Studio: international art (53.1911)

■ I

Studio-Talk

and is a pretty regular contributor to the Royal art, lithography has progressed by leaps and bounds,

Academy exhibitions. and to-day there are quite a number of artists who

are real masters of the medium. Their prints show

LIVERPOOL.— The forty-first autumn exhibi- they recognise that arrangement of masses and

tion at the Walker Art Gallery is to be not so much fineness of line is required in

opened on the 18th inst. The artists lithography, although some prints of Lautrec

—J who have accepted the invitation of prove what line can do even in a lithograph,

the committee to assist them in arranging the With one exception, none of the artists represented

exhibition are Adrian Stokes, A.R.A. (London), in this exhibition have made the mistake of con-

E. A. Hornel (Kirkcudbright), and Adolph C. fusing lithography with any other form of art

Meyer, A.R.E. (Liverpool Academy). After much production. Frank Brangwyn sent a dark, massive

discussion the City Council have at length decided composition, The Pool, in several states ; E. J.

to permit the formation of an Art Union in con- Sullivan two classical subjects, Atlas and The

nection with this autumn exhibition, a step Loves of Flora and Zephyr, instinct with force and

advocated by the Liverpool Academy, the Liver- significance; Alphonse Legros three portrait heads,

pool Artists' Club, and others, on the ground that and Charles Shannon his languishing, graceful,

similar organisations elsewhere have stimulated dream fancies, from which might be singled out

public interest in art, and have achieved beneficial the superb Ministrants. Whistler was well repre-

results for the artists. H. B. B. sented with landscape and figure subjects (it was

M

ANCHESTER. —
Hitherto Manchester
has had little oppor-
tunity of seeing an
adequate representation either
of lithographs or etchings ; but
the summer exhibition at the Art
Gallery went far to remove this
reproach. The selection of etch-
ings made no claim to complete-
ness ; except for Eugene Bejot's
Seine pictures they were con-
fined to English artists, but even
then one missed the giants :
William Strang, Francis Dodd,
Muirhead Bone, and, among the
dead, Whistler and Seymour
Haden. The work exhibited
was, for the greater part, little
more than an echo of these
masters, of whom Muirhead
Bone seems to exercise the
greatest influence. Two plates
by D. Y. Cameron, Laroche and
Claime Laroche, stood out as the
most vigorous and original work
among the etchings; but there
was also some good work by
E. M. Synge.

The real strength of the ex-
hibition lay without doubt in its
lithographs. Since The Studio „ ,

. A DOORWAY IN VENICE (ETCHING)

did so much to encourage the (See Paris Smdio-7alk, p. 312)

311

♦