DOI Heft:
No. 218 (May, 1911)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20972#0336
Studio-Talk
and painter, whose art approaches sometimes as
close to greatness as that of any contemporary.
The range of his imagination is magnificent and
the imaginative freedom of touch an exhilarating
example. Messrs. Obach, in over fifty of his works
in drawings and etchings, have afforded us an
excellent opportunity of studying a bulk of his
work at one time—and after all that is the test of
an artist's range.
Readers of The Studio are familiar with the
name of Mr. Arthur G. Bell, a member of the Royal
Institute of Oil Painters, whose paintings never fail
to attract attention by their pleasant style and
accurate reflection of some of the rarer aspects of
nature. At a recent exhibition of his work the
artist was to be seen in his best vein and the group
of pictures shown were remarkable in the variety and
choice of subject and in success in the difference
of manipulation thus demanded. Reproduced here-
with are two typical phases of his work.
Mr. Spencer F. Gore, who has been showing
some of his work at the Chenil Gallery in Chelsea,
is one of the small band of painters who cultivate
the flower of Impressionist art in England—a soil
still somewhat alien to it. His work displays the
capabilities of Impressionism in some of its
more agreeable aspects; and again it emphasises
the most notable quality of the genuine Impres-
sionist school of painters, an acute and subtle
sensibility to the beauty of what is usually
called common-place life. Like most followers
of the Impressionist movement, he is chiefly
concerned with colour, tone values, design, &c,
and not with subjects, except so far as the subject
expresses an effect of colour and tone unusually
interesting or piquant.
Elie Nadelman's exhibition at Mr. Paterson's
Gallery has aroused much interest. We think we
detect something of a pose in this young Polish
sculptor, but his classicism has brought with it that
profoundly careful workmanship which Mr. Havard
Thomas's classicism brought to him, and on this
ground alone his work is deserving of attention.
Probably the artist thinks he attains infinite variety
of expression in the heads he exhibits; we feel
BY ARTHUR GEORGE BELL
and painter, whose art approaches sometimes as
close to greatness as that of any contemporary.
The range of his imagination is magnificent and
the imaginative freedom of touch an exhilarating
example. Messrs. Obach, in over fifty of his works
in drawings and etchings, have afforded us an
excellent opportunity of studying a bulk of his
work at one time—and after all that is the test of
an artist's range.
Readers of The Studio are familiar with the
name of Mr. Arthur G. Bell, a member of the Royal
Institute of Oil Painters, whose paintings never fail
to attract attention by their pleasant style and
accurate reflection of some of the rarer aspects of
nature. At a recent exhibition of his work the
artist was to be seen in his best vein and the group
of pictures shown were remarkable in the variety and
choice of subject and in success in the difference
of manipulation thus demanded. Reproduced here-
with are two typical phases of his work.
Mr. Spencer F. Gore, who has been showing
some of his work at the Chenil Gallery in Chelsea,
is one of the small band of painters who cultivate
the flower of Impressionist art in England—a soil
still somewhat alien to it. His work displays the
capabilities of Impressionism in some of its
more agreeable aspects; and again it emphasises
the most notable quality of the genuine Impres-
sionist school of painters, an acute and subtle
sensibility to the beauty of what is usually
called common-place life. Like most followers
of the Impressionist movement, he is chiefly
concerned with colour, tone values, design, &c,
and not with subjects, except so far as the subject
expresses an effect of colour and tone unusually
interesting or piquant.
Elie Nadelman's exhibition at Mr. Paterson's
Gallery has aroused much interest. We think we
detect something of a pose in this young Polish
sculptor, but his classicism has brought with it that
profoundly careful workmanship which Mr. Havard
Thomas's classicism brought to him, and on this
ground alone his work is deserving of attention.
Probably the artist thinks he attains infinite variety
of expression in the heads he exhibits; we feel
BY ARTHUR GEORGE BELL