Studio: international art (58.1913)

Studio-Talk

"THE TOWER BRIDGE " (WOOD-ENGRAVING IN COLOUR) BY EMILE A. VERPILLEUX

(International Society)

In conclusion, I would point out that it is only
the presence of the Censors' or Aratame seals,
which affords us proof of the approximate or actual
date of a print. Their absence may be negative
evidence, when other data are available. A know-
ledge of such data requires, however, a special
study, the discussion of which is beyond the scope
of these notes. J. J. O'B. S.

STUDIO-TALK.

(From our Own Correspondents.)

LONDON. — The exhibition of the Inter-
national Society of Sculptors, Painters
and Gravers at the Grosvenor Gallery
—J is to be highly commended as a
gathering of sound and sincere artistic produc-
tion. What things there are in it that can be
objected to as technically extravagant and lacking
in genuine inspiration are too few to weaken the
favourable impression created by the collection as
a whole, and have, moreover, been discreetly placed

in positions which prevent their being obtrusive.
In the arrangement of the display there has
evidently been an intention to make most promi-
nent those works which are distinguished by
legitimate originality, and which bear the stamp of
a sanely personal intention. Many admirable
productions of this type are presented.

In The Mountains of Arran, a landscape
splendidly designed and very finely treated, Mr.
Cameron is quite at his best as a painter of
Nature's decorative aspects j Mr. Orpen's exquisite
study of subtle tones, Afternoon Sleep, is one of his
most fascinating records of acute observation ; Mr.
Glyn Philpot's The Feast of Belshazzar has a
masterly executive quality and shows a rare power
of invention; Mr. Charles Ricketts' Montezuma is
an impressive rendering of a dramatic moment;
Mr. Jamieson's Summer Afternoon in a well-known
Garden is unusually satisfying in its brilliant free-
dom of statement; and Mr. Nicholson's Portrait is
in the highest degree convincing as a shrewd note

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