DOI Heft:
No. 236 (November 1912)
DOI Artikel:The inaugural exhibition at the new Grosvenor Gallery
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21158#0166
“GIRI. I.V A SPOTTED FROCK”
BY EDYTH S. RACKHAM
of their desire to put before the public “ the
seasonal output of acknowledged and rising artists
of this country ”; but at the same time they promise
that foreign art developments shall not be dis-
regarded if they possess an testhetic value and do
not depend upon mere sensationalism for what
interest they may have. The desire to draw upon
the output of British artists is, however, justified in
the “ foreword ” on the ground that “ this source
affords more recent, interesting, and sincere material
than any of the present movements abroad.”
What an amount of truth there is in this con-
tention could scarcely fail to strike any one who
seriously studied the work in the gallery. Although
there were certain gaps in the collection which to
some degree diminished its representative character,
the assertion it provided of the variety and value of
contemporary British art was unusually convincing.
Hardly any of the artists represented could be
accounted as of not sufficient prominence to be
*44
“THE ABb£ PICHOT’ BY FRANK CRAIG
The Grosvenor Gallery
included in so ambitious a demonstration of
the recent achievement of our native school. In
its selection and arrangement, its sustained quality
and its sincerity of purpose, the exhibition was
specially memorable.
In landscapes of importance the exhibition was
exceedingly strong. Prominent among them was Mr.
W. W. Russell’s brilliant study of open-air lighting,
The Sands, an exquisite rendering of a vivacious
subject, very subtle in its tones and most attrac-
tive in its freshness and luminosity of colour.
Equally worthy of consideration was Mr. livery’s
handling of a somewhat similar motive, The Lido,
Venice, a record of pervading sunlight treated with
splendid confidence, while one of the most com-
manding in its decorative significance and its power
of statement was Mr. Hughes-Stanton’s Fort St.
Andre, Vi/leneuve, a very effective transcription of
nature seen with true individuality and set down
with the sincerest conviction. Mr. Grosvenor
Thomas has shown few things in late years which
illustrate better his admirable art than the La7id-
scape and the Sketch at St. Margaret s Bay, with
their most persuasive spontaneity and rare beauty
of quiet, well-harmonised colour.
BY EDYTH S. RACKHAM
of their desire to put before the public “ the
seasonal output of acknowledged and rising artists
of this country ”; but at the same time they promise
that foreign art developments shall not be dis-
regarded if they possess an testhetic value and do
not depend upon mere sensationalism for what
interest they may have. The desire to draw upon
the output of British artists is, however, justified in
the “ foreword ” on the ground that “ this source
affords more recent, interesting, and sincere material
than any of the present movements abroad.”
What an amount of truth there is in this con-
tention could scarcely fail to strike any one who
seriously studied the work in the gallery. Although
there were certain gaps in the collection which to
some degree diminished its representative character,
the assertion it provided of the variety and value of
contemporary British art was unusually convincing.
Hardly any of the artists represented could be
accounted as of not sufficient prominence to be
*44
“THE ABb£ PICHOT’ BY FRANK CRAIG
The Grosvenor Gallery
included in so ambitious a demonstration of
the recent achievement of our native school. In
its selection and arrangement, its sustained quality
and its sincerity of purpose, the exhibition was
specially memorable.
In landscapes of importance the exhibition was
exceedingly strong. Prominent among them was Mr.
W. W. Russell’s brilliant study of open-air lighting,
The Sands, an exquisite rendering of a vivacious
subject, very subtle in its tones and most attrac-
tive in its freshness and luminosity of colour.
Equally worthy of consideration was Mr. livery’s
handling of a somewhat similar motive, The Lido,
Venice, a record of pervading sunlight treated with
splendid confidence, while one of the most com-
manding in its decorative significance and its power
of statement was Mr. Hughes-Stanton’s Fort St.
Andre, Vi/leneuve, a very effective transcription of
nature seen with true individuality and set down
with the sincerest conviction. Mr. Grosvenor
Thomas has shown few things in late years which
illustrate better his admirable art than the La7id-
scape and the Sketch at St. Margaret s Bay, with
their most persuasive spontaneity and rare beauty
of quiet, well-harmonised colour.