DOI Heft:
No. 174 (September, 1907)
DOI Artikel:The Seventh International Exhibition of Art at Venice, 1907
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20775#0312
The Venice Exhibition, igoy
at the front of the foreign sections. Both have English section; and the same may be said of
individual character, and in both the work has been Mr. Shannon. We may be grateful, at least, for a
very carefully selected. To reach the English room painting by Alfred East, London by Night, which
from the Swedish we have to traverse the German is of exceptional interest, since it is quite away
sections, two rooms which, though they include from his usual subjects and methods,
abundant works of merit—I might instance Otto For the decoration of the English section Mr.
Marcus's brilliant study of a dancing girl, Miss Frank Brangwyn has been responsible, and his four
Allen (reproduced in The Studio, November, 1906), panels keep their place admirably in the decorative
and Philipp Klein's Before the Masked Ball (p. 272) scheme. It was, however, his etchings in the ad-
—have not the distinctive character of either the joining black-and-white room (I noted especially
room we have just left, or of that which we now his Old Houses at Ghent) which were a revelation
enter. to me of his powers in this branch of art, in which
In this Sala Inglese, J. Sargent's six magnificent he is well supported here by Alfred East and
portraits arrest our attention the moment we enter. Joseph Pennell.
The Lord Ribblesdale is probably one of the finest What, it may be now asked, are the modern
portraits he has ever painted. A captiously sartorial Italians showing this year, for, after all, their own
critic might perhaps hint that the noble lord's work must form the piece de resistance of these
clothes seem all a size too large. But no such biennial exhibitions ? There is no doubt that they
remark could be applied
to the three - quarter
length of General Sir
Ian Hamilto?i, with its
indefinable air of dis-
tinction, or to the seated
portrait of the President
of the Royal Institute
of British Architects.
Next to Sargent, Mr.
John Lavery is the most
fully represented of
modern British artists.
Among his five paintings
here On the Rocks and
Ckou Bleu (p. 275) were,
I found, special favour-
ites among visitors to
the exhibition.
Fine in character as
is this work of Sargent
and Lavery, one feels
some regret that more
space could not have
been found for a wider
and more catholic view
of modern English art
— especially of those
younger men whom the
critic should always be
ready to watch for and
welcome. Mr. Orpen
is represented in the
exhibition by a brilliant
study of A Spanish
Girl, but not in the "the modern vikings" (Photo. C. Naya, Venice) by anna boberg
274
at the front of the foreign sections. Both have English section; and the same may be said of
individual character, and in both the work has been Mr. Shannon. We may be grateful, at least, for a
very carefully selected. To reach the English room painting by Alfred East, London by Night, which
from the Swedish we have to traverse the German is of exceptional interest, since it is quite away
sections, two rooms which, though they include from his usual subjects and methods,
abundant works of merit—I might instance Otto For the decoration of the English section Mr.
Marcus's brilliant study of a dancing girl, Miss Frank Brangwyn has been responsible, and his four
Allen (reproduced in The Studio, November, 1906), panels keep their place admirably in the decorative
and Philipp Klein's Before the Masked Ball (p. 272) scheme. It was, however, his etchings in the ad-
—have not the distinctive character of either the joining black-and-white room (I noted especially
room we have just left, or of that which we now his Old Houses at Ghent) which were a revelation
enter. to me of his powers in this branch of art, in which
In this Sala Inglese, J. Sargent's six magnificent he is well supported here by Alfred East and
portraits arrest our attention the moment we enter. Joseph Pennell.
The Lord Ribblesdale is probably one of the finest What, it may be now asked, are the modern
portraits he has ever painted. A captiously sartorial Italians showing this year, for, after all, their own
critic might perhaps hint that the noble lord's work must form the piece de resistance of these
clothes seem all a size too large. But no such biennial exhibitions ? There is no doubt that they
remark could be applied
to the three - quarter
length of General Sir
Ian Hamilto?i, with its
indefinable air of dis-
tinction, or to the seated
portrait of the President
of the Royal Institute
of British Architects.
Next to Sargent, Mr.
John Lavery is the most
fully represented of
modern British artists.
Among his five paintings
here On the Rocks and
Ckou Bleu (p. 275) were,
I found, special favour-
ites among visitors to
the exhibition.
Fine in character as
is this work of Sargent
and Lavery, one feels
some regret that more
space could not have
been found for a wider
and more catholic view
of modern English art
— especially of those
younger men whom the
critic should always be
ready to watch for and
welcome. Mr. Orpen
is represented in the
exhibition by a brilliant
study of A Spanish
Girl, but not in the "the modern vikings" (Photo. C. Naya, Venice) by anna boberg
274