Studio: international art (50.1910)

Studio-Talk

and Shade, and Mr. Hamilton Mackenzie’s Alec
and Kirkwood Fairlie. Mr. W. Caldwell Crawford’s
Old Bead Necklace is delicately phrased, but it is
too suggestive of the feminine asleep in the con-
templation of adornment.

In the water-colour room Mr. R. B. Nisbet’s
A Highland Moor in Autumn, with its purpled
sky and modulation of rich tints; and Mr. Stanley
Cursiter’s The Windozv, are prominent features.
Mr. James Paterson’s Montrichard, Touraine ;
Mr. William Walls’ A Sunny Nook (a study of
a sleeping dog); winter effects by Mr. Stratton
Ferrier and Mr. Ewan Geddes; The South Wind, a
phantasy by Miss Margaret S. Dobson ; and Miss
Katherine Cameron’s Autumn Rose, are all drawings
of merit. A. E.

BERLIN.—The importance of the great
Berlin Art Exhibition this year lies in
the fact that local talent becomes
prominent for the first time. This
assertion of self-esteem appears justified in presence
of many works which would contribute favourably
to any prominent exhibition. There is no creative
genius among our local artists, no startling talent
that breaks away from precedent, no new Menzel

has yet been born, but we possess a good many
artists who claim our close attention. Portraiture
makes a distinguished appearance in the works of
Georg Ludwig Meyn, Rudolf Schulte im Hofe,
Fritz Burger, Fenner-Behmerand Kiesel; especially
Meyn deserves his success for the impressive ren-
dering of the pithy personality of the sculptor
Peter Breuer. Landscapists of repute like Alfred
Scherres, Fritz and Louis Douzette, Heffner, Lang-
hammer, Hoffmann von Fallersleben, Saltzmann,
Bohrdt and Uth, have given new proofs of their
ability, and fresh strivers like Hartig, Licht, Sand-
rock, Lejeune, Wendel, Kocke, Tiircke, Wildhagen,
Schinkel, Ivolbe, Eschke and Kayser-Eichberg,
claim attention on the ground of personal and in-
teresting characteristics. These young men cultivate
either the energetic or the subtle stroke, but they
are all students of reality who scan light and air
with great persistence. Lejeune, a Bracht pupil,
has carried off the palm this year with his large
canvas, Hewing the Ice, which tells its message
convincingly and, in spite of all its verity, with
real distinction.

The realistic genre-picture finds some conspicu-
ous representatives in Kallmorgen, Looschen,
Engel, Hans Herrmann, and the late much-