Studio: international art (61.1914)

Studio-Talk

ing, the subtle modelling and the perfect command
and simple handling of the medium. Miss Austen
works in a manner familiar to us in the productions
of Mr. Edwin Alexander and Mr. E. J. Detmold,
but they are all alike in evincing a suggestion of a
common source of inspiration—the Japanese.

Those who are familiar with the talented work of
Mr. G. W. Lambert are well acquainted with the
fact that besides his paintings in oil, a very attractive
side of his art is seen in his admirable portrait
drawings and studies in lead pencil. We are glad
to be able to reproduce four of these drawings from
among the series which formed such an interesting
feature of the recent exhibition of the Modern
Society of Portrait Painters.

The Summer Exhibition of the Royal Society of
Painters in Water Colours maintains the high level
which is always looked for at the Pall Mall Galleries.
Mr. Sargent makes that periodical contribution to
the contents of the galleries which visitors to the
summer exhibitions ardently look forward to, and
on this occasion he is supported by Mr. Charles
Sims's Spring, a decorative panel of the utmost
spontaneity and charm ; the Old Flour Mill and
The Croft by Mr. A. S. Hartrick ; and such a perfect
specimen of economy and taste in execution as Mr.
Arthur Rackham's little drawing A Nymph of the
Hills. On the Dogger Bank by Mr. F. Cayley
Robinson; Seedling Delphiniums by Mr. Alfred
Parsons, R.A., the new President; Primula and
other flower-pieces by Mr. Francis E. James ; The
Bay of Ipso, Corfu, Greece, by Mr. H Hughes-
Stanton : and The Return by Mr. W. Russell Flint
are notable items of the exhibition.

The first exhibition of the Royal Society of British
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Artists under its new President did not disclose
any marked change. Mr. Brangwyn himself was
represented by an impressive centre-piece—and
bugle-call to fellow members—The Bridge, Avignon,
but it is impossible to escape the fact that the
prevailing impression of " colour " created by the
works on exhibition was uninspiring, though upon
examination individual works showed resource in
composition and a fairly high standard of finished
drawing. Among works to be remembered as
giving importance to the exhibition were Mr. D.
Murray Smith's Penarth Head, Cardiff and
Piazzale Michelangelo, Florence; A Golden Day, by
Miss Dorothea Sharp ; Sunny September, by Miss
Helen McNicoll; Arab Cafe, by Mr. Alfred Palmer;
Morning Light, Picardy, by Mr. Claude F. Barry ;
The Sky over the Deben, by Mr. Emile A. Verpilleux;
The Great Elms, by Mr. W. Graham Robertson ;
Above the Harbour, by Mr. Christopher Williams ;
and a triptych Workless—The Aivakening—Home-
less, by Mr. Spencer Pryse.

The Royal Institute of Painters in Water Colours
is perhaps this season more academic in character
than usual. And the tendency which was recently
shown to encourage other things than sentimental
subject-pictures is less in evidence on this occasion.
The hunting pieces of Mr. A. J. Munnings in con-
forming least to the characteristics of the Institute
are the most stimulating exhibits, though other
works deserving mention are Mr. Norman Wilkin-
son's A Good Breeze, Mr. Chas. W. Simpson's The
White Duck, the late Prof. Hans von Bartel's
Dutch Fisherwoman at the Fireside and The Shell-
usher's Cart, Miss D. W. Hawksley's The Voluntary
Choir, Mr. John Terris's Across the Sands, on the
South Coast, Mrs. Julia Matthew's Minnehaha, Mr.
Hugh Williams's Moehvyn, Mr. Frank Reynolds's