DOI Heft:
Nr. 176 (October, 1911)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43447#0401
Studio-Talk
decorative sense which enables him to interpret the
facts of nature with a considerable measure of
dignity and largeness of suggestion ; and, for another,
he is a sensitive colourist and has a right ap-
preciation of subtleties of tone relation. He is, too,
an able craftsman, with a sound understanding
of the way in which the various painting mediums
should be applied; and there is a scholarly com-
pleteness in all his technical exercises which can be
sincerely commended. The examples given here
of his work in pastel show well how skilfully he
manages a process which demands essentially a
frank confidence of handling and a special direct-
ness of method. Mr. Goodman uses the pastel
medium with admirable certainty and firmness of
draughtsmanship, and yet with a delicate freshness
of effect that is exceedingly persuasive.
That very democratic experiment, the London
Salon, arranged by the Allied Artists'- Association
at the Royal Albert Hall for the third year in
succession, lent interest to the last weeks of the
picture season. In connection with the system
upon which the exhibition is worked—as every-
one knows, that of accepting everything sent in—
it is a fact that so far from the good pictures being
lost sight of they tend to discover themselves by
sheer contrast with works not specially chosen to
support them ; the society’s arrangements being, if
not a test of the pictures, then of the spectator,
who himself must pass the judgment. There is, how-
ever, one respect in which the exhibition proves the
value of the competitive system as against the co-
operative one adopted in its own case. We refer to
the fact that whilst the absence of competition lets
in at one end of the scale much that is futile, it tends
to exclude at the other the work of those many good
artists who seem to require the stimulus connected
with the chance of acceptance or rejection of the
picture ; and from the fact that some of these are
content to be represented at less than their best,
the uniquely comprehensive character which the
Allied Artists’ Association have in view for their
exhibitions is threatened. The London Salon,
however, provides a kind of exhibition which is
a necessity in this country—in any industrial
decorative sense which enables him to interpret the
facts of nature with a considerable measure of
dignity and largeness of suggestion ; and, for another,
he is a sensitive colourist and has a right ap-
preciation of subtleties of tone relation. He is, too,
an able craftsman, with a sound understanding
of the way in which the various painting mediums
should be applied; and there is a scholarly com-
pleteness in all his technical exercises which can be
sincerely commended. The examples given here
of his work in pastel show well how skilfully he
manages a process which demands essentially a
frank confidence of handling and a special direct-
ness of method. Mr. Goodman uses the pastel
medium with admirable certainty and firmness of
draughtsmanship, and yet with a delicate freshness
of effect that is exceedingly persuasive.
That very democratic experiment, the London
Salon, arranged by the Allied Artists'- Association
at the Royal Albert Hall for the third year in
succession, lent interest to the last weeks of the
picture season. In connection with the system
upon which the exhibition is worked—as every-
one knows, that of accepting everything sent in—
it is a fact that so far from the good pictures being
lost sight of they tend to discover themselves by
sheer contrast with works not specially chosen to
support them ; the society’s arrangements being, if
not a test of the pictures, then of the spectator,
who himself must pass the judgment. There is, how-
ever, one respect in which the exhibition proves the
value of the competitive system as against the co-
operative one adopted in its own case. We refer to
the fact that whilst the absence of competition lets
in at one end of the scale much that is futile, it tends
to exclude at the other the work of those many good
artists who seem to require the stimulus connected
with the chance of acceptance or rejection of the
picture ; and from the fact that some of these are
content to be represented at less than their best,
the uniquely comprehensive character which the
Allied Artists’ Association have in view for their
exhibitions is threatened. The London Salon,
however, provides a kind of exhibition which is
a necessity in this country—in any industrial