Studio: international art (38.1906)

Walter Tyndale

One entire gallery at the Durand-Ruel exhibition
was reserved to Zorn’s etchings; and here, indeed,
we see one of the most interesting sides of the
artist’s personality, one in which his personality
finds free play, In complexity of arrangement, in
violent contrasts of light and shade, Zorn resembles
that master of masters—Rembrandt, but, at the
same time, remains strictly and resolutely modern,
inspired only by the spectacle of life as visible to
his own eyes.

The striking thing about these etchings is that
they are powerfully and rapidly improvised direct
from nature, and thereby give a very special im-
pression of veracity. Some of these portraits of his
are most precious as documents. This thoughtful
Renan, wrapped in meditation, seated so naturally
at a table littered with papers, truly conveys the
idea—which is indeed the truth—that the great
philosopher was not posing. Indeed, Zorn hates
to make his models pose. He prefers to chat with
them, and in the midst of the conversation to dash
off the essential lines which will eventually serve to
assist his prodigious memory. Then, when he is
alone once more, and before the keenness of the
impression has been blunted, he inscribes in bold
lines on the metal the complete features of the
model he has just quitted. He has already pro-
duced a goodly number of well-known plates,
which are not far from being classic—for example,
his Toast and his portraits of Max Liebermann,
Mme. Dayot, Prince Eugene of Sweden, Count
Rosen, King Oscar—also many studies of all kinds,
some of which are now reproduced. They reveal
with great effect the forceful
and complex genius of the
great Scandinavian painter.

Henri Frantz.

An Historical Exhibition
of Liverpool Art is to be
held at the Walker Art
Gallery, Liverpool, next
May, under the joint au-
spices of the Corporation
and the Academy of Arts ;
and in order that it shall
be thoroughly representa-
tive the committee invite
the co-operation of all who
can help them by loans, in-
formation, and suggestions.

Mr. E. Rimbault Dibdin,

Curator, Walker Art Gal-
lery, is acting as secretary.

WALTER TYNDALE : THE

MAN AND HIS ART. BY
CLIVE HOLLAND.

Mr. Walter Tyndale, whose Italian and Egyptian
pictures are favourably known to collectors and
the public by reason of several “ one man shows ”
that he has held, and also from their frequent
exhibition at the Royal Academy and various
galleries, was more fortunate than many English
artists in his early environment. Born at Bruges,
he was thus cradled amid some of the noblest
traditions of art, and grew up amongst many
exquisite survivals of most beautiful mediteval work
in architecture, which could scarcely fail to have a
strong influence for good upon a sensitive tem-
perament. There he passed the first sixteen years
of his life, and it was not till after that date that he
came to England. For several years previous to
that he had, either before or after school-hours,
been a constant attendant at the art classes of the
Bruges Academie; afterwards, when eighteen,
going to Antwerp and studying at the Academie
there, of which he became a silver medallist.
From Antwerp, Mr. Tyndale proceeded to that
Mecca of all art students—Paris; and for some
considerable period he worked hard under Bonnat,
and for a while also in the studio of the famous
Belgian artist, Jan Van Beers.

Of these days in Paris, Mr. Tyndale speaks with
the affection that most art students feel for “the
Quartier” and its bon camaraderie. But his life in
the Quartier was destined to be of far shorter