International studio (44.1911)

Studio- Talk

and is a pretty regular contributor to the Royal
Academy exhibitions.
LIVERPOOL.—The forty-first autumn exhibi-
tion at the Walker Art Gallery is to be
opened on the 18th inst. The artists
—who have accepted the invitation of
the committee to assist them in arranging the
exhibition are Adrian Stokes, A.R.A. (London),
E. A. Hornel (Kirkcudbright), and Adolph C.
Meyer, A.R.E. (Liverpool Academy). After much
discussion the City Council have at length decided
to permit the formation of an Art Union in con-
nection with this autumn exhibition, a step
advocated by the Liverpool Academy, the Liver-
pool Artists’ Club, and others, on the ground that
similar organisations elsewhere have stimulated
public interest in art, and have achieved beneficial
results for the artists. H. B. B.

art, lithography has progressed by leaps and bounds,
and to-day there are quite a number of artists who
are real masters of the medium. Their prints show
they recognise that arrangement of masses and
not so much fineness of line is required in
lithography, although some prints of Lautrec
prove what line can do even in a lithograph.
With one exception, none of the artists represented
in this exhibition have made the mistake of con-
fusing lithography with any other form of art
production. Frank Brangwyn sent a dark, massive
composition, The Pool, in several states ; E. J.
Sullivan two classical subjects, Atlas and The
Loves of Flora and Zephyr, instinct with force and
significance; Alphonse Legros three portrait heads,
and Charles Shannon his languishing, graceful,
dream fancies, from which might be singled out
the superb Ministrants. Whistler was well repre-
sented with landscape and figure subjects (it was

MANCHESTER. —
Hitherto Manchester
has had little oppor-
tunity of seeing an
adequate representation either
of lithographs or etchings; but
the summer exhibition at the Art
Gallery went far to remove this
reproach. The selection of etch-
ings made no claim to complete-
ness ; except for Eugene Bejot’s
Seine pictures they were con-
fined to English artists, but even
then one missed the giants :
William Strang, Francis Dodd,
Muirhead Bone, and, among the
dead, Whistler and Seymour
Haden. The work exhibited
was, for the greater part, little
more than an echo of these
masters, of whom Muirhead
Bone seems to exercise the
greatest influence. Two plates
by D. Y. Cameron, Laroche and
Claime Laroche, stood out as the
most vigorous and original work
among the etchings; but there
was also some good work by
E. M. Synge.
The real strength of the ex-
hibition lay without doubt in its
lithographs. Since The Studio
did so much to encourage the


“A DOORWAY IN VENICE” (ETCHING) BY M. V. ACHENER
( See Paris Studio- Talk, p. 312)
311