DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43455#0097
Studio-Talk
Among other paintings of which special mention
should be made were Mr. Homer Watson’s fine
and nobly conceived landscape, Evening after
Rain; Mr. Lauren Harris’s strong and decorative
Sunrise through Rime-, Mr. W. Edwin Atkinson’s
Autumn Field-, Mr. Archibald Browne’s The Risen
Moow, Mr, Franklin Brownell’s On the Beech, St.
Kitts, B. W.I. ; Mr. Wm. Brymner’s Afterglow ;
Mr. J. W. Beatty’s The Passing Shadow-, Mr.
Maurice Cullen’s The October Moon ; Mr. E.
Dyonnet’s Portrait; Mr. James E. H. Macdonald’s
The Lonely North; Miss FI. Mabel May’s The
Market under the Trees ; Miss K. J. Munn’s A
Spanish Dancer', Miss Florence Carlyle’s After-
noon, Venice; Mrs. Mary H. Reid’s charming
interior, Morning Sunshine; Mr. Arthur D.
Rosaire’s Sunset, Lachine;
Mr. A. Suzor-Cote’s Youth
and Sunlight-, and Mr. H.
Britton’s Rocky Coast
towards Sunset. Among
these paintings, those of
Mr. Beatty, Mr. Britton,
Mr. Brownell, Miss Carlyle,
Miss May, Mrs. Reid, Mr.
Rosaire, and Mr. Suzor-
Cote were purchased for
the National Gallery.
H. M. L.
Tokyo.—a great
hope is being
entertained by
our sculptors in
wood. They are striving
to uphold the high reputa-
tion won for our country
by our ancient masters in
wood-carving. The marked
progress made by our con-
temporary wood sculptors
can scarcely be equalled in
any other branch of art in
Japan. Not only their
progress, but their sanguine
future can hardly be dis-
puted. I am inclined to
believe that wood sculpture
is one of the branches of
art most peculiarly suited
to our artistic temperament,
at least as far as the work
brush-work in our drawings, so the free and bold
strokes of the knife are very highly appreciated in
our glyptic art. _
The fifth annual exhibition recently held at the
Takenodai in Uyeno Park by the Nihon Chokoku-
kai, a society composed of some seventeen of
the most prominent or promising sculptors in
wood, attracted considerable attention. Unlike
most others, their exhibitions are entirely free from
the business element, each member striving to
show his very highest, regardless of the possibilities
of disposing of his work. For fear that they may
possibly be influenced, consciously or uncon-
sciously, in the choice of subject or the manner of
execution, the members refrain even from soliciting
itself is concerned. Just
as we value so highly the
82
“ AFTERGLOW”
BY WILLIAM BRYMNER
(Royal Canadian Academy of Arts)
Among other paintings of which special mention
should be made were Mr. Homer Watson’s fine
and nobly conceived landscape, Evening after
Rain; Mr. Lauren Harris’s strong and decorative
Sunrise through Rime-, Mr. W. Edwin Atkinson’s
Autumn Field-, Mr. Archibald Browne’s The Risen
Moow, Mr, Franklin Brownell’s On the Beech, St.
Kitts, B. W.I. ; Mr. Wm. Brymner’s Afterglow ;
Mr. J. W. Beatty’s The Passing Shadow-, Mr.
Maurice Cullen’s The October Moon ; Mr. E.
Dyonnet’s Portrait; Mr. James E. H. Macdonald’s
The Lonely North; Miss FI. Mabel May’s The
Market under the Trees ; Miss K. J. Munn’s A
Spanish Dancer', Miss Florence Carlyle’s After-
noon, Venice; Mrs. Mary H. Reid’s charming
interior, Morning Sunshine; Mr. Arthur D.
Rosaire’s Sunset, Lachine;
Mr. A. Suzor-Cote’s Youth
and Sunlight-, and Mr. H.
Britton’s Rocky Coast
towards Sunset. Among
these paintings, those of
Mr. Beatty, Mr. Britton,
Mr. Brownell, Miss Carlyle,
Miss May, Mrs. Reid, Mr.
Rosaire, and Mr. Suzor-
Cote were purchased for
the National Gallery.
H. M. L.
Tokyo.—a great
hope is being
entertained by
our sculptors in
wood. They are striving
to uphold the high reputa-
tion won for our country
by our ancient masters in
wood-carving. The marked
progress made by our con-
temporary wood sculptors
can scarcely be equalled in
any other branch of art in
Japan. Not only their
progress, but their sanguine
future can hardly be dis-
puted. I am inclined to
believe that wood sculpture
is one of the branches of
art most peculiarly suited
to our artistic temperament,
at least as far as the work
brush-work in our drawings, so the free and bold
strokes of the knife are very highly appreciated in
our glyptic art. _
The fifth annual exhibition recently held at the
Takenodai in Uyeno Park by the Nihon Chokoku-
kai, a society composed of some seventeen of
the most prominent or promising sculptors in
wood, attracted considerable attention. Unlike
most others, their exhibitions are entirely free from
the business element, each member striving to
show his very highest, regardless of the possibilities
of disposing of his work. For fear that they may
possibly be influenced, consciously or uncon-
sciously, in the choice of subject or the manner of
execution, the members refrain even from soliciting
itself is concerned. Just
as we value so highly the
82
“ AFTERGLOW”
BY WILLIAM BRYMNER
(Royal Canadian Academy of Arts)