Studio: international art (21.1901)

Studio- Talk

Wall-Fountain and a Bust from the Life, by May spontaneous with this painter, whose instinct

L. G. Cooksey, being among the more prominent moves to the tender beauty of nature and to the

successes. poetic significance of atmospheric effect rather than

H. B, B. to the dictates of art. A number of shore pieces
and of landscapes, in which the sea lay quietly on

EDINBURGH.—For many years Mr. J. the far horizon, painted in Arran and Cantyre,
Lawton Wingate has been regarded in added further variety to the collection. But more
Scotland as an artist of very exceptional unusual in motive were several studies of moon-
gifts, and if his name is practically un- light, in which he had succeeded in great degree
known in London, it would be difficult to in the difficult feat of painting the colour of night
mention any contemporary landscape painter illumined by the moon ; in a way, a more difficult
whose work possesses the charm and variety problem than the moonless night from which
revealed in the exhibition of Wingate's works re- Mr. Whistler has evoked such pictorial beauty,
cently held in the Scottish To all lovers of nature and
Gallery. The sea and the art this little exhibition was
mountains he rarely paints, a delight and a refresh-
but moorland and pasture, ment. A week after the
woodland and harvest- show opened scarcely a
field, burnside and country picture remained unsold
lane, under fifty different . —a material success as

effects of light and atmo- creditable to the public as

sphere, figure in the fifty- , , it was deserved by the

odd canvases shown ; and
almost all are informed by
a rare and highly poetic
apprehension of Nature's
beauty. In the past Mr.
Wingate has achieved his

chief successes in dealing t \

with evening; but while /'. 1 J

he remains a master of V' <

sunset in all its moods, 1, ,",

artist. J. L. C.

' URIN. — Among
the young artistic
revolutionaries of
Italy who, hap-
pily, have rebelled against
the tyranny of academic
tradition, one of the fore-
most is Leonardo Bistolfi,

if- H

from the elegiac tender- ! ?*7f'j- ' " 1 .. v the Piedmontese sculptor,

ness of mellow and subtly-
graded greyness to the
imposing pomp of scarlet
and gold and purple, his
studies of these effects do
not outshine, as they used
to do, his painting of day-
light. Some of his harvest

whose first exhibition in
Turin a year or two ago
revealed to the public at
large great gifts known
only hitherto to his most
intimate friends and fellow-
citizens. In M. Bistolfi
we find that rare combina-

scenes and pastorals, in . tion — the artist-poet, en-

which chords of silvery !.-r, | r<< ,- dowed, moreover, with a

white and yellow, blue and 6 \ ' profound and meditative

grey, are interwoven to '*. W/J I spirit; the possessor of a

produce cool, delicate har- ' ... . ■ ! ■} literary gift, both for prose

monies, are as full in tone * (• ij ■ and verse; an infatuated
and carry as well as the ?/ ' if musician — a violinist —
most glorious of his sunsets. .,J - | p ; and, in secret, a land-
Moreover, the skill in com- -■' '. s . ,. *• scapist in his leisure mo-

series of landscapes marks
a distinct increase in a " the brides of death " Naturally, in such a

power which is not quite by Leonardo bistolfi man, abstract ideas pre-

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