DOI Heft:
No. 197 (August, 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20967#0255
Studio-Talk
“l’entente CORDIALE, 1863: l’empereur
NAPOLEON III. ET LORD PALMERSTON (QUI A
L’OLIL OUVERT !) ” BY PROSPER D’EPINAY
(Salon des Humoristes, Paris)
it breathes the influence of Watts. A recent
member of the Society, Alexander Grieve, has
attained remarkable success, both in colour and
composition, with his picture of a girl playing a
Beethoven pianoforte work. David Alison, also
one of the young members, shows much promise
in his portrait of Sir Michael Nairn; J. Ford has
an excellent portrait of Dr. Calder, and W. G. Skeoch
Cumming a good equestrian portrait of Major
Graham Watson. The only interior of note is
that of a crofter’s kitchen by H. J. Bell.
In the water-colour room the place of honour is
given to a drawing by R. Anning Bell of the
Amazon Guard at Queen Hippolyta’s Bath, in
which strength of colour is more evident than
beauty of line. R. B. Nisbet’s Breezy Uplatidsuggests
that the artist’s recent incursion into oil painting is
giving greater purity of colour and directness of
touch to his work as an aquarellist; William Walls
has an impressive drawing of a black panther
stalking his prey; James Cadenhead a silvery Dee-
side landscape, Miss Kate Cameron a refined
picture of rose blooms in a vase; Miss Emily
“sir edwin landseer” by prosper d’epinay
(,Salon des Humoristes, Paris)
Paterson a clever drawing of one of the tree-
shaded streets of Dordrecht, and Miss Mabel
Dawson a boldly executed study of horses
drawing a reaper. A. E.
PARIS.—The Salon des Humoristes has
this year again met with much success,
and visitors thronged the galleries of the
Palais de Glace in order to sample the
wit of some of our most individualistic artists. It
almost seems as though the general public is tired
of the large conventional pictures of the Salons,
and finds infinitely more pleasure in looking at the
little drawings and water-colours of the French
masters of humorous art. The exhibition of 1909
was much like its predecessor of 1908, in that it re-
vealed nothing sensational—no new talent hitherto
ignored or but little appreciated. Many of the
works exhibited had already appeared in the
comic papers, but one saw them again in the
original with added pleasure. All the diverse
phases of French wit were here represented ; low
comedy in the work of L'andre and Faivre, modern
elegance by Fabiano, bucolic drollery in the
225
“l’entente CORDIALE, 1863: l’empereur
NAPOLEON III. ET LORD PALMERSTON (QUI A
L’OLIL OUVERT !) ” BY PROSPER D’EPINAY
(Salon des Humoristes, Paris)
it breathes the influence of Watts. A recent
member of the Society, Alexander Grieve, has
attained remarkable success, both in colour and
composition, with his picture of a girl playing a
Beethoven pianoforte work. David Alison, also
one of the young members, shows much promise
in his portrait of Sir Michael Nairn; J. Ford has
an excellent portrait of Dr. Calder, and W. G. Skeoch
Cumming a good equestrian portrait of Major
Graham Watson. The only interior of note is
that of a crofter’s kitchen by H. J. Bell.
In the water-colour room the place of honour is
given to a drawing by R. Anning Bell of the
Amazon Guard at Queen Hippolyta’s Bath, in
which strength of colour is more evident than
beauty of line. R. B. Nisbet’s Breezy Uplatidsuggests
that the artist’s recent incursion into oil painting is
giving greater purity of colour and directness of
touch to his work as an aquarellist; William Walls
has an impressive drawing of a black panther
stalking his prey; James Cadenhead a silvery Dee-
side landscape, Miss Kate Cameron a refined
picture of rose blooms in a vase; Miss Emily
“sir edwin landseer” by prosper d’epinay
(,Salon des Humoristes, Paris)
Paterson a clever drawing of one of the tree-
shaded streets of Dordrecht, and Miss Mabel
Dawson a boldly executed study of horses
drawing a reaper. A. E.
PARIS.—The Salon des Humoristes has
this year again met with much success,
and visitors thronged the galleries of the
Palais de Glace in order to sample the
wit of some of our most individualistic artists. It
almost seems as though the general public is tired
of the large conventional pictures of the Salons,
and finds infinitely more pleasure in looking at the
little drawings and water-colours of the French
masters of humorous art. The exhibition of 1909
was much like its predecessor of 1908, in that it re-
vealed nothing sensational—no new talent hitherto
ignored or but little appreciated. Many of the
works exhibited had already appeared in the
comic papers, but one saw them again in the
original with added pleasure. All the diverse
phases of French wit were here represented ; low
comedy in the work of L'andre and Faivre, modern
elegance by Fabiano, bucolic drollery in the
225