Studio: international art (41.1907)

Studio-Talk

in a space allotted by the London County Council
on Cheyne Walk, at the west end of the gardens,
near Carlyle and near where Whistler lived and
worked. " Close to the brown and shining river,"
which Whistler loved " more intelligently than any
man who lived before him," to use the words of
Mr. Edmund Gosse, who also reminded his hearers
that Whistler gave half his life and half his genius
to London. The Memorial will be the work of
M. Auguste Rodin, who anticipates its completion
towards the end of the year, and its total cost is esti-
mated at _^2,ooo, towards which The International
Society of Sculptors, Painters, and Gravers will
contribute the sum of ^500. The Committee
invite subscriptions from the admirers of both
artists. Cheques should be made payable to the

"a winter's tai.e": the old shepherd

by emil orlik

{See article on "Modern Stage Mounting in Germany.")

224

Whistler Memorial Fund. The address of the
Hon. Sec, Miss Bertha Newcombe, is 1, Cheyne
Walk, Chelsea, S.W.

At the Carfax Gallery the exhibition held for
Messrs. Charles Ricketts and Charles Shannon
afforded an exceptional opportunity for studying
their work in the sympathetic environment their
works provide for each other. Their paintings
always seem the outcome of an imaginative mood
rather than the deliberate choice and planning of
an imaginative subject—a rhythmical account of
beauty felt rather than the beautiful recounting
of a legend. In other respects their art is quite
dissimilar, Mr. Shannon's being more intimate
with beautiful qualities of texture and colour.
There is something arid in the atmosphere which
Mr. Rickett's art suggests, and by his treatment
a vision of Daumier's painting is always called up
between us and his picture. Nearly every face is
masked with heavy shadows, which serve to define
their emaciation, an emaciation, by the way, not
compatible with the sometimes rounded and heavy
limbs. The insistence upon the one type may be
intended figuratively to express contempt of the
soul for the body; but its prevalence in every figure
would seem to denote a limitation.

There was an old-world flavour about the exhibi-
tion held by Mr. Roger Fry and the Hon. Neville
Lytton at the Alpine Club. Their water-colours
were not dissimilar in style; with a greater decision
of touch some of them might pass for works of the
earlier schools of English water-colour. There
were many water-colour drawings by both artists
possessed of rare distinction. For the perfection
of his pencil drawing the Hon. Neville Lytton's
reputation is established. In his oil paintings he
dwarfed his considerable achievements in other
canvases by the surpassing success of his portrait
of Mrs. MacCarthy.

No one has succeeded better with monotypes
than Mr. A. Henry Fullwood in reducing the
element of chance in their production to an irre-
ducible minimum. He attempts and succeeds
in obtaining quiet passages of colour which we
had not thought possible in the monotype. Mr.
Fullwood was always the artist, never the mere
experimentalist, in the delightful exhibition of his
monotypes held at the galleries of Mr. Tinson in
Grafton Street. His work proved the possibility of
controlling the drawing of small forms, which has
so often seemed to limit monotype art.