Studio: international art (49.1910)

Studio- Talk

whole picture. The Street of the Golden Temple
and On the Way to the Shrine may also be ranked
amongst the best of the Benares drawings. Of the
many pictures of Delhi, Jaipur, Gwalior, Agra,
etc., mention may be made of The Chadni■ Chauk,
a market scene, good in colour and arrangement,
Snake Charmers, The Jasmine Tower, The Elephant
Stables, Carrying Cotton (in which the camels are
particularly well executed and remind us that
Mr. Dean has made a special study of the Ship
of the Desert), the Breaking of the Little Monsoon,
Gwalior, and A White Street, Gwalior (reproduced
below and on p. 51). On looking at these drawings
it is obvious that the artist has obtained a strong
grip of the character and atmosphere of the
country and possesses an instinctive feeling for its
beauties. The variety of subject and treatment
displayed in this exhibition will do much to add
to Mr. Dean’s reputation.

The Landscape exhibition held annually at the
Old Water-colour Society’s Galleries is always one
not only of the greatest interest, but by reason of
the nature-loving quality with which the art of
some of the contributors has always been dis-

tinguished, a very pleasant one too. This year the
artists exhibiting were Messrs. R. W. Allan, J.
Aumonier, T. Austen Brown, James S. Hill, A. D.
Peppercorn, Bertram Priestman, Leslie Thomson
and George Wetherbee. Quite recently an article
in these pages was devoted to the art of Mr. J.
Aumonier and in the exhibition again we found the
charm of his work undiminished, to be remembered
especially by the pictures At Bosham, Sussex, and
An Upland Meadow. Mr. Leslie Thomson’s The
Edge of the Marsh, shares this lofty conception
of landscape, as do Mr. Bertram Priestman’s A
Breezy Day and Mist Clouds. Mr. R. W. Allan
continues in the vein to which he has accustomed
us. A Fishing Village on the North Coast, because
of its departure in composition, enabled us to see
the beauty of Mr. Allan’s qualities afresh. Mr.
Austen Brown strives to combine realistic subjects
with decorative contrast of colour, and his most
successful canvas was In Shady Pasture. Mr.
George Wetherbee’s successfully dramatic schemes
were of adifferent character to the prevailing tenour
of the show. Mr. Hill’s flower studies again brought
us back to the general feeling aroused by the ex-
hibition, to which one might pay the highest com-

“THE BREAKING OF THE LITTLE MONSOON, GWALIOR” (WATER-COLOUR)

48

BY FRANK DEAN