Studio: international art — 74.1918

Page: 50
DOI issue: DOI article: DOI Page: Citation link: 
https://digi.ub.uni-heidelberg.de/diglit/studio1918b/0056
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0.5
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Sir William Orpens IVar Pictures

1 my workroom, cassel by sir william orpen, a.r.a.

Great Mine. There is
Resting near Arras—Vimy
Ridge in the distance.
There is The Artist, hel-
meted. There is General
Seeley, of grave and
weighty understanding.
And there, Sir Douglas
Haig—with his stern pur-
pose, his good cheer, with
his unconquerable hope.
And this again is War-
wicks entering Peronne—
an episode of March 1917.
So many unforgettable ad-
ventures, days, and things!

Our illustrations include
several of the places and
some of the people that,
in the just preceding lines,
have been swiftly and
generally indicated. And
once or twice—and they
are occasions of greatly

but who would go if he could, has the right welcome relief—the artist is merciful enough to
to learn what is there and to be interested allow us to leave the scenes of action, to imagine
in learning. And when the gallery talked of ourselves once more in enjoyment of an old-
is full of Orpen's pictures he would learn world, placid rest.

that in a sense everything is there. That Do let us embrace the opportunity—let us
variety'is a characteristic
is very speedily perceived.
There is the Hospital Re-
ceiving Room—not quite a
Daumier, I must be al-
lowed to protest, though
Mr. Bennett thinks other-
wise. Again there is the
ghastly vision—the thing
that shows us, with a
vigour once in a while
repulsive, dead Germans
in a trench. There is The
Refugee—typical. It has
the very spirit of the
depaysee. There is The
Village, a mere wreck it
seems, but seen in beau-
tiful and rosy light. There
is Albert, the victim town :
one amongst many, yet
very individual—Albert—
played out. There is the

tortured landscape of The "the mascot of the coldstream guards." by sir william orpen. a.r.a.
50
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