Studio: international art (61.1914)

Studio- Talk

"spring morning." water-colour
on silk by helen m. sinclair

Mr. Terrick Williams; In the
Garden, by Miss I. L. Gloag ; The
Marriage at Cana, by Mr. Robert
Arming Bell, R.W.S. ; A Glade,
by Mr. Dacres Adams ; The Sofa,
by Mary Davis; Overlooking
London Bridge, by Mr. H. S.
Teed; two etchings, The State
Elephant of Oodeypore, by Mr. R.
C. Peter; and Sprangles, by J. R.
G. Exley; and A Naples Wine
Cart, a bronze statuette, by Mr.
Gilbert Bayes.

At the Carfax Gallery Mr. Elliott
Seabrooke's paintings and draw-
ings showed us the artist carrying
out in oils some of the effects of

extensive country and mountain-tops, in scenes of this country
and of Italy, which he has in earlier works so beautifully inter-
preted in water-colours. We think he is most successful in
the consciously picturesque Lingmoor Fell and pieces of this
character, but since this perfect " picture-making " rests for its
success upon learned appreciation of Nature his direct studies
of rocks and mountain-side, treated with skill equal to their
sincerity, argue well for the future of one who has such an
evident feeling for landscape.

At the Goupil Gallery there were to be seen during February
exhibitions of work by three artists, Mr. L. D. Luard, Mr. Ian
Strang, and Mr. H. M. Livens, all of whom are painters of
definite capacity. Mr. Luard handles pastoral subjects with a
vigour and decisiveness of method that can be sincerely com-
mended; he has a true sense of movement and there is much
animation in his pictures. The best things in the collection
he brought together were, perhaps, thej_ pastels, Ploughing:
Chipperfield, By the Barge, and Coup de Collier; the black-
and-white drawings, Timber Hauling and Harrowing at
Dogdean, and the oil paintings, A Stormy Sky, and The Rick,
Mecklenburg, the last an especially agreeable piece of colour.
Mr. Strang was seen to best advantage in his etchings, which
made a real appeal by their strength and sensitiveness of touch
and their significance of tone management; in his oil paintings
he seemed to have been working under the wrong kind of in-
fluence and to have adopted too readily certain fashionable
but foolish modern conventions.

Mr. Livens is a painter of far more independent personality
and far more serious conviction. He exhibited much that
claimed attention by its soundness and sincerity of expression.
In pictures like Old Folkestone, Hastings, Southwick, On the

"may in june" (miniature) by evelyn m. young

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