Studio: international art (44.1908)

The New English Art Club

seek earnestly in the colour which ordinary life
wears for the lasting effect of beauty. Her portrait
of Miss C. Boughton-Leigh seems to us one of the
greatest achievements in the exhibition because of
this sincerity. And with this in our minds, turning
to Mr. Tonks’ picture, we readily understand
Temptation as an appropriate title for his picture,
since he has yielded so readily to an easy scheme
of reds by touch-
ing up the chil-
dren’s cheeks
until they are as
rosy as the apples
on the table and
the rosy pattern
in the chintz.

For the rest this
picture is dis-
tinguished by
many of the
finest qualities of
Mr. Tonks’ art.

Mr. Walter
Sickert this year
sends small can-
vases, each not-
able, and there is
pertaining to all
of them that
curious interest
which the indi-
viduality of his
aims inspires.

Two portraits,
noteworthy in
their perform-
ance, held atten-
tion on the two
side walls, Mr.

William Rothen-
stein’s Bernhard “Antoinette”

Berenson and
Mr. Orpen’s

Prof. Mayor. Mr. Wilson Steer’s The Outskirts
of a Town and Mr. Mark Fisher’s Sheep grazing
by the Roadside contribute the strongest element to
the landscape side of the exhibition; then there is
Mr. W. W. Russell’s Morning, in which there is
the memory, scarcely anything more, of the morn-
ing mists upon the beautifully painted greens.
There is a mood, too, worthy of its accomplished
expression in Mrs. Cheston’s Spring Morning.
Mr. Sargent has slipped deftly through the execu-
tion of an oil sketch, Villa di Papa Giulio, pre-

senting with little physical effort, in the multitude
of its suggestions, the result of an ever-active brain.
We must make mention of Mr. Russell’s other
picture, equal quite to his picture of morning light—
his Chelsea Reach, reproduced on the next page; and
Mr. C. J. Holmes’ Biasca among other landscapes of
this painter. Mr. A. S. Hartrick’s canvas, Spring in
England, is a canvas individual in character and

style, though the
landscape seems
more a back-
ground for the
figures than the
figures part of
the landscape.
Mr. Alexander
Jamieson sent
one of his bril-
liant and forcible
canvases in A
Part of Old
Paris; Mr. Alfred
Hayward, a pic-
ture with over-
arching trees,
naturalistic in
treatment and
taking its con-
ventional ar-
rangement from
one of the many
conventional
compositions
with which na-
ture often enters
into rivalry with
art. Mr. Bern-
hard Sickert’s
Sirocco, Ischia, is
another land-

BY w. VON GLEHN scape Qf note.

Mr. Muirhead
Bone contributes

some pastels of much dignity and naturalness
to the wall containing drawings, a wall in itself
too rich in works of character to merely touch
upon here, and the quality of Mr. Rich’s art,
as of Mr. MacColl’s and other contributors to
it, is so well known. Before concluding, however,
reference should be made to Mr. Albert Rothen-
stein’s pen studies, to Miss Ethel Walker’s water-
colours, and to ihe Cow and Calf of Miss Margaret
Fisher.

T. Martin Wood.

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