Studio: international art (32.1904)

Studio-Talk

one of the painter's
ablest works, and by
reason of the historic
associations of Penshurst
its reproduction in colour
will doubtless be wel-
comed.

The French Govern-
ment has recently bought,
for the Luxembourg Gal-
lery, three pictures by
British artists — two land-
scapes and a figure subject.
The landscapes are Mr.
Tom Robertson's En
Ecosse, a painting of a
Tayside orchard in spring ;
and Mr. Hughes - Stan-

" poole harbour" by h. hughes-stanton t0i1's Fo°k Harbour frODl

Studland, Dorset. Mr.
Robertson's picture is a

originality and extremely decorative, and the pleasant record of a charming subject, tenderly
quaint Preraphaelitism of that called Mischief treated, and very attractive in its suggestion of
was charming. In Telling Pussy's Fortune the diffused sunlight. It is an excellent example of
large black nursery chair and the black cat show the work of a painter who renders effects of aerial
by their value and position in his picture that colour with unusual delicacy, and has an especially
the artist holds the real secret of spontaneous judicious understanding of the decorative possi-
decoration. bilities of nature. Mr. Hughes-Stanton's Poole

Harbour is not less decorative, but in a different

The illustrations that
we give of Mr. Streeton's
work were not included
in the Exhibition at Mr.
Baillie's Galleries, which
was confined chiefly to
small water-colours. Wind-
sor Castle has more than
once exercised its fascina-
tion on the artist, as seen
in the shimmer of a June
day rising as a fairy fabric
above the surrounding
landscape, or revealed
romantically through the
trees.

Readers of The Studio
are familiar with Mr.
Elgood's painting of old
gardens. The picture of
Penshurst, which hasalready
appeared in our columns
in half-tone, we consider "en ecosse" by tom robertson

338