DOI Heft:
No. 290 (May 1917)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.24576#0196
Studio-Talk
examples executed during the last ten years of
his long and fruitful life, and the display was of
particular interest as revealing his genius as a
painter in water-colours, as well as his remark-
able facility in using charcoal, while the canvases
left the impression that the oily pigment was
never quite a congenial medium with him.
Concurrently with this exhibition the same
galleries presented a display of sculpture by
Mr. Jacob Epstein, consisting chiefly of portrait
busts and heads in bronze or plaster, but includ-
ing also a marble figure labelled Venus, which,
from the attention paid to it in the Press,
attracted a big crowd of people to Messrs.
Brown and Phillips’s galleries, and evoked many
speculations as to the artist’s intentions. We
prefer not to indulge in the game of speculation,
and are content to restrict our admiration to
the busts and heads, which certainly reveal the
artist as a sculptor gifted with an uncommon
power of characterization.
prominent among the younger men is Mr.
Stanley Royle, who recently held an exhibition
of oil paintings at the Independent Gallery.
Pie has been rejected as medically unfit by the
Army, and has also been compelled to with-
draw from work on munitions for the same
reason. Still on the sunny side of thirty, Mr.
Royle has been seen to advantage on the
walls of the Royal Academy, Royal Institute,
and elsewhere for some half-dozen years, and
he is fast gaining much more than a merely
local reputation. The exhibition now under
notice included several of his Academy pictures.
We illustrate The Edge of the Wood, a finely
designed landscape full of sunlight and glowing-
with colour. W. E.
EWCASTLE-UPON-TYNE.—In con-
tinuation of the record of works by
deceased local artists, a special loan
exhibition of paintings in oil and
SHEFFIELD. — To
the casual travel-
ler passing by
train on his way
North, Sheffield is a night-
mare of tall chimneys,
belching forth smoke and
flame under a gloomy pall
of cloud and fog, but the
nature-lover who has been
resident there has quite
a different impression on
his mind. To him, the
word Sheffield brings up
visions of wide moor-
lands, hills and dales and
rippling brooks, and all
the delights of a lovely
countryside, and he is
well aware of the fact
that there is no large
manufacturing town in
the British Isles that can
compare with Sheffield for
the natural beauties by
which it is surrounded.
Such being the case it
is no wonder that the
great majority of Sheffield
artists turn their attention
to landscape painting, and
184
“THE EDGE OF THE WOOD*'
BY STANLEY ROYLE
examples executed during the last ten years of
his long and fruitful life, and the display was of
particular interest as revealing his genius as a
painter in water-colours, as well as his remark-
able facility in using charcoal, while the canvases
left the impression that the oily pigment was
never quite a congenial medium with him.
Concurrently with this exhibition the same
galleries presented a display of sculpture by
Mr. Jacob Epstein, consisting chiefly of portrait
busts and heads in bronze or plaster, but includ-
ing also a marble figure labelled Venus, which,
from the attention paid to it in the Press,
attracted a big crowd of people to Messrs.
Brown and Phillips’s galleries, and evoked many
speculations as to the artist’s intentions. We
prefer not to indulge in the game of speculation,
and are content to restrict our admiration to
the busts and heads, which certainly reveal the
artist as a sculptor gifted with an uncommon
power of characterization.
prominent among the younger men is Mr.
Stanley Royle, who recently held an exhibition
of oil paintings at the Independent Gallery.
Pie has been rejected as medically unfit by the
Army, and has also been compelled to with-
draw from work on munitions for the same
reason. Still on the sunny side of thirty, Mr.
Royle has been seen to advantage on the
walls of the Royal Academy, Royal Institute,
and elsewhere for some half-dozen years, and
he is fast gaining much more than a merely
local reputation. The exhibition now under
notice included several of his Academy pictures.
We illustrate The Edge of the Wood, a finely
designed landscape full of sunlight and glowing-
with colour. W. E.
EWCASTLE-UPON-TYNE.—In con-
tinuation of the record of works by
deceased local artists, a special loan
exhibition of paintings in oil and
SHEFFIELD. — To
the casual travel-
ler passing by
train on his way
North, Sheffield is a night-
mare of tall chimneys,
belching forth smoke and
flame under a gloomy pall
of cloud and fog, but the
nature-lover who has been
resident there has quite
a different impression on
his mind. To him, the
word Sheffield brings up
visions of wide moor-
lands, hills and dales and
rippling brooks, and all
the delights of a lovely
countryside, and he is
well aware of the fact
that there is no large
manufacturing town in
the British Isles that can
compare with Sheffield for
the natural beauties by
which it is surrounded.
Such being the case it
is no wonder that the
great majority of Sheffield
artists turn their attention
to landscape painting, and
184
“THE EDGE OF THE WOOD*'
BY STANLEY ROYLE