DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43450#0161
Studio-Talk
“ BREEZY PASTURES FROM THE OIL PAINTING BY ALGERNON TALMAGE
(PurchasedJ or National Gallery, Sydney )
that drawings prepared under other conditions have
nearly always to be abandoned. If students could
sometimes be allotted panels occupying some space
of an actual wall, say in Crosby Hall, and limited
perhaps in the number of colours they were allowed
to employ, some educative assistance would be given
to the development of mural art.
The monument just completed by Mr. Jacob
Epstein for the grave of Oscar Wilde in the
cemetery of Pere La Chaise was exhibited in June
at Chelsea. It is an impressive work, executed in
the spirit of the profound mood in which the poet’s
“ Salome ” was written.
Mr. Algernon Talmage’s picture, Breezy Pastures,
which we reproduce on this page, was one of thp
twenty-nine paintings which he exhibited recently at
the Chenil Galleries in King’s Road, Chelsea. It
is an excellent example of this artist’s landscape
work, and the authorities in charge of the National
Gallery at Sydney are to be congratulated on its
acquisition.
EDINBURGH.—In the notice of the first
Royal Scottish Academy exhibition in the
new buildings, published in The Studio
last July, it was stated that if the standard
then set up could be maintained “ the Academy
exhibitions will no longer be what they have too
frequently been, merely a provincial collection, but
will take their place among the representative dis-
plays of the great art centres.” To-day no apolo-
getic note requires to be struck. The standard has
been well maintained. The council is empowered
to include in these annual exhibitions not only
examples by distinguished foreign artists now living,
but also by deceased contemporaries who may have
specially influenced the art of the present day, and
this provision has been taken advantage of; but the
collection is primarily and dominantly representa-
tive of Scottish work of the year. As such, it is
indicative of progress, of a higher ambition, a wider
outlook, and a greater attainment. The censorship
exercised by the council might, in a very few cases,
have been more rigorous, but it would be difficult
to find an exhibition containing a smaller proportion
149
“ BREEZY PASTURES FROM THE OIL PAINTING BY ALGERNON TALMAGE
(PurchasedJ or National Gallery, Sydney )
that drawings prepared under other conditions have
nearly always to be abandoned. If students could
sometimes be allotted panels occupying some space
of an actual wall, say in Crosby Hall, and limited
perhaps in the number of colours they were allowed
to employ, some educative assistance would be given
to the development of mural art.
The monument just completed by Mr. Jacob
Epstein for the grave of Oscar Wilde in the
cemetery of Pere La Chaise was exhibited in June
at Chelsea. It is an impressive work, executed in
the spirit of the profound mood in which the poet’s
“ Salome ” was written.
Mr. Algernon Talmage’s picture, Breezy Pastures,
which we reproduce on this page, was one of thp
twenty-nine paintings which he exhibited recently at
the Chenil Galleries in King’s Road, Chelsea. It
is an excellent example of this artist’s landscape
work, and the authorities in charge of the National
Gallery at Sydney are to be congratulated on its
acquisition.
EDINBURGH.—In the notice of the first
Royal Scottish Academy exhibition in the
new buildings, published in The Studio
last July, it was stated that if the standard
then set up could be maintained “ the Academy
exhibitions will no longer be what they have too
frequently been, merely a provincial collection, but
will take their place among the representative dis-
plays of the great art centres.” To-day no apolo-
getic note requires to be struck. The standard has
been well maintained. The council is empowered
to include in these annual exhibitions not only
examples by distinguished foreign artists now living,
but also by deceased contemporaries who may have
specially influenced the art of the present day, and
this provision has been taken advantage of; but the
collection is primarily and dominantly representa-
tive of Scottish work of the year. As such, it is
indicative of progress, of a higher ambition, a wider
outlook, and a greater attainment. The censorship
exercised by the council might, in a very few cases,
have been more rigorous, but it would be difficult
to find an exhibition containing a smaller proportion
149