Studio: international art — 35.1905

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The Venice Exhibition



makes Mr. Brabazon paint, and his care to realise
what he sees makes his sketches uncommonly
patent with truth, though a truth not readily
accepted by those looking for form as defined by
lines rather than as shown by tone.

In aiming always at one truth for its own sake
an artist sacrifices in directions of less consequence
to his art, and no one more than Mr. Brabazon
ministers to the eye’s delight alone with such
a pure ritual, no one else’s art is so virgin
of any desire outside the beauty of things at
sight. Whistler amused himself with a beau-
tiful dexterity, Mr. Brabazon is not careful to
give his fingers any pleasure in the matter.
The keynote of his exquisite water-colours is a
sincerity that carries him past self-consciousness.
His technique has grown out of this, and this is
why its simplicity is so expressive ; he has that truer
style which is the man himself. In painting there
is an outward grace of accomplishment, similar in a
way to that which is sometimes attained in
games of skill, and it is too often confused with
style in its deeper meaning. As a matter of fact,
this graceful ease may carry a man away from what
is best in himself; and, on the other hand, it may
screen shallowness. The test of Mr. Brabazon’s
art is its approach “to the condition of music,”
where the subject cannot be separated from the
manner of its expression. His art brings no gift of
a new convention to water-colour painting; it is
a natural thing that has not grown out of other
men’s work. It shows us the beauty of sincerity
and simplicity. T. Martin Wood.



The Venice Exhibition comprises, as I
have computed, some twelve hundred works, and
if I should attempt in the space allotted me to
merely mention one half of these, the result would
be something like the American negro’s conception
of a dictionary, wrho, after having been presented
with a copy of “Webster’s Unabridged,” spoke in
grateful tones to the donor: “ It’s a vurry in-

terestin’ book, Massa Jones; but I reckon the
subjek changes purty often.”

So I shall merely point out a few things to be
seen at this very complete exhibition, and if some
important works are omitted it will be due to lack
of space and not an oversight.

In my article on Frank Brangwyn’s exhibition
room, I described the plan of the Venetian
committee for this summer’s exhibition. Com-
mittees were appointed in each of the exhibiting
countries, whose duty it was to select the pictures
to be shown. The rooms allotted to each country
were designed and arranged bysome prominent archi-
tect or decorator selected by the Hon. Secretary
Professor Fradeletto, from the respective countries.
The English committee was composed of the
following well-known artists—Alfred East, George
Frampton, and Walter Crane.

Mr. East was sent as a delegate from England,
and was ex officio a member of the International
Jury w'hich met in Venice. A further honour was
conferred upon Mr. East. When the jury met
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