DOI issue:
Nr. 220 (July 1911)
DOI article:The new english art club's exhibition
DOI Page / Citation link:https://doi.org/10.11588/diglit.20973#0141
The New English Art Club
Gere's A Hillside there is much of the same kind
of success.
Mr. Sargent in his Nonchaloir, while pretending to
be occupied with pose and distribution of drapery,
has given us one of those delightful representations
of femininity with which he now likes to confute
those who used to mark as a limitation on his
part the inability to represent women with a
Meredithian sympathy. Just that which gives the
spirit to Mr. Sargent's picture is what is generally
to be missed in canvases by Mr. Wilson Steer and
Mr. W. W. Russell. Theirs is the rare success of
portraying women in beautiful environments as part
of those environments, but they tend to let the
vitality of their pictures rest rather with the brilliant
treatment of accessories than with the sitters. In
landscapes Mr. Steer has achieved this year one of
the greatest of all his achievements in The Valley of
the Severn (Storm Passing Away).
Extremely interesting was M. Blanche's Vaslaw
Nijinskts Danses de Mains, while Mr. F. H. S.
Shepherd's The Dining-Room, 170 Queen's Gate,
marks a distinct advance upon preceding works,
which is saying a good deal. Mr. George Belcher,
so brilliant as a black-and-white man, succeeds with
colour well in his little grey picture An Old Bam.
A Cloud Shadow on the Sea off Cowes, but more
especially Sky Clearing after Rain, place Miss Alice
Fanner somewhere very near the front rank as a
sea-painter; the latter picture is an atmospheric
triumph. Bourdon, by Mr. T. F. M. Sheard, should
be especially mentioned with Professor Fredk.
Brown's Willows, next to it. Mr. Maxwell Arm-
field in Mimi in the Mountains showed some of the
dangers of work carried out too consciously on a
decorative plan, which is apt to result in a milliner-
like pleasure in the mere juxtaposition of an
effective assortment of tints, and thus compromise
other qualities. The Manikarnika Ghat and
Morning on the Ganges axe the names of two miracu-
lous interpretations of the luminous Indian haze
and the vibrating movement of brightly dressed
native crowds by Mr. William Rothenstein. The
Church in the Fens, by Mr. D. Muirhead, despite
its somewhat unpleasant indigo colour, was
strikingly successful in its chiaroscuro and com-
position; and Mr. Arthur Streeton's The Artist's
Dining-Room was a fine rendering of a lamp-lit
room with windows opening to the night. Mr.
Henry Lamb, in two canvases, has been attacking
\ "near Hertford" (water-colour) by a. w. rich
120
Gere's A Hillside there is much of the same kind
of success.
Mr. Sargent in his Nonchaloir, while pretending to
be occupied with pose and distribution of drapery,
has given us one of those delightful representations
of femininity with which he now likes to confute
those who used to mark as a limitation on his
part the inability to represent women with a
Meredithian sympathy. Just that which gives the
spirit to Mr. Sargent's picture is what is generally
to be missed in canvases by Mr. Wilson Steer and
Mr. W. W. Russell. Theirs is the rare success of
portraying women in beautiful environments as part
of those environments, but they tend to let the
vitality of their pictures rest rather with the brilliant
treatment of accessories than with the sitters. In
landscapes Mr. Steer has achieved this year one of
the greatest of all his achievements in The Valley of
the Severn (Storm Passing Away).
Extremely interesting was M. Blanche's Vaslaw
Nijinskts Danses de Mains, while Mr. F. H. S.
Shepherd's The Dining-Room, 170 Queen's Gate,
marks a distinct advance upon preceding works,
which is saying a good deal. Mr. George Belcher,
so brilliant as a black-and-white man, succeeds with
colour well in his little grey picture An Old Bam.
A Cloud Shadow on the Sea off Cowes, but more
especially Sky Clearing after Rain, place Miss Alice
Fanner somewhere very near the front rank as a
sea-painter; the latter picture is an atmospheric
triumph. Bourdon, by Mr. T. F. M. Sheard, should
be especially mentioned with Professor Fredk.
Brown's Willows, next to it. Mr. Maxwell Arm-
field in Mimi in the Mountains showed some of the
dangers of work carried out too consciously on a
decorative plan, which is apt to result in a milliner-
like pleasure in the mere juxtaposition of an
effective assortment of tints, and thus compromise
other qualities. The Manikarnika Ghat and
Morning on the Ganges axe the names of two miracu-
lous interpretations of the luminous Indian haze
and the vibrating movement of brightly dressed
native crowds by Mr. William Rothenstein. The
Church in the Fens, by Mr. D. Muirhead, despite
its somewhat unpleasant indigo colour, was
strikingly successful in its chiaroscuro and com-
position; and Mr. Arthur Streeton's The Artist's
Dining-Room was a fine rendering of a lamp-lit
room with windows opening to the night. Mr.
Henry Lamb, in two canvases, has been attacking
\ "near Hertford" (water-colour) by a. w. rich
120