Studio: international art (34.1905)

The International Exhibition

We were stopped near the door in the next room were Sydney Lee's Barbican Gate and A. Ludovici's
by W. M. Chase's amazing portrait of James McNeill A Winter Day in London ; and characteristic of
Whistler. Near to this was Blanche's powerful M. Aman-Jean's beautiful work was his picture
Portrait of Rodin; further on The Spanish Shawl, Sous la Gtcirlande.

by the late Robert Brough, which, since the In the Sculpture Hall,' G. Frampton's bust of
opening ot the exhibition, had acquired pathetic Wm. Strang, Esq., F. W. Pomeroy's Beryl, Gilbert
interest, and, witnessing to the amazing power the Bayes' statuette of Royal Horse Artillery, J. Paul
painter had acquired over his material, made us Cooper's case of jewellery, the enamel plaque by
wonder what ultimately might have come from Alexander Fisher, John Tweed's the late Mr. Joseph
such talent. Cowen, J. H. W. Furse's Bishop Abraham were

A Summer Evening, by David Neave, was a notable things, as were also the powerful Sphinx
green landscape, painted with a delicate perception group by H. Glickenstein (which received an
of greens. In his painting, At Dieppe, Alexander added touch of loathsomeness from the colour of
Jamieson proved himself capable of a very clever the marble), the Eemme Couchee by Rodin and
management of tone. Hans von Bartels' Herbst- the beautiful intention, the beautiful workmanship,
morgen was a remarkably well-painted picture into of the latter's La Main de Dieu.
which full light entered ; it
was, indeed, one of the best
pictures in this year's show.
E. A. Walton's The Port-
folio, with the exception of
the grey shadows on the
white dress, was not entirely
pleasant, the figure look-
ing studiously and yet un
successfully posed. George
Sauter's Portrait of Mrs.
Nico Jungman shared some
of the beauty of colour that
characterised his Bridal
Morning, and which gave
to the latter painting its
distinction. Eugene Car
riere's Etude daprcs Nature
was painted with dramatic
intensity, but an absurd
monochrome curtain of
tone had come down over
the drama. E. A. Hornel's
pictures were full of life and
colour and, in obtaining
its patchwork-quilt effect,
marvellous in execution as
usual. In Emile Claus'y«tt
de Lumiere spots of light
and little shadowy flecks
were built up into a picture
aiming at decorative device
in its impressionism. In
Neven du Mont's The
Pierrot the light was excel-
lently managed; the paint-
ing, too, was carried out with

spirit. Two good pictures "pierrot" by neven du mont

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