Studio: international art (64.1915)

Studio-Talk

is breaking all the bonds of conventional picture
painting. Mention must also be made of the
Portrait of the Artist by E. Wyly Grier, probably
Canada’s best-known portrait-painter. The picture,
which was commissioned by the Trustees of the
National Gallery in recognition of the artist’s
consistent work of many years in Toronto, is finely
drawn and modelled, and is an entirely virile and
satisfying conception of the painter at work in his
studio.

Recently H.R.H. Princess Patricia of Connaught
has presented the National Gallery of Canada with
two of her pictures, one a still-life, Hyacinths and
Porcelain, and the other a path through the trees
entitled A Woodland Glade. Both are remarkable
for the force and directness of their handling, good
in colour and entirely it harmony with the modern
disregard of unessentials and breadth of vision.

At the Canadian National Exhibition, in Toronto,
was exhibited a picture, I!Encore, by Arthur Crisp,
a young Canadian painter now living in New York,
which strikes a new note in Canadian painting and
achieved a most deserved success, finally finding a
home in the National Gallery at Ottawa. It is a
vivid, spontaneous, and altogether successful paint-
ing of a most difficult theme, the last movement of
the ballet before a theatre curtain.

Eric Brown.

MOSCOW.—The proceeds of the recent
annual exhibition of the Union of
Russian Artists or “ Soyouz,” as the
society is commonly called, have been
devoted to the funds in aid of the wounded soldiers,
and from that point of view the exhibition has been
a great success. From the artistic standpoint,
however, it cannot be said to count among the
most successful of the dozen or so exhibitions
which this group has held since its foundation.
In point of technical accomplishment the work
shown was up to the usual level, but the exhibits
as a whole aroused no great interest, for in the work
of most of the artists represented one could not
fail to discern a certain stagnation which manifested
itself in the repetition of well worn motives. The
poor impression which the display as a whole made
is -in part to be explained by the absence of con-
tributions from some members of the Union whose
work always arouses interest, such as Ryloff,
Konenkoff, and Stelletsky.

Notable contributions to the exhibition by artists

of the older generation were an admirable study by
A. Arkhipoff of the sunny interior of a peasant
homestead, with a group of merry young women
arrayed in holiday attire ; an excellent auto-portrait
by L. Pasternak, and an interior of a country house
by S. Vinogradoff, in which the reflections from a
window of many hues gave an opportunity for a
lively play of colour. S. Malyutin, who began last
year a series of portraits of contemporary Russian
painters, has added to it one of Konstantin Yuon,
which is not only an excellent likeness, but is at
the same time an expressive example of the artist’s
talent. Yuon himself, in addition to some winter
landscapes and motives from Russian provincial
cities handled with his customary power, exhibited
two very interesting designs of a quasi-historical
content having reference to the election of the first
Russian monarch of the Romanoff dynasty—the
Czar Michael Fedorovitch.

Among the group of younger artists represented
on this occasion, N. Krymoff was particularly
interesting with his landscape studies, revealing in

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PORTRAIT OF THE PAINTER KONSTANTIN YUON
BY SERGIUS MALYUTIN

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