DOI issue:
No. 195 (June, 1909)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20967#0082
Studio-Talk
Making a round of the
remaining gallery one re-
marked the brilliant
colouring of The River
at Llandulas, by Mr.
Anderson Hague, R.I.,
whose recent exhibition
at Mr. Carruthers’ show-
room was of considerable
local interest, The Farm-
yard here illustrated being
from that collection; A
Melody, Miss Adelina
Leon, by Thomas Cantrell
Dugdale; the landscape
work by R. G. Somerset,
R.C.A. ; the flower paint-
ing by Miss Fanny Sugars,
and the more carefully
composed Geraniums, by
Miss Tinker ; the genuine
adherence to nature by
Mr. Elias Bancroft,
R.C.A., in his Yorkshire
Beck, and a similar love
in The Rising Moon, by “spring” (coloured pen-drawing) by annie urquhart
60
ledge of that early scintillating light over a
fisherman’s bay foretelling a day of heat. In his
smaller pictures, The Widow’s Garden, and notably
Runswick Bay, a more decorative treatment was
evident, and enchanted with its alluring colour of
red roof-tops, silvery-green and dove-grey shadows,
crowned by a faint violet sky. Balancing on the
same wall, Mr. H. S. Hopwood’s A Picardy Farm-
yard commanded attention by its direct observation;
perfectly composed and painted, it was a picture
to be studied, and Mr. Hopwood has seldom given
us anything more virile. For genuine charm, un-
stinted praise must be given to Mr. Philip T.
Gilchrist, R.B.A., whose Temple of the Moon-God
gives the true feeling of moonlight, the inter-
pretation of which so many artists treat with an
inky brush. Bringing in the Boats from the
Beach, by James W. Booth, R.C.A., had much of
the breath of the wind and strength of a strenuous
nature. The River, by Tom Mostyn, showed a
markedly powerful technical accomplishment and
decorative quality of painting that one would wish
had been devoted to a
more composedly de-
signed landscape worthy
of the artist’s undoubted
ability.
Byron Cooper; the prominent imaginative and
vigorous attainments by the president, H. Clarence
Whaite, P.R.C.A., R.W.S.; Autumn, by Reginald
Barber; the architectural studies by Mr. Edgar
Wood, A.R.I.B.A. ; the alluring work in clay by
Miss Gertrude E. Wright; and the noticeable
George Milner, Esq., M.A., f.P., in bronze, by
John Cassidy, A.R C.A. E. A. T.
GLASGOW.—Not the least remarkable
feature of the Glasgow School of Art
is the measure of individuality it
seems to develop in many of the
students who pass through its classes. This is
particularly so in the case of the women artists,
whose work, in both fine and applied art, is well
and favourably known to readers of The Studio.
Only last month I had occasion to call attention to
some excellent work by them at a recent exhibition
held at the school (see Art School Notes, pp. 330
et seq.). In the course of these notes I mentioned
the contributions of Miss Annie CTrquhart, a former
Making a round of the
remaining gallery one re-
marked the brilliant
colouring of The River
at Llandulas, by Mr.
Anderson Hague, R.I.,
whose recent exhibition
at Mr. Carruthers’ show-
room was of considerable
local interest, The Farm-
yard here illustrated being
from that collection; A
Melody, Miss Adelina
Leon, by Thomas Cantrell
Dugdale; the landscape
work by R. G. Somerset,
R.C.A. ; the flower paint-
ing by Miss Fanny Sugars,
and the more carefully
composed Geraniums, by
Miss Tinker ; the genuine
adherence to nature by
Mr. Elias Bancroft,
R.C.A., in his Yorkshire
Beck, and a similar love
in The Rising Moon, by “spring” (coloured pen-drawing) by annie urquhart
60
ledge of that early scintillating light over a
fisherman’s bay foretelling a day of heat. In his
smaller pictures, The Widow’s Garden, and notably
Runswick Bay, a more decorative treatment was
evident, and enchanted with its alluring colour of
red roof-tops, silvery-green and dove-grey shadows,
crowned by a faint violet sky. Balancing on the
same wall, Mr. H. S. Hopwood’s A Picardy Farm-
yard commanded attention by its direct observation;
perfectly composed and painted, it was a picture
to be studied, and Mr. Hopwood has seldom given
us anything more virile. For genuine charm, un-
stinted praise must be given to Mr. Philip T.
Gilchrist, R.B.A., whose Temple of the Moon-God
gives the true feeling of moonlight, the inter-
pretation of which so many artists treat with an
inky brush. Bringing in the Boats from the
Beach, by James W. Booth, R.C.A., had much of
the breath of the wind and strength of a strenuous
nature. The River, by Tom Mostyn, showed a
markedly powerful technical accomplishment and
decorative quality of painting that one would wish
had been devoted to a
more composedly de-
signed landscape worthy
of the artist’s undoubted
ability.
Byron Cooper; the prominent imaginative and
vigorous attainments by the president, H. Clarence
Whaite, P.R.C.A., R.W.S.; Autumn, by Reginald
Barber; the architectural studies by Mr. Edgar
Wood, A.R.I.B.A. ; the alluring work in clay by
Miss Gertrude E. Wright; and the noticeable
George Milner, Esq., M.A., f.P., in bronze, by
John Cassidy, A.R C.A. E. A. T.
GLASGOW.—Not the least remarkable
feature of the Glasgow School of Art
is the measure of individuality it
seems to develop in many of the
students who pass through its classes. This is
particularly so in the case of the women artists,
whose work, in both fine and applied art, is well
and favourably known to readers of The Studio.
Only last month I had occasion to call attention to
some excellent work by them at a recent exhibition
held at the school (see Art School Notes, pp. 330
et seq.). In the course of these notes I mentioned
the contributions of Miss Annie CTrquhart, a former