DOI Heft:
Nr. 116 (November 1902)
DOI Artikel:Little, James Stanley: A cosmopolitan painter: John Lavery, [2]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19877#0129
John Lavery
is purely imaginary, and to become a mere receptacle U.S.A.); A Garden in France (Modern Gallery,
for the purchases made under the Chantrey Be- Philadelphia); Father and Daughter (Luxembourg,
quest, denying admission, as in a recent notorious Paris); The Night after the Battle of La?igside
case, to a work of undisputed merit offered to it (National Gallery, Brussels); White Feathers
gratuitously. It comes to this : the National Gallery (N.S.W. Gallery, Sydney); The Rocking Chair
of British Art, so-called, is controlled by the most (diploma work : Diploma Gallery, R.S.A., Edin-
unprogressive institution in the world, an institu- burgh); and The State Visit of Her Majesty Queen
tion which deliberately denies place or favour to Victoria to Glasgoiv, 1888 (Corporation Gallery,
all artists, however distinguished, who disdain to Glasgow). In addition to these a score or more
come to it, cap in hand, to crave as favours what 0f Mr. Lavery's pictures and portraits are in pri-
their genius entitles them to demand as rights. vate Continental collections, including The Violin
The case of John Lavery is typical, and such Player and several others reproduced in this mag-
cases ought to put Englishmen, even those who care azine. Mr. Lavery, it may be mentioned, is Vice-
nothing for art, to an open shame. For here is a President of the International Society of Sculptors,
painter, honoured everywhere on the Continent and Painters and Gravers, Knight of the Crown of
in America; a painter awarded gold medals, and Italy, Member of the National Society of French
his canvases purchased by the national and muni- Artists, Member of the Royal Scottish Academy,
cipal authorities throughout Europe and the United and corresponding Member of the Secessions
States, who, so far as I know, is not represented in of Munich, Berlin and Vienna. Medals he has
any public collection of the United Kingdom, save received in abundance : from Paris, Berlin, Munich,
that of Glasgow, and, were it not for the single Brussels, Pittsburgh and Chicago, and other cities,
exception of Sydney—the
Government of New South
Wales purchased his White
Feathers — one might say
of the Empire. Moreover,
here is a painter of the
highest distinction who
does not even think it
worth his while to send to
the Royal Academy — a
painter whose works are
accorded honourable posi-
tions at the Musee du
Luxembourg, the Neue
Pinakothek at Munich, at
Berlin, Brussels, Venice,
and, as the list to follow
shows, in practically every
national gallery of import-
ance the world over. Thi
list of works purchased by
governments and muni-
cipalities speaks for itself.
Here it is: A Lady in
Black (National Gallery,
Berlin); Lady in Black,
No. LL (National Gallery,
Brussels); Madre e figlio
(Modern Gallery, Venice);
A Tennis Party (Pina-
kothek, Munich); The
Bridge of Gres (Car-
negie Gallery, Pittsburgh, " black and grey " by john lavery
117
is purely imaginary, and to become a mere receptacle U.S.A.); A Garden in France (Modern Gallery,
for the purchases made under the Chantrey Be- Philadelphia); Father and Daughter (Luxembourg,
quest, denying admission, as in a recent notorious Paris); The Night after the Battle of La?igside
case, to a work of undisputed merit offered to it (National Gallery, Brussels); White Feathers
gratuitously. It comes to this : the National Gallery (N.S.W. Gallery, Sydney); The Rocking Chair
of British Art, so-called, is controlled by the most (diploma work : Diploma Gallery, R.S.A., Edin-
unprogressive institution in the world, an institu- burgh); and The State Visit of Her Majesty Queen
tion which deliberately denies place or favour to Victoria to Glasgoiv, 1888 (Corporation Gallery,
all artists, however distinguished, who disdain to Glasgow). In addition to these a score or more
come to it, cap in hand, to crave as favours what 0f Mr. Lavery's pictures and portraits are in pri-
their genius entitles them to demand as rights. vate Continental collections, including The Violin
The case of John Lavery is typical, and such Player and several others reproduced in this mag-
cases ought to put Englishmen, even those who care azine. Mr. Lavery, it may be mentioned, is Vice-
nothing for art, to an open shame. For here is a President of the International Society of Sculptors,
painter, honoured everywhere on the Continent and Painters and Gravers, Knight of the Crown of
in America; a painter awarded gold medals, and Italy, Member of the National Society of French
his canvases purchased by the national and muni- Artists, Member of the Royal Scottish Academy,
cipal authorities throughout Europe and the United and corresponding Member of the Secessions
States, who, so far as I know, is not represented in of Munich, Berlin and Vienna. Medals he has
any public collection of the United Kingdom, save received in abundance : from Paris, Berlin, Munich,
that of Glasgow, and, were it not for the single Brussels, Pittsburgh and Chicago, and other cities,
exception of Sydney—the
Government of New South
Wales purchased his White
Feathers — one might say
of the Empire. Moreover,
here is a painter of the
highest distinction who
does not even think it
worth his while to send to
the Royal Academy — a
painter whose works are
accorded honourable posi-
tions at the Musee du
Luxembourg, the Neue
Pinakothek at Munich, at
Berlin, Brussels, Venice,
and, as the list to follow
shows, in practically every
national gallery of import-
ance the world over. Thi
list of works purchased by
governments and muni-
cipalities speaks for itself.
Here it is: A Lady in
Black (National Gallery,
Berlin); Lady in Black,
No. LL (National Gallery,
Brussels); Madre e figlio
(Modern Gallery, Venice);
A Tennis Party (Pina-
kothek, Munich); The
Bridge of Gres (Car-
negie Gallery, Pittsburgh, " black and grey " by john lavery
117