Studio: international art (57.1913)

Studio-Talk

“A SPRING EVENING” (OIL). BY NAKAGAWA HACHIRO
( Taiheiyogakai Exhibition)

of our painters who have adopted the Western
style have much to learn and a great deal to strive
for. Harada Jiro.

STUDIO-TALK.

(From Our Own Correspondents.)

CDON.—Mr. W. J. Laidlay, whose death
took place at Freshwater in the Isle of
Wight on the 25th October, was a sincere,
conscientious and sensitive painter, and a
most interesting personality. He was the actual
founder of the New English Art Club, and throughout
his artistic career worked incessantly in the some-
what fruitless cause of the reform of the Royal
Academy. He was the author of several books
dealing with this and kindred subjects, including
“The Royal Academy : its Uses and Abuses,” and
‘Art, Artists, and Landscape Painting.” For
some years he was an exhibitor at the Royal
Academy, and was also a frequent exhibitor at
the Paris Salon and the New Gallery. Mr. Laidlay,
after graduating at Cambridge, was called to the
Bar in 1875, but his love of art triumphed, and in
1879 he went to Paris, where for some years he
was a pupil of Carolus Duran and Bouguereau.

offshoots of the Meiji Bijutsukai, or Fine Art
Society of Meiji. Towards the close of 1894,
Kuroda Kiyoteru, Kume Keiichiro, and others who
had studied painting in Paris withdrew from this
society and founded the Hakubakai, or “ White
Horse Society,” which gathered many promising
aspirants to its fold. Five years later, Yoshida
Hiroshi, Mitsutani Ivunishiro, Nagachi Hideta, and
others broke away from the mother society and
organised the Taiheiyogakai above referred to.
The Hakubakai, however, having accomplished
its mission, was disbanded about a year ago.
Recently an exhibition was organised by the new
society called “ Kofukai,” which was thought by
many to be the “White Horse Society” resurrected,
as the organisers were no other than seven of
Mr. Kuroda’s monjin, once active members of
the Hakubakai. It is asserted, however, that they
have nothing to do with the disbanded society.
The first exhibition of the Kofukai proved a
success. There were about four hundred paintings,
chiefly in oil, about a quarter of them being by
the organisers of the society, including Atomi Tai
and Kobayashi Shokichi, and there were also
on exhibition some works by recognised masters.
However, a visit to this exhibition as well as
the other noticed above convinced me that those
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“a sea shore” (oil) by kimura RYOICHI

( Taiheiyogakai Exhibition J