DOI issue:
No. 195 (June, 1909)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20967#0080
Studio-Talk
The Royal Institute of Painters in Water
Colours has just held its one hundredth exhibition.
The Society was started in 1831 as the New
Society of Painters in Water Colours, as a protest
by the unattached water colour artists of the day
against the closed doors of the Old Society.
Certainly the claims which the Society makes in
its introductory note to the catalogue as to the
help it has rendered to newcomers to the ranks of
artists in water colours have been justified. The
exhibition was worthy of the occasion in its
completeness of character.
At the Leicester Galleries Mr. Arnesby Brown
exhibited a series of cabinet pictures, displaying to
full advantage his mastery in the treatment of
sudden effects of sunlight and his skill as a cattle
painter. In the same galleries Miss Ruth Doll-
man’s water colours of the Sussex Downs showed
great discretion as to the difficulties they will go
out and embrace, but all that the artist essays she
accomplishes in a delightfully sympathetic way.
At the Ryder Gallery Mr. H. C. Chetwood-
Aiken exhibited interesting pastel and water-colour
drawings of Dutch and other subjects, but he is
inclined to use too often the “ cumulus ” prescrip-
tion in his skies, and stability of drawing in the
buildings in such a sketch as Twilight Bristol
would increase the reality of effect.
Among other exhibitions which claim notice is
that of E. T. and E. H. Compton at the Fine Art
Society. Both artists paint in a quite similar
vein, sharing the same admirable qualities of strict
truthfulness to certain aspects of nature, largeness
and dignity of composition and scholarly drawing.
And at this latter gallery Mr. Frank Short’s recent
exhibition of etchings, mezzotints and water colours
must be mentioned. The distinguished etcher
remains at his best perhaps still in plates of the
character of Rye Port, but his excursions into mezzo-
tints after Turner and others are very interesting.
The Fairyland of PI. J. Ford is familiar to
many readers of the fairy-tale books by Andrew
Lang which he has illustrated. The original
drawings for these were lately shown at the Baillie
Gallery, together with paintings, some of the larger
MORNING ON THE SUSSEX DOWNS”
58
(See Alanchester Studio- Talk)
BY MILDRED HALL
The Royal Institute of Painters in Water
Colours has just held its one hundredth exhibition.
The Society was started in 1831 as the New
Society of Painters in Water Colours, as a protest
by the unattached water colour artists of the day
against the closed doors of the Old Society.
Certainly the claims which the Society makes in
its introductory note to the catalogue as to the
help it has rendered to newcomers to the ranks of
artists in water colours have been justified. The
exhibition was worthy of the occasion in its
completeness of character.
At the Leicester Galleries Mr. Arnesby Brown
exhibited a series of cabinet pictures, displaying to
full advantage his mastery in the treatment of
sudden effects of sunlight and his skill as a cattle
painter. In the same galleries Miss Ruth Doll-
man’s water colours of the Sussex Downs showed
great discretion as to the difficulties they will go
out and embrace, but all that the artist essays she
accomplishes in a delightfully sympathetic way.
At the Ryder Gallery Mr. H. C. Chetwood-
Aiken exhibited interesting pastel and water-colour
drawings of Dutch and other subjects, but he is
inclined to use too often the “ cumulus ” prescrip-
tion in his skies, and stability of drawing in the
buildings in such a sketch as Twilight Bristol
would increase the reality of effect.
Among other exhibitions which claim notice is
that of E. T. and E. H. Compton at the Fine Art
Society. Both artists paint in a quite similar
vein, sharing the same admirable qualities of strict
truthfulness to certain aspects of nature, largeness
and dignity of composition and scholarly drawing.
And at this latter gallery Mr. Frank Short’s recent
exhibition of etchings, mezzotints and water colours
must be mentioned. The distinguished etcher
remains at his best perhaps still in plates of the
character of Rye Port, but his excursions into mezzo-
tints after Turner and others are very interesting.
The Fairyland of PI. J. Ford is familiar to
many readers of the fairy-tale books by Andrew
Lang which he has illustrated. The original
drawings for these were lately shown at the Baillie
Gallery, together with paintings, some of the larger
MORNING ON THE SUSSEX DOWNS”
58
(See Alanchester Studio- Talk)
BY MILDRED HALL