DOI issue:
No. 201 (December, 1909)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20968#0248
Studio-Talk
be most proud, is the voluntary recognition by Duveen from the great collection of the late M.
both political parties, through Mr. Harcourt on Maurice Kann. The pastoral scene by Watteau
the one side and Mr. Balfour on the other, of is a brilliant little example of a master who is
the growing necessities of the National Gallery well represented in none of our public collec-
and its claim to increased financial help from tions except the Wallace, and not at all in the
the State. This result is very gratifying, and chief one. The original was presented to the
the more so having regard to the fact (as we National Gallery of Scotland in 1866. Our other
believe it to be) that a recent appeal to the illustration is the beautiful Portrait of an Old Lady
Treasury on the part of the National Gallery by Rembrandt, a work which is believed to portray
Trustees met with no greater encouragement than the same lady as is seen in the National Gallery's
others which have been made to it in late years. But J^ortrait of an Old Lady, painted about 1661.
while welcoming these signs of a changed attitude, --
we must urge that if Art has any claims at all to The Goupil Gallery Salon now ranks as one of
encouragement by the State, the claims of con- the exhibitions of the year to look forward to.
temporary British Art should not be lost sight of. Perhaps this year the rank and file of pictures are
One need only turn to Mr. Hugh Stokes' "Art not of so stimulating an order as last year's,
Treasures of London" to; see how scantily our but painters like Emile Blanche, Wilson Steer,
living painters of eminence are represented in the Wm. Nicholson and Wm. Orpen, give a fine lead,
National and other public collections, a defect In his interiors—especially The Dressing Room,
which we are glad to recognise is being remedied Ojfranville, and Two Mirrors in the Music Room—
to some extent by the exertions of those who M. Blanche refines even upon the remarkable
control the National Art
Collections Fund.
This exhibition is re-
markable for its compre-
ensiveness. Rubens,
Velasquez, Rembrandt,
Hals, Van Dyck, Watteau,
Reynolds, Gainsborough,
are all represented by
important works. Then
a very complete collection
has been made of the
Italian School, including
works of the Primitives,
Raphael Madonnas, and
as many as four Gior-
giones, as well as examples
of Titian and Tintoret.
Of the works we repro-
duce the Portrait of
Giovanni Onigo, ascribed
to Giorgione, only lately
came from the Onigo
family, one of the most
ancient aristocratic fami-
lies in the North of Italy.
The three portraits by
Franz Hals, whose
methods provide such a
remarkable precedent for
the modern style, were
U U PORTRAIT OF A MAN BY FRANZ HALS
purchased by Messrs. {National Loan Exhibition, lent by Messrs. Duveen Bros.)
be most proud, is the voluntary recognition by Duveen from the great collection of the late M.
both political parties, through Mr. Harcourt on Maurice Kann. The pastoral scene by Watteau
the one side and Mr. Balfour on the other, of is a brilliant little example of a master who is
the growing necessities of the National Gallery well represented in none of our public collec-
and its claim to increased financial help from tions except the Wallace, and not at all in the
the State. This result is very gratifying, and chief one. The original was presented to the
the more so having regard to the fact (as we National Gallery of Scotland in 1866. Our other
believe it to be) that a recent appeal to the illustration is the beautiful Portrait of an Old Lady
Treasury on the part of the National Gallery by Rembrandt, a work which is believed to portray
Trustees met with no greater encouragement than the same lady as is seen in the National Gallery's
others which have been made to it in late years. But J^ortrait of an Old Lady, painted about 1661.
while welcoming these signs of a changed attitude, --
we must urge that if Art has any claims at all to The Goupil Gallery Salon now ranks as one of
encouragement by the State, the claims of con- the exhibitions of the year to look forward to.
temporary British Art should not be lost sight of. Perhaps this year the rank and file of pictures are
One need only turn to Mr. Hugh Stokes' "Art not of so stimulating an order as last year's,
Treasures of London" to; see how scantily our but painters like Emile Blanche, Wilson Steer,
living painters of eminence are represented in the Wm. Nicholson and Wm. Orpen, give a fine lead,
National and other public collections, a defect In his interiors—especially The Dressing Room,
which we are glad to recognise is being remedied Ojfranville, and Two Mirrors in the Music Room—
to some extent by the exertions of those who M. Blanche refines even upon the remarkable
control the National Art
Collections Fund.
This exhibition is re-
markable for its compre-
ensiveness. Rubens,
Velasquez, Rembrandt,
Hals, Van Dyck, Watteau,
Reynolds, Gainsborough,
are all represented by
important works. Then
a very complete collection
has been made of the
Italian School, including
works of the Primitives,
Raphael Madonnas, and
as many as four Gior-
giones, as well as examples
of Titian and Tintoret.
Of the works we repro-
duce the Portrait of
Giovanni Onigo, ascribed
to Giorgione, only lately
came from the Onigo
family, one of the most
ancient aristocratic fami-
lies in the North of Italy.
The three portraits by
Franz Hals, whose
methods provide such a
remarkable precedent for
the modern style, were
U U PORTRAIT OF A MAN BY FRANZ HALS
purchased by Messrs. {National Loan Exhibition, lent by Messrs. Duveen Bros.)