DOI Heft:
No. 262 (January 1915)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21211#0297
Studio-Talk
of relaxation which must be very welcome to a large
number of people. _
The New English Art Club, which years ago
ohose its name with care, has ever since preserved
unbroken a really English tradition of independence
of achievement in the relation of one member's
work to another's, and we cannot help feeling that it
would have failed in its duty if, in these days when
artistic things are in danger of being eclipsed, it had
not made an effort to preserve the continuity of its
exhibitions. After all we value its name. The
winter exhibition might, however, under other
circumstances, have been memorable at least for
one thing: the appearance of Mr. Orpen's A
Western Wedding. This is not in the style in
which we expect to see Mr. Orpen attain the heights
which his exceptional genius seems to promise
ultimately. The picture called Painting, in its
greater reliance upon effects which are emotional
rather than merely novel, is in that respect
probably the more important work; but upon a
by-path of the " fantastic " we have something in
A Western Wedding unique in the exquisite crafts-
manship that is allied with its pattern-like effect.
Close to this picture Mr. Wilson Steer shows one
of the finest interpretations of nature which he has
yet given us : Fishing Boats at Anchor—they float
tangible in bulk while indefinite in outline, grey
masses, slender rigging, a ghostly procession screen-
ing a violet horizon. Another picture of ex-
ceptional success is Mr. MacEvoy's study, The
Balcony. It is some time since Mr. Tonks has
shown drawings of the importance of his Monsieur
Rodin and Madame Rodin; and Mr. Lucien
Pissarro's canvases add greatly to the prestige of
the landscape work of the exhibition. Mr. Alfred
Hayward's landscapes call for particular mention
also. One of the most interesting features of
the show is Mr. Walter Sickert's The Soldiers oj
King Albert the Ready; his appreciation of the
possibilities of design in the lines of rifles levelled,
and in the great circle of a gun-carriage wheel,
introduces the war motive to painting in a character
distinguished from, and many will consider not
below, that which it has assumed in the greatest
battle paintings. _
The Old Water-Colour Society was established
just over a hundred years ago at a time when
Europe was in a chronic state of war. The
society is perhaps more peculiarly British than
any of our institutions ; it exacts a high standard
of achievement from those it admits to its much
"SPIEZ, LAKE THUK "
294
(Royal Society of Painters in Water- Colours)
BY ALBERT GOODWIN, R.W.S.
of relaxation which must be very welcome to a large
number of people. _
The New English Art Club, which years ago
ohose its name with care, has ever since preserved
unbroken a really English tradition of independence
of achievement in the relation of one member's
work to another's, and we cannot help feeling that it
would have failed in its duty if, in these days when
artistic things are in danger of being eclipsed, it had
not made an effort to preserve the continuity of its
exhibitions. After all we value its name. The
winter exhibition might, however, under other
circumstances, have been memorable at least for
one thing: the appearance of Mr. Orpen's A
Western Wedding. This is not in the style in
which we expect to see Mr. Orpen attain the heights
which his exceptional genius seems to promise
ultimately. The picture called Painting, in its
greater reliance upon effects which are emotional
rather than merely novel, is in that respect
probably the more important work; but upon a
by-path of the " fantastic " we have something in
A Western Wedding unique in the exquisite crafts-
manship that is allied with its pattern-like effect.
Close to this picture Mr. Wilson Steer shows one
of the finest interpretations of nature which he has
yet given us : Fishing Boats at Anchor—they float
tangible in bulk while indefinite in outline, grey
masses, slender rigging, a ghostly procession screen-
ing a violet horizon. Another picture of ex-
ceptional success is Mr. MacEvoy's study, The
Balcony. It is some time since Mr. Tonks has
shown drawings of the importance of his Monsieur
Rodin and Madame Rodin; and Mr. Lucien
Pissarro's canvases add greatly to the prestige of
the landscape work of the exhibition. Mr. Alfred
Hayward's landscapes call for particular mention
also. One of the most interesting features of
the show is Mr. Walter Sickert's The Soldiers oj
King Albert the Ready; his appreciation of the
possibilities of design in the lines of rifles levelled,
and in the great circle of a gun-carriage wheel,
introduces the war motive to painting in a character
distinguished from, and many will consider not
below, that which it has assumed in the greatest
battle paintings. _
The Old Water-Colour Society was established
just over a hundred years ago at a time when
Europe was in a chronic state of war. The
society is perhaps more peculiarly British than
any of our institutions ; it exacts a high standard
of achievement from those it admits to its much
"SPIEZ, LAKE THUK "
294
(Royal Society of Painters in Water- Colours)
BY ALBERT GOODWIN, R.W.S.