DOI issue:
Nr. 213 (December 1910)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20971#0250
Studio-Talk
“an adventure” (Carfax Gallery) by albert rothenstein
extending its sympathy to the less formal pieces
of work of this kind.
The galleries of Messrs. Carfax have the
unique distinction of never being known to have
had an uninteresting exhibition. Moreover, their
doors are always open to artists who are not
bidding for the sensational sorts of reputation.
Obscured perhaps by the fame of Mr. William
Rothenstein and Mr. Augustus John, the lighter,
less original, but not less responsive genius of
Mr. Albert Rothenstein, who exhibited at these
galleries early last month, has remained somewhat
in the background. His art has distinct affinity
with Mr. John’s ; but equality of execution is the
only secure foundation for a reputation, and the
latter artist could not draw badly if he tried. Now
Mr. Albert Rothenstein’s hand cannot always live
up to his highly-educated vision : it gets its best
chances where it can be fanciful; it is there it often
touches sources known to the artist whose reflec-
tion we find in his work. It reaches the realm of
feeling, appeals to feeling, projects an atmosphere
—unpleasant perhaps sometimes—but there it is.
most looked-forward-to features of the autumn
season. This year it contains more than one
picture which might easily be regarded as a master-
piece, in the bigger sense of this word. Mr. Walter
W. Russell’s Dover Castle, Mr. Glyn Philpot’s
Man Laughing, Mr. Patrick W. Adams’s The Par-
rot's Room, Mr. A. Mancini’s Portrait, Mr. A.
Jameson’s Le Pavilion Franfais, M. Jacques E.
Blanche’s Rasy Chair with Chintz Cover, Mr.
W. Orpen’s Bright Morning by the Sea, and Mr.
Nicholson’s pictures readily come to mind. Mr.
Orpen may be greatest as an interior painter,
but when he goes out of doors, of course he takes
his genius with him, and in the picture named he
has given us something eminently finer than previous
portraits or figures of his done in the open, though
there is perhaps in this picture a little lightness and
inclination to prettiness, or rather mere charm,
scarcely worthy of his impressive execution.
Mr. Nicholson’s impressive art, like Mr. Orpen’s,
also suffers from the anxiety to give “pleasant”
colour. Mr. Pryde is almost at his best in this
exhibition and that in itself is a great feature for
any exhibition. He plays a prank with architec-
ture which is stimulating to the imagination, but
irritating to the reason, in the tall, slender columns
229
The Goupil Gallery Salon is now one of the
“an adventure” (Carfax Gallery) by albert rothenstein
extending its sympathy to the less formal pieces
of work of this kind.
The galleries of Messrs. Carfax have the
unique distinction of never being known to have
had an uninteresting exhibition. Moreover, their
doors are always open to artists who are not
bidding for the sensational sorts of reputation.
Obscured perhaps by the fame of Mr. William
Rothenstein and Mr. Augustus John, the lighter,
less original, but not less responsive genius of
Mr. Albert Rothenstein, who exhibited at these
galleries early last month, has remained somewhat
in the background. His art has distinct affinity
with Mr. John’s ; but equality of execution is the
only secure foundation for a reputation, and the
latter artist could not draw badly if he tried. Now
Mr. Albert Rothenstein’s hand cannot always live
up to his highly-educated vision : it gets its best
chances where it can be fanciful; it is there it often
touches sources known to the artist whose reflec-
tion we find in his work. It reaches the realm of
feeling, appeals to feeling, projects an atmosphere
—unpleasant perhaps sometimes—but there it is.
most looked-forward-to features of the autumn
season. This year it contains more than one
picture which might easily be regarded as a master-
piece, in the bigger sense of this word. Mr. Walter
W. Russell’s Dover Castle, Mr. Glyn Philpot’s
Man Laughing, Mr. Patrick W. Adams’s The Par-
rot's Room, Mr. A. Mancini’s Portrait, Mr. A.
Jameson’s Le Pavilion Franfais, M. Jacques E.
Blanche’s Rasy Chair with Chintz Cover, Mr.
W. Orpen’s Bright Morning by the Sea, and Mr.
Nicholson’s pictures readily come to mind. Mr.
Orpen may be greatest as an interior painter,
but when he goes out of doors, of course he takes
his genius with him, and in the picture named he
has given us something eminently finer than previous
portraits or figures of his done in the open, though
there is perhaps in this picture a little lightness and
inclination to prettiness, or rather mere charm,
scarcely worthy of his impressive execution.
Mr. Nicholson’s impressive art, like Mr. Orpen’s,
also suffers from the anxiety to give “pleasant”
colour. Mr. Pryde is almost at his best in this
exhibition and that in itself is a great feature for
any exhibition. He plays a prank with architec-
ture which is stimulating to the imagination, but
irritating to the reason, in the tall, slender columns
229
The Goupil Gallery Salon is now one of the