Studio: international art (20.1900)

Studio- Talk

on having made its exhibition a delightful place through the rooms there is work that is worthy

in which to linger. of much more than this. Thus Mr. C. H. Mackie

■ sends a portrait group somewhat teased in handling

For the most part the sculpture comes from but intimate in feeling, pleasant in tone and

London, Mr. Goscombe John, Mr. Frampton, and engaging in design, and a charming study of sunset

Mr. Pomeroy sending pieces that have been seen after rain, The Hill Farm Pond; Mr. Robert

before. But some of them, such as Mr. John's Burns's Tapestry, although it hovers, as his work

Childhood, are a pleasure to see again. Of the local is apt to do, between decorative convention and

work, Mr. E. W. Kennedy's Design for Bronze pictorial treatment, and is weak in drawing, has a

Mei?iorial Tablet, although rather slight and pretty fascination of its own; and Mr. Blacklock's idylls

in motive for its intended purpose, and his sketch- show a certain daintiness of fancy and a feeling

model of a figure typifying Religion, are the most for beauty,

interesting. 1-

In landscape, again, a vivid and convincing, if
Among the pictures the most conspicuous are by rather loose, study of an iridescent and brilliant
well-known painters. The Jeune fille an fichu is a Summer Sea comes from Mr. R. C. Robertson ;
slight, and by no means important, example of the Mr. Mason Hunter's Alan's Country of Appin
painter of the D'ejeimer and
The Bar; but it is the
first Manet that has been
shown here, and, as far
as it goes, it is characteristic
of his later methods. As
usual, Mr. Sargent supports
the exhibition by sending
something that is not a
portrait. This year it is a
Spanish Dance, full of the
abandon and intoxication
of rhythmic motion. Mr.
McTaggart, the most
fascinating and original of

Scottish painters, is repre- ^
sented by two admirable
examples, and Mr. James

Guthrie by two portraits . : .r.v '

remarkable, even among

his work, for distinction of Y '

design, sympathetic charac-
terisation, and charm of
subtle low-toned colour.

But the S.S.A. exists
for the younger artist, and
one turns to look at what
he has to show. Often
it has no great interest or
merit, but when it is the
painter's own, and not such
mimicry as No. 48, or such
straining after originality
as some others one might
indicate, it is not to be

despised; and scattered (See Paris Studio-Talk)

SKETCH FOR THE PORTRAIT OF LEO XIII By pmLIp

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