Studio- Talk
From the ensemble one misses the very personal
work of Myron Barlow, and the clever interiors of
Walter Gay, both of these painters being unrepre-
sented ; there is no example of the art of Winslow
Homer, and one regrets the absence of any canvas
by Whistler. These omissions apart, the exhibition
is one of much interest, presenting, as it does, to
the British public a fine collection of work by
painters whose art both for its own sake and for
the sake of our close national kinship one would
desire a better acquaintanceship with on this side
of the Atlantic. A. R.
STUDIO-TALK.
(From Our Own Correspondents.)
LONDON.—The month of August to which
most of us look forward as a period of
peaceful relaxation and rest has this year
opened with the most stupendous upheaval
of armed force that the world has ever witnessed.
What the ultimate effect of this great war will be
on the progress of art it is impossible to say, but
it must inevitably have far-reaching consequences.
Its immediate effect, however, is nothing short of
disastrous to the vast majority of those engaged in
the practice of one or other branch of art. Even
portrait painters who in normal times are rarely
without a commission, find themselves idle owing
to commissions being cancelled in consequence of
the financial disturbance, and a large number of
artists who depend for a livelihood on work of a
more or less “commercial” character are having a
hard time.
In turbulent times such as these, when the air
is filled with echoes from the battlefield, it is
a welcome relief to turn for a moment to
things which remind one of the calm and peace
of the sanctuary. Such are the two altar cards
of which we give reproductions. They were exe-
cuted by Mr. W. H. Cowlishaw, architect, of Letch-
-
. ....
pppipcipio viC’.r vegttvor er \>vj<
tsvo’ ejcjo Aped dcvoi er ■’ ei’segAr
vegtSV bocegAT ip pgtpcipio ApvO
cvoiocnpiA pegtpsvgAciA svpr
ctsipe ipsopACTv esr pihilqvod
p.icrv esr ip ipso virxegArei cite
ivci Lev ip rewesgis Lwerci repe-
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bvi'jq vac er vipi oy snsgi veiGivi'
pi fad a esse cc'H son res qvr byo >a- joW
pt tatis posrgse pregi dtqpATesr Gpyt.-
pAgncepS be pc, iliT/bpv.sposTt’pqviTecvoi- Y A.
viTerfJec.p.'-TipvpirATie pipr £ peg
OO’plA SACCVlA SMWlOp’m .vnepzr-:. ■ ■»< t)
w. A-,.,. - Y
f £-F==*r-^-
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' , ■ svs a eocvipotA'cp egxr lo.xppe.s bic uegir ip re
, ^‘siio'opivo> v r ’.ejnowiiivoipegbnieger de Loon
■AL pc viomwes cgedejtegi pegiLLv pop eg.vi tLlc
jj- Lvxsedvr lesuoiepiv pcpbnreger detvoiipeegAl
I Lvxvegx qv.xe lLLvmpAT ooipe boonipe vepiep
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if pegipsvoipAxrvsesi ci vivpjvs evoipopcoqpc-
; pit ip pgopgix vepn er svi ever pop gecejiegvpr
qvoTqvor xvre gecepegv/jr even Oedir eiS|’ore
' srA-eo> yiLios , ei pegi bi5qvi cgeOvpr ippoon-
pe eivs qui pop exsApqvipibvs peqve oxdolup-
<»rAlc OAgpis peqve ex volvp'.A’e uigisedex
e’o pAl i pvpr_as> Jtu ex rsc-rfu cecc or ffwrs-ftr.CT-’
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h' I b (Op'7 eU ec I s .'I X. i .1; .\A U-J ■■ 't« : >.- r .....
U——a.—-i-- .A-y—*—v-OS-T—t-- ' ».
r t 1 bAblTAVn tp pO-
• inset vidimus qUogiAoi eivs qlogi.unqv,<si vpi
T qepin a Aige ptepixn c,gxn.ue er vegiTAlij
t,
AVAooipreg ipocepTCSc’ApbieAScr
1 cif&.vmdAt'OALTAgeTVV pevrsv .
biivoce .xvdrser epA;q<d vpiveg {
iji sa-vh-iaimIiatoa pe diLoxibecoge ’
, . x x. itb Oooi’rv.ve ertoev hAiMTxriopisql-o
giAe rVAepepeudASev loipus e
Apivuo’e.r. er cvvigissxppVipvviTAOieA-ipqvoK ’
r'ApiB'tpiqviT.viesivp'.OeriegAeH.'g.KepUrAesro.vpf
guVeqo rvre tp ipoeeprjAOieA ipqgeAssvgedir»ea>e
eronsegc ge jki pcso’e sunn ipdigccrorpecvlesii.s 1
oepedicA re pc qLogix stgr er itioer rpigirvi |
,Agcroseevr egxr ip pgipcipio er pvpc ei seoipeg
e i ip sac'cvLx sac cvlogvo' .core p i .v. c rc. ,
ILLUMINATED ALTAR CARD FOR THE CHURCH OF ST. HUGH, LETCHWORTH
3O2
BY W. H. COWLISHAW
From the ensemble one misses the very personal
work of Myron Barlow, and the clever interiors of
Walter Gay, both of these painters being unrepre-
sented ; there is no example of the art of Winslow
Homer, and one regrets the absence of any canvas
by Whistler. These omissions apart, the exhibition
is one of much interest, presenting, as it does, to
the British public a fine collection of work by
painters whose art both for its own sake and for
the sake of our close national kinship one would
desire a better acquaintanceship with on this side
of the Atlantic. A. R.
