DOI issue:
No. 156 (March, 1906)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20714#0179
Studio-Talk
admirable account of the Liverpool
Academy from 1810 to 1867, with
memoirs of the principal artists, was
recently written by Mr. H. C. Maril-
lier, who appended an interesting
note to Mr. Baillie's catalogue.
With the exception of Windus, the
pre-Raphaelite, and Huggins, who
was an animal painter, the principal
feature of the exhibition was land-
scape. Mr. Marillier in his note,
which so admirably served to explain
the features of the school, pointed
out that they were the apostles of
plein air, the devotees of paysage
intime, nearly a generation before
these phrases had been invented.
The water-colours of Mr. Oliver
Hall, who learnt a great deal direct
from a famous member of the Liver- soft-ground etching
pool group, completed Mr. Baillie's
exhibition. Mr. Hall's water-colours, characterised traditions of the art, place the artist with the best
as they are by careful and sympathetic treatment, of later watef-colourists.
refinement of colour, and adherence to the finest -
Miss A. Bauerle, some of whose work we
are illustrating, has a truly imaginative pencil,
and, moreover, an extremely sensitive and
artistic touch, as is shown in the etching
called Auiumn. All her work is pleasantly
decorative and refined in intention. Her
designs are carried out always with a great
regard for the principles of art, and hence
the touch of distinction which is evinced in
her slightest effort.
by miss a. bauerle
The Municipal Art Gallery, Kingston-
upon-Thames, held an exhibition of original
etchings from the sixteenth to twentieth
century at the beginning of the year, which
was entirely comprehensive, and included
valuable examples of work by the greatest
etchers down to the present time.
The exhibition of work by Mr. Grosvenor
Thomas, which was held last month at
Messrs. Dowdeswell's Galleries, revealed the
advance which that painter is rapidly making
towards prominence as one of the most
interesting of our landscape painters. His
work is always a little ethereal, lacking in
substance, but it is so, not out of any failure
on the part of the painter to grapple realis-
tically with his subject, but because, like
book-plate by j. Walter west Corot, he is aiming at decorative composition,
159
admirable account of the Liverpool
Academy from 1810 to 1867, with
memoirs of the principal artists, was
recently written by Mr. H. C. Maril-
lier, who appended an interesting
note to Mr. Baillie's catalogue.
With the exception of Windus, the
pre-Raphaelite, and Huggins, who
was an animal painter, the principal
feature of the exhibition was land-
scape. Mr. Marillier in his note,
which so admirably served to explain
the features of the school, pointed
out that they were the apostles of
plein air, the devotees of paysage
intime, nearly a generation before
these phrases had been invented.
The water-colours of Mr. Oliver
Hall, who learnt a great deal direct
from a famous member of the Liver- soft-ground etching
pool group, completed Mr. Baillie's
exhibition. Mr. Hall's water-colours, characterised traditions of the art, place the artist with the best
as they are by careful and sympathetic treatment, of later watef-colourists.
refinement of colour, and adherence to the finest -
Miss A. Bauerle, some of whose work we
are illustrating, has a truly imaginative pencil,
and, moreover, an extremely sensitive and
artistic touch, as is shown in the etching
called Auiumn. All her work is pleasantly
decorative and refined in intention. Her
designs are carried out always with a great
regard for the principles of art, and hence
the touch of distinction which is evinced in
her slightest effort.
by miss a. bauerle
The Municipal Art Gallery, Kingston-
upon-Thames, held an exhibition of original
etchings from the sixteenth to twentieth
century at the beginning of the year, which
was entirely comprehensive, and included
valuable examples of work by the greatest
etchers down to the present time.
The exhibition of work by Mr. Grosvenor
Thomas, which was held last month at
Messrs. Dowdeswell's Galleries, revealed the
advance which that painter is rapidly making
towards prominence as one of the most
interesting of our landscape painters. His
work is always a little ethereal, lacking in
substance, but it is so, not out of any failure
on the part of the painter to grapple realis-
tically with his subject, but because, like
book-plate by j. Walter west Corot, he is aiming at decorative composition,
159