DOI Heft:
No. 184 (July 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20778#0170
Studio- Talk
accompaniment to Burns’ verse. Again, he re-
sembles Thomson in not only painting Nature, but
in letting us hear her voice and feel her presence.
Edward Pinnington.
remarkable young man, Mr. Hugh P. Lane, has
fared much better. Here no place has been
found for popular sentiment in art, and it is not
too much to say that in the collection of 300
works in the Dublin Municipal
Gallery there is not one —
from the half-dozen beautiful
Constables hanging on an
unobtrusive screen in the
second room to the magnifi-
cent Rodin bronze, I’Age
£Airain—which has not been
chosen with the utmost care
and discrimination.
‘THE BUNCH OF GRAPES
(MRS. MILDMAY AND DAUGHTER)
BY CHARLES SHANNON
UBLIN.—The opening or the Dublin
Gallery of Modern Art marks a new
departure in
Among the oil paintings of
the British schools (including,
of course, the Irish painters)
we find that almost every phase
of recent and contemporary
artistic achievement is repre-
sented by one or more fine
examples. There is no claim
that the representation is
complete; the collection is
obviously too small for this :
but within its limits it is very
perfect. The two works by
Watts—the fine portrait of
Mrs. Huth and the Faith,
Hope, and Charity—show him
at two different periods and in
two different moods. An
interesting early study by
Orchardson, Imogen in the Cave of Belarius; a
fine Henry Moore; a delightful Clausen — The
the history of
the foundation of the
smaller public collections
of the United Kingdom.
Hitherto the local gallery
has generally had to be
Content with a very small
number of important works,
rather violently contrasted
with a spreading back-
ground of “native talent,”
the general result being an
utter absence of unity and
proportion. But Dublin,
thanks to the ruthless eclec-
ticism, as also to the untir-
ing energy, of that very
' sr. peter’s, rome, from the villa medici ”
BY J. B. COROT
147
accompaniment to Burns’ verse. Again, he re-
sembles Thomson in not only painting Nature, but
in letting us hear her voice and feel her presence.
Edward Pinnington.
remarkable young man, Mr. Hugh P. Lane, has
fared much better. Here no place has been
found for popular sentiment in art, and it is not
too much to say that in the collection of 300
works in the Dublin Municipal
Gallery there is not one —
from the half-dozen beautiful
Constables hanging on an
unobtrusive screen in the
second room to the magnifi-
cent Rodin bronze, I’Age
£Airain—which has not been
chosen with the utmost care
and discrimination.
‘THE BUNCH OF GRAPES
(MRS. MILDMAY AND DAUGHTER)
BY CHARLES SHANNON
UBLIN.—The opening or the Dublin
Gallery of Modern Art marks a new
departure in
Among the oil paintings of
the British schools (including,
of course, the Irish painters)
we find that almost every phase
of recent and contemporary
artistic achievement is repre-
sented by one or more fine
examples. There is no claim
that the representation is
complete; the collection is
obviously too small for this :
but within its limits it is very
perfect. The two works by
Watts—the fine portrait of
Mrs. Huth and the Faith,
Hope, and Charity—show him
at two different periods and in
two different moods. An
interesting early study by
Orchardson, Imogen in the Cave of Belarius; a
fine Henry Moore; a delightful Clausen — The
the history of
the foundation of the
smaller public collections
of the United Kingdom.
Hitherto the local gallery
has generally had to be
Content with a very small
number of important works,
rather violently contrasted
with a spreading back-
ground of “native talent,”
the general result being an
utter absence of unity and
proportion. But Dublin,
thanks to the ruthless eclec-
ticism, as also to the untir-
ing energy, of that very
' sr. peter’s, rome, from the villa medici ”
BY J. B. COROT
147