DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43450#0155
Studio- Talk
“the descent from the cross” by w. beck savage
(By permission oj Capt. J. Audley Harvey, owner ot the picture ana copyright)
which he is always working out in more rapid im-
pressions. The spontaneity of those impressions
has never been surpassed. Very few impressions
of the kind religiously keep to the truth, and take
no liberty with that of which they profess to be an
immediate, direct expression; very few of them
could, as painters say, be carried farther. Mr.
Sargent has in this instance carried his impression
through to the very end. For a long time Mr.
William Rothenstein has not been so happy as in his
The Princess Badroulbadour. He has always had a
very aristocratic sense of the beauty of rich textiles,
porcelains, lacquers, &c., as they can be conveyed
in paint. With him originated to some extent the
present-day return to interior genre art. In the
picture of the above title, a portrait group of three
children dressed up, he comes back in his old style
to the old theme. We are reproducing Mr. William
Beck Savage’s Descent jrom the Cross. It is a great
theme for a young painter to touch, but he has
handled it in the right spirit. The picture owes
its distinction to an unusual dignity of composi-
tion, a trait to which our reproduction testifies.
Mr. William Orpen had two large and important
pictures in the exhibition, The Cafe Royal and
The Chinese Shawl, a portrait. The former pic-
ture represents, with more than a note perhaps
of caricature, Messrs. Augustus John, James Pryde,
William Nicholson, George Moore, and others in
the Cafe Royal. These eminent men are not
represented with such reverential painting as is the
waiter in the centre of the canvas. The problem
of endless succession of reflections in mirrors and
of reflected lights is one in which the supreme gifts
of Mr. Orpen have a peculiar chance of expressing
themselves. Mr. von Glehn had a large picture in
143
“the descent from the cross” by w. beck savage
(By permission oj Capt. J. Audley Harvey, owner ot the picture ana copyright)
which he is always working out in more rapid im-
pressions. The spontaneity of those impressions
has never been surpassed. Very few impressions
of the kind religiously keep to the truth, and take
no liberty with that of which they profess to be an
immediate, direct expression; very few of them
could, as painters say, be carried farther. Mr.
Sargent has in this instance carried his impression
through to the very end. For a long time Mr.
William Rothenstein has not been so happy as in his
The Princess Badroulbadour. He has always had a
very aristocratic sense of the beauty of rich textiles,
porcelains, lacquers, &c., as they can be conveyed
in paint. With him originated to some extent the
present-day return to interior genre art. In the
picture of the above title, a portrait group of three
children dressed up, he comes back in his old style
to the old theme. We are reproducing Mr. William
Beck Savage’s Descent jrom the Cross. It is a great
theme for a young painter to touch, but he has
handled it in the right spirit. The picture owes
its distinction to an unusual dignity of composi-
tion, a trait to which our reproduction testifies.
Mr. William Orpen had two large and important
pictures in the exhibition, The Cafe Royal and
The Chinese Shawl, a portrait. The former pic-
ture represents, with more than a note perhaps
of caricature, Messrs. Augustus John, James Pryde,
William Nicholson, George Moore, and others in
the Cafe Royal. These eminent men are not
represented with such reverential painting as is the
waiter in the centre of the canvas. The problem
of endless succession of reflections in mirrors and
of reflected lights is one in which the supreme gifts
of Mr. Orpen have a peculiar chance of expressing
themselves. Mr. von Glehn had a large picture in
143