DOI Heft:
Nr. 219 (June 1911)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20973#0085
Studio- Talk
STUDIO-TALK.
(From Our Own Correspondents.)
IONDON.—At the time of going to press
with this number the Official Medal
which the Royal Mint is issuing in com-
—J memoration of the forthcoming Coronation
of King George and Queen Mary was not available
for reproduction, but among other medals signalising
this great event which have come under our notice
that by Mr. Bowcher, reproduced above, is par-
ticularly interesting as embodying the qualities that
a memorial of this nature ought to possess. The
modelling of the portraits is excellent, and the
design of the reverse entirely appropriate to the
occasion.
As on the occasion of the coronation of King
Edward and Queen Alexandra, the Royal Danish
Porcelain Works, which have so many friends and
patrons in England, have also produced a special
plaque, here illustrated, in commemoration of the
coronation of King George and Queen Mary.
The Goupil Gallery have not held a more in-
teresting exhibition than that of Mr. Walter Greaves
(pupil of Whistler)—interesting, that is to say, from
the standpoint of the history of the developments
of conte mporary painting. Whistler used to insist
that Mr. Greaves and his brother should not exhibit
without the words " pupil of Whistler " being written
in the catalogue after their name, and he exercised
the prerogative of giving or withholding—apparently
often the latter—consent to the exhibition of their
pictures. Thus zealously he guarded the inspiration
with which he could not fail to infect those brought
into close contact with him. Some of Mr.
Greaves's pictures are dated in the very early
sixties, when Whistler took his first house in
Chelsea, as neighbour of a boatman, Greaves.
Greaves had rowed Turner about, and his two
sons, of whom Mr. Walter Greaves is one, rowed
Whistler about, and in return learned painting
from him. Mr. Greaves's successful period seems
entirely confined to that of the Whistler influence.
The success is always that of a perfect echo. His
pictures reflect a deliberation over technical secrets
that Whistler, though he was their imparter, was
CORONATION PLAQUE. DESIGNED BY PROI-'. ARNOLD
KROG FOR THE ROYAL DANISH PORCELAIN WORKS,
COPENHAGEN
65
STUDIO-TALK.
(From Our Own Correspondents.)
IONDON.—At the time of going to press
with this number the Official Medal
which the Royal Mint is issuing in com-
—J memoration of the forthcoming Coronation
of King George and Queen Mary was not available
for reproduction, but among other medals signalising
this great event which have come under our notice
that by Mr. Bowcher, reproduced above, is par-
ticularly interesting as embodying the qualities that
a memorial of this nature ought to possess. The
modelling of the portraits is excellent, and the
design of the reverse entirely appropriate to the
occasion.
As on the occasion of the coronation of King
Edward and Queen Alexandra, the Royal Danish
Porcelain Works, which have so many friends and
patrons in England, have also produced a special
plaque, here illustrated, in commemoration of the
coronation of King George and Queen Mary.
The Goupil Gallery have not held a more in-
teresting exhibition than that of Mr. Walter Greaves
(pupil of Whistler)—interesting, that is to say, from
the standpoint of the history of the developments
of conte mporary painting. Whistler used to insist
that Mr. Greaves and his brother should not exhibit
without the words " pupil of Whistler " being written
in the catalogue after their name, and he exercised
the prerogative of giving or withholding—apparently
often the latter—consent to the exhibition of their
pictures. Thus zealously he guarded the inspiration
with which he could not fail to infect those brought
into close contact with him. Some of Mr.
Greaves's pictures are dated in the very early
sixties, when Whistler took his first house in
Chelsea, as neighbour of a boatman, Greaves.
Greaves had rowed Turner about, and his two
sons, of whom Mr. Walter Greaves is one, rowed
Whistler about, and in return learned painting
from him. Mr. Greaves's successful period seems
entirely confined to that of the Whistler influence.
The success is always that of a perfect echo. His
pictures reflect a deliberation over technical secrets
that Whistler, though he was their imparter, was
CORONATION PLAQUE. DESIGNED BY PROI-'. ARNOLD
KROG FOR THE ROYAL DANISH PORCELAIN WORKS,
COPENHAGEN
65