Studio: international art (31.1904)

Studio- Talk

Eve, shows the influence of Corot.
In Willows, the delicacy of the tones
seems to gain emphasis from the ex-
treme vivacity and absolute freedom
from timidity 'n the handling. In the
painting of Wareham Bridge the quiet
rest of English country finds expression
in the restful colour which is such a dis-
tinctive quality of Mr. Thomas's work.

Mr. H. Jamyn Brooks' exhibition
at Graves' Gallery consists of eleven
paintings, the chief of which are the
two portraits of the King and Queen.
Whilst the painting of the King may
be better as a likeness, as a picture
Mr. Jamyn Brooks is more successful
with Her Majesty. The arrangement
of the grey silk dress against the
summer landscape pictured upon the
tapestry background is well thought
out. Perhaps the best thing in the
portrait of frank brangwyn, a.r.a. room is the portrait of Gladstone. It

from an etching by v. w. ganz js very sm3_\\; but the sensitive handling

gives it a distinction lacking in some
of the larger paintings. The unfinished
is really intelligent. This is a great step in the portrait of Andrea C. Lucchesi, Esq., shows us Mr.
right direction. Brooks at his best in the larger pictures; this

and the portraits of Capt. Adrian Jones and Col.
At the Woodbury Gallery Mr. Grosvenor Thomas Rawes, R.A., are full of painter-like qualities,
has been showing a remarkable collection of land- -

scapes. His work is characterised by a romanticism The Exhibition of a hundred and thirty-four
that is never theatrical. Quite often he deals with drawings by Mr. E. A. Abbey, which is open in the
the most ordinary subjects. Farm houses, the little Leicester Galleries, has an extraordinary interest as
bridges that span village brooks, or just a clump of a demonstration of the powers of an artist who
trees against some hillside, shadowing with mystery ranks among the greatest illustrative draughtsmen
all the foreground as it rises against a pale evening in the world. These drawings represent scenes
sky. From the everyday in life to weave designs from the comedies of Shakespeare, and are
which leave pictorial art to become decoration and delightful examples of pictorial story-telling, fasci-
yet to carry into this careful or instinctive placing nating in their vivacity and in their dramatic
all the atmosphere, life and light of sunny noon suggestion. But they are especially instructive as
or evening greys is Mr. Thomas's accomplishment, technical achievements which combine in almost
In the three or four seapieces that the artist shows, perfect proportion charm of method with spon-
we feel that had he studied nothing else Mr. taneous vigour of treatment. They make no
Thomas were a sea-painter with an unusually obvious profession of being masterly; on the
English sentiment. In the representation of a contrary, they are quiet in manner and rather
storm-white sea, there is a charming suggestion of reserved in style. But when they are examined
purple fading to green and then again to greys, closely, it is not difficult to see what admirable
in a picture almost white, and the endeavour is understanding of details of craftsmanship controls
successful in suggesting white rain-mist and wind- them in every part. Their freshness and freedom,
blown spray drifting across a broken sea. No. 13, their easy directness, and their charming simplicity
with its decorative arrangement of tree forms, is a are the outcome of deep thought and the result of
good example of the quality of design in Mr. Thomas's strenuous effort after appropriateness of expression,
work to which we have called attention. A Misty Such work is, indeed, possible only to an artist who

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