Studio: international art (24.1902)

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" THE GREEN SHUTTER " BY MARY HOGARTH

them), and with variations ranging from the tactiul sounds a little note ot protest. Indeed, the artist

looseness of Mr. W. W. Russell's A Scene on the here stands midway between two other water-

Wye to the relentlessness of Mr. Bate's The CJiess- colours from his own hand, casting doubtful looks

Player, this seriousness is characteristically present on this side at his realistic Boxhill, which is rather

in the exhibition, giving the visitor, apart from the wanting in structure, and on the other at his Titans,

pleasure he may derive from any particular con- which is entirely a design.

tribution, a general feeling of gratefulness to The contention which The Mill seems to uphold
painters who, in their various ways, are busy with —namely that there should be choice of lines in a
a world they find interesting. drawing—is irrefutable. One may even accept
We have grown accustomed to see this serious- without demur the further proposition it suggests,
ness signally successful among the water colours, and agree that when Titian drew the trunk of a
and the wall devoted to the art is remarkable on beech tree or Rembrandt the uplifted hand of the
this occasion for the tinted drawings by Mr. D. S. master expostulating with the unmerciful servant,
MacColl and Miss Hogarth. With a most un- there was more choice of line than in Mr. MacColl's
assuming pencil Mr. MacColl has traced out to the Calais. Yet The Mill, with its choice, is further
end The Belfry and Watchtower of Calais; Miss from fine drawing ; is, indeed, not on the road.
Hogarth, with her heavier line, multiplies the All drawing from Nature is a convention, and
windows and piles up the mass of the Ponte includes a certain degree of choice, since the
Vecchio and the buildings behind it. Mr. Hugh draughtsman puts lines where there are none in
Carter understands, what hardly one of the nature. The great draughtsman is he that, in
exhibitors at the last exhibition of the Pastel following and searching nature with his keen
Society understood, that pastel is for drawing. point, has found the line which reveals the most,
His little Thames, near Greenwich, is a drawing laying open with a sensitive hand the appearances
in charcoal, touched with colour—the drawing of of things. The hand in The Mill has given up
a hand that casts about, as it were, with a charming all sensibility, recognising no need to follow or
instinct. Against each of the three drawings search, nor any desire to find the expressive con-
Mr. R. E. Fry's The Mill, also a tinted drawing— vention. The artist begins at the other end, and,
or, rather, a water-colour with lines put into it— having proclaimed the necessity of a convention,

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