DOI Heft:
No. 155 (February, 1906)
DOI Artikel:Halton, Ernest G.: Independent British art at Messrs. Agnew's
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20714#0041
Independent British Art at Messrs. Agnews
the highest artistic truths, to express the loftiest clique, but many of the ^_rePf^dn"f
ideals of an artistic mind, if it enables an artist to prominent exhibitors at the New English Art Club
give expression to the best that is in him, then and the International Society, while others^ are
indeed is this freedom something to be desired.
But if, on the other hand, it is made the means of come from Ireland. In addition to these there are
imposing upon the public the eccentricities of to be found others who are doing strongand
individuals who, lacking the true artistic sense, independent work, but who fail to obtain the
strive to attract notice by absurd if clever perpetra- recognition they deserve, simply because: ftj, pubhc
tions, then it cannot be too strongly deprecated, have not had ^^^^jT^oiZt
Such individuals abuse their freedom and thereby their work; and by including
expose to ridicule the art they profess to serve. lesser-known men, the promoters of th exhtbmon
It is not, however, with this latter class of have shown themselves unbiased m their judgment
Picture that we have to deal in tnis Side. The and determined to make the collection as complete
exhibition now being held in Messrs. Agnew's as possible.
Galleries forms an epoch in the annals of British In judging the exh.bit.on asawhole^ one is
art of to-day. There is nothing revolutionary in impressed by the absolute sincerity of the o k.
its character, but it is the natural outcome of a Here we have ^^^^^^
vigorous phase of modern art which has been men who have something to say and.£0 say
steadily developing during the last twenty years each in his own mdividua manner They repre
and now shows itself in an unexpected but none sent a living force which ^ .^Zte^l
the less influential quarter. Here we have some above the trammels of conventio'"to*^^
of the finest examples of modern painting as atmosphere of individual freedom. 1 hese arc the
exemplified by the more advanced forms of artistic men from whom we may expect much, and it by
thought. They are drawn from no particular such works as the.rs that posterity
" THE LOST PATH '
BY HENRY TONKS
21
the highest artistic truths, to express the loftiest clique, but many of the ^_rePf^dn"f
ideals of an artistic mind, if it enables an artist to prominent exhibitors at the New English Art Club
give expression to the best that is in him, then and the International Society, while others^ are
indeed is this freedom something to be desired.
But if, on the other hand, it is made the means of come from Ireland. In addition to these there are
imposing upon the public the eccentricities of to be found others who are doing strongand
individuals who, lacking the true artistic sense, independent work, but who fail to obtain the
strive to attract notice by absurd if clever perpetra- recognition they deserve, simply because: ftj, pubhc
tions, then it cannot be too strongly deprecated, have not had ^^^^jT^oiZt
Such individuals abuse their freedom and thereby their work; and by including
expose to ridicule the art they profess to serve. lesser-known men, the promoters of th exhtbmon
It is not, however, with this latter class of have shown themselves unbiased m their judgment
Picture that we have to deal in tnis Side. The and determined to make the collection as complete
exhibition now being held in Messrs. Agnew's as possible.
Galleries forms an epoch in the annals of British In judging the exh.bit.on asawhole^ one is
art of to-day. There is nothing revolutionary in impressed by the absolute sincerity of the o k.
its character, but it is the natural outcome of a Here we have ^^^^^^
vigorous phase of modern art which has been men who have something to say and.£0 say
steadily developing during the last twenty years each in his own mdividua manner They repre
and now shows itself in an unexpected but none sent a living force which ^ .^Zte^l
the less influential quarter. Here we have some above the trammels of conventio'"to*^^
of the finest examples of modern painting as atmosphere of individual freedom. 1 hese arc the
exemplified by the more advanced forms of artistic men from whom we may expect much, and it by
thought. They are drawn from no particular such works as the.rs that posterity
" THE LOST PATH '
BY HENRY TONKS
21