Studio: international art — 47.1909

Page: 268
DOI issue: DOI article: DOI article: DOI Page: Citation link:
License: Free access  - all rights reserved Use / Order
1 cm
Italian Art at the Venice International Exhibition

Venetian canvases, the finely felt study, The Rialto,
the dignified Three Palaces, the poetically suggested
San Geremia, and La Salute, and the splendidly
spacious Grand Canal, with his admirably decor-
ative Hay Barges on the Thames, and with his
expansive and expressive landscapes Australia
Felix and Sydney Harbour, or with that delightful
piece of impressive design, the Bamborough Castle.
By this comparison it can be seen how rightly
adaptable he is and how judiciously he responds
to the spirit of the place in which he is working.
His Australia Felix, which, by the way, has just
been awarded a bronze medal at the Salon des
Artistes Frangais, is, as might have been expected,
singularly happy as a record of the Australia he
knows so well; but the acuteness of vision which
makes this picture supremely memorable gives not
less authority to his Venetian and English subjects,
and accounts equally for their brilliant power.
Mr. Streeton, indeed, is an artist with a natural
equipment which will serve him well in any
situation, and the habits of self-reliance which he
has acquired by the manner of his training make
possible to him the highest type of achievement,
because he has no conventions to cramp his
freedom of action. W. Iv. West.


The chief attraction of the eighth International
Art Exhibition of Venice, and without the slightest
doubt that which has obtained the unanimous suf-
frage of admiration and esteem of public and critics
alike, consists of the groups of individual exhibits
by a few amongst the most characteristic Italian
painters of the present day, to each of whom has
been assigned an entire room or adequate wall

Though we may admire at this exhibition the
subtle and profound charm of the art of Besnard,
the Frenchman, the fantastic power of Franz Stuck,
the German, the plastic vigour of Zorn, the Swede,
the realistic methods of Ivroyer, the Dane, the
evocative and illuminating work of Claus, the
Belgian, these great foreign artists are so well
known in their various pictorial manifestations to
the readers of The Studio, that I think it will
be more opportune for me to speak to-day of the
Italian artists who figure prominently in Venice.

The most complete individual collection among
the Italians, and the one before which the crowds



loading ...