International studio (59.1916)

Studio-Talk

de force in still-life painting, though at first sight
a little disconcerting. Mr. Pryde’s The Shrine,
in which the figure of Christ, carved in stone and
standing on a pedestal, soars high above the people
grouped around the base, is bold in design, and
if, like so many of his paintings, of a theatrical
character, is theatrical in a deeper sense than the
term usually implies. The pictures of Mr. Mun-
nings, such as St. Bury an Races and At a Hunt
Steeplechase Meeting, impart a note of hilarity to
the show, while next door to one of them Sergt.
Alfred Withers presents a vision of idyllic calm in
The Minister’s Garden. There are some excellent
examples of flower painting by Mr. W. B. E.
Ranken and Mr. Davis Richter, and a fine costume
study by Mr. Francis Newbery called The Spanish
Shawl. Mr. G. W. Lambert, Mr. Will Ashton,
and Mr. H. S. Power, all three of them Australians,
are well represented, and Mr. Lambert, besides
some capital portraits in oil, shows a number of
lead-pencil portraits of great interest. Among
other paintings which give strength to the exhibition
are Mr. Howard Somerville’s Eileen, Mr. James
Quinn’s Mois d’ Avril, Mr. Lamorna
Birch’s The White House: Lamorna,
Mr. Moffat Lindner’s Dordrecht from
the River Maas, Mr. Ludovici’s
Portrait of Madame Peake, in
Crinoline, and Mr. Talmage’s The
Studio Window. As usual there is
an interesting collection of work in
other mediums, such as water-colour,
pastel, tempera, etching, etc.
Our record of this season’s exhibi-
tions would be incomplete without
reference to one which for several days
attracted a large throng of people to
the premises of the Dominion of New
Zealand in the Strand, where was
displayed a series of water-colours
and pencil sketches of Gallipoli by
Sapper Moore-Jones, an artist
member of the “Anzac” force whose
glorious deeds in that unfortunate
campaign will never be forgotten.
Mr. Moore - Jones’s water-colours
showed a facile command of the
medium, and while keeping the
human element subordinate con-
vincingly rendered the stern, rugged
character of the country in which the
military operations were carried on.
Another artist-soldier from the

Antipodes who has contributed to London exhi-
bitions this season is Signaller Silas Ellis, attached
to the Australian Imperial Force, whose pen-and-
ink sketches from the same field of operations were
to be seen at the Fine Art Society’s Galleries ;
though these were both fewer in number and more
fragmentary in character, they were interesting as
the impression of an artist who had seen and felt
the grim realities of the historic landing at Anzac.
And then at the Goupil Gallery there was on view
a large painting, with a number of the sketches
made for it, by a Chelsea artist whose name is
more familiar to our readers—Mr. Eric H. Ken-
nington, a private in “ The Kensingtons,” whose
valour has earned for them the name of “The
Glorious 13th.” The picture, exhibited in aid of
the “Star and Garter” Building Fund, shows a
group of these brave fellows, with the artist himself
among them, just as they have left the trenches at
Laventie after four days of almost inconceivable
hardship, and is another touching reminder of the
sacrifices made ungrudgingly by our countrymen
on behalf of the nation.

“ DESIGN FOR A COT.” WOODCUT BY GEORGE ATKINSON, A.R.H.A.
(Black and White Artists' Society, Dublin)


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