Studio: international art (46.1909)

Studio-Talk

and most enduring of his artistic education, and
though in the years to come he used his powers in
various directions, yet he never lost the style which
became his method of expression in these days.
Later on he spent the summer in Venice, and some
of the pictures he painted on this his only visit there
are amongst his most complete works. N. G.

STUDIO-TALK.

(From Our Own Correspondents.)

LONDON.—The Water-colour, Pastel and
Drawing Salon, held by Messrs. Mar-
chant & Co., at the Goupil Gallery and
which came to a close last month, was
the most important of the early spring exhibi-
tions. It was clear that the managers of this
exhibition had taken pains to admit nothing that
was not individual and consequently inspiriting.
Such a drawing as Mr. William Nicholson’s The
Hun'er's Staircase, with its imaginative appre-
ciation of a strange but real interior effect, was
amongst the first things in the galleries, and Prof.
C. J. Holmes’ Pevensey—Noon was a water-colour
of a remarkable quality. There were subtle inter-
pretations of storm effects by Mr, Wilson Steer,
and a most exquisite pastel of the nude, by
Whistler, in the rooms. Some water-colours,
obviously derived from Mr. Sargent’s art, by Mr.
von Glehn, were carried out with a brilliancy
of achievement worthy of the master by whose
methods they were inspired, and Mr. W. B.
Ranken, in a similar order of picture, called
In the Gardens of the Alcazar, Seville, had
carried the problem of sunlight to a highly
successful conclusion. Sir W. Eden’s Velasquez
Room, Prado, Madrid, was a feature, and so
was Mr. Clifford Addams’ Agostina and Child.
There were two important water-colours by Mr.
Alfred East, A.R.A. Mr. A. W. Rich was not,
perhaps, at his best in his, in this case, too
prettily coloured drawings, and the individual
art of Mr. Lamorna Birch, with its decorative
qualities of colour, suffered from too easily
attained and superficial charms, but such a
water-colour as The Hurrying River was of a
most highly interesting order. Mr. A. Ludovici,
Mr. Cayley Robinson, Mr. A. E. Vokes, Mr. E.
Newell Marshall, Mr. J. Nickal, and Mr. David
Neave were all represented by good work, and
Sir Charles Holroyd’s pictures contributed much
to the distinction of the exhibition. Two cari-
catures by Mr. Max Beerbohm were included—-
one a singularly happy satire of Mr. Orpen

executing in his own way a commission for a
Portrait, in which the sitter is discovered at
the further end of a room, full of objets d’att,
only the back of his head visible above a lounge
seat. Mr. Hughes-Stanton and Mr. H. Muhrman
made valuable contributions; and a notable pic-
ture, Salutations, well represented the genius of
Mr. George Henry, A.R.A. The black-and-white
drawings included the brilliantly handled work
of Mr. Cossaar, excellent drawings by Miss G.
Halford, a very fine study of a man’s head by
C. Stabb, the bold and personal art of Mr. J. D.
Eergusson, and work by Mr. Augustus John—-
baffling, but sometimes airing a beauty of craft
which could easily be separated from the uncanny
motif. There were painted silk fans by two or three
ladies. Miss Thea Proctor’s panel, The Masque-
raders, was far above the work in which she
attempts the things at which Conder succeeded.
It is difficult to bring a notice of the exhibition to
a close, so many achievements remain unmen-
tioned. Certainly deserving of expanded comment,
did space permit, were the pictures of artists
(whose work was, however, on their usual lines)
such as Messrs. A. S. Hartrick, Bertram Priestman,
Joseph Pennell, Roger Fry, A. L. Baldry, J.
Aumonier, and others.

STUDY OF FRUIT BY GEORGE CLAUSEN, R.A.

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