DOI Heft:
No. 284 (November 1916)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.24575#0103
Studio- Talk
GLASGOW. —The fifty-fifth annual
Exhibition at the Royal Glasgow-
Institute of the Fine Arts is specially
interesting in many ways. While
much of the Art does not rise above the dead
level of mediocrity, making it difficult to suggest
reasons why it should be so insistently pursued,
there are features in the present show both striking
and suggestive. There are, for instance, contribu-
tions by a promising neophyte, who nine months
ago had but contemplated art, without essaying its
practice ; examples by a doyen of the Glasgow
school, in an unfamiliar medium; portraits by two
distinguished contemporaries that suggest compari-
sons ; and a score or more canvases that make a
visit to the McLellan Galleries well worth while.
While Glasgow is a great centre of war activity,
there is little pictorial evidence of fighting at this
year's show. A peaceful home devastated by shell-
burst, a Regiment in action, four "Tommies"
sleeping in a barn, and a khaki-clad R.A.M.C.
officer, that is all. Among the loaned works there
is the much-discussed portrait of Mr. Lloyd
George by his talented countryman Augustus E.
John, important examples of the art of Josef
Israels, Emile Claus, McTaggart, Sargent, Orpen,
Walton, Laszlo, Lavery, Lucien Simon, Charles
Shannon, Charles Sims, Sir James Guthrie, and
George Henry, a rare assemblage of talent surely.
Special interest attaches to a portrait by each
of the two last-named members of the Glasgow
Group : the subject is the same, but in the one
case the painting occurred a quarter of a century
ago, when the School was beginning to attract
widespread attention ; in the other the work was
done recently, when fame had been firmly esta-
blished. The Guthrie portrait is pregnant with
subtle artistry, it has all the rich charm and
maturity of a rare old tapestry, and may well be
considered unchallengeable as a contribution to
95
GLASGOW. —The fifty-fifth annual
Exhibition at the Royal Glasgow-
Institute of the Fine Arts is specially
interesting in many ways. While
much of the Art does not rise above the dead
level of mediocrity, making it difficult to suggest
reasons why it should be so insistently pursued,
there are features in the present show both striking
and suggestive. There are, for instance, contribu-
tions by a promising neophyte, who nine months
ago had but contemplated art, without essaying its
practice ; examples by a doyen of the Glasgow
school, in an unfamiliar medium; portraits by two
distinguished contemporaries that suggest compari-
sons ; and a score or more canvases that make a
visit to the McLellan Galleries well worth while.
While Glasgow is a great centre of war activity,
there is little pictorial evidence of fighting at this
year's show. A peaceful home devastated by shell-
burst, a Regiment in action, four "Tommies"
sleeping in a barn, and a khaki-clad R.A.M.C.
officer, that is all. Among the loaned works there
is the much-discussed portrait of Mr. Lloyd
George by his talented countryman Augustus E.
John, important examples of the art of Josef
Israels, Emile Claus, McTaggart, Sargent, Orpen,
Walton, Laszlo, Lavery, Lucien Simon, Charles
Shannon, Charles Sims, Sir James Guthrie, and
George Henry, a rare assemblage of talent surely.
Special interest attaches to a portrait by each
of the two last-named members of the Glasgow
Group : the subject is the same, but in the one
case the painting occurred a quarter of a century
ago, when the School was beginning to attract
widespread attention ; in the other the work was
done recently, when fame had been firmly esta-
blished. The Guthrie portrait is pregnant with
subtle artistry, it has all the rich charm and
maturity of a rare old tapestry, and may well be
considered unchallengeable as a contribution to
95