Studio: international art (38.1906)

The New Gallery

“THE OLD GARDEN AT TIVOLI BY MOONLIGHT”

and Michael, son oj Michael Tennant, Esq.;
Mr. J. Coutti Michie’s T. Howell W. Idris, Esq.,
M.P., and Ruby; Mr. Richard Jack’s Miss Ella
Macnaghten; Mr. H. de T. Glazebrook’s firmly
stated three-quarter length of R.A. Fairclough, Esq.;
Mr. C. E. Halle’s Miss Lucy Cohen ; Mr. H. G.
Riviere’s wonderfully living study of Miss Gene-
vieve Ward; Mr. St. George Hare’s ingeniously
•contrived Father and Son ; Mr. S. Melton Fisher’s
Mrs. Ella Rawls Reader; Mr. J. Lavery’s The
Earl of Plymouth ; and the Hon. John Collier’s
Mrs. Liotiel Wilson.

The chief of all the figure pictures is unquestion-
ably the Wine Shop by Mr. Brangwyn, one of those
partly decorative and partly realistic canvases
which he treats with so much breadth and certainty
of touch and such sensitiveness of colour effect.
It shows amply his power and his originality, and
it has, with all its robustness, a delicacy of technical

BY HAROLD SPEED

quality that claims the frankest admiration. Ex-
cellent, also, is Mr. James Clark’s symbolical
composition, Spiritus adversus Carnem, which by
its fine draughtsmanship, its executive distinction,
and its rich harmony of colour, stands out as a
supreme example of the class of production to
which it belongs. Mr. Clark is one of the ablest
artists we have who are concerning themselves with
this type of imaginative art, and this picture is in
many respects the best he has ever exhibited.
Beside it Mr. Herbert Draper’s rather formal and
over-elaborated Art and the Jade looks a little
empty and uninspired ; and Mr. Walter Crane’s
Prometheus Unbound seems painfully unconvincing.
Mr. George Hitchcock, too, in his Return of
Proserpina, shows a lack of largeness of idea.
His picture is an excellently capable study of a
female figure in thin white draperies, set in a sunny
landscape among blossoming trees, but it is so

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