DOI Heft:
Nr. 219 (June 1911)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20973#0089
Studio- Talk
STAINED GLASS. DESIGNED AND EXECUTED BY ARCHIBALD J. DAVIES, OF THE BROMSGROVE GUILD, ASSISTED
BY A. LEMON
as can be, but Mr. Nelson Dawson at once finds
the true qualities of water-colour and carries over
no ideals from a former art, like enamel-painting,
which have no relation to the properties of his new
medium.
Perhaps there is no more admirable way 01
organising an exhibition—at least a small one—
than making it the personal selection of one
accomplished man. We have then not only the
motif in the art of the pictures, but this in its turn
serves to express the point of view of some one
capable of thinking in art and expressing himself
through the selection and arrangement of an
exhibition. The Carfax Gallery recently invited
the Hon. Neville Lytton to express himself in
this way. The show was entitled " Contemporary
Works of Art," but Mr. Lytton recognises as the
best element in contemporary work that which is
least contemporary in character, most pedantic in
character, and old-fashioned. Still work can be
all this and excellent, and this all the works
" chosen by "—as the catalogue puts it—the Hon.
Neville Lytton certainly were.
Since the death of Tom Browne, perhaps no
black-and-white artist has shown so much sheer
cleverness and ingenuity of invention as Mr.
Lawson Wood. His work indeed invites to one
criticism on account of his very cleverness, which is
apt to lead him into lines of abstract effectiveness
and to steal his attention from that laborious
observation of real life which gave such an indis-
pensable vitality to Phil May's work, for instance.
Mr. Lawson Wood exhibited in April and May at
the Walker Gallery.
At the Fine Art Society a further exhibition ot
W. Kuhnert's big-game pictures has just closed.
Nearly all animal painters can be classified under
the names of great predecessors in this vein. Mr.
Kuhnert falls easily under the heading of the school
of Landseer with his preoccupation with animal
traits which are not essentially related to environ-
ment. In this he is the opposite, for instance,
of the late J. M. Swan, R.A., who saw his animals
as subordinate to their environment, in the sense
that they were the product of it. The landscape
background in Mr. Kuhnert's canvases is often
superficial in painting in contrast with the pains
bestowed upon the animals. This in Mr. Swan's
case was never so. This comparison is justifiable,
since it indicates a great difference in the two
main directions which modern animal painting has
taken.
The French Gallery are holding their periodical
exhibition of French and Dutch works, consisting
of a very interesting selection of pictures by Johannes
Bosboom and William Maris.
The Goupil Gallery have been showing a
69
STAINED GLASS. DESIGNED AND EXECUTED BY ARCHIBALD J. DAVIES, OF THE BROMSGROVE GUILD, ASSISTED
BY A. LEMON
as can be, but Mr. Nelson Dawson at once finds
the true qualities of water-colour and carries over
no ideals from a former art, like enamel-painting,
which have no relation to the properties of his new
medium.
Perhaps there is no more admirable way 01
organising an exhibition—at least a small one—
than making it the personal selection of one
accomplished man. We have then not only the
motif in the art of the pictures, but this in its turn
serves to express the point of view of some one
capable of thinking in art and expressing himself
through the selection and arrangement of an
exhibition. The Carfax Gallery recently invited
the Hon. Neville Lytton to express himself in
this way. The show was entitled " Contemporary
Works of Art," but Mr. Lytton recognises as the
best element in contemporary work that which is
least contemporary in character, most pedantic in
character, and old-fashioned. Still work can be
all this and excellent, and this all the works
" chosen by "—as the catalogue puts it—the Hon.
Neville Lytton certainly were.
Since the death of Tom Browne, perhaps no
black-and-white artist has shown so much sheer
cleverness and ingenuity of invention as Mr.
Lawson Wood. His work indeed invites to one
criticism on account of his very cleverness, which is
apt to lead him into lines of abstract effectiveness
and to steal his attention from that laborious
observation of real life which gave such an indis-
pensable vitality to Phil May's work, for instance.
Mr. Lawson Wood exhibited in April and May at
the Walker Gallery.
At the Fine Art Society a further exhibition ot
W. Kuhnert's big-game pictures has just closed.
Nearly all animal painters can be classified under
the names of great predecessors in this vein. Mr.
Kuhnert falls easily under the heading of the school
of Landseer with his preoccupation with animal
traits which are not essentially related to environ-
ment. In this he is the opposite, for instance,
of the late J. M. Swan, R.A., who saw his animals
as subordinate to their environment, in the sense
that they were the product of it. The landscape
background in Mr. Kuhnert's canvases is often
superficial in painting in contrast with the pains
bestowed upon the animals. This in Mr. Swan's
case was never so. This comparison is justifiable,
since it indicates a great difference in the two
main directions which modern animal painting has
taken.
The French Gallery are holding their periodical
exhibition of French and Dutch works, consisting
of a very interesting selection of pictures by Johannes
Bosboom and William Maris.
The Goupil Gallery have been showing a
69