Studio- Talk
by John M. Swan, R.A., a centre of interest, lent
for the moment pending its removal to the Royal
Academy. In this also, as in many other pictures
at the exhibition, the decorative quality is con-
spicuous, a growing feature in the work of the
modern artist, due to the extended and intelligent
interest now taken in environment.
In the two loaned works by Fantin-Latour, the
versatility and genius of the great French artist is
IMl^bLdavLVi'Jh
[iS dkitivSiO
il\EHWLf1kVtk!U
WAR MEMORIAL AT CARGILI.FIELD SCHOOL
BY R. S. LORIMER
( See Edinburgh Studio - Talk)
evident: Immortalite, a charming figure study in
oil, with all the delicacy of a pastel drawing, and
Roses, lacking but the fragrance to give them the
reality of nature. Whether by accident or design
the hangers here (as in a few other cases) have
invited comparison by placing in juxtaposition the
work of Stuart Park ; in the one there is the sim-
plicity of the naturalist; in the other, the perfection
of the idealist. Another interesting if somewhat
daring comparison is invited by the portrait of
Mrs. Harrington Mann, by Harrington Mann, and
another by Maurice Greiffenhagen, being placed in
corresponding positions. 7 here are. few points of
resemblance save the features; in each case there
is individual charm, modified in the latter perhaps
MEMORIAL PANEL, LORETTO SCHOOL
BY R. S. LORIMER
( See Edinburgh Studio - Talk)
by an environment that demands attention, and an
arrangement of millinery interfering with the contour
of the face.
Once again the methods of two great individualists
are in a comparable position, in Room II. of the
upper gallery, where Sea Shore Roses, a mitigated
yet sparkling example of E. A. Hornel’s, is placed
on a line with At a Prove?n;ale Spring, a powerfully
drawn and charmingly coloured work by H. H. La
Thangue, A.R.A. Another point of interest is the
A. Brownlie Docharty, September, Glen Falloch,
purchased for presentation to the Corporation for
the permanent collection. The scene depicted is
in one of the most charming districts in Scotland,
at Ardblui, where the- head of Loch Lomond lies
lazily in the hollow of the rugged hills, with the
mighty Ben towering majestically over all. In this
w..rk the artist has caught the spirit of the scene
and time, the romantic sense of the neighbourhood
immortalised by Scott, and the glorious feeling of
the Highland autumn, with its russet and purple
tints in scattered profusion.
The picture by William MacBride, called Sheep
Dipping, River Dee, Kirkcudbright, is in an
32i
by John M. Swan, R.A., a centre of interest, lent
for the moment pending its removal to the Royal
Academy. In this also, as in many other pictures
at the exhibition, the decorative quality is con-
spicuous, a growing feature in the work of the
modern artist, due to the extended and intelligent
interest now taken in environment.
In the two loaned works by Fantin-Latour, the
versatility and genius of the great French artist is
IMl^bLdavLVi'Jh
[iS dkitivSiO
il\EHWLf1kVtk!U
WAR MEMORIAL AT CARGILI.FIELD SCHOOL
BY R. S. LORIMER
( See Edinburgh Studio - Talk)
evident: Immortalite, a charming figure study in
oil, with all the delicacy of a pastel drawing, and
Roses, lacking but the fragrance to give them the
reality of nature. Whether by accident or design
the hangers here (as in a few other cases) have
invited comparison by placing in juxtaposition the
work of Stuart Park ; in the one there is the sim-
plicity of the naturalist; in the other, the perfection
of the idealist. Another interesting if somewhat
daring comparison is invited by the portrait of
Mrs. Harrington Mann, by Harrington Mann, and
another by Maurice Greiffenhagen, being placed in
corresponding positions. 7 here are. few points of
resemblance save the features; in each case there
is individual charm, modified in the latter perhaps
MEMORIAL PANEL, LORETTO SCHOOL
BY R. S. LORIMER
( See Edinburgh Studio - Talk)
by an environment that demands attention, and an
arrangement of millinery interfering with the contour
of the face.
Once again the methods of two great individualists
are in a comparable position, in Room II. of the
upper gallery, where Sea Shore Roses, a mitigated
yet sparkling example of E. A. Hornel’s, is placed
on a line with At a Prove?n;ale Spring, a powerfully
drawn and charmingly coloured work by H. H. La
Thangue, A.R.A. Another point of interest is the
A. Brownlie Docharty, September, Glen Falloch,
purchased for presentation to the Corporation for
the permanent collection. The scene depicted is
in one of the most charming districts in Scotland,
at Ardblui, where the- head of Loch Lomond lies
lazily in the hollow of the rugged hills, with the
mighty Ben towering majestically over all. In this
w..rk the artist has caught the spirit of the scene
and time, the romantic sense of the neighbourhood
immortalised by Scott, and the glorious feeling of
the Highland autumn, with its russet and purple
tints in scattered profusion.
The picture by William MacBride, called Sheep
Dipping, River Dee, Kirkcudbright, is in an
32i