Studio: international art (55.1912)

Studio-Talk

STUDIO-TALK.

(From Our Own Correspondents.)

LONDON.—Mr. Gutekunst has been holding
an exhibition of the late Professor Legros’
etchings. Some particularly impassioned
—d little landscapes—if the word passion can
be thought of in connection with a deep love for
stillness of riverside and plain—were greatly to be
enjoyed. This is more especially to be remarked
upon as it is the dramatic figure plates, fully repre-
sented in the exhibition, which have come in for
the larger share of appreciation in reviews of the late
professor’s work, though their characteristics were
perhaps less intimately expressive of the qualities
of his mind than the feeling for places remote and
romantic which is so noticeable in his landscape
etchings.

The Society of Twelve’s Seventh Exhibition at
Messrs. Colnaghi and Obach’s Gallery was, despite
the abstention of some half-dozen of its most

eminent members, a very strong one. The society,
its title notwithstanding, consists of eighteen
members. The art of the late Professor Legros,
an honorary member, was represented retrospec-
tively in several characteristic phases. Mr. D. Y.
Cameron’s needle in The Boddin and other etchings
was to be seen at its best. Mr. Walter Sickert, a
new member, introduced his own characteristic
note. In The Brook, Mr. George Clausen exhibited
a drawing of great beauty. His Early Morning,
September, A Winter Morning, and A Cottage
among Trees are also drawings to be remembered.
Mr. Ian Strang’s Study of a Gipsy Child, Mr.
Francis Dodd’s The Theatre of Marcellus, Rome,
Mr. Muirhead Bone’s The Pantheon, Rome, were
notable exhibits. Mr. T. Sturge Moore was on
this occasion the exhibitor of a particularly happy
series of designs, and Mr. Gordon Craig’s designs
for stage scenes were eloquent in point of colour
and effect.

The Stafford Galleries contained last month a

design for A garden terrace (See Recent Designs in Domestic Architecture, p. 132) BY ester claesson

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