DOI issue:
Nr. 194 (May 1909)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20966#0334
Studio-Talk
Mr. George Belcher, who has
been exhibiting at the Leicester
Galleries, has a vivacious pencil.
He owes a great deal to Phil May,
is attracted by the same aspects of
life, has not quite the individual
distinction of craft of his master,
but much of his realism. Pie is,
what after all is rare, a humorist—
one who has not to search for the
humours of this life, but finds them
impossible to escape. The Rivers
and Streams, by Mr. Sutton Palmer,
at the same gallery, were in treat-
ment as quiet as the aspects of
nature which they represented sym-
pathetically.
In considering the works of the
Barbizon and Modern Dutch pain-
ters, the names of three collectors
who have recently passed away in-
stinctively come to mind — Mr.
Staats Forbes, Mr. Alexander
Young, and Sir John Day. The
works of two of these collectors
have already been dispersed, and
those of the third—of the late Sir
John Day — are to be sold at
Christie’s during the present month.
The Staats Forbes and Alexander
Young pictures have been fully dis-
cussed in these pages (vols. 36, 39
and 40), while several examples
from the Day Collection appeared
in the special number of The
Studio devoted to the works of the
brothers Maris. If not so extensive
3°8
“VILLE D’AVRAY ” BY J. B. C. COROT
(In the late Sir John Day's Collection)
are reminded in the catalogue, was born in 1829.
He went up to Oxford from Rugby at the time
that Rossetti was directing the ceiling decoration of
the Oxford Union Debating Hall; he assisted in
this work and became an artist self-taught. Later
he exhibited in the newly-opened Grosvenor Gal-
lery. In 1880 he retired to Florence, and lived
there until he died, last August. He was among
the first to revive the use of tempera. In the
works exhibited, so powerful and rare a sense of
beauty inspires each composition that quite faulty
and sometimes feeble drawing fails to make itself
unpleasantly felt. The painter’s genius was curi-
ously similar to that of Burne-Jones,
yet at all times his own.
as the other two collectionsTnentioned, that of Sir
John Day contains many notable pictures. Corot
is represented by several works of the highest
quality, while the examples by Millet, Rousseau,
Diaz, Troyon, Dupre, Jacque, and Harpignies are
nearly all of exceptional interest. The impressive
Solitude by the last-mentioned artist represents the
zenith of his art, and gained for him the medaille
d'honncur at the Paris Salon of 1897. It is, how-
ever, in the works of the Modern Dutch school,
particularly of the three brothers Maris, that the
chief claim to distinction of the Day collection lies.
Two of the most beautiful works Matthew Maris
Mr. George Belcher, who has
been exhibiting at the Leicester
Galleries, has a vivacious pencil.
He owes a great deal to Phil May,
is attracted by the same aspects of
life, has not quite the individual
distinction of craft of his master,
but much of his realism. Pie is,
what after all is rare, a humorist—
one who has not to search for the
humours of this life, but finds them
impossible to escape. The Rivers
and Streams, by Mr. Sutton Palmer,
at the same gallery, were in treat-
ment as quiet as the aspects of
nature which they represented sym-
pathetically.
In considering the works of the
Barbizon and Modern Dutch pain-
ters, the names of three collectors
who have recently passed away in-
stinctively come to mind — Mr.
Staats Forbes, Mr. Alexander
Young, and Sir John Day. The
works of two of these collectors
have already been dispersed, and
those of the third—of the late Sir
John Day — are to be sold at
Christie’s during the present month.
The Staats Forbes and Alexander
Young pictures have been fully dis-
cussed in these pages (vols. 36, 39
and 40), while several examples
from the Day Collection appeared
in the special number of The
Studio devoted to the works of the
brothers Maris. If not so extensive
3°8
“VILLE D’AVRAY ” BY J. B. C. COROT
(In the late Sir John Day's Collection)
are reminded in the catalogue, was born in 1829.
He went up to Oxford from Rugby at the time
that Rossetti was directing the ceiling decoration of
the Oxford Union Debating Hall; he assisted in
this work and became an artist self-taught. Later
he exhibited in the newly-opened Grosvenor Gal-
lery. In 1880 he retired to Florence, and lived
there until he died, last August. He was among
the first to revive the use of tempera. In the
works exhibited, so powerful and rare a sense of
beauty inspires each composition that quite faulty
and sometimes feeble drawing fails to make itself
unpleasantly felt. The painter’s genius was curi-
ously similar to that of Burne-Jones,
yet at all times his own.
as the other two collectionsTnentioned, that of Sir
John Day contains many notable pictures. Corot
is represented by several works of the highest
quality, while the examples by Millet, Rousseau,
Diaz, Troyon, Dupre, Jacque, and Harpignies are
nearly all of exceptional interest. The impressive
Solitude by the last-mentioned artist represents the
zenith of his art, and gained for him the medaille
d'honncur at the Paris Salon of 1897. It is, how-
ever, in the works of the Modern Dutch school,
particularly of the three brothers Maris, that the
chief claim to distinction of the Day collection lies.
Two of the most beautiful works Matthew Maris