Studio: international art (16.1899)

Studio-Talk

of a living intelligence, and should,
moreover, be able to preserve that im-
press for many years without becoming
out of date or a weariness to the eye?
His work, not because of any borrowed
qualities nor resemblance to obsolete
models, but because of its own inherent
deserts, still lives and will live on, we
may be sure, an abiding pleasure for
generations to come, long after the brain
and hand that originally conceived and
shaped it shall have passed away.

Aymer Vallance.

STUDIO-TALK.

(From our own Correspondents)

LONDON.—The Royal Society
of Painter-Etchers held a
very interesting exhibition
during March at the galleries
of the Old Water-Colour
Society, and, although some of its cretonne designed (1880) by a. h. mackmurdo

stronger members did not contribute,
succeeded in gathering together a collec-
tion of considerable importance. Figure
subjects of any note were comparatively
scarce, but of landscape and architec-
tural work a great many admirable ex-
amples were shown by men who rarely
fail to reach a high level of performance.
Mr. C. J. Watson's Castle Street, Salis-
bury, and Romsey Abbey, for instance,
were in his best manner, delicate and
atmospheric, and handled with charming
subtlety, and his dry-point, Swaledale,
was splendidly rich and impressive. The
Palace of the Stuarts, by Mr. D. Y.
Cameron, had very remarkable qualities
of draughtsmanship ; the aquatints, Sun-
rise over Whitby Scaur and A Span of
Old Battersea Bridge, by Mr. Frank
Short, were exquisite in their judgment
of tone relations; Mr. Oliver Hall's
Mossland—Sunderla?id Point, and Chapel
Island, near Ulverstone, showed to great
advantage his never-failing appreciation
of the value of simple and elegant line ;
and both Mr. W. Strang and Mr. Charles
Holroyd were represented by serious and
well-considered productions in their
habitually distinguished manner. M.
Helleu showed several of his dainty
cretonne designed (1890) by a. h. mackmurdo fancies—pleasantly imagined and treated

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