DOI Heft:
Studio-Talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43450#0326
Studio-Talk
drawing is made on the lithographic stone in a
method that secures a highly original effect in wash.
His lithographs in this style have often claimed
attention in London exhibitions.
Aubrey Beardsley found the most natural solution
for the problem of the embellishment of the printed
page. But artists have been too afraid of laying
themselves open to the charge of plagiarism to
allow the art of illustration to benefit fully from the
possibilities suggested by his methods. Thus the
foundation of a school has been delayed. But on
more than one occasion lately there has been
welcome evidence of a change of attitude in this
respect. It is certainly in favour of the interesting
Danish artist, Mr. Kay Nielsen, who has recently
been exhibiting a collection of illustrations at Messrs.
Dowdeswell’s, that, with plenty of imagination and
resource of his own, he starts frankly from Beardsley
in method. His work is charged with ingenious
and exuberant fancy. The sense of beauty that
At the Baillie Gallery many of our best-known
water-colourists have contributed to an exhibition
which will remain open till the end of the present
month. There is some particularly attractive work
on view from Messrs. Francis E. James, Gerard
Chowne, A. S. Hartrick, E. J. Sullivan, A. Ludovici,
and Edwin Alexander, and Miss Ursula Tyrwhitt.
The void left among the art galleries of London
by the closing of the New Gallery (which after being
converted into a restaurant has again become
derelict) is at length about to be filled by a new
building in Bond Street which owes its existence
to an energetic group, conspicuous among the pro-
moters being Mr. Francis Howard, to whom the
public is largely indebted for several important ex-
hibitions held of late at the Grafton Galleries. This
new building, which is to be called the Grosvenor
Gallery, a name already familiar in the history of
modern British art, will be inaugurated in the
course of a few weeks, and here in future will be
was Beardsley’s, but which
hardly any of his imitators
have had, is possessed in
ample measure by Mr.
Nielsen. The vein as well
as the style is Beardsley’s
in Mr. Nielsen’s best pieces
—Inevitable, The Reat
Princess, To Goethe. A
school is founded when
more than one artist works
in the same vein through
affinity of temperament;
thus, and not by superficial
imitation, the mantle de-
scends. It is in his lighter
themes that Mr. Kay
Nielsen achieves the
most.
Those who were con-
demned to town during
the off-season will not have
missed the attractive ex-
hibition of etchings by
younger men at Messrs.
Dowdeswell’s galleries.
Among those who added
to their reputation by new
plates Mr. Ernest S.
Lumsden and Mr. F.
Murray Smith are particu-
larly deserving of praise.
316
“ BRENDAN
BY DERMOD O’BRIEN, I’.R.H.A.
(See Dublin Studio-Talk, next page)
drawing is made on the lithographic stone in a
method that secures a highly original effect in wash.
His lithographs in this style have often claimed
attention in London exhibitions.
Aubrey Beardsley found the most natural solution
for the problem of the embellishment of the printed
page. But artists have been too afraid of laying
themselves open to the charge of plagiarism to
allow the art of illustration to benefit fully from the
possibilities suggested by his methods. Thus the
foundation of a school has been delayed. But on
more than one occasion lately there has been
welcome evidence of a change of attitude in this
respect. It is certainly in favour of the interesting
Danish artist, Mr. Kay Nielsen, who has recently
been exhibiting a collection of illustrations at Messrs.
Dowdeswell’s, that, with plenty of imagination and
resource of his own, he starts frankly from Beardsley
in method. His work is charged with ingenious
and exuberant fancy. The sense of beauty that
At the Baillie Gallery many of our best-known
water-colourists have contributed to an exhibition
which will remain open till the end of the present
month. There is some particularly attractive work
on view from Messrs. Francis E. James, Gerard
Chowne, A. S. Hartrick, E. J. Sullivan, A. Ludovici,
and Edwin Alexander, and Miss Ursula Tyrwhitt.
The void left among the art galleries of London
by the closing of the New Gallery (which after being
converted into a restaurant has again become
derelict) is at length about to be filled by a new
building in Bond Street which owes its existence
to an energetic group, conspicuous among the pro-
moters being Mr. Francis Howard, to whom the
public is largely indebted for several important ex-
hibitions held of late at the Grafton Galleries. This
new building, which is to be called the Grosvenor
Gallery, a name already familiar in the history of
modern British art, will be inaugurated in the
course of a few weeks, and here in future will be
was Beardsley’s, but which
hardly any of his imitators
have had, is possessed in
ample measure by Mr.
Nielsen. The vein as well
as the style is Beardsley’s
in Mr. Nielsen’s best pieces
—Inevitable, The Reat
Princess, To Goethe. A
school is founded when
more than one artist works
in the same vein through
affinity of temperament;
thus, and not by superficial
imitation, the mantle de-
scends. It is in his lighter
themes that Mr. Kay
Nielsen achieves the
most.
Those who were con-
demned to town during
the off-season will not have
missed the attractive ex-
hibition of etchings by
younger men at Messrs.
Dowdeswell’s galleries.
Among those who added
to their reputation by new
plates Mr. Ernest S.
Lumsden and Mr. F.
Murray Smith are particu-
larly deserving of praise.
316
“ BRENDAN
BY DERMOD O’BRIEN, I’.R.H.A.
(See Dublin Studio-Talk, next page)