. The Vice-
which seems to make these canvases a final word President has made innovations, and perhaps Mr.
in a certain kind of painting ? Strang is the one painter we would wish had not
The same question arises in connection with a done so. The Conder Room of Mr. Nicholson
picture by Mr. Orpen in the galleries, called Living hardly established a place for him in this show such
the Life of the West, which in method effects an as he has formerly held. It is a subject of delicate
elaborate compromise between some very academic transitions of colour; in character it must be called
and some very unacademic qualities. It is one an " intimate " subject, but there is no intimacy in
of those miraculous productions which place Mr. the technique to correspond. There is an inter-
Orpen among the most accomplished artists of to- relation between subject and style in every problem,
day, but there is to be found in this picture, as in which an artist can take up, and to fail in making
the work of the French painters just referred to, no the treatment express this is very seldom a fault
apparent reason for its being painted at all beyond of this painter. His portrait of Lady Pearson is,
that of the technical problem it encounters. Such however, a canvas which does his powers much
paintings do not seem to put on record something greater justice, and is in many ways to be re-
which the artist had a passionate wish to say, and garded as a fine work. Mr. James Pryde has
missing this in any picture we wonder what can be a dramatic sense, and is often tempted to scenes
supposed to take its place
as a motif for creation.
The International, no
less than the Academy, /'<4a\ -jS? «***"* fl
has now a tradition, as
we are reminded every
year. Of the great artists
who have created and
maintained it, there is no
need to distinguish here
those who are living and
those who are dead, when
for the purposes of this
exhibition they are all
living in their art—such
artists we mean as Manet,
Fantin-Latour, Sisley, J.
L. Forain, Monet, Rodin.
From English contem- ^"^SB^'^^^^^^ffi^fl
porary painters there was
nothing this year which
created a sensation, \AlflpW .Mm .^^H
though Mr. D. Y. Cam- H^^^IL ^HBHP^flS'
eron, in The Marble tk VB*': jP* '
Quarry, has made a really ' . t \
impressive picture out of mL
yield little inspiration. »
Mr. Charles Shannon, too, ^>jfgY Vl-K ijS ^SlBl^lfc^J ^^jjJ^P^'"^*
advanced with another \ ' jt JmBI
stride upon a phase of mH^I
beauty known only to Lj
himself; but for the rest
we find ourselves bound "interior, 30 old burlington street" by j. e. blanche
24