Studio: international art (46.1909)

Studio-Talk

During the present month, the most important
of the year in art matters so far as London is con-
cerned, picture lovers and picture buyers have
plenty to occupy their attention in town. The two
big shows of the Royal Academy and New Gallery,
to which we shall refer more fully next month, of
course claim the chief share, but within a short
distance of these exhibitions there are some “ one-
man ” shows which should on no account be
missed. There is, for instance, Mr. Wilson
Steer’s exhibition at the Goupil Gallery in
Regent Street, which will continue open till the
end of the month, and then a little further east,
at the Leicester Galleries, we shall have from
the 20th of the month onwards an important
collection of paintings by the distinguished Aca-
demician, Mr. George Clausen, representing
work done by him during the past three or four
years. In connection with this event Mr.
Clausen has kindly permitted us to reproduce a
small number of the pictures which will be on
view. The President of the New English Art
Club (whose annual show, by the way, is to
open next month at the Galleries of the British
Aitists in Suffolk Street) excels in landscape
and the nude. Mr. Clausen too is one of our
foremost painters of landscape and figure. No
contemporary English painter has striven more
arduously than he to contain bright light within
the opacity of paint, and scarcely another
could be named who has solved in so masterly
a way the difficult problems of light which
the painting of interiors presents. His art, ever
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young, has never yet
stood still, but advanced
always from the embarrass-
ment of one problem to
another.

Messrs. Manzi, Joyant
and Co., of 25 Bedford
Street, have lately held a
most complete exhibition
of original etchings and
dry-points by Sir Charles
Holroyd, and are still hold-
ing a remarkably interest-
ing exhibition of eigh-
teenth-century Japanese
colour prints. Sir Charles
Holroyd’s methods are as
constantly varied as the
nature of the subjects he
takes up. Uniformity,
except in mastery, was not to be found in the
exhibition, but there is a style in which he
seems to reach his highest, that from which
we get such rare and striking results as in the
plates The Piazzetta, The Ghetto or Oak Tree
Lock.

At the Carfax Gallery the recent exhibition of
the late J. R. Spencer Stanhope’s work came as a
revelation to a younger generation. The artist, we

“AN ITALIAN CHILD” BY GEORGE CLAUSEN, R.A.