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#0134
The International Society
teristic of the work of this great artist, whom we are
proud to welcome among us, though we deplore the
sad reason for his seeking, in company with so many
of his compatriots, the shelter of these shores.
Among the water-colours and drawings are to be
noted some attractive examples of the delicate art
of Mary Davis; works by William Monk, Averil
Burleigh (whose Mummers we reproduce) and W.
Russell Flint; a clever picture by Cecil King, The
Luxembourg; Ambrose McEvoy’s Portrait —
Charles McEvoy, Esq. ; a good lithograph, The
Wind., by Anthony Barker, and a delicate example,
The Wedding Morning, by Ethel Gabain. A series
of twelve lithographs by G. Spencer Pryse forms a
prominent feature of the exhibition. These, as we
learn from the catalogue, were all drawn on the
stone at the front or within the war zone ; they depict
various aspects of the vast and terrible business of
war as the world is witnessing it to-day, in a manner
restrained and impressive without, however, striving
after an effect conventionally “warlike.” Two
dexterous impressions in water-colour of a Sargent-
like brilliance by Laura Knight—China Clay
Worhs, and a bathing scene with the title A Child—
convince one that this artist’s -forte is realism; in
both she has been most successful, whereas her
large oil-painting of the Russian ballet, Le Pavilion
d' Armide, a subject calling for greater imaginative
and decorative qualities, is somewhat diffuse in
composition and not quite happy in colour. An
excellent example of pastel work is The Old Castle,
by Leonard Richmond, whose work in this medium
we have often noticed with pleasure in the Suffolk
Street Galleries ; in this landscape he has handled
the medium with a due regard for its limitations
and with a freshness that lends additional charm
to a picture ably composed and very harmonious
in colour. Of the excellent work in water-colour,
according to the fine traditions of the English school,
there are several examples by T. L. Shoosmith
and A. W. Rich, notably The Castle, by the
former, and Shardeloes Park, Bucks, by the latter;
and a very good work is Whitby, by Muriel Fewster,
to which a pleasant quality has been imparted by
the canvas upon which the drawing is made.
Etchings by E. Herbert Whydale, Sidney
Tushingham, and drawings by H. Davis Richter,
Sylvia Gosse, Alfred Hayward, and W. L. Leech
also contribute towards the interest of the
exhibition. A. R.
£ THE MUMMERS
114
WATER-COLOUR BY AVERIL BURLEIGH
teristic of the work of this great artist, whom we are
proud to welcome among us, though we deplore the
sad reason for his seeking, in company with so many
of his compatriots, the shelter of these shores.
Among the water-colours and drawings are to be
noted some attractive examples of the delicate art
of Mary Davis; works by William Monk, Averil
Burleigh (whose Mummers we reproduce) and W.
Russell Flint; a clever picture by Cecil King, The
Luxembourg; Ambrose McEvoy’s Portrait —
Charles McEvoy, Esq. ; a good lithograph, The
Wind., by Anthony Barker, and a delicate example,
The Wedding Morning, by Ethel Gabain. A series
of twelve lithographs by G. Spencer Pryse forms a
prominent feature of the exhibition. These, as we
learn from the catalogue, were all drawn on the
stone at the front or within the war zone ; they depict
various aspects of the vast and terrible business of
war as the world is witnessing it to-day, in a manner
restrained and impressive without, however, striving
after an effect conventionally “warlike.” Two
dexterous impressions in water-colour of a Sargent-
like brilliance by Laura Knight—China Clay
Worhs, and a bathing scene with the title A Child—
convince one that this artist’s -forte is realism; in
both she has been most successful, whereas her
large oil-painting of the Russian ballet, Le Pavilion
d' Armide, a subject calling for greater imaginative
and decorative qualities, is somewhat diffuse in
composition and not quite happy in colour. An
excellent example of pastel work is The Old Castle,
by Leonard Richmond, whose work in this medium
we have often noticed with pleasure in the Suffolk
Street Galleries ; in this landscape he has handled
the medium with a due regard for its limitations
and with a freshness that lends additional charm
to a picture ably composed and very harmonious
in colour. Of the excellent work in water-colour,
according to the fine traditions of the English school,
there are several examples by T. L. Shoosmith
and A. W. Rich, notably The Castle, by the
former, and Shardeloes Park, Bucks, by the latter;
and a very good work is Whitby, by Muriel Fewster,
to which a pleasant quality has been imparted by
the canvas upon which the drawing is made.
Etchings by E. Herbert Whydale, Sidney
Tushingham, and drawings by H. Davis Richter,
Sylvia Gosse, Alfred Hayward, and W. L. Leech
also contribute towards the interest of the
exhibition. A. R.
£ THE MUMMERS
114
WATER-COLOUR BY AVERIL BURLEIGH