Studio: international art (30.1904)

Studio- Talk

Studio, were characteristic of his artistic presenta-
tion of the individuality of his sitters.

W. B. Boadle's life-like portrait of a brother
artist, R. Talbot Kelley, Esq., and Frank T. Copnall's
John Martin, Esq., also stood out in the front rank
of the local contributions. For her charming por-
traits of children Mrs. Maud Hall Neale has hitherto
gained much distinction, but one of her foremost
successes on canvas is undoubtedly her painting
of Mrs. IV. B. Ogden. Other noticeable portraits
were sent by Miss Lys Foster, R. G. Hinchcliffe,
J. Y. Dawbarn, J. V. R. Parsons, Miss Constance
Coleman, and Miss G. Laing, and several good
miniatures by Miss Helen McLay.

Amongst the landscapes in oils were a strikingly
clever work by J. Hamilton Hay, The Opal, Heswall
on the Dee, which well maintained his reputation for
the rendering of delicate cloud effects. Robert

Fowler, R.I., sent an important picture, Estuary of
the Conway, and a smaller marine picture. Other
works in oil worthy of particular attention were by
John Finnie, T. Huson, T. R. Glynn, Miss Mary
McCrossan, J. Clinton Jones, W. Wardlaw Laing,
and R. Wane.

In the water-colour rooms the local artists were
strongly represented. Isaac Cooke, boldly depicts
the rugged beauties of mountain and lake under
brilliant lights or storm-swept skies; his largest
picture, Easedale Tarn, was an admirable transcript
from nature.

Potato Setting, by Harold Swanwick, was finely
treated, and The Cloud, by Richard Hartley,
was a remarkably clever rendering of transient
effects of light across beautiful landscape. Other
works of interest were shown by Talbot Kelley,
A. E. Brockbank, James T. Watts, John McDougal,

1 interieur vendeen" (See Paris Studio-Talk) by c. mii.cendeau

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