Studio: international art (72.1918)

Royal Glasgow Institute of the Fine Arts

interest, the group including Furse’s breezy Diana
of the Uplands, and Sargent’s aesthetic Carnation,
Lily, Lily, Rose, from the Tate Gallery; a big-
scaled Sam Bough ; a characteristic Orchard-
son ; a rhythmic McTaggart; a sensitive Macau-
lay Stevenson ; a richly toned Brangwyn ; a
subtle Nicholson, and others.

In portraiture, two young uniformed soldiers,
by Sir James Guthrie, P.R.S.A., stand out
prominently, Flight-Commander the Lord Doune,
M.C., R.F.C., and Lieutenant A. Leslie Hamil-
ton, H.L.I. No descriptive gift could adequately
convey the subtle characterization in the
President’s two portraits ; there is a psycho-
logical quality that defies analysis, together
with an artistry that makes them distinct from
mere portraiture at its best. In the easy,
natural sketch portrait of the young Lieutenant,
the artist seems to strike an intimate note. In
a uniform which but for a touch of red, black,
and yellow in its accessories gives a complete

monotone in brown, the young subaltern stands
the very embodiment of flesh and blood. There
are other interesting portraits by Walton,
Orpen, Greiffenhagen, Lavery, Henry, Roche,
Fiddes Watt, William Findlay, Somerville
Shanks, J. B. Anderson, and others, and a
delightfully naive sketch, decoratively pleas-
ing, of a youthful maiden, by Norah Neilson
Gray.

F. C. B. Cadell, soldier artist, has not in
time of stress lost his fine sense of colour.
Afternoon is a fresh, vigorous, decorative treat-
ment of a familiar theme ; it comes upon the
beholder like a breath of country air, particu-
larly by reason of its propinquity with much
that is aesthetically ordinary and commonplace.
Black and white and emerald green is no novel
combination—it was a favourite with the
Empress Josephine ; but even French artists
of Napoleonic times could not play with it as
does Cadell, who is doing good service, at a