Studio: international art (72.1918)

Studio- Talk

that have hung on these walls in years gone
by. Though rather unduly weighted, however,
with things of this sort, the exhibitions of
this society always contain a fair proportion
of work that is worthy of serious attention,
and the present show may be said to compare
favourably with those of the past in this respect.
Mr. Hughes-Stanton’s Autumn Rains; Mr.
Charles Pears’ Below Gravesend—War Time—
Moonlight; Mr. Norman Wilkinson’s H.M.S.
Queen Elizabeth in the Attack on the Narrows,
Gallipoli; Mr. Gemmell Hutchison’s Her First
Sorrow ; Mr. Oswald Moser’s portrait of Pro-
fessor Clarke-Gainsford ; and Mr. Tom Robert-
son’s Peace are among the more notable contri-
butions to this show. Mr. Lynwood Palmer,
whose portraits of race-horses have brought to
him an extensive clientele among owners and
other patrons of the Turf, makes his debut as a
member of the Institute at this exhibition with
paintings of Fifinella, the Derby and Oaks winner
of last year, and Sir Abe Bailey’s Son-in-law.

If comparison with previous displays does
not, in the case of the two societies just named,
justify more than faint praise of those under
notice, it is otherwise with the winter exhibition

of the Royal Society of Painters in Water-
Colours, which certainly seems to us to be an
advance on the normal high average of this
Society’s shows—and that without any assist-
ance from noted supporters such as Mr. Sargent
and Mr. D. Y. Cameron, who are among the
small number of absentees on this occasion.
It is particularly gratifying to observe how well
some of the members who have been exhibiting
here for many years have maintained, if they
have not improved upon, their past form, and
also how ably the newer recruits uphold the
high standard of achievement which the society’s
name has always connoted. To specify all the
things that are worthy of remembrance would
involve repeating a very considerable part of
the catalogue, but while refraining from a
tedious enumeration of this sort, we must not
omit to mention a group of half a dozen works
by the late Reginald Barratt—four of them
Venetian subjects and the other two re-
miniscences of his sojourn in India—which
eloquently proclaim his gifts as a painter of
architectural themes and his refined sense of
colour. The Society also pays respect to the
memory of another recently deceased member—
Mr. Jessop Hardwick—in a similar way.

“ THE CHINESE COSTUME ”

(See page 120)

WATER-COLOUR BY BESS NORRISS