DOI issue:
Nr. 213 (December 1910)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20971#0251
Studio-Talk
With Whistler, whose
lithographs Messrs. Dun-
thorne have been exhibiting,
we had the sensitiveness
without strength, or the
strength was curbed. Per-
haps the responsive touch,
the really sensitive one, is
always the result of curbed
energy; the hand is not
allowed freedom because it
trammels itself with such
close appreciation of intima-
cies of form. The caressing
touch in the Model Draping
or The Dancing Girl reveals
the great Whistler, never on
this ground to be rivalled.
Mr. Thomas R. Way, a
disciple of Whistler’s, has
been exhibiting lithographs
and pastels at Clifford’s Inn
Hall. It is not, perhaps,
230
“RETURNING FROM WORK” BY HANS VON BARTELS
( Walker Art Gallery, Liverpool)
on either side of his picture. Among many
pictures which should ' be mentioned in this
exhibition, we name especially Night, Venice,
by Mr. O. Burnside ; La Partie d’Escrime, by
Mr. G. W. Lambert; The “ Salute,” by Mr. W. G.
von Glehn ; The Reader, by Mr. Harold Knight;
The “ A/lier” at Billy, by Mr. A. Rothenstein ;
Roses, by Mr. Algernon Talmage; Dawlisk, by
Mr. Donald Maclaren ; The Instructress, by Miss
Ethel Walker ; The Angler, by Mr. A. S. Hartrick;
Richmond-on-Thames, by Mr. A. Henry Fullwood;
The Mouth of the Cave, by Mr. Walter Bayes ; The
China Vase, by Miss Edith Gunther ; The Fountain,
by Miss Esther S. Sutro ; Near the Clayworks, by
Miss Evelyn Cheston.
The etchings by Anders Zorn on view at Messrs.
James Connell’s witness very eloquently to the
Swedish master’s peculiar characteristics. Virility
and strength are the key-
note of the execution, as
that of a man with a strong
hand, but the vision is
extraordinarily subtle and
tames the hand in the most
sensitive passages, giving his
work an infinite change of
texture and consequently
an inspiring vitality.
when he emulates his master that he achieves the
most. His is not the gift of suggesting everything
in the abstract. Most representative of the charms
of Mr. Way’s pencil were Hogarth’s House, Chis-
wick ; Hampton Court, the Sunk Garden; the
Quaint England: Deal series, and the Quaint
England: Stratford-on-Avon series, in which there
is a delightful wealth of finished detail, where
Whistler would have found an equally delightful
abbreviation.
The Old Dudley Art Society has just closed its
autumn exhibition, which must be counted a
successful one. The Society has never been an
ambitious one. It has aimed at representing as
widely as possible, and has adopted no exclusive
policy. Consequently there is always a task of
separating wheat from tares, which falls to the hang-
ing committee in most galleries. The president.
With Whistler, whose
lithographs Messrs. Dun-
thorne have been exhibiting,
we had the sensitiveness
without strength, or the
strength was curbed. Per-
haps the responsive touch,
the really sensitive one, is
always the result of curbed
energy; the hand is not
allowed freedom because it
trammels itself with such
close appreciation of intima-
cies of form. The caressing
touch in the Model Draping
or The Dancing Girl reveals
the great Whistler, never on
this ground to be rivalled.
Mr. Thomas R. Way, a
disciple of Whistler’s, has
been exhibiting lithographs
and pastels at Clifford’s Inn
Hall. It is not, perhaps,
230
“RETURNING FROM WORK” BY HANS VON BARTELS
( Walker Art Gallery, Liverpool)
on either side of his picture. Among many
pictures which should ' be mentioned in this
exhibition, we name especially Night, Venice,
by Mr. O. Burnside ; La Partie d’Escrime, by
Mr. G. W. Lambert; The “ Salute,” by Mr. W. G.
von Glehn ; The Reader, by Mr. Harold Knight;
The “ A/lier” at Billy, by Mr. A. Rothenstein ;
Roses, by Mr. Algernon Talmage; Dawlisk, by
Mr. Donald Maclaren ; The Instructress, by Miss
Ethel Walker ; The Angler, by Mr. A. S. Hartrick;
Richmond-on-Thames, by Mr. A. Henry Fullwood;
The Mouth of the Cave, by Mr. Walter Bayes ; The
China Vase, by Miss Edith Gunther ; The Fountain,
by Miss Esther S. Sutro ; Near the Clayworks, by
Miss Evelyn Cheston.
The etchings by Anders Zorn on view at Messrs.
James Connell’s witness very eloquently to the
Swedish master’s peculiar characteristics. Virility
and strength are the key-
note of the execution, as
that of a man with a strong
hand, but the vision is
extraordinarily subtle and
tames the hand in the most
sensitive passages, giving his
work an infinite change of
texture and consequently
an inspiring vitality.
when he emulates his master that he achieves the
most. His is not the gift of suggesting everything
in the abstract. Most representative of the charms
of Mr. Way’s pencil were Hogarth’s House, Chis-
wick ; Hampton Court, the Sunk Garden; the
Quaint England: Deal series, and the Quaint
England: Stratford-on-Avon series, in which there
is a delightful wealth of finished detail, where
Whistler would have found an equally delightful
abbreviation.
The Old Dudley Art Society has just closed its
autumn exhibition, which must be counted a
successful one. The Society has never been an
ambitious one. It has aimed at representing as
widely as possible, and has adopted no exclusive
policy. Consequently there is always a task of
separating wheat from tares, which falls to the hang-
ing committee in most galleries. The president.