DOI Heft:
Nr. 211 (October 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20971#0082
Studio-Talk
LUSTRKD AND SGRAFFITO TILES FOR A NURSERY OVERMANTEL BY C. B. CUNDALL (LEVENSHULME)
(National Competition, jgjo)
Some of them, too, may have recognised in the
profile of the paterfamilias leisurely seated in a
berglre chair by the side of a white spread break-
fast table, around which are gathered the juvenile
members of the family, the features of Mr. William
Nicholson, the distinguished painter, whose work
is constantly to be seen at the New English
Exhibitions, though he is not a member of the
Club. This portrait group is so intime, and there
is so much that is delightfully quaint in it, that we
are glad it has been secured for the public.
An exhibition which attracted much attention
during the off season was that held at the Baillie
Gallery, where a very interesting collection of
Chinese paintings was brought together, so that
what with the remarkable display of
Chinese and Japanese paintings pro-
vided by the Trustees of the British
Museum in the Print and Drawing
Gallery, and the collection of works in
the Japanese section at the Japan-
British Exhibition at Shepherd’s Bush,
a unique opportunity was afforded for
studying the art of the Far East at
first hand. At the Baillie Gallery the
most notable paintings shown were
those belonging to the Sung dynasty
(960—1280 a.d.) and the Ming dynasty
(1368 — 1644). The latter period is
often referred to as the age of deca-
dence in Chinese painting, but among
the works attributed to this period
there are many, to judge by the ex-
amples shown both at the British
Museum and at the Baillie Gallery,
which, so far from showing any signs of decadence,
are in fact unequalled by the productions of any
period. _
A study of the annual exhibition of the Royal
Photographic Society, recently held at the Old
Water Colour Society’s Gallery, showed that there
is at present much dissipation of effort in vain
competition with effects natural only to other
mediums. It can never be sufficiently emphasised
that success cannot be found along the line of
“ faking ” as the substitute for the missing element
of “touch,” and that it can only be achieved along
the lines of the one quality that all the arts
have in common—namely, “ selection.” Selection
counts in photography as much as it counts in
LUSTRKD AND SGRAFFITO TILES FOR A NURSERY OVERMANTEL BY C. B. CUNDALL (LEVENSHULME)
(National Competition, jgjo)
Some of them, too, may have recognised in the
profile of the paterfamilias leisurely seated in a
berglre chair by the side of a white spread break-
fast table, around which are gathered the juvenile
members of the family, the features of Mr. William
Nicholson, the distinguished painter, whose work
is constantly to be seen at the New English
Exhibitions, though he is not a member of the
Club. This portrait group is so intime, and there
is so much that is delightfully quaint in it, that we
are glad it has been secured for the public.
An exhibition which attracted much attention
during the off season was that held at the Baillie
Gallery, where a very interesting collection of
Chinese paintings was brought together, so that
what with the remarkable display of
Chinese and Japanese paintings pro-
vided by the Trustees of the British
Museum in the Print and Drawing
Gallery, and the collection of works in
the Japanese section at the Japan-
British Exhibition at Shepherd’s Bush,
a unique opportunity was afforded for
studying the art of the Far East at
first hand. At the Baillie Gallery the
most notable paintings shown were
those belonging to the Sung dynasty
(960—1280 a.d.) and the Ming dynasty
(1368 — 1644). The latter period is
often referred to as the age of deca-
dence in Chinese painting, but among
the works attributed to this period
there are many, to judge by the ex-
amples shown both at the British
Museum and at the Baillie Gallery,
which, so far from showing any signs of decadence,
are in fact unequalled by the productions of any
period. _
A study of the annual exhibition of the Royal
Photographic Society, recently held at the Old
Water Colour Society’s Gallery, showed that there
is at present much dissipation of effort in vain
competition with effects natural only to other
mediums. It can never be sufficiently emphasised
that success cannot be found along the line of
“ faking ” as the substitute for the missing element
of “touch,” and that it can only be achieved along
the lines of the one quality that all the arts
have in common—namely, “ selection.” Selection
counts in photography as much as it counts in