DOI Heft:
No. 191 (January, 1913)
DOI Artikel:In the Galleries
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43451#0435
In the Galleries
BY ADRIAN ISENBRANT, 1551
view
men-
The
Courtesy of Henry Reinhardt
ST. JOHN AND THE DONATORS
himself is represented in a landscape by Cazin.
Ridgway Knight has an arresting canvas. He has
painted a peasant girl of southern Europe among
rose bushes. The coloring is very brilliant and
convincing.
Besides paintings may be seen excellent eight-
eenth century mezzotint engravings, after Rey-
nolds, Gainsborough, Hoppner and Romney.
They are first states and proofs before letters.
The Alfred Vickers pictures at the new galleries
of Moulton & Ricketts have attracted consider-
able attention. Vickers in his lifetime was so
overshadowed by giant artists that his true merit
is only now beginning to be appreciated, and even
now the prices asked are much too low. By dint
of patience and perseverance a London dealer
managed [to collect some
eighty canvases and Messrs.
Moulton & Ricketts selected
the best thirty, which ac-
counts for the exhibition
being so very even. It is
impossible to look at his
work without recognizing
the influence of Constable,
Crome and the so-called
Norwich School, in his mel-
lowness of tone, treatment
of tree-groups and rich
depths. Among the many
excellent etchings on
may particularly be
tioned Brangwyn’s
Bridge at Alcantara..
Another interesting exhi-
bition of Whistler etchings
has been on view at the
galleries of Arthur H. Hahlo
& Co.; some of the examples
are very rare and conse-
quently of great value.
At the Montross Gallery
during December was held a
unique display of early Chi-
nese art, ranging from the
Shang Dynasty, two cen-
turies before Christ, to the
present, or Ching. One mar-
vels at the freshness, grace
of composition and spacious-
ness on the unframed, ban-
nerlike lengths of silk, and
at the strange effects of
modernity which obtrude
themselves so frequently, especially in the por-
traits; their great power of synthecizing and
their grasp of essentials are characteristic of their
early protagonists. The picture we are represent-
ing is a winter landscape and geese by night—
signed Wu-Tao-tze, of the T’ang Dynasty, or first
century of the Christian era. The Chinese who
painted in the mode of outlines and flat tones
never thought of objects as coming out of dark-
ness, but always in light. Shadows were neg-
lected, as being impediments in the way of vision.
Form was the business of sculptors, not painters,
they trusted to their true colors and correct out-
lines to suggest sufficiently the form; moreover,
they employed a five-color scheme, and knew their
pigments as a hen knows her chicks.
LXXI
BY ADRIAN ISENBRANT, 1551
view
men-
The
Courtesy of Henry Reinhardt
ST. JOHN AND THE DONATORS
himself is represented in a landscape by Cazin.
Ridgway Knight has an arresting canvas. He has
painted a peasant girl of southern Europe among
rose bushes. The coloring is very brilliant and
convincing.
Besides paintings may be seen excellent eight-
eenth century mezzotint engravings, after Rey-
nolds, Gainsborough, Hoppner and Romney.
They are first states and proofs before letters.
The Alfred Vickers pictures at the new galleries
of Moulton & Ricketts have attracted consider-
able attention. Vickers in his lifetime was so
overshadowed by giant artists that his true merit
is only now beginning to be appreciated, and even
now the prices asked are much too low. By dint
of patience and perseverance a London dealer
managed [to collect some
eighty canvases and Messrs.
Moulton & Ricketts selected
the best thirty, which ac-
counts for the exhibition
being so very even. It is
impossible to look at his
work without recognizing
the influence of Constable,
Crome and the so-called
Norwich School, in his mel-
lowness of tone, treatment
of tree-groups and rich
depths. Among the many
excellent etchings on
may particularly be
tioned Brangwyn’s
Bridge at Alcantara..
Another interesting exhi-
bition of Whistler etchings
has been on view at the
galleries of Arthur H. Hahlo
& Co.; some of the examples
are very rare and conse-
quently of great value.
At the Montross Gallery
during December was held a
unique display of early Chi-
nese art, ranging from the
Shang Dynasty, two cen-
turies before Christ, to the
present, or Ching. One mar-
vels at the freshness, grace
of composition and spacious-
ness on the unframed, ban-
nerlike lengths of silk, and
at the strange effects of
modernity which obtrude
themselves so frequently, especially in the por-
traits; their great power of synthecizing and
their grasp of essentials are characteristic of their
early protagonists. The picture we are represent-
ing is a winter landscape and geese by night—
signed Wu-Tao-tze, of the T’ang Dynasty, or first
century of the Christian era. The Chinese who
painted in the mode of outlines and flat tones
never thought of objects as coming out of dark-
ness, but always in light. Shadows were neg-
lected, as being impediments in the way of vision.
Form was the business of sculptors, not painters,
they trusted to their true colors and correct out-
lines to suggest sufficiently the form; moreover,
they employed a five-color scheme, and knew their
pigments as a hen knows her chicks.
LXXI