International studio (49.1913)

Studio-Talk

in Les Gerbes by the introduction of blue corn-
flowers and white butterflies which gave it a unique
charm as well as a certain moving suggestion and
sensation of the open air. As an illustration
exhibiting a concentration of his varied technical
methods and art, his Coq is a capital example.
With a refined similarity of method but entirely
personal outlook, the portraits and landscapes
by P. E. Vibert claimed, with other masterly
exhibits, an equality of praise. Among many
versatile prints the one in which he had most
convincingly attained the result sought was perhaps
the Puits a pierres. Other notable prints were
the admirably treated moonlight effect in colour,
Le Hameau au clair de lune, by Camille Beltrand ;
the Tour de la Cathedrale a Nevers, by Fernand
Chalandre ; the strong black-and-white Cassandre,
by Robert Davaux ; Andre Desligneres’ personal
and interesting Calfats; the Jeune file a la
balustrade and La Cigarette, by P. G. Jeanniot;
Le Quai d'Anjou, by Herbert Lespinasse; the
poetically romantic La Tour, by E. A. Verpilleux;
and the same artist’s La Gare, with its vigorous
qualities and colour.
Amongst other important work in the exhibition
not the least distinguished came from English and
Scottish artists. Somewhere I have read, “ We are
so apt to ignore what is by the way, just because
it is by the way.” From the delightful little prints
by Mrs. E. C. Austen Brown one could not
include her in that saying. Her Enfant avec des
oies and Le moulin a vent had a rare simplicity of
charm, design, and colour,
and her Clair de lune
showed that she knows how
to obtain beauty from what
one might term common¬
place things. With seduc¬
tive charm the six prints of
Charles H. Mackie exhibited
genuine artistic qualities, as
well as a subtle Celtic tem¬
perament which was much
less evident in his design
than in his colour. The
work of W. Giles, on the
other hand, was characteris-
tically English : full of
light-hearted sunlight, with
the delicacy of transparent
water-colour, his prints
asserted a joyous note in
the exhibition, the most
fascinating being his study

of two peacocks, entitled Our Lady's Birds. At-
tractive also were Constance and The Tiger, by John
D. Batten; the flower studies by Mrs. E. B.
Hopkins; and The Bridge, by Sydney Lee.
E. A. Taylor.
STUDIO-TALK.
fFrom our Own Correspondents.)
LONDON.—The Royal Society of Painter-
Etchers and Engravers has just con-
cluded its thirty-first annual exhibition
at the galleries of the Old Water-Colour
Society. The exhibition could not be counted
among the most interesting which the Society has
held. Certain well-tried motifs of composition
were repeated to an extent that destroyed the
feeling of variety necessary to the enjoyment of an
exhibition. Plates which introduced freshness in
the point of view and style were Northolt, by Mr.
S. Anderson; Spangles, by Mr. J. R. S. Exley; Rain-
storm, Volendam, by Mr. W. P. Robins; From the
Heights of Rouen (aquatint), by Mr. Luke Taylor;
A Thanet Granary, by Miss Constance M. Pott;
Le Roux, by Mr. Lee Hankey ; Winchelsea Gate, by
Mr. William Monk ; and Woodsford Castle, Dorset,
by Mr. Bernard Eyre. Mr. Nelson Dawson’s work,
notably his Fisherman's Haven, was a stimulating
contribution to the show, and Mr. Frank Carter’s
Retribution was a notable etching. Sir Charles
Holroyd and Sir Alfred East were neither of them
very fully represented, but both gave valuable


“ABBAZIA DELLA M 1 SER ICOR DI A ” BY EMMA CIARDI
(Messrs. Ernest Brown & Phillips, the Leicester Galleries)
*37