STUDIO-TALK.
(From Our Own Correspondents.)
LONDON.—The month of August to which
most of us look forward as a period of
peaceful relaxation and rest has this year
opened with the most stupendous upheaval
of armed force that the world has ever witnessed.
What the ultimate effect of this great war will be
on the progress of art it is impossible to say, but
it must inevitably have far-reaching consequences.
Its immediate effect, however, is nothing short of
disastrous to the vast majority of those engaged in
the practice of one or other branch of art. Even
portrait painters who in normal times are rarely
without a commission, find themselves idle owing
to commissions being cancelled in consequence of
the financial disturbance, and a large number of
artists who depend for a livelihood on work of a
more or less “commercial” character are having a
hard time.
In turbulent times such as these, when the air
is filled with echoes from the battlefield, it is
a welcome relief to turn for a moment to
things which remind one of the calm and peace
of the sanctuary. Such are the two altar cards
of which we give reproductions. They were exe-
cuted by Mr. W. H. Cowlishaw, architect, of Letch-
-
. ....
pppipcipio viC’.r vegttvor er \>vj<
tsvo’ ejcjo Aped dcvoi er ■’ ei’segAr
vegtSV bocegAT ip pgtpcipio ApvO
cvoiocnpiA pegtpsvgAciA svpr
ctsipe ipsopACTv esr pihilqvod
p.icrv esr ip ipso virxegArei cite
ivci Lev ip rewesgis Lwerci repe-
.".... .A.. --.y. I ...t. .jy IA.A.
jffcCgdoS Aqxl.MM IjJ CALICO Oil* ' y .'Aul
/qvibvojApju? svbsiAp'.'AO diqpt-
lAie-ongAiiiLiTeg copOidisner
bvi'jq vac er vipi oy snsgi veiGivi'
pi fad a esse cc'H son res qvr byo >a- joW
pt tatis posrgse pregi dtqpATesr Gpyt.-
pAgncepS be pc, iliT/bpv.sposTt’pqviTecvoi- Y A.
viTerfJec.p.'-TipvpirATie pipr £ peg
OO’plA SACCVlA SMWlOp’m .vnepzr-:. ■ ■»< t)
w. A-,.,. - Y
f £-F==*r-^-
‘ A egrr Lvxbooiig
if / llgAC CAO I pop COOlpgdvpbegvpl pvit Ixxvoohs-.
' , ■ svs a eocvipotA'cp egxr lo.xppe.s bic uegir ip re
, ^‘siio'opivo> v r ’.ejnowiiivoipegbnieger de Loon
■AL pc viomwes cgedejtegi pegiLLv pop eg.vi tLlc
jj- Lvxsedvr lesuoiepiv pcpbnreger detvoiipeegAl
I Lvxvegx qv.xe lLLvmpAT ooipe boonipe vepiep
II reo, ip hvpcorvpdiioiip cnvpdo eg»r »’i .irvpDvs
if pegipsvoipAxrvsesi ci vivpjvs evoipopcoqpc-
; pit ip pgopgix vepn er svi ever pop gecejiegvpr
qvoTqvor xvre gecepegv/jr even Oedir eiS|’ore
' srA-eo> yiLios , ei pegi bi5qvi cgeOvpr ippoon-
pe eivs qui pop exsApqvipibvs peqve oxdolup-
<»rAlc OAgpis peqve ex volvp'.A’e uigisedex
e’o pAl i pvpr_as> Jtu ex rsc-rfu cecc or ffwrs-ftr.CT-’
—•-r—v »■—r • v— -r— r *— r-
h' I b (Op'7 eU ec I s .'I X. i .1; .\A U-J ■■ 't« : >.- r .....
U——a.—-i-- .A-y—*—v-OS-T—t-- ' ».
r t 1 bAblTAVn tp pO-
• inset vidimus qUogiAoi eivs qlogi.unqv,<si vpi
T qepin a Aige ptepixn c,gxn.ue er vegiTAlij
t,
AVAooipreg ipocepTCSc’ApbieAScr
1 cif&.vmdAt'OALTAgeTVV pevrsv .
biivoce .xvdrser epA;q<d vpiveg {
iji sa-vh-iaimIiatoa pe diLoxibecoge ’
, . x x. itb Oooi’rv.ve ertoev hAiMTxriopisql-o
giAe rVAepepeudASev loipus e
Apivuo’e.r. er cvvigissxppVipvviTAOieA-ipqvoK ’
r'ApiB'tpiqviT.viesivp'.OeriegAeH.'g.KepUrAesro.vpf
guVeqo rvre tp ipoeeprjAOieA ipqgeAssvgedir»ea>e
eronsegc ge jki pcso’e sunn ipdigccrorpecvlesii.s 1
oepedicA re pc qLogix stgr er itioer rpigirvi |
,Agcroseevr egxr ip pgipcipio er pvpc ei seoipeg
e i ip sac'cvLx sac cvlogvo' .core p i .v. c rc. ,
ILLUMINATED ALTAR CARD FOR THE CHURCH OF ST. HUGH, LETCHWORTH
3O2
BY W. H. COWLISHAW