DOI Heft:
Nr. 191 (February 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20966#0079
Studio-Talk
STUDIO-TALK.
(.From Our Own Correspondents.)
LONDON.—The departure from custom at
the Royal Academy this winter, in ex-
hibiting modern art instead of old, has
been hailed with delight by one section
of picture lovers and deprecated by others. The
collection of the late George McCulloch seems to
give a resume of many Academy years, and the
great names of the Academy are subject to a new
test with their works reassembled in company with
the outsider Whistler, and Burne-Jones. For all
that distinguished names are in the catalogue,
distinction was not the note achieved by Mr.
McCulloch in making his collection. He had
a wise rule only to buy from living painters and
apparently his taste had been educated entirely
upon Academy exhibitions. From them, with a
few exceptions, he took of the best. Towards the
end of his life, his appreciations widened. Without
suggesting that the Old Master exhibitions should
be done away with, it seems to us, that were it
possible to arrange for the exhibition of private
collections, even whilst the collectors are alive (if
they could be induced to subscribe to so patriotic
a scheme), the allocation of some of the rooms at the
Academy to this purpose during part of the winter
months would serve a great purpose, familiar-
ising the public with famous works they have not
seen or that have passed out of their sight if not
from memory. It has been exceedingly interesting
for everyone to see again Sir W. Q. Orchardson’s
The Young Duke; Burne-Jones’ Love among the
Ruins and The Rose Bower; the works by Dagnan-
Bouveret; Lord Leighton’s The Procession of the
Daphnephoria and The Garden of the Hesperides ;
Sir John Millais’ Sir Isumbras at the Ford;
Whistler’s Valparaiso Nocturne; and to see them
all together. The Academy has also by this step
earned the gratitude of the great outside public.
Mr. R. Gwelo Goodman, whose water-colours or
subjects in the Lake districts are to be seen in
Messrs. Dowdeswells’ galleries, is an artist with
much individuality of outlook and method. His
work has freshness and strength, a kind of frank
directness which is the evident outcome of acute
observation of nature, and an agreeable decorative
quality which can be accepted as proof of the
57
STUDIO-TALK.
(.From Our Own Correspondents.)
LONDON.—The departure from custom at
the Royal Academy this winter, in ex-
hibiting modern art instead of old, has
been hailed with delight by one section
of picture lovers and deprecated by others. The
collection of the late George McCulloch seems to
give a resume of many Academy years, and the
great names of the Academy are subject to a new
test with their works reassembled in company with
the outsider Whistler, and Burne-Jones. For all
that distinguished names are in the catalogue,
distinction was not the note achieved by Mr.
McCulloch in making his collection. He had
a wise rule only to buy from living painters and
apparently his taste had been educated entirely
upon Academy exhibitions. From them, with a
few exceptions, he took of the best. Towards the
end of his life, his appreciations widened. Without
suggesting that the Old Master exhibitions should
be done away with, it seems to us, that were it
possible to arrange for the exhibition of private
collections, even whilst the collectors are alive (if
they could be induced to subscribe to so patriotic
a scheme), the allocation of some of the rooms at the
Academy to this purpose during part of the winter
months would serve a great purpose, familiar-
ising the public with famous works they have not
seen or that have passed out of their sight if not
from memory. It has been exceedingly interesting
for everyone to see again Sir W. Q. Orchardson’s
The Young Duke; Burne-Jones’ Love among the
Ruins and The Rose Bower; the works by Dagnan-
Bouveret; Lord Leighton’s The Procession of the
Daphnephoria and The Garden of the Hesperides ;
Sir John Millais’ Sir Isumbras at the Ford;
Whistler’s Valparaiso Nocturne; and to see them
all together. The Academy has also by this step
earned the gratitude of the great outside public.
Mr. R. Gwelo Goodman, whose water-colours or
subjects in the Lake districts are to be seen in
Messrs. Dowdeswells’ galleries, is an artist with
much individuality of outlook and method. His
work has freshness and strength, a kind of frank
directness which is the evident outcome of acute
observation of nature, and an agreeable decorative
quality which can be accepted as proof of the
57