DOI issue:
No. 268 (July 1915)
DOI article:The spring exhibition of the international society
DOI Page / Citation link:https://doi.org/10.11588/diglit.21213#0133
The International Society
Quarry, by that always sincere landscapist Oliver
Hall, there are contributions by Alfred Withers,
Sydney Lee, and Edward Chappel.
Exhibits of interest in the long gallery include a
clever study of an old man, Portrait Sketch, by
Daniel Wehrschmidt; Harold Knight’s painting of
sea and rocks entitled Peace; a well-painted Self-
Portrait by Alethea Garstin; a sunny painting,
May in Cornwall, by S. J. Lamorna Birch ; Summer,
by Fred Mayor, full of light and atmosphere;
Sir Charles Holroyd’s sombre and impressive
A Dead Christ• a brilliant street scene, London
Limes, in the manner of Connard, by Edward
Buttar ; a very cleverly painted nude, A Woman
with Puppets, by I. L. Gloag, attractive in the
contrast of flesh tones against pale grey and yellow
draperies ; and works by G. W. Lambert (who also
sends an excellent pencil drawing, Mrs. E. M.
Spencer), A. J. Munnings, Olive Taylor, E. A.
Walton (The Mother, reproduced in The Studio
for July 1914), Maxwell Armfield, Ann Fearon
Walke, and E. G. Henriques. Lavery’s Girl in
Armour, and two portraits by Gerald F. Kelly, one
of which we reproduce, also call for particular
mention. In Betty Fagan’s Looking towards France,
the effect of the girls in night attire, seen against
the morning sunlight streaming in through the open
window, is cleverly rendered in a subtle relationship
of various degrees of white.
The Society extended a welcome .to a number of
works by Belgian artists, and among the best things
hung in the corner gallery the exhibits of Theo van
Rysselberghe, comprising several portraits, a clever
nude, The Model’s Rest, and a large decorative
canvas of nudes in a sunny landscape, L’Heure du
Bain, call for special mention, as does an Lnterior
by James Ensor, loosely painted but with a brush
charged with great feeling and sympathy. The
sense of depth and atmosphere in this canvas (an
old work dated 1881) and its highly sensitive vision
render it distinctly preferable to various rather un-
interestingly eccentric still-life pieces by the same
artist. Pictures by Jan de Clerck, Isidore Opsomer,
A. Baertsoen, medals by Bonnetain and Louis De
Smeth, and the sculptures by George Minne, Marnix
D’Haveloose, and Victor Rousseau also demand
notice.
Emile Claus is one of the few foreign members
of the Society to be represented on this occasion,
and his contribution, consisting of ten beautiful
studies in pastel, all executed recently, during, we
believe, a stay in South Wales, is of exceptional
interest. In them can be seen the excellent use of
the medium and the luminous colour so charac-
“ SELF-PORTRAIT ” (PASTEL)
BY EMILE CLAUS
Quarry, by that always sincere landscapist Oliver
Hall, there are contributions by Alfred Withers,
Sydney Lee, and Edward Chappel.
Exhibits of interest in the long gallery include a
clever study of an old man, Portrait Sketch, by
Daniel Wehrschmidt; Harold Knight’s painting of
sea and rocks entitled Peace; a well-painted Self-
Portrait by Alethea Garstin; a sunny painting,
May in Cornwall, by S. J. Lamorna Birch ; Summer,
by Fred Mayor, full of light and atmosphere;
Sir Charles Holroyd’s sombre and impressive
A Dead Christ• a brilliant street scene, London
Limes, in the manner of Connard, by Edward
Buttar ; a very cleverly painted nude, A Woman
with Puppets, by I. L. Gloag, attractive in the
contrast of flesh tones against pale grey and yellow
draperies ; and works by G. W. Lambert (who also
sends an excellent pencil drawing, Mrs. E. M.
Spencer), A. J. Munnings, Olive Taylor, E. A.
Walton (The Mother, reproduced in The Studio
for July 1914), Maxwell Armfield, Ann Fearon
Walke, and E. G. Henriques. Lavery’s Girl in
Armour, and two portraits by Gerald F. Kelly, one
of which we reproduce, also call for particular
mention. In Betty Fagan’s Looking towards France,
the effect of the girls in night attire, seen against
the morning sunlight streaming in through the open
window, is cleverly rendered in a subtle relationship
of various degrees of white.
The Society extended a welcome .to a number of
works by Belgian artists, and among the best things
hung in the corner gallery the exhibits of Theo van
Rysselberghe, comprising several portraits, a clever
nude, The Model’s Rest, and a large decorative
canvas of nudes in a sunny landscape, L’Heure du
Bain, call for special mention, as does an Lnterior
by James Ensor, loosely painted but with a brush
charged with great feeling and sympathy. The
sense of depth and atmosphere in this canvas (an
old work dated 1881) and its highly sensitive vision
render it distinctly preferable to various rather un-
interestingly eccentric still-life pieces by the same
artist. Pictures by Jan de Clerck, Isidore Opsomer,
A. Baertsoen, medals by Bonnetain and Louis De
Smeth, and the sculptures by George Minne, Marnix
D’Haveloose, and Victor Rousseau also demand
notice.
Emile Claus is one of the few foreign members
of the Society to be represented on this occasion,
and his contribution, consisting of ten beautiful
studies in pastel, all executed recently, during, we
believe, a stay in South Wales, is of exceptional
interest. In them can be seen the excellent use of
the medium and the luminous colour so charac-
“ SELF-PORTRAIT ” (PASTEL)
BY EMILE CLAUS