DOI issue:
No. 248 (November 1913)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21208#0173
Studio-Talk
“the passing of autumn” (Glasgow Institute of the Fine Arts) by w. a. gibson
Corporation in this have secured a fine example of
the gifted artist’s style. The Passing of Autumn, by
W. A. Gibson, also purchased for Glasgow’s per-
manent collection, is a powerfully phrased moor-
land effect in far-away Ross-shire. These two
important purchases are a dignified rebuke to the
ill-mannered and irresponsible criticism levelled at
the Corporation committee in their earnest efforts
to bring within the reach of the people the finest
examples of contemporary art.
The Bathers, an early work by William M’Taggart,
full of that open-airness this distinguished Scottish
landscapist had at command, will serve to call
attention to the fact that in the city’s permanent
collection there is yet no example of his art. The
Benediction, by R. Macaulay Stevenson, is full
of that tender poetic feeling and shadowy atmo-
sphere so characteristic of this artist’s work ; while
Spring in the Woodlands is rich in all the qualities
in which E. A. Hornel excels. Another contri-
bution by a Glasgow artist is the big Dutch pastoral
by J. Hamilton Mackenzie. This picture, which
has been added to the list of purchases for the
Glasgow Corporation’s permanent collection, is well
composed, harmoniously phrased, the light and
shadow cleverly handled, there is keen sense
of distance, and the wrork is that of an artist who
is intimately familiar with the characteristics of the
Dutch sketching grounds. A. R. W. Allan contri-
butes earnest pastoral studies, and Gertrude
Coventry marks advance in her fishing-port tran-
scriptions. In the water-colour section there are
conspicuous examples of the incomparable art of
Melville, of the genius of Joseph Crawdiall, and of
the power of Brangwyn, besides poetic rendeiings
by A. K. Brown, animated colour subtleties by
R. M. G. Coventry, and delicate interpretations by
Katharine Cameron, R.S.W. J. T.
PARIS.—In the profotideurs de la conscience
alsacienne, to borrow7 a familiar expression
of Barres, Zwiller has discovered resources
of talent and of will such as have enabled
him to raise himself to the level of that chosen
band of artists of whom Alsace is justly proud—an
I5I
“the passing of autumn” (Glasgow Institute of the Fine Arts) by w. a. gibson
Corporation in this have secured a fine example of
the gifted artist’s style. The Passing of Autumn, by
W. A. Gibson, also purchased for Glasgow’s per-
manent collection, is a powerfully phrased moor-
land effect in far-away Ross-shire. These two
important purchases are a dignified rebuke to the
ill-mannered and irresponsible criticism levelled at
the Corporation committee in their earnest efforts
to bring within the reach of the people the finest
examples of contemporary art.
The Bathers, an early work by William M’Taggart,
full of that open-airness this distinguished Scottish
landscapist had at command, will serve to call
attention to the fact that in the city’s permanent
collection there is yet no example of his art. The
Benediction, by R. Macaulay Stevenson, is full
of that tender poetic feeling and shadowy atmo-
sphere so characteristic of this artist’s work ; while
Spring in the Woodlands is rich in all the qualities
in which E. A. Hornel excels. Another contri-
bution by a Glasgow artist is the big Dutch pastoral
by J. Hamilton Mackenzie. This picture, which
has been added to the list of purchases for the
Glasgow Corporation’s permanent collection, is well
composed, harmoniously phrased, the light and
shadow cleverly handled, there is keen sense
of distance, and the wrork is that of an artist who
is intimately familiar with the characteristics of the
Dutch sketching grounds. A. R. W. Allan contri-
butes earnest pastoral studies, and Gertrude
Coventry marks advance in her fishing-port tran-
scriptions. In the water-colour section there are
conspicuous examples of the incomparable art of
Melville, of the genius of Joseph Crawdiall, and of
the power of Brangwyn, besides poetic rendeiings
by A. K. Brown, animated colour subtleties by
R. M. G. Coventry, and delicate interpretations by
Katharine Cameron, R.S.W. J. T.
PARIS.—In the profotideurs de la conscience
alsacienne, to borrow7 a familiar expression
of Barres, Zwiller has discovered resources
of talent and of will such as have enabled
him to raise himself to the level of that chosen
band of artists of whom Alsace is justly proud—an
I5I