DOI Heft:
No. 195 (June, 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20967#0076
Studio-Talk
Among the figure pic-
tures deserving of serious
consideration must cer-
tainly be counted Un
Bain sous le Premier
Empire by Mr. Talbot
Hughes; Mr. E. A.
Hornel’s attractive com-
position, The Blackbird’s
Song., Mr. J. Young
Hunter’s The Orchard
Door, Mr. P. A. Hay’s re-
markably skilful water-
colour, The Squire’s
Daughter, and the two
“all-souls day—Hungary” [New Gallery) by mrs. Adrian stokes
imaginative paintings by Mr. R. Anning Bell, in
both of which he has managed different colour
schemes with conspicuous success. Mr. Spencer
Watson’s Cupid and Psyche was notable for its
sumptuous richness, and Mr. Cayley Robinson’s
The Farewell, for its curiously personal qualities of
expression and sentiment; and there was real sin-
cerity of manner and method in the All-Souls
Day—Hungary, by Mrs. Adrian Stokes. Mr.
Wetherbee’s A Little Herd Girl, and Mr. T. C.
Gotch’s Midsummer’s Eve and A Study in Reds,
must not be overlooked.
Landscapes of conspicuous merit were plentiful in
the exhibition—such excellent records of nature as
Mr. Alfred East’s The Edge of the Pool, Mr. Hughes-
Stanton’s The Mountain Road, Provence, and
Mr. Leslie Thomson’s Over the Sea to Skye, were
specially prominent, and with them must un-
questionably be reckoned Mr. J. L. Pickering’s
robustly romantic Gorge of the Arora, and The
Hills of Carglse, the Moorland near Shap Fells, and
A Breezy Day on the Upper Fell Country, by
Mr. Oliver Hall, and the expressive Solitude, by
Mr. Grosvenor Thomas. Mr. Moffat Lindner’s
sunset subject, Approach to Amsterdam, and his
brilliant water-colour, Rain Clouds on the Maas, did
STUDIO-TALK.
(From Our Otun Correspondents.)
LONDON.—The Exhibition at the New
Gallery this year was the first held under
the new system of management by which
the gallery is to be controlled for the
future. The old method of selecting works for
exhibition has been abandoned, and the contribu-
tions come now from a group of subscribing artists,
to each of whom a certain amount of wall space is
allotted; and the hanging committee is elected
from the general body of these subscribers. The
exhibition lost little of the atmosphere which has
distinguished it in past years, because most of the
men enrolled as subscribers have been represented
there by important work year after year.
Perhaps the best painting in the show was Mr.
J. J. Shannon’s In the Dunes, an exquisite variation
on the conventional portrait group and a delightful
example of free and spontaneous craftsmanship.
But there were memorable portraits also by
Mr. H. de T. Glazebrook, Mr. Harold Speed,
Mr. Spencer Watson, Mr. Coutts Michie, and
the Hon. John Collier; and two by Mr. W.
Llewellyn—of Mrs. Mansell Woods, and Nell,
Daughter of fames
Gwynne Holford, Esq.—
illustrated excellently his
decorative manner of deal-
ing with portraiture. Mr.
Melton Fisher’s dainty
study of Miss Beatrice
Ferrar was also import-
ant as a telling likeness
and as an agreeable piece
of painting.
54
Among the figure pic-
tures deserving of serious
consideration must cer-
tainly be counted Un
Bain sous le Premier
Empire by Mr. Talbot
Hughes; Mr. E. A.
Hornel’s attractive com-
position, The Blackbird’s
Song., Mr. J. Young
Hunter’s The Orchard
Door, Mr. P. A. Hay’s re-
markably skilful water-
colour, The Squire’s
Daughter, and the two
“all-souls day—Hungary” [New Gallery) by mrs. Adrian stokes
imaginative paintings by Mr. R. Anning Bell, in
both of which he has managed different colour
schemes with conspicuous success. Mr. Spencer
Watson’s Cupid and Psyche was notable for its
sumptuous richness, and Mr. Cayley Robinson’s
The Farewell, for its curiously personal qualities of
expression and sentiment; and there was real sin-
cerity of manner and method in the All-Souls
Day—Hungary, by Mrs. Adrian Stokes. Mr.
Wetherbee’s A Little Herd Girl, and Mr. T. C.
Gotch’s Midsummer’s Eve and A Study in Reds,
must not be overlooked.
Landscapes of conspicuous merit were plentiful in
the exhibition—such excellent records of nature as
Mr. Alfred East’s The Edge of the Pool, Mr. Hughes-
Stanton’s The Mountain Road, Provence, and
Mr. Leslie Thomson’s Over the Sea to Skye, were
specially prominent, and with them must un-
questionably be reckoned Mr. J. L. Pickering’s
robustly romantic Gorge of the Arora, and The
Hills of Carglse, the Moorland near Shap Fells, and
A Breezy Day on the Upper Fell Country, by
Mr. Oliver Hall, and the expressive Solitude, by
Mr. Grosvenor Thomas. Mr. Moffat Lindner’s
sunset subject, Approach to Amsterdam, and his
brilliant water-colour, Rain Clouds on the Maas, did
STUDIO-TALK.
(From Our Otun Correspondents.)
LONDON.—The Exhibition at the New
Gallery this year was the first held under
the new system of management by which
the gallery is to be controlled for the
future. The old method of selecting works for
exhibition has been abandoned, and the contribu-
tions come now from a group of subscribing artists,
to each of whom a certain amount of wall space is
allotted; and the hanging committee is elected
from the general body of these subscribers. The
exhibition lost little of the atmosphere which has
distinguished it in past years, because most of the
men enrolled as subscribers have been represented
there by important work year after year.
Perhaps the best painting in the show was Mr.
J. J. Shannon’s In the Dunes, an exquisite variation
on the conventional portrait group and a delightful
example of free and spontaneous craftsmanship.
But there were memorable portraits also by
Mr. H. de T. Glazebrook, Mr. Harold Speed,
Mr. Spencer Watson, Mr. Coutts Michie, and
the Hon. John Collier; and two by Mr. W.
Llewellyn—of Mrs. Mansell Woods, and Nell,
Daughter of fames
Gwynne Holford, Esq.—
illustrated excellently his
decorative manner of deal-
ing with portraiture. Mr.
Melton Fisher’s dainty
study of Miss Beatrice
Ferrar was also import-
ant as a telling likeness
and as an agreeable piece
of painting.
54