Studio: international art — 28.1903

Page: 44
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Studio- Talk

be blamed, of course; they work in accordance It shows instructively how unbroken is the con-

with the traditions of their school, and more than tinuity of the tradition established in this country

that they are not expected to do at the present some century and a half ago, and how admirably

time. Two or three of them have certainly the principles in which the older artists believed

convictions of their own, and they work pluckily are being interpreted by the painters of our own

in accordance with their convictions; but they times. Such a record has a very real value; it is

meet with very little encouragement, and their full of stimulating suggestions for the student of

progress during the last year seems to have been landscape art, and abounds with opportunities for

arrested. Thus Mr. Lobley, who showed so much helpful comparisons,

promise in 1901, does not do justice to himselt in --

the last examinations. He is still vigorous and Mr. Nico Jungmann's exhibition of drawings,
enterprising, but his drawing is weak and there is lately arranged in Messrs. DowdeswelPs gallery,
also a falling-off in the quality of his colour. His must be noted as in many ways the best demon-
Sibyl, here illustrated, shows his strength as well stration of his peculiar abilities that he has hitherto
as his weakness ; and there are many who wonder attempted. It showed that he is bringing into his
why the examiners passed it by. art certain new characteristics which are widening
-- its scope and extending the range of his practice.

Mr. W. E. G. Solomon's design for the His love of delicate decoration, and his preference
decoration of a portion of a public
building is reproduced in colour. Its
subject, Dawn: An Allegory, is a
difficult one to deal with, and if the
composition is too crowded and the
colour scheme too heavy, the design
as a whole shows thought and infinite
pains. Miss Selous has a lighter
and happier feeling for the Dawn
(p. 47), and her composition has some
very pleasing merits. Some good land-
scapes were sent in for the Creswick
prize; also, it is pleasant to note that
the prize was won by a lady, Miss
Ouless, the daughter of the Academi-
cian. In this competition the great
shortcoming was a want of artistic
purpose in the treatment of details.
Most of the tangled hedgerows repre-
sented were photographic rather than
painter-like in handling.

The Old Masters' Exhibition at the
Royal Academy this winter is chiefly
remarkable for the opportunity which
it provides of studying the works of
the great English landscape painters.
The collection which has been brought
together includes a series of canvases
by such men as Turner, Wilson, Gains-
borough, Constable, J. S. Cotman, De
Wint, David Cox, W. J. Muller, John
Linnell, Henry Moore, John Brett,
Vicat Cole, and M. R. Corbet, and
summarises fairly well the progress of
our national school of nature painting.


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