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#0042
Independent British Art at Messrs. Agnews
British art of the present age. That they have not most in the working out of his own individuality,
in many cases received the appreciation they de- And it may be truly said of the men we are discuss-
serve is not remarkable, for that has too often ing here, that, whatever influence they may have
been the lot of the true artist; and it is not alto- come under, each has instilled into his work that
gether to our credit that some of these men have personal note which distinguishes it from the work
already been honoured abroad, while in their own of any other artist, either of to-day or of yesterday,
country they have attracted but little attention As we cannot deal here fully with the many
outside a very select circle. It is encouraging, admirable works in this interesting collection,
however, to find that the public are beginning to we propose to limit our attention to a few of the
realise the fact that the highest forms of art are not more important. One of the most remarkable and
always to be found on the walls of the great popular certainly the most serious picture in the exhibition
exhibitions ; that there are able painters among us is Mr. Charles Ricketts's Betrayal. Intensely
whose work would be out of place in such collec- dramatic in feeling, but devoid of any suggestion
tions, because their art would have nothing in of sensationalism, the artist has treated this oft-
common with its surroundings. We have substan- repeated subject in an entirely new and original
tial proof of this awakening in the genuine interest manner. Against a dark mysterious sky of bluish
aroused by the exhibitions of the International tone the full-length figure of Christ is seen standing
Society and the great success of the Whistler in the foreground. By His side kneels Judas
show in London last year. giving the kiss of betrayal on His hand. To the
It would be rash to affirm that all the artists right is a group of men bearing lighted torches,
represented in Messrs.
Agnew's exhibition will
one day be accepted as
great masters, but we do
believe that they exemplify
the most healthy phase of
modern British art, and for
that reason they deserve
every encouragement.
The title of " Indepen-
dent art" is a happy one,
but it would hardly be true
to say that none of these
" Independents " owe any-
thing to the great masters
of the past. It would, in-
deed, be difficult to find a
painter who has not in some
degree a leaning towards
one or more of the various
schools. The influence of
the Venetians, the Flemish
and Dutch painters, the
men of Fontainebleau, or
even the Japanese, will
always show itself so long
as the great masterpieces of
the past exist. And this is
as it should be, provided the
artist does not slavishly imi-
tate his master, but with true
artistic discrimination se-
lects and adapts those
qualities which assist him "an east lothian village" by james paterson
British art of the present age. That they have not most in the working out of his own individuality,
in many cases received the appreciation they de- And it may be truly said of the men we are discuss-
serve is not remarkable, for that has too often ing here, that, whatever influence they may have
been the lot of the true artist; and it is not alto- come under, each has instilled into his work that
gether to our credit that some of these men have personal note which distinguishes it from the work
already been honoured abroad, while in their own of any other artist, either of to-day or of yesterday,
country they have attracted but little attention As we cannot deal here fully with the many
outside a very select circle. It is encouraging, admirable works in this interesting collection,
however, to find that the public are beginning to we propose to limit our attention to a few of the
realise the fact that the highest forms of art are not more important. One of the most remarkable and
always to be found on the walls of the great popular certainly the most serious picture in the exhibition
exhibitions ; that there are able painters among us is Mr. Charles Ricketts's Betrayal. Intensely
whose work would be out of place in such collec- dramatic in feeling, but devoid of any suggestion
tions, because their art would have nothing in of sensationalism, the artist has treated this oft-
common with its surroundings. We have substan- repeated subject in an entirely new and original
tial proof of this awakening in the genuine interest manner. Against a dark mysterious sky of bluish
aroused by the exhibitions of the International tone the full-length figure of Christ is seen standing
Society and the great success of the Whistler in the foreground. By His side kneels Judas
show in London last year. giving the kiss of betrayal on His hand. To the
It would be rash to affirm that all the artists right is a group of men bearing lighted torches,
represented in Messrs.
Agnew's exhibition will
one day be accepted as
great masters, but we do
believe that they exemplify
the most healthy phase of
modern British art, and for
that reason they deserve
every encouragement.
The title of " Indepen-
dent art" is a happy one,
but it would hardly be true
to say that none of these
" Independents " owe any-
thing to the great masters
of the past. It would, in-
deed, be difficult to find a
painter who has not in some
degree a leaning towards
one or more of the various
schools. The influence of
the Venetians, the Flemish
and Dutch painters, the
men of Fontainebleau, or
even the Japanese, will
always show itself so long
as the great masterpieces of
the past exist. And this is
as it should be, provided the
artist does not slavishly imi-
tate his master, but with true
artistic discrimination se-
lects and adapts those
qualities which assist him "an east lothian village" by james paterson