DOI Heft:
Nr. 209 (July, 1914)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43456#0071
Studio- Talk
STUDIO-TALK.
(From Our Own Correspondents.)
LONDON.— Two Associates of the Royal
Academy were elected to full membership
of that body at a General Assembly held
—y at the beginning of last month — Mr.
George Adolphus Storey and Mr. Henry Scott
Tuke. Mr. Storey was elected Associate as long
ago as 1876, and his promotion takes place when
he has completed his eightieth year. A few months
ago he was appointed Professor of Perspective to
the Academy, a post which was revived by his
appointment after being extinct for more than half
a century. As a painter his speciality has been the
“subject” picture, but he has also executed some
excellent portraits, a notable one being the portrait
of the artist’s mother, presented by the National Art
Collections Fund to the Tate Gallery. Mr. Tuke,
whose pictures of boys bathing in the sea are always
a popular feature of the summer exhibitions, was
born in 1858 and elected Associate in 1900. Two
of his pictures have been purchased under the
Chantrey Bequest.
The Old Water-Colour Society has lost an
esteemed member through the death of Mr. E. R.
Hughes, a nephew of Mr. Arthur Hughes, and like
him closely associated with the Pre-Raphaelite
Brotherhood. “ Ted ” Hughes, as he was known
among his friends, was elected an Associate of the
Society in 1891 and a full member in 1895; he
made a distinguished place for himself as a painter
of romantic subjects.
Although there was nothing particularly exciting
in the exhibition of the International Society of
Sculptors, Painters, and Gravers, it deserves to be
remembered for its well-sustained interest and its
generally high level of merit. A great deal of good
work was included in it—work sound in intention
and admirable in accomplishment—and there was
very little which could be dismissed as merely
extravagant or absurdly fantastic. The pictures
most worthy of record were Mr. D. Y. Cameron’s
dignified and finely designed landscape, Een
Vorlich—Autumn, Mr. James Pryde’s The Court-
yard, Mr. Henry Bishop’s delightful tone studies,
Tranquillity and Early Morning: Tetuan, Mr.
Oliver Hall’s Road over the Westmorland Moors,
Mr. Glyn Philpot’s curiously treated fantasy, The
Forsaken Goddess, and Mr. E. H. Kennington’s
57
STUDIO-TALK.
(From Our Own Correspondents.)
LONDON.— Two Associates of the Royal
Academy were elected to full membership
of that body at a General Assembly held
—y at the beginning of last month — Mr.
George Adolphus Storey and Mr. Henry Scott
Tuke. Mr. Storey was elected Associate as long
ago as 1876, and his promotion takes place when
he has completed his eightieth year. A few months
ago he was appointed Professor of Perspective to
the Academy, a post which was revived by his
appointment after being extinct for more than half
a century. As a painter his speciality has been the
“subject” picture, but he has also executed some
excellent portraits, a notable one being the portrait
of the artist’s mother, presented by the National Art
Collections Fund to the Tate Gallery. Mr. Tuke,
whose pictures of boys bathing in the sea are always
a popular feature of the summer exhibitions, was
born in 1858 and elected Associate in 1900. Two
of his pictures have been purchased under the
Chantrey Bequest.
The Old Water-Colour Society has lost an
esteemed member through the death of Mr. E. R.
Hughes, a nephew of Mr. Arthur Hughes, and like
him closely associated with the Pre-Raphaelite
Brotherhood. “ Ted ” Hughes, as he was known
among his friends, was elected an Associate of the
Society in 1891 and a full member in 1895; he
made a distinguished place for himself as a painter
of romantic subjects.
Although there was nothing particularly exciting
in the exhibition of the International Society of
Sculptors, Painters, and Gravers, it deserves to be
remembered for its well-sustained interest and its
generally high level of merit. A great deal of good
work was included in it—work sound in intention
and admirable in accomplishment—and there was
very little which could be dismissed as merely
extravagant or absurdly fantastic. The pictures
most worthy of record were Mr. D. Y. Cameron’s
dignified and finely designed landscape, Een
Vorlich—Autumn, Mr. James Pryde’s The Court-
yard, Mr. Henry Bishop’s delightful tone studies,
Tranquillity and Early Morning: Tetuan, Mr.
Oliver Hall’s Road over the Westmorland Moors,
Mr. Glyn Philpot’s curiously treated fantasy, The
Forsaken Goddess, and Mr. E. H. Kennington’s
57