Studio: international art — 2.1894

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The New English Art Club

THE NEW ENGLISH ART CLUB'S the bad drawing of the girl. No. 5, by M. Lepere,
ELEVENTH EXHIBITION. is a most interesting experiment in colour printing

In the exhibition at the Dudley Gallery C'^r-srV^;^-- :-,

one can see all the pictures. There are „Jt£\
not too many of them, and among these one must

search for the bad rather than for the good ones. _;.
In fact, the selection has been done beforehand. -a - C-V^-.

These are notable and extraordinary qualities in ^IlilSsL'
a modern picture show, and they are more notice- '•''v-!/^^^^fe^^>i>. ' . >':'
able than usual in the present exhibition. It has
sometimes happened in past years that there have *!%£m»
been a few very fine pictures, often by French
artists, while the rest were, so to speak, no-
where. This year there is; hardly any foreign on the alps- by h- b- brabazon

by wood blocks after the Japanese man-
ner. The way in which the colour is
gradated from one part of a tone or line
to another is very pleasing. Perhaps it
is inevitable in a new method that the
drawing is still somewhat coarse and ob-
trusive. No. 15, a rich and strong water-
colour, by Mr. Henry, of an evening
effect, makes a good foil to Mr. Braba-
zon's gouaches, which hang near it.
This artist's work is too well known and
too uniform to need many words ; but
No. 28, Evening in Provence, is a most
charming example of his evanescent and
delicate qualities of colour. In Mr.
Aubrey Beardsley's A Girl and a Book-
shop, we are unable to see anything but
a forced and stagey affectation, a hybrid
between the affectations of the Rose-
Croix and the " Arts and Crafts." M.
Felicien Rops graces the same far-

the guitar*player, by george thomson

work. There are no " star" pictures, and the
average is remarkably high. Perhaps the most
interesting part of the exhibition is the corner
devoted to black and white and water-colour.
Here are two water-colours by Mr. Tonks (4 and 11)
of exceptional merit. In No. 4 one looks across a
shaded corner of a farmyard to a waggon which
approaches through the golden haze of a summer
afternoon. There is only just enough attention to
tone-values to indicate the atmospheric effect, and
there is most discriminating selection in the few
points around which the drawing is, as it were, - ^WHilHIiMr'TM

crystallised into clearness and decision. In No. 11
there is no particular atmospheric effect to be
rendered, and therefore tone-values are left on one z==—' ~ '

side, and the selection of what shall be stated and entrance to the harbour, by a. g. draper

what left is carried still further with the finest fetched and futile symbolism with a more masterly
decorative effect, though it is somewhat marred by treatment, but we see neither imagination nor
II. No. 9.—December 1893. ^

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