DOI Heft:
No. 164 (November, 1906)
DOI Artikel:The second exhibition of the Society of Twenty-Five English Painters
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20716#0172
The Society of Twenty-Five English Painters
that he may learn from them
of what beauty art can accept
from the beauty which nature
has to lavish. The art of
Mrs. Dods - Withers is not
altogether dissimilar, but she
seeks a more purely decorative
aspect of nature; she suggests
how much certain natural
scenes have in common with
the fascinating traditions of
literature and art. Mention
of Mrs. Dods-Withers brings
us to another member's work
—Miss Halford's. Here we
have a sense of the exquisite-
ness of things and a wayward
fancy—a beauty of period and
costume, with the background
which Watteau discovered for
fine dresses on sunny days.
"ku-low: old entrance gate to Nanking " by montague smyth It is a delicate roseleaf art,
more actual than Mr. Conder's,
tials of its colour and form. And, of course, what more simple in its aims, and less tremendous in
in colour and form is essential to one artist in his imagination, but owing a distinct debt to that
view of the scene is not so to another. This is master.
true also with regard to the sentiment of the Imaginative art finds in Mr. Cecil Rea's can-
scene, and no true artist is ashamed of sentiment vases excellent representation. A beautiful sense
in connection with landscape. If the Society of of composition is in his work, coupled with refine-
Twenty-Five does nothing else but encourage a ment in the scholarship of painting. His art in
return to the fact that an
artist must be as emotional
as other men, that he
cannot divorce the beauty
which his eyes receive from
the founts of nature and
life, from which all beauty
and emotion spring, it will
have done a great deal.
Repudiation of emotion on
the part of artists has been
in vogue somewhat of late.
That sentiment which Mr.
Withers derives from a
landscape has received the
homage of the older Eng-
lish landscape school—
and others too, such as
Corot and Diaz. Mr.
Withers does not try to be
unconscious of the past
history of landscape paint-
ing, but rather would walk
a step with older masters, <<le chateau de larroque-des-arcs:' by isabelle a. dods-withers
iS2
that he may learn from them
of what beauty art can accept
from the beauty which nature
has to lavish. The art of
Mrs. Dods - Withers is not
altogether dissimilar, but she
seeks a more purely decorative
aspect of nature; she suggests
how much certain natural
scenes have in common with
the fascinating traditions of
literature and art. Mention
of Mrs. Dods-Withers brings
us to another member's work
—Miss Halford's. Here we
have a sense of the exquisite-
ness of things and a wayward
fancy—a beauty of period and
costume, with the background
which Watteau discovered for
fine dresses on sunny days.
"ku-low: old entrance gate to Nanking " by montague smyth It is a delicate roseleaf art,
more actual than Mr. Conder's,
tials of its colour and form. And, of course, what more simple in its aims, and less tremendous in
in colour and form is essential to one artist in his imagination, but owing a distinct debt to that
view of the scene is not so to another. This is master.
true also with regard to the sentiment of the Imaginative art finds in Mr. Cecil Rea's can-
scene, and no true artist is ashamed of sentiment vases excellent representation. A beautiful sense
in connection with landscape. If the Society of of composition is in his work, coupled with refine-
Twenty-Five does nothing else but encourage a ment in the scholarship of painting. His art in
return to the fact that an
artist must be as emotional
as other men, that he
cannot divorce the beauty
which his eyes receive from
the founts of nature and
life, from which all beauty
and emotion spring, it will
have done a great deal.
Repudiation of emotion on
the part of artists has been
in vogue somewhat of late.
That sentiment which Mr.
Withers derives from a
landscape has received the
homage of the older Eng-
lish landscape school—
and others too, such as
Corot and Diaz. Mr.
Withers does not try to be
unconscious of the past
history of landscape paint-
ing, but rather would walk
a step with older masters, <<le chateau de larroque-des-arcs:' by isabelle a. dods-withers
iS2