DOI Artikel:
Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21214#0284
Studio-Talk
DRAWING BY G. L. BROCICHURST
( Chenil Gallery)
mentioned among many other good examples which
space compels us to pass over.
Turning from Suffolk Street into the Goupil
Gallery was to find similar influences in art at work
in the saner productions, but running riot and
developing into unworthy extravagance in pictures
by other members of the somewhat meaninglessly
entitled London Group. Mr. Nevinson, who in the
work he exhibits at the New English has had the
grace to temper his futurism, here indulges himself to
the full. Among the works which, entirely modern
in outlook, are yet by artists who do not disdain to
be intelligently intelligible we noticed the interest-
ing landscapes by Mr. W. Ratcliffe, pictures by
Mr. Ginner, Mr. Bevan and the two other members
of the “ Cumberland Market ” group, and by its
followers, Mr. Walter Taylor’s clever and simple
drawing of Brighton in a manner made familiar by
Mr. D. Fox Pitt, works by the latter also, a clever
mauve-tinted drawing of a fountain at Versailles by
Miss Sylvia Gosse, and her large and admirable
painting Sussex Meadows. These were the works
which to our mind constituted the main interest of
this exhibition.
Thence to Chelsea, where Mr. Gerald Leslie
Brockhurst, a young artist of twenty-four, showed
some drawings and other works at the Chenil
278
Gallery. He commenced his studies at Birmingham
and carried off many distinctions there and sub-
sequently in the Royal Academy Schools, gaining
in 1913 the Gold Medal and Scholarship of T200-
In this exhibition of about fifty works we saw certain
tempera pictures which have figured recently at the
New English Art Club. But more interest attached
to the drawings in which the influence of the Slade
rather than of the Academy was apparent. His
work is tempered by a seriousness of outlook which
enables him to steer a clear course between dullness
on the one hand and eccentricity at the other
extreme. The many beautiful examples in pencil
or with the brush reveal him as a highly accom-
plished draughtsman, and if he continues as he has
begun one can predict for him a great future.
Turner’s painting Rembrandt’s Daughter reading
a love-letter, which we reproduce opposite, was
exhibited by him at the Royal Academy in 1827.
The incident represented is purely apocryphal, as
Rembrandt is not known to have had a daughter.
The picture is not at all in Turner’s usual style.
It probably owes its origin to Turner’s study and
admiration of Rembrandt’s work, and was no doubt
intended as an act of homage to the great Dutch-
DEAWING BY G. L. BROCKHURST
( Chenil Gallery)
DRAWING BY G. L. BROCICHURST
( Chenil Gallery)
mentioned among many other good examples which
space compels us to pass over.
Turning from Suffolk Street into the Goupil
Gallery was to find similar influences in art at work
in the saner productions, but running riot and
developing into unworthy extravagance in pictures
by other members of the somewhat meaninglessly
entitled London Group. Mr. Nevinson, who in the
work he exhibits at the New English has had the
grace to temper his futurism, here indulges himself to
the full. Among the works which, entirely modern
in outlook, are yet by artists who do not disdain to
be intelligently intelligible we noticed the interest-
ing landscapes by Mr. W. Ratcliffe, pictures by
Mr. Ginner, Mr. Bevan and the two other members
of the “ Cumberland Market ” group, and by its
followers, Mr. Walter Taylor’s clever and simple
drawing of Brighton in a manner made familiar by
Mr. D. Fox Pitt, works by the latter also, a clever
mauve-tinted drawing of a fountain at Versailles by
Miss Sylvia Gosse, and her large and admirable
painting Sussex Meadows. These were the works
which to our mind constituted the main interest of
this exhibition.
Thence to Chelsea, where Mr. Gerald Leslie
Brockhurst, a young artist of twenty-four, showed
some drawings and other works at the Chenil
278
Gallery. He commenced his studies at Birmingham
and carried off many distinctions there and sub-
sequently in the Royal Academy Schools, gaining
in 1913 the Gold Medal and Scholarship of T200-
In this exhibition of about fifty works we saw certain
tempera pictures which have figured recently at the
New English Art Club. But more interest attached
to the drawings in which the influence of the Slade
rather than of the Academy was apparent. His
work is tempered by a seriousness of outlook which
enables him to steer a clear course between dullness
on the one hand and eccentricity at the other
extreme. The many beautiful examples in pencil
or with the brush reveal him as a highly accom-
plished draughtsman, and if he continues as he has
begun one can predict for him a great future.
Turner’s painting Rembrandt’s Daughter reading
a love-letter, which we reproduce opposite, was
exhibited by him at the Royal Academy in 1827.
The incident represented is purely apocryphal, as
Rembrandt is not known to have had a daughter.
The picture is not at all in Turner’s usual style.
It probably owes its origin to Turner’s study and
admiration of Rembrandt’s work, and was no doubt
intended as an act of homage to the great Dutch-
DEAWING BY G. L. BROCKHURST
( Chenil Gallery)