DOI issue:
No. 176 (November, 1907)
DOI article:The third exhibition of the Society of Twenty-Five Painters
DOI Page / Citation link:https://doi.org/10.11588/diglit.20776#0159
The Society of Twejity-Five Painters
to suit his mood. Where
his mood is not sincere
and cannot sustain itself,
we get perhaps the most
objectionable shape of
landscape art, that empty
formalism, in the escape
from which the past excit-
ing history of modern
landscape painting has
been written. The best
landscapes in this exhibi-
tion are romantically com-
posed ; soon a circle will
be completed, and land-
scape art will unreservedly
acknowledge the tradi-
tions of pre-Turner days.
But in again taking up
"fowls" by h. m livens the creative ideal in place
of the interpretative one,
snapshotting from the colour-box there is hardly a they will not be able to rid themselves of the
trace in the exhibition of which we write. On the responsibilities which have since been laid upon
other hand we have such work as Mr. Hughes them by the analysis of science through which
Stanton's and Mr. Russell's, with that quality of their art since then has gone,
emotion which has always belonged to English Because of the interesting problems which modern
landscape—the emotion which has quickly tired of landscape art presents as to its intentions in the
those intellectualities of impressionism which suited future, we have welcomed the opportunity of read-
the colder genius of France. Uncertain clouds ing from this exhibition some sign of the times,
drifting over open country in conflict with the In regard to the figure painting, here also do we
sunlight — such moods
in nature have always
seemed subtly responsive
to human feeling; and
in the rendering of such
an effect upon his canvas
Mr. Hughes Stanton has,
by "lyrical facility," anti-
cipated in his result the
coldest arithmetic of {ones.
But then, as a landscape
artist Mr. Hughes Stanton
has not many rivals.
Somehow when modern
work departs from the con-
sciously scientific attitude
towards nature, or from its
opposite, that pretty, super-
ficial imitation of nature
which bulks all too largely
in every exhibition, we are
left with an art which takes
romantic shape, as the will
of its composer builds it "the riverside—evening" by j. whitelaw Hamilton
T33
to suit his mood. Where
his mood is not sincere
and cannot sustain itself,
we get perhaps the most
objectionable shape of
landscape art, that empty
formalism, in the escape
from which the past excit-
ing history of modern
landscape painting has
been written. The best
landscapes in this exhibi-
tion are romantically com-
posed ; soon a circle will
be completed, and land-
scape art will unreservedly
acknowledge the tradi-
tions of pre-Turner days.
But in again taking up
"fowls" by h. m livens the creative ideal in place
of the interpretative one,
snapshotting from the colour-box there is hardly a they will not be able to rid themselves of the
trace in the exhibition of which we write. On the responsibilities which have since been laid upon
other hand we have such work as Mr. Hughes them by the analysis of science through which
Stanton's and Mr. Russell's, with that quality of their art since then has gone,
emotion which has always belonged to English Because of the interesting problems which modern
landscape—the emotion which has quickly tired of landscape art presents as to its intentions in the
those intellectualities of impressionism which suited future, we have welcomed the opportunity of read-
the colder genius of France. Uncertain clouds ing from this exhibition some sign of the times,
drifting over open country in conflict with the In regard to the figure painting, here also do we
sunlight — such moods
in nature have always
seemed subtly responsive
to human feeling; and
in the rendering of such
an effect upon his canvas
Mr. Hughes Stanton has,
by "lyrical facility," anti-
cipated in his result the
coldest arithmetic of {ones.
But then, as a landscape
artist Mr. Hughes Stanton
has not many rivals.
Somehow when modern
work departs from the con-
sciously scientific attitude
towards nature, or from its
opposite, that pretty, super-
ficial imitation of nature
which bulks all too largely
in every exhibition, we are
left with an art which takes
romantic shape, as the will
of its composer builds it "the riverside—evening" by j. whitelaw Hamilton
T33