Studio: international art — 17.1899

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is an axiom. The weird school is represented in
Frank Stuck’s Das Meerweib and Gustav Klimt’s

Pallas Athene. D’Espagnat’s Baigneuses is by
far the finest nude, though Renoir’s Bathing,
Bruckman’s By the Fountain, Sichel’s A Bather,
and B. Davies’ The Waterfall', are all deserv-
ing of notice. Decorative art is not particularly
strong. Walter Crane sends the Fate of Pro-
serpine, and Gerald Moira exhibits his Peleas
and Melisande. Admirable is Mrs. Swynner-

ton’s Summer Music, and full of vitality George
McCulloch’s Caliban and Ariel. I like very much,
too, Mr. E. A. Walton’s Sundial, Mr. Cadby’s
lighter fantasies, and Mr. H. M. Livens’ Fowls.
In sculpture and the applied arts there is plenty
of excellent work. Rodin is again represented;
and although the exhibition of drawings and prints
is not quite so complete as it was last year, it is a
highly important one.

Jas. Stanley Little.




(From our own


Holland Fine
Art Gallery is
certainly doing
its best to keep
up the excellent reputation
which it established by its
first exhibition. At present
it is occupied by a fresh
collection of pictures which
are almost without excep-
tion admirably representa-
tive of the best effort of
the modern Dutch school,
and are extremely attractive
as examples of sound tech-
nique and judicious expres-
sion. Nothing trivial or
commonplace appears, and
quite a number of the
works rank as artistic
achievements of the first
importance. One of the
most notable is a large,
freely-painted sketch, The
Hearth, by James Maris;
and scarcely less worthy of
attention are the brilliant
colour study, A Japanese
Lady, by G. H. Breitner,
The Cradle, a very ably
treated interior by A. Neu-
huys, and the drawings of
M. Bauer. Some land-
scapes in oil and water-
colour by G. Poggenbeek, a
reserved and sombre sea-
scape by T. H. de Bock,
and some smaller pictures

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