DOI Heft:
Nr. 222 (August, 1915)
DOI Artikel:Eddington, A.: The Royal Scottish Academy exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43459#0133
The Royal Scottish Academy
The royal Scottish aca-
demy EXHIBITION.
Unlike the Royal Academy the exhibition
of the year’s art in the Royal Scottish Academy
galleries gives little indication of the present war.
One or two pictures touch the fringe, and Dr.
MacGillivray’s La Flandre in the Sculpture Hall
shows that this versatile artist has been touched by
what has happened in Belgium. Negatively the
galleries show evidence of the activities of some of
the younger men having been directed into another
channel than art by the absence or paucity of their
work. Yet the exhibition as a whole reaches quite
a good level, and the work of the hanging committee
has been so excellently carried out that the ensemble
is altogether satisfactory. The number of portraits
is not large, but there is good quality, figure-subjects
are more than usually prominent, and landscapes
are a fair average.
The specially invited pictures are of very unequal
merit; several of them do not lend attraction to the
collection. One would not miss, however, the
beautiful Devant la Psyche of Manet, nor the
gaunt, impressive Pilgrim by Mancini, superior in
its unity of effect to his nude woman set against
what appears to be a woodland background with
distracting points of light. Of three works by Mr.
F. C. Frieseke The Toilet is the most interesting,
and its colour-scheme of silver and blue is very
dainty. The large LPntrigue is a typical work by
the late Gaston la Touche, who was such a capable
interpreter of light on colour; there is a good
group by M. Emile Blanche, and Mr. Oberteuffer’s
Notre Dame de Paris is imposing though hardly so
fine as the picture he sent last year of the same
subject.
Of the English work Mr. Clausen’s La Pensee,
owned by Glasgow Corporation and painted in
1880, is interesting historically. Those acquainted
with the artist’s work of the last ten or twelve years
might find it difficult to place this picture, but its
merit is unquestionable. Very distinctive is Nir.
Oswald Birley’s large interior showing a pillared
“SEPTEMBER, COLVEND ”
BY JAMES PATERSON, R.S.A.
97
The royal Scottish aca-
demy EXHIBITION.
Unlike the Royal Academy the exhibition
of the year’s art in the Royal Scottish Academy
galleries gives little indication of the present war.
One or two pictures touch the fringe, and Dr.
MacGillivray’s La Flandre in the Sculpture Hall
shows that this versatile artist has been touched by
what has happened in Belgium. Negatively the
galleries show evidence of the activities of some of
the younger men having been directed into another
channel than art by the absence or paucity of their
work. Yet the exhibition as a whole reaches quite
a good level, and the work of the hanging committee
has been so excellently carried out that the ensemble
is altogether satisfactory. The number of portraits
is not large, but there is good quality, figure-subjects
are more than usually prominent, and landscapes
are a fair average.
The specially invited pictures are of very unequal
merit; several of them do not lend attraction to the
collection. One would not miss, however, the
beautiful Devant la Psyche of Manet, nor the
gaunt, impressive Pilgrim by Mancini, superior in
its unity of effect to his nude woman set against
what appears to be a woodland background with
distracting points of light. Of three works by Mr.
F. C. Frieseke The Toilet is the most interesting,
and its colour-scheme of silver and blue is very
dainty. The large LPntrigue is a typical work by
the late Gaston la Touche, who was such a capable
interpreter of light on colour; there is a good
group by M. Emile Blanche, and Mr. Oberteuffer’s
Notre Dame de Paris is imposing though hardly so
fine as the picture he sent last year of the same
subject.
Of the English work Mr. Clausen’s La Pensee,
owned by Glasgow Corporation and painted in
1880, is interesting historically. Those acquainted
with the artist’s work of the last ten or twelve years
might find it difficult to place this picture, but its
merit is unquestionable. Very distinctive is Nir.
Oswald Birley’s large interior showing a pillared
“SEPTEMBER, COLVEND ”
BY JAMES PATERSON, R.S.A.
97