DOI Heft:
No.9 (December, 1893)
DOI Artikel:The New English Art Club's eleventh exhibition
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17189#0094
The New English Art Club
Mr. Rothenstein has succeeded, though the beaus barbaric melancholy pervades the three figures,
of the glorious days of the Regency would be the with their large and bovine movements, who sit so
least capable of any one of understanding this solidly on the heavy earth. The huge simplicity
retrospective appreciation. Primarily, however, it of the landscape is as bucolic as the men. Mr.
is a beautifully drawn figure, with a dress that falls Conder's two landscapes (63 and 94) are at the
into harmonious and elegant lines. The colour opposite pole of feeling. A delicate, almost
hi'
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A BAS RELIEF R. ANNING BELL
scheme and the handling are alike admirably ex- effeminate grace, a tender elusive charm, like one
pressive of the motif of the picture. of Verlaine's Romances sans Paroles, is their
If Mr. Rothenstein may be taken as typical of the characteristic intention. It would be hard to
newest developments of the New English Art Club, praise The Pool too highly. In the palpitating
in which frank naturalism is thrown over in favour blue of the summer twilight the meadows are
of decorative and symbolical arrangements, we find transformed into Elysian fields, and through over-
in Mr. Bate's work a steady adherence to the hanging branches comes the pale glimmering of
traditions which distinguished that society in its water, while under the trees move the faint
earlier period. His Whitening Mill (56) is a draperies of figures that are dreamt of rather than
brilliant transcript from Nature, full of careful seen. The blue-green-grey key of the picture is
observation and delicate tone and colour transi- admirably sustained with just enough variations in
tions, pitched in so high a key that it almost the pale yellow light on the water, the yellow star,
realises that old ideal of the naturalists of a hole and the faint crimson of the roses in the fore-
knocked through the wall into the world of sun- ground. To hang such a picture next to a strong
light and plein air. and vivid piece of colouring, as is done here, is
Mr. Bernhard Sickert's Flags are Flying in nothing short of barbarous. R.
Town and Harbour, Thursday, July 6, 1892 (65) ■
is a fine and dignified composition in a sombre key, By the courtesy of the artists represented, we are
which hardly attracts the attention it deserves in an able to reproduce facsimiles of original sketches
exhibition. made for The Studio from pictures in the present
Mr. Strang's Bathers (82) is a painting strongly exhibition. Photographs from some of the most
marked by the Millet-Legros tradition, but not prominent exhibits have been taken by Mr.
without a personal note of his own. A kind of Frederick Hollyer, and are on sale at the Gallery.
82
Mr. Rothenstein has succeeded, though the beaus barbaric melancholy pervades the three figures,
of the glorious days of the Regency would be the with their large and bovine movements, who sit so
least capable of any one of understanding this solidly on the heavy earth. The huge simplicity
retrospective appreciation. Primarily, however, it of the landscape is as bucolic as the men. Mr.
is a beautifully drawn figure, with a dress that falls Conder's two landscapes (63 and 94) are at the
into harmonious and elegant lines. The colour opposite pole of feeling. A delicate, almost
hi'
1
wmm
kwz^**^^ '■■
V i !
1 r j3> ■
A BAS RELIEF R. ANNING BELL
scheme and the handling are alike admirably ex- effeminate grace, a tender elusive charm, like one
pressive of the motif of the picture. of Verlaine's Romances sans Paroles, is their
If Mr. Rothenstein may be taken as typical of the characteristic intention. It would be hard to
newest developments of the New English Art Club, praise The Pool too highly. In the palpitating
in which frank naturalism is thrown over in favour blue of the summer twilight the meadows are
of decorative and symbolical arrangements, we find transformed into Elysian fields, and through over-
in Mr. Bate's work a steady adherence to the hanging branches comes the pale glimmering of
traditions which distinguished that society in its water, while under the trees move the faint
earlier period. His Whitening Mill (56) is a draperies of figures that are dreamt of rather than
brilliant transcript from Nature, full of careful seen. The blue-green-grey key of the picture is
observation and delicate tone and colour transi- admirably sustained with just enough variations in
tions, pitched in so high a key that it almost the pale yellow light on the water, the yellow star,
realises that old ideal of the naturalists of a hole and the faint crimson of the roses in the fore-
knocked through the wall into the world of sun- ground. To hang such a picture next to a strong
light and plein air. and vivid piece of colouring, as is done here, is
Mr. Bernhard Sickert's Flags are Flying in nothing short of barbarous. R.
Town and Harbour, Thursday, July 6, 1892 (65) ■
is a fine and dignified composition in a sombre key, By the courtesy of the artists represented, we are
which hardly attracts the attention it deserves in an able to reproduce facsimiles of original sketches
exhibition. made for The Studio from pictures in the present
Mr. Strang's Bathers (82) is a painting strongly exhibition. Photographs from some of the most
marked by the Millet-Legros tradition, but not prominent exhibits have been taken by Mr.
without a personal note of his own. A kind of Frederick Hollyer, and are on sale at the Gallery.
82