International studio (56.1915)

Studio-Talk


BOWL, PAINTED IN COBALT BLUE ON A TIN ENAMEL
BY JOHN ADAMS, A.R.C.A.

emotional and detached view which leaves
the spectator a little cold despite the
undoubted interest attaching to work of
such clearly personal vision as that of
the members of this group.
In complete contrast to the paintings
of these four artists were the highly
finished and delicate water-colours of
Swiss mountains and English cathedrals
which Mr. Harry Goodwin exhibited
at Messrs. Dowdeswells. For its atmo-
spheric colour The Sehlem and Rosen-
garten, Tyrol, deserves a special mention,
but by reason of a certain conventional
prettiness these works in general fail to
be entirely satisfying despite their tech-
nical accomplishment and dexterity of
handling. _

Oyster Beds, and Barter •, and in particular the
exquisite Golden Days reminded one of his ability
as a very rich and harmonious colourist.
Though there is much that must be accounted
negligible among the experimental efforts of some
of the painters of the avant-garde, the pictures by
Messrs. Ginner, Gilman, Nash, and Bevan, who
exhibited recently at the Goupil Gallery as the
Cumberland Market Group, call for notice by
reason of the evidence they afford of a distinct aim
and purpose. Mr. Charles Ginner’s work is in-
teresting alike in composition and colour and for
its solidity, though the striated surface of
his paint has a somewhat slimy effect which
detracts from the merits of one or two of the
pictures without adding in itself any beauty
of texture. In such works as King’s Cross,
Leeds, and Leeds Roofs, where this technique
is not so insistent, the effect is more agreeable
and no less individual. Mr. Harold Gilman’s
pictures with their sense of atmosphere and
subtle colouring suffer also from an unvary-
ing brusqueness of touch; in the landscapes
this is not disagreeable, but in the faces of
his portraits it becomes over-insistent. Of
the four members of the group Mr. Paul
Nash contributed the most purely decorative
works in his green landscapes. In his art,
unlike that of the others, there is a feeling
for primitivism rather than for impressionism.
The pictures by which Mr. Robert Bevan
was represented were the most luminous,
and showed to a less extent the’rather un-

The exhibitions at the Carfax Gallery are always
of interest, and that which comprised a collection
of drawings and etchings by Francis Sydney Unwin
and Randolph Schwabe formed no exception to
the rule. Mr. Unwin showed some extremely able
monochromatic water-colour drawings, among them
fine interiors of >S. Spirito, Florence, and St. Stephen,
Walbrook, and with such etchings as The Tabu-
larium, Rome, St. Nicholas du Chardonnet, Paris,
Ponte Sta. Trinita, Florence, and a dry-point,
Halston, proved his excellent draughtsmanship and
a reverence for the fine classic traditions of both
mediums. The etchings oRMr. Schwabe were also

POT-POURRI BOWL AND COVER, GLAZED FAIENCE
BY TOHN ADAMS, A.R.C.A.
53