DOI Heft:
No. 250 (February 1914)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21209#0066
Studio- Talk
The Post-Impressionist and Futurist Exhibition
at the Dore Gallery, organised by Mr. Frank
Rutter, has afforded another opportunity of study-
ing in England the developments of these move-
ments. There is a general significance underlying
the endeavour to arrive at subjective expression
which they represent that no one who is a student
of modern art can afford to disregard. But it
must be the hope of all who have been nourished
on the great achievements of the past in art that
we have in this present phase the beginnings of
something infinitely greater than itself.
At the Ryder Galleries, which have been moved
from Albemarle Street to much larger premises at
44 Conduit Street, a very interesting exhibition of
fans was held during January. Most of the better
known of our modern fan painters were adequately
represented in the collection brought together and
a great deal ot noteworthy work was shown—there
was hardly anything, indeed, which did not call for
serious consideration. Perhaps the best fans in
the exhibition were The Vase, The White Garden,
the Rose Fan, and Cleopatra, by Mr. George
Sheringham, The Bridal Fan, Eve, The Market-
place, and The Ballet, by Mr. Bellingham Smith,
The Venetian Fan, and The Fan of Flower Spangles,
by Mrs. Mary Davis, and The Lake Fan, Design for
a Fan, and Les Indolents, by Charles Conder; but
there were others of great interest by Mr. Charles
Shannon, and Mr. G. W. Read, and a remarkably
effective design, St. Cecile, by Alastair.
At the Goupil Gallery last month Miss E. M.
Heath was showing a number of small oil-paintings
which had attractive technical qualities and an
agreeable quality of suggestion. They were not
particularly ambitious, but certainly they realised
sufficiently what they aimed at—the expression of
the gentle, quiet and restful charm of pastoral land-
scape. In the same gallery were some pieces of
sculpture by Mr. Eric Gill, things of a conventional
type and marked by a not very convincing affecta-
tion of primitive simplicity.
The Post-Impressionist and Futurist Exhibition
at the Dore Gallery, organised by Mr. Frank
Rutter, has afforded another opportunity of study-
ing in England the developments of these move-
ments. There is a general significance underlying
the endeavour to arrive at subjective expression
which they represent that no one who is a student
of modern art can afford to disregard. But it
must be the hope of all who have been nourished
on the great achievements of the past in art that
we have in this present phase the beginnings of
something infinitely greater than itself.
At the Ryder Galleries, which have been moved
from Albemarle Street to much larger premises at
44 Conduit Street, a very interesting exhibition of
fans was held during January. Most of the better
known of our modern fan painters were adequately
represented in the collection brought together and
a great deal ot noteworthy work was shown—there
was hardly anything, indeed, which did not call for
serious consideration. Perhaps the best fans in
the exhibition were The Vase, The White Garden,
the Rose Fan, and Cleopatra, by Mr. George
Sheringham, The Bridal Fan, Eve, The Market-
place, and The Ballet, by Mr. Bellingham Smith,
The Venetian Fan, and The Fan of Flower Spangles,
by Mrs. Mary Davis, and The Lake Fan, Design for
a Fan, and Les Indolents, by Charles Conder; but
there were others of great interest by Mr. Charles
Shannon, and Mr. G. W. Read, and a remarkably
effective design, St. Cecile, by Alastair.
At the Goupil Gallery last month Miss E. M.
Heath was showing a number of small oil-paintings
which had attractive technical qualities and an
agreeable quality of suggestion. They were not
particularly ambitious, but certainly they realised
sufficiently what they aimed at—the expression of
the gentle, quiet and restful charm of pastoral land-
scape. In the same gallery were some pieces of
sculpture by Mr. Eric Gill, things of a conventional
type and marked by a not very convincing affecta-
tion of primitive simplicity.