DOI Heft:
Nr. 198 (August 1913)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43453#0172
Studio-Talk
Traghetto, Venice, with its contrasts of moonshine
and artificial light, William Hole’s Dead Sea land-
scape as seen from Engedi, J. Whitelaw Hamilton’s
After Sundown, and J. Campbell Mitchell’s Where
listless Nature sleeps.
W. Marshall Brown in A Haunt of the Sea-Birds
contributes the most important seascape in the
exhibition with telling passages of colour, and
Mason Hunter, the new Associate, has two good
seashore subjects in which he introduces more
warmth of colour than has been usual. P. W.
Adam shows three interiors, each differently treated
but all bearing the subtle quality of distinction and
style which with Mr. Adam does not mean loss of
other qualities quite as important. William Wall’s
Snow Leopards is a picture of quiescent buc
watchful felines, and George Smith in a large
canvas gives a highly naturalistic rendering of
calves feeding._
In the Water-Colour Room the principal exhibit is
Edwin Alexander’s The Flow, painted on grey linen
and beautiful in its grace of line and delicate colour.
Additional interest has been given to the three
highly characteristic drawings by Joseph Crawhall
through the death of the artist since the opening
of the exhibition. Henry Lintott’s The Return, a
homecoming from a fete, is happy in its grouping
of the figures, and as Mr. Lintott is now on the
teaching staff of the Edinburgh Art College he
should be able, judging by the capacity shown in
this picture, to influence for good the figure work
of the students. In the Sculpture Hall the most
notable Scottish exhibit is The Rock by the Sea, a
rather peculiar title given to a large nude figure by
Percy Portsmouth, which is an embodiment of that
type of dogmatic Scot, austere and unbending,
which in these days is represented by the “Wee
Free ” Dissenter. A. E.
HAARLEM.—On May 14 this old Dutch
town honoured the memory of Frans
Hals by inaugurating a museum
bearing his name where henceforth
those great masterpieces of his which the citizens
of Haarlem have jealously safeguarded from
generation to generation will be on view to ad-
mirers of his genius with those of other celebrated
masters of the same glorious epoch of Dutch art,
such as Ruisdael, Jan Steen, Verspronck, Adriaen
Brouwer, and Jan de Bray among others. Hals, it is
ONE OF THE ROOMS IN THE FRANS HALS MUSEUM AT HAARLEM
139
Traghetto, Venice, with its contrasts of moonshine
and artificial light, William Hole’s Dead Sea land-
scape as seen from Engedi, J. Whitelaw Hamilton’s
After Sundown, and J. Campbell Mitchell’s Where
listless Nature sleeps.
W. Marshall Brown in A Haunt of the Sea-Birds
contributes the most important seascape in the
exhibition with telling passages of colour, and
Mason Hunter, the new Associate, has two good
seashore subjects in which he introduces more
warmth of colour than has been usual. P. W.
Adam shows three interiors, each differently treated
but all bearing the subtle quality of distinction and
style which with Mr. Adam does not mean loss of
other qualities quite as important. William Wall’s
Snow Leopards is a picture of quiescent buc
watchful felines, and George Smith in a large
canvas gives a highly naturalistic rendering of
calves feeding._
In the Water-Colour Room the principal exhibit is
Edwin Alexander’s The Flow, painted on grey linen
and beautiful in its grace of line and delicate colour.
Additional interest has been given to the three
highly characteristic drawings by Joseph Crawhall
through the death of the artist since the opening
of the exhibition. Henry Lintott’s The Return, a
homecoming from a fete, is happy in its grouping
of the figures, and as Mr. Lintott is now on the
teaching staff of the Edinburgh Art College he
should be able, judging by the capacity shown in
this picture, to influence for good the figure work
of the students. In the Sculpture Hall the most
notable Scottish exhibit is The Rock by the Sea, a
rather peculiar title given to a large nude figure by
Percy Portsmouth, which is an embodiment of that
type of dogmatic Scot, austere and unbending,
which in these days is represented by the “Wee
Free ” Dissenter. A. E.
HAARLEM.—On May 14 this old Dutch
town honoured the memory of Frans
Hals by inaugurating a museum
bearing his name where henceforth
those great masterpieces of his which the citizens
of Haarlem have jealously safeguarded from
generation to generation will be on view to ad-
mirers of his genius with those of other celebrated
masters of the same glorious epoch of Dutch art,
such as Ruisdael, Jan Steen, Verspronck, Adriaen
Brouwer, and Jan de Bray among others. Hals, it is
ONE OF THE ROOMS IN THE FRANS HALS MUSEUM AT HAARLEM
139