DOI issue:
No. 218 (May, 1911)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20972#0342
Studio-Talk
GLASGOW.—The present is a red-letter
year in the history of the Royal
Glasgow Institute of the Fine Arts.
To have completed fifty years of
useful educative service, and to enter on a fresh
period, with every prospect of increased oppor-
tunity and success, is a position fit to inspire
any progressive institution. How far the virile
art of Glasgow has contributed to the half-
century of institutional distinction, and to what
extent the corporate body has fostered the indi-
vidualistic art of the city, must be left to the
historian of this most interesting period to deter-
mine. The impressionistic movement of the
seventies, at Glasgow, is too important a phase
of art to be put aside with a professorial treatise,
an interpolated chapter, a casual lecture, or a
brief preface ; when an exhaustive narrative comes
to be written, it will be clearly seen that encourage-
ment from the Institute had more than a little to
do with the immediate and pronounced success of
the movement.
It was quite a happy idea to mark the Jubilee
year by setting aside the most important room in
the galleries for a loan collection of fifty-three
remarkable pictures; to the hypercritical it might
have seemed more appropriate if the celebration
had been confined to the art of the period covered
by the life of the Institute, but this would naturally
have removed one of the distinctive features of the
central room. The Executive have succeeded in
bringing together half a hundred unfamiliar pictures
of absorbing interest; that these are drawn largely
from local collections is one other evidence of the
importance of Glasgow as an. art centre. There is
a clear, distinctive Dutch Town, by James Maris, a
tenderly handled Girl with Goats, by his brother
Matthew, a vibrating Corot, an impressive Rousseau,
a tender Harpignies, and a gem-like Diaz, while
the Scottish School is worthily represented in
works by Raeburn, Erskine Nicol, Fraser, Sam
Bough, Cecil Lawson, Milne Donald, Herdman,
Pettie, Noel Paton; and in a suggestive position at
the exit there hangs an arresting representation of
" near lavardin " ..... (Purchased for Glasgow Corporation Permanent Collection) by w. a.' gibson
320
GLASGOW.—The present is a red-letter
year in the history of the Royal
Glasgow Institute of the Fine Arts.
To have completed fifty years of
useful educative service, and to enter on a fresh
period, with every prospect of increased oppor-
tunity and success, is a position fit to inspire
any progressive institution. How far the virile
art of Glasgow has contributed to the half-
century of institutional distinction, and to what
extent the corporate body has fostered the indi-
vidualistic art of the city, must be left to the
historian of this most interesting period to deter-
mine. The impressionistic movement of the
seventies, at Glasgow, is too important a phase
of art to be put aside with a professorial treatise,
an interpolated chapter, a casual lecture, or a
brief preface ; when an exhaustive narrative comes
to be written, it will be clearly seen that encourage-
ment from the Institute had more than a little to
do with the immediate and pronounced success of
the movement.
It was quite a happy idea to mark the Jubilee
year by setting aside the most important room in
the galleries for a loan collection of fifty-three
remarkable pictures; to the hypercritical it might
have seemed more appropriate if the celebration
had been confined to the art of the period covered
by the life of the Institute, but this would naturally
have removed one of the distinctive features of the
central room. The Executive have succeeded in
bringing together half a hundred unfamiliar pictures
of absorbing interest; that these are drawn largely
from local collections is one other evidence of the
importance of Glasgow as an. art centre. There is
a clear, distinctive Dutch Town, by James Maris, a
tenderly handled Girl with Goats, by his brother
Matthew, a vibrating Corot, an impressive Rousseau,
a tender Harpignies, and a gem-like Diaz, while
the Scottish School is worthily represented in
works by Raeburn, Erskine Nicol, Fraser, Sam
Bough, Cecil Lawson, Milne Donald, Herdman,
Pettie, Noel Paton; and in a suggestive position at
the exit there hangs an arresting representation of
" near lavardin " ..... (Purchased for Glasgow Corporation Permanent Collection) by w. a.' gibson
320