DOI Heft:
No. 195 (June, 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20967#0081
Studio- Talk
of which were of much beauty. Mr. Sowerby’s water
colours at the same rooms were pleasant in their
semi-pre-Raphaelite method.
MANCHESTER.—The recent annual ex-
hibition of the Manchester Academy of
Fine Arts, if not to be congratulated as
a whole on a higher standard of work
than its predecessors, or a noticeable enrolment to
its associates, must be complimented on its more
carefully thought out arrangements — especially
noticeable in the hanging of the large gallery. But
an exhibition containing such sincere and capable
work as that by Mr. Fred. W. Jackson, Mr. H. S.
Hopwood, Mr, Philip T. Gilchrist, Miss Mildred
Hall, Miss Gertrude E. Wright, and others men-
tioned in these notes, is not one lightly to be
dismissed.
In the first room Mr. Fred W. Jackson’s water-
colour, An Arabesque, attracted by its breadth,
design and observant treatment of a moving crowd
in a narrow Moorish street. On the opposite wall
Mr. H. S. Hopwood’s dexterous little sketch in
body-colour of A Cafe Archzvay, Biskra, was inter-
esting, though more of the artist was felt in his Study
m Rose and White, a tall figure of a lady in a pink
dress, standing by a half-opened door ; gradations
of white, grey and gold with a restrained use of
pastel, completing a harmony confident and truth-
ful. Morning on the Sussex Downs, by Miss
Mildred Hall, was a work of rare distinction
among the water-colours. Other noticeable work
in the same room claiming attention included
W. Eyre Walker’s Berket Common on the River
Eden, with its dark sweeping evening sky; Mr. A.
J. Mavrogordato’s The Parthenon — Moonrise,
excellent in colour, though the placing of the
moon was rather disturbing. Immediately below
was another Moonrise, by W. H. Wilkinson, attrac-
tive by its contrast in rich tones of brown and
green. An Anglesea Farmyard, by Mary McNicol
Wroe, Grey Evening, Conway Valley, by Walter
Emsley, Spring, by F. M. Monkhouse, and
Evening, by Ethel Hall, were all full of interest
and artistic interpretation; and last, but not least,
Miss Elizabeth Orme Collie’s Mary, a charming
study in charcoal, produced the desire to see
more of this artist’s sympathetic work.
In the large gallery devoted to oils and sculpture
Mr. Fred W. Jackson’s October Morning arrested
one’s gaze by its capable painting and atmospheric
quality—a task handled with an intimate know-
59
of which were of much beauty. Mr. Sowerby’s water
colours at the same rooms were pleasant in their
semi-pre-Raphaelite method.
MANCHESTER.—The recent annual ex-
hibition of the Manchester Academy of
Fine Arts, if not to be congratulated as
a whole on a higher standard of work
than its predecessors, or a noticeable enrolment to
its associates, must be complimented on its more
carefully thought out arrangements — especially
noticeable in the hanging of the large gallery. But
an exhibition containing such sincere and capable
work as that by Mr. Fred. W. Jackson, Mr. H. S.
Hopwood, Mr, Philip T. Gilchrist, Miss Mildred
Hall, Miss Gertrude E. Wright, and others men-
tioned in these notes, is not one lightly to be
dismissed.
In the first room Mr. Fred W. Jackson’s water-
colour, An Arabesque, attracted by its breadth,
design and observant treatment of a moving crowd
in a narrow Moorish street. On the opposite wall
Mr. H. S. Hopwood’s dexterous little sketch in
body-colour of A Cafe Archzvay, Biskra, was inter-
esting, though more of the artist was felt in his Study
m Rose and White, a tall figure of a lady in a pink
dress, standing by a half-opened door ; gradations
of white, grey and gold with a restrained use of
pastel, completing a harmony confident and truth-
ful. Morning on the Sussex Downs, by Miss
Mildred Hall, was a work of rare distinction
among the water-colours. Other noticeable work
in the same room claiming attention included
W. Eyre Walker’s Berket Common on the River
Eden, with its dark sweeping evening sky; Mr. A.
J. Mavrogordato’s The Parthenon — Moonrise,
excellent in colour, though the placing of the
moon was rather disturbing. Immediately below
was another Moonrise, by W. H. Wilkinson, attrac-
tive by its contrast in rich tones of brown and
green. An Anglesea Farmyard, by Mary McNicol
Wroe, Grey Evening, Conway Valley, by Walter
Emsley, Spring, by F. M. Monkhouse, and
Evening, by Ethel Hall, were all full of interest
and artistic interpretation; and last, but not least,
Miss Elizabeth Orme Collie’s Mary, a charming
study in charcoal, produced the desire to see
more of this artist’s sympathetic work.
In the large gallery devoted to oils and sculpture
Mr. Fred W. Jackson’s October Morning arrested
one’s gaze by its capable painting and atmospheric
quality—a task handled with an intimate know-
59