DOI Heft:
No. 235 (October 1912)
DOI Artikel:Taylor, Ernest Archibald: Some etchings from the recent salons in Paris
DOI Artikel:Davis, Val: The art of Charles John Collings: an appreciation
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21158#0043
Charles John Collings
Other exhibits which deserve more than a passing
mention include La Petite Fete des Fortifications
and La Seine a Courbevoie, excellent in design and
feeling of space, by M. Edgar Chahine, Les Deux
Scieurs, instinct with active vitality, by M. Paul- Even to those for whom art is one of life’s
Emile Colin, Le Polo, by M. Pierre-Georges greatest interests there come, amid the multitude
Jeanniot, Demolition Rue Jean de Beauvais and of exhibitions, moments of satiety and depression.
Ferme en Correze, by M. Edmond Ivayser, Le One asks, Is it not played out, this “painting,”
Chenal a La Rochelle, by M. Gustave Leheutre, has it anything fresh to offer? After all the centuries,
M. Gaston de Latenay’s Le Grand Chine and La is any form of pictorial art possible, combining
Mer Sauvage, the dry-points by M. Louis Legrand, beauty with originality—and sanity ? The most
and M. Eugene Viala’s La Ville Morte. Of the jaded of art-lovers, the most blase of critics, must
etchings in colour, Le Fort Cardinal (Belle-Ile), by have found an answer to these questions in the
M. Georges Mouchon, Le Quai de la Tournelle, by recent exhibition of drawings representing the
M. Jean Francois Raffaelli, and Nocturne d’Auray, Canadian Rockies by Mr. Charles John Collings,
by M. T. Franqois Simon, were the most noteworthy at the Carroll Gallery, George Street, Flanover
examples. E. A. Taylor. Square. One scarcely had dared to hope in these
latter days that there
could be such a revela-
tion in vision, colour,
and technique, for it
seemed that even the
“ isms ” must have ex-
hausted their horrors
—that finality had
come. How quietly
and unostentatiously
the little “show” was
announced! No
trumpet blare or
heralding of distin-
guished patrons, but
just a brief “ foreword ”
in the catalogue, by Mr.
Luscombe Carroll —
whose faith in the artist
has never wavered for
twenty years.
At first sight of Mr.
Collings’s work one is
impressed with a sense
of something un-
familiar ; no recollec-
tion of kindred effort
springs to the mind—
this is admitted by the
few to whom it does not
make a complete ap-
peal, as well as by
the many who whole-
heartedly succumb to
its spell. The vision is
new, the colour is new,
“ lSwENPLATZCHEN ” BY HERMAN A. WEBSTER . .
(Sociiti Nationale des Beaux-Arts) the technique, even,
The art of Charles john
COLLINGS: AN APPRECIA-
TION. BY VAL DAVIS, R.B.A.
21
Other exhibits which deserve more than a passing
mention include La Petite Fete des Fortifications
and La Seine a Courbevoie, excellent in design and
feeling of space, by M. Edgar Chahine, Les Deux
Scieurs, instinct with active vitality, by M. Paul- Even to those for whom art is one of life’s
Emile Colin, Le Polo, by M. Pierre-Georges greatest interests there come, amid the multitude
Jeanniot, Demolition Rue Jean de Beauvais and of exhibitions, moments of satiety and depression.
Ferme en Correze, by M. Edmond Ivayser, Le One asks, Is it not played out, this “painting,”
Chenal a La Rochelle, by M. Gustave Leheutre, has it anything fresh to offer? After all the centuries,
M. Gaston de Latenay’s Le Grand Chine and La is any form of pictorial art possible, combining
Mer Sauvage, the dry-points by M. Louis Legrand, beauty with originality—and sanity ? The most
and M. Eugene Viala’s La Ville Morte. Of the jaded of art-lovers, the most blase of critics, must
etchings in colour, Le Fort Cardinal (Belle-Ile), by have found an answer to these questions in the
M. Georges Mouchon, Le Quai de la Tournelle, by recent exhibition of drawings representing the
M. Jean Francois Raffaelli, and Nocturne d’Auray, Canadian Rockies by Mr. Charles John Collings,
by M. T. Franqois Simon, were the most noteworthy at the Carroll Gallery, George Street, Flanover
examples. E. A. Taylor. Square. One scarcely had dared to hope in these
latter days that there
could be such a revela-
tion in vision, colour,
and technique, for it
seemed that even the
“ isms ” must have ex-
hausted their horrors
—that finality had
come. How quietly
and unostentatiously
the little “show” was
announced! No
trumpet blare or
heralding of distin-
guished patrons, but
just a brief “ foreword ”
in the catalogue, by Mr.
Luscombe Carroll —
whose faith in the artist
has never wavered for
twenty years.
At first sight of Mr.
Collings’s work one is
impressed with a sense
of something un-
familiar ; no recollec-
tion of kindred effort
springs to the mind—
this is admitted by the
few to whom it does not
make a complete ap-
peal, as well as by
the many who whole-
heartedly succumb to
its spell. The vision is
new, the colour is new,
“ lSwENPLATZCHEN ” BY HERMAN A. WEBSTER . .
(Sociiti Nationale des Beaux-Arts) the technique, even,
The art of Charles john
COLLINGS: AN APPRECIA-
TION. BY VAL DAVIS, R.B.A.
21