Studio: international art (14.1898)

The International Society

gregor, Klinger and Beardsley, Claude Monet,
and others.

What contrasts ! but how well they go together !
—each a distinct figure, each a world for himself.
It is the personality which fascinates in their works,
the absolute conviction that all these men have
eyes of their own, think and feel for themselves,
and form their own opinions of the world. Each
has his own idea, feels it, and develops it in a
treatment suited to his subject, without fear or
hesitation. Let me take one instance; there are
three snow pictures which afford a good example;
Whistler’s Thames i?i Ice, Segantini’s Punishment of
Infanticide, and Breitner’s Winter in Amsterdam.
Could you conceive greater contrasts than these
three canvases show? Yet how convincing each
of them is ! In each we feel that one particular
man has seen this snow, has enjoyed it, dreamed
of it, and formed it with his heart and mind

PORTRAIT OF PROFESSOR JACK

into a picture, and given it to the world—a
unique gift, simply and beautifully given. No
one has borrowed from the other, nor needed to
borrow from any one. No plagiarism, no manner-
ism. And look at the other landscapes. There
is that beautiful Valparaiso nocturne of Whistler’s,
Blue and Gold. What marvellous gold ! It is not
the mind which can demonstrate this canvas, but
the heart which delights over it. Then there are
the delightful landscapes of Henry Muhrman,
whose deep rich tones and fine quality strike me
always like an outpouring of music from a solitary
soul, a Beethoven for strength and depth of
feeling; and that perfect gem, the Montmartre, by
Mathew Maris, whose work is so rarely to be seen
in exhibitions.

There is the White Horse, by Walton, where the
blue of sky, and water, and white cloud combine
in a charming and delicate scheme; the four can-
vases of Fritz Thaulow
vibrating with life, the
outcome of a strong north-
ern nature transplanted
and flourishing in a sun-
nier climate; and by
David Gauld three others,
full of the charm of the
reposeful colour peculiar
to him.

From Conder is a vision
of blossom, delicately
fresh ; by Withers, a small
canvas remarkable for
quality and strength of
colour; and by Bertram
Priestman several very
good things, which show
power and tone unusual
in an English landscape
painter. Characteristic
work also comes from
Macaulay Stevenson,
Paterson, Whitelaw
Hamilton, Reid Murray,
Kerr Lawson, and others
of the Glasgow School, K.
Haider of Munich, and
many more than I have
space to name.

Then the so-called
“ subject,” “ story,” and
“ historical ” paintings are
there. Yes, even history,
by james guthrie represented with a truth

no