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#0168
The Grosvenor Gallery
Mr. Oliver Hall is one of the most consummate
stylists in landscape whom the British school has
ever possessed. The pictures he exhibited, Egdean
Wood and Road through the Neiv Forest, have a
supreme interest as examples of dignified design
from which all the other trivialities have been
eliminated and in which the great, salient facts
are stated with perfect appreciation of their value.
His sense of colour, too, is as true as his feeling for
form, so that there is no flaw in the harmony of his
work, and there is no direction in which he fails to
make his artistic intention perfectly intelligible.
Mr. Peppercorn’s sombre and impressive method
was seen to advantage in his Early Morning and
The Path by the River, and Mr. Alexander Jamie-
son’s executive skill was displayed most agreeably
in his picture of The Theatre of Marie Antoinette,
Versailles, delightful in its vigorous directness and
breadth of manner.
There were included in the exhibition, too, a
number of canvases by Buxton Knight and Mr.
Walter Greaves. The examples of Buxton Knight’s
work were to be heartily welcomed because they
gave us an opportunity of studying once more the
achievement of a painter who ranks among our
greater men, and whose practice was always guided
by a noble singleness of aim. The masculine
robustness, the earnest seeking after truth, the
absence of affectation which distinguished the
whole of his production, made the pictures worthy
of the closer study. The contributions of Mr.
Walter Greaves, notwithstanding the technical skill
displayed in them, were less interesting because
the source from which their qualities were derived
was so evident. As a close imitator of Whistler,
as a follower who has learned all the tricks of
method and all the personal mannerisms of his
master, Mr. Greaves is extraordinarily successful,
but his productions are necessarily less authorita-
tive than those of Buxton Knight because they are,
after all, only reflections of what has been done—
and better done—by a far greater artist, while
Buxton Knight’s works express at first hand the
observations and beliefs of a man who went his
own way.
Among the figure pictures a very prominent
“the sands
146
BY WALTER W. RUSSELL
Mr. Oliver Hall is one of the most consummate
stylists in landscape whom the British school has
ever possessed. The pictures he exhibited, Egdean
Wood and Road through the Neiv Forest, have a
supreme interest as examples of dignified design
from which all the other trivialities have been
eliminated and in which the great, salient facts
are stated with perfect appreciation of their value.
His sense of colour, too, is as true as his feeling for
form, so that there is no flaw in the harmony of his
work, and there is no direction in which he fails to
make his artistic intention perfectly intelligible.
Mr. Peppercorn’s sombre and impressive method
was seen to advantage in his Early Morning and
The Path by the River, and Mr. Alexander Jamie-
son’s executive skill was displayed most agreeably
in his picture of The Theatre of Marie Antoinette,
Versailles, delightful in its vigorous directness and
breadth of manner.
There were included in the exhibition, too, a
number of canvases by Buxton Knight and Mr.
Walter Greaves. The examples of Buxton Knight’s
work were to be heartily welcomed because they
gave us an opportunity of studying once more the
achievement of a painter who ranks among our
greater men, and whose practice was always guided
by a noble singleness of aim. The masculine
robustness, the earnest seeking after truth, the
absence of affectation which distinguished the
whole of his production, made the pictures worthy
of the closer study. The contributions of Mr.
Walter Greaves, notwithstanding the technical skill
displayed in them, were less interesting because
the source from which their qualities were derived
was so evident. As a close imitator of Whistler,
as a follower who has learned all the tricks of
method and all the personal mannerisms of his
master, Mr. Greaves is extraordinarily successful,
but his productions are necessarily less authorita-
tive than those of Buxton Knight because they are,
after all, only reflections of what has been done—
and better done—by a far greater artist, while
Buxton Knight’s works express at first hand the
observations and beliefs of a man who went his
own way.
Among the figure pictures a very prominent
“the sands
146
BY WALTER W. RUSSELL