Studio: international art (64.1915)

Studio-Talk

facial expression is dispensed with as an element
In the drama of the design. There is something
so deliberate in this artist’s methods that facial
expression often seems to pass too quickly for his
brush, and his importance as an artist is never more
apparent than when he leaves the problem alone.
Though Mr. Strang does not, in spite of his terrible
theme, convince us of his interest in reality, he
Proves again in these pictures his genius for design
and his possession of an exceptional faculty for
making it embrace without incongruity the most
violent aspects of modern life.

We are reproducing an etching by Miss Anna
Airy, one of the most gifted English women artists,
examples of whose work it has often been our
pleasure to give in The Studio. Etching repre-
sents only one side of Miss Airy’s activities; no
visitor to the Pastel Society’s exhibition can have
failed to remark her panels there, and her art in
oils has frequently been represented in the most

important exhibitions. But it is perhaps on
account of her exceptional draughtsmanship that
she has made her position, and in her etchings and
pastels her feeling for line has greater opportunity
for expressive play. Miss Airy is holding an exhi-
bition of her recent work at the Fine Art Society’s
Galleries in the near future, and the collection in-
cludes some delightful studies of plant and insect
life, about which we hope to say more on another
occasion.

Mr. John Wright whose works were recently
to be seen at the Fine Art Society’s, is an artist of
mature talent, though as yet but little known in
London. The exhibition, which represented his
achievement up to the present time, included
water-colours and etchings—all showing a high
standard of achievement, a sincere love of nature
and that appreciation of what to include and what
to omit which bespeaks the artist. Many of these
landscapes included architecture and were delight-