DOI Heft:
No. 236 (November 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21158#0178
Studio-Talk
work of Messrs. R. G. Eves, A. M. Foweraker,
Giffard H. Lenfestey, W. T. M. Hawksworth,
C. Geoffrey Holme, and D. Murray Smith assists
in making this the strongest part of the exhibition.
Mr. Joseph Simpson contributes a fine pencil
drawing, and the miniatures of Miss Underwood
deserve comment.
At the conclusion of Mr. Val Davis’s article on
“The Art of Charles John Codings” in our last
issue, we expressed our intention of supplementing
the reproduction then given of Mr. Collings’s water-
colour On the Shuswap Lake by another from the
drawings recently exhibited at the Carroll Gallery.
We have now the pleasure of offering our readers
a reproduction of The Trapper's Line.
Messrs. Ernest Brown and Phillips have been
showing lately at the Leicester Galleries further
designs, drawings, and models for “ Hamlet ” and
other plays by Mr. Gordon Craig. Mr. Craig has
not yet been given a full opportunity of proving
the practicability of his designs; but apart from
any question of their practicability, it must be
said of them they are at once ingenious, attrac-
tive, imaginative, decorative and emotional. They
succeed sometimes in being nearly all that a work
of art should be. Their fault is a certain lack of
definiteness, as if they could not be worked out in
detail. Possibly this might prove the case were
they used for the purposes of the stage; it is
certainly a characteristic of the drawings themselves.
At the same galleries, Mr. George Clausen, R.A.,
has been having an exhibition of his works, thus
affording students of his always interesting art
every opportunity to follow his successes. Many
of the small still-life pieces, such as The Chinese
Pot and Carnations in Sunlight, were very beautiful
in their learned appreciation of interior atmo-
spheric effects. The artist has also, as is well
known, followed these effects in the interiors
of barns and sheds; and another phase of his
work, of which many fine examples were in
evidence in the exhibition, is his interpretation of
sunlight broken by the contours of thickly foliaged
branches of great trees in country lanes and fields.
The eminent painter still remains experimental,
and wonderfully free from mannerism in technique.
work of Messrs. R. G. Eves, A. M. Foweraker,
Giffard H. Lenfestey, W. T. M. Hawksworth,
C. Geoffrey Holme, and D. Murray Smith assists
in making this the strongest part of the exhibition.
Mr. Joseph Simpson contributes a fine pencil
drawing, and the miniatures of Miss Underwood
deserve comment.
At the conclusion of Mr. Val Davis’s article on
“The Art of Charles John Codings” in our last
issue, we expressed our intention of supplementing
the reproduction then given of Mr. Collings’s water-
colour On the Shuswap Lake by another from the
drawings recently exhibited at the Carroll Gallery.
We have now the pleasure of offering our readers
a reproduction of The Trapper's Line.
Messrs. Ernest Brown and Phillips have been
showing lately at the Leicester Galleries further
designs, drawings, and models for “ Hamlet ” and
other plays by Mr. Gordon Craig. Mr. Craig has
not yet been given a full opportunity of proving
the practicability of his designs; but apart from
any question of their practicability, it must be
said of them they are at once ingenious, attrac-
tive, imaginative, decorative and emotional. They
succeed sometimes in being nearly all that a work
of art should be. Their fault is a certain lack of
definiteness, as if they could not be worked out in
detail. Possibly this might prove the case were
they used for the purposes of the stage; it is
certainly a characteristic of the drawings themselves.
At the same galleries, Mr. George Clausen, R.A.,
has been having an exhibition of his works, thus
affording students of his always interesting art
every opportunity to follow his successes. Many
of the small still-life pieces, such as The Chinese
Pot and Carnations in Sunlight, were very beautiful
in their learned appreciation of interior atmo-
spheric effects. The artist has also, as is well
known, followed these effects in the interiors
of barns and sheds; and another phase of his
work, of which many fine examples were in
evidence in the exhibition, is his interpretation of
sunlight broken by the contours of thickly foliaged
branches of great trees in country lanes and fields.
The eminent painter still remains experimental,
and wonderfully free from mannerism in technique.