International studio (41.1910)

Studio- Talk

witchery of the summer sunlight tenderly suffuses season in the picture world has been filled up with

the sylvan scene with the very poetry of natural excellent exhibitions of etching, in which encour-

beauty. Mr. Stratton paints trees with that intimate agement has been thrown out to younger men,

understanding and joyous suggestion of their very and to that more autographic and legitimate use

spirit which makes one feel that he is artistically of the needle to which buyers of etchings are

akin to Corot and Daubigny. But the individuality beginning to respond,

of his vision and his touch is unmistakable. The -

River Bank and others of his recent pictures show The collection of pictures intended for the pro-
that the woodland, with all its natural romance, is jected Johannesburg Gallery, and lately exhibited
as suggestively alive to Mr. Stratton as the inspira- at the Whitechapel Art Gallery, are now on their
tion of those great simple artists who painted years way to South Africa. Mr. Otto Beit has been a
ago in the Forest of Fontainebleau. particularly generous donor, many of the rarest

- works given having his name against them. The

The death of Mr. Linley Sambourne, which collection has lately been added to by additional
occurred on August 4th, is deeply regretted in the works, and it is safe to say that no more significant
world of art. The pages of Punch are greatly im- or suitable collection could have left this country
poverished by the loss of his work. His art, with as a link between the present-day culture of this
its classical feeling for line and extraordinary country and that of her colony,
dignity of motif, was exactly attuned to the page of

the chief cartoon. Punch cartoons are unlike the T 7TENNA.—A highly interesting series of
same feature in any English or foreign paper. The % / " one-man shows " have been recently
impartiality and the detachment of the point of \f held in the Secession Galleries. Graphic
view, and the essential dignity of the art that the ' art was represented by Walter Klemm

paper has employed, have given them prestige as a and Karl Thiemann, whose work is too well

national institution. _ known to the readers of The Studio to need

more than a word of praise for general good
The display of sculpture in the Fine Art Palace quality and originality of treatment,
at the Japan-British Exhibition was organised by -

the recently established Society of British Sculpture, Hans von Hayek showed some very attractive
and reflects upon the society and upon English work. This artist has a predilection for browns
sculpture in general the highest credit. Sculpture and greys, which he expresses in methods pecu-
has for a period almost been discredited in liarly his own. In his studies of animals, such as
England, and the above
society has been formed
just at the moment when
much work of distinction
was merely awaiting recog-
nition, and to enable it to
obtain this, opportunity of
being seen to advantage.
For affording English
sculpture such an oppor-
tunity, the exhibition at
Shepherd's Bush has
reaped a harvest of reward,
both in the attractiveness
and merit of the work
forthcoming, and the appre-
ciation which the public
have shown.

Both at the Fine Art
Society's and at the Dow-
deswell Galleries the off "in the stable yard" by hans von iiayek