DOI Heft:
No. 324 (March 1920)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21360#0042
STUDIO-TALK
stained from admitting colour prints to
their exhibitions, but now that they have
recognized the wood-block print it would
be worth their while to consider a further
extension in this direction. Certainly the
colour print, whether from metal plates or
from wood blocks, would be no more
incongruous in their displays than in those
of the Senefelder Club, to which the
presence of prints in varying ranges of
colour imparts an agreeable note of anima-
tion. The annual exhibition of this Club
at the Leicester Galleries last month was an
eloquent testimony to the manifold re-
sources at the disposal of the artist who
expresses his pictorial ideas by means of
lithography. The collection of prints there
assembled was exceptionally interesting, all
the great masters from Senefelder onwards
to our own day being represented. 0
A collection of recent sculpture by Mr.
Jacob Epstein exhibited concurrently in the
same galleries has attracted much public
attention. In addition to a number of por-
trait busts and heads, it comprised as its
principal feature a more than life-sized
figure of Christ just risen from the sepulchre
and standing erect with head slightly
tilted back and hands held out showing
the wounds. To those who cherish the
traditional conception of Christ, perpe-
tuated in those elaborately illustrated Bibles
which were so popular with past genera-
tions, Mr. Epstein's interpretation must
appear almost blasphemous, but those not
so hampered cannot but accept it as a re-
markable interpretation, full of pathos and
without any symptom of irreverence. 0
Other notable exhibitions last month
included a display at Messrs. Colnaghi and
Co.'s gallery of original drawings and
studies by Mr. Charles Shannon, A.R.A.;
a group of water-colours of Isle of Wight
and other scenery by Professor Frederick
Brown at the Goupil Gallery—chiefly
remarkable for the variety of atmospheric
conditions recorded by the artist; and at
the same gallery the first exhibition of a
new Anglo-French group of Impressionists
who designate themselves the 44 Monarro "
group—a name apparently compounded
from those of the two leaders of the
school, M. Claude Monet, honorary presi-
dent of the group, and M. Pissarro. This
inaugural exhibition consisted largely of
36
landscapes, but there were also some ex-
cellent studies in portraiture and other
figure subjects—as, for instance, M. Lucien
Pissarro's Portrait, M. Rodo's The Green
Jumper, Mr. J. B. Manson's Portrait of
Mary, Mr. VanRysselberghe's Etude de Nu.
The two last-named artists act for the
group as honorary secretaries for London
and Paris respectively. 000
PARIS. — To obey the sensations he
experiences and to translate them
with all the art of which he is capable,
with due regard to the teachings of the
past, such is the proper function of the
artist who pursues his destiny while
“LA LE£ON DE PIANO
FROM THE PAINTING
BY WILLIAM LAPARRA
stained from admitting colour prints to
their exhibitions, but now that they have
recognized the wood-block print it would
be worth their while to consider a further
extension in this direction. Certainly the
colour print, whether from metal plates or
from wood blocks, would be no more
incongruous in their displays than in those
of the Senefelder Club, to which the
presence of prints in varying ranges of
colour imparts an agreeable note of anima-
tion. The annual exhibition of this Club
at the Leicester Galleries last month was an
eloquent testimony to the manifold re-
sources at the disposal of the artist who
expresses his pictorial ideas by means of
lithography. The collection of prints there
assembled was exceptionally interesting, all
the great masters from Senefelder onwards
to our own day being represented. 0
A collection of recent sculpture by Mr.
Jacob Epstein exhibited concurrently in the
same galleries has attracted much public
attention. In addition to a number of por-
trait busts and heads, it comprised as its
principal feature a more than life-sized
figure of Christ just risen from the sepulchre
and standing erect with head slightly
tilted back and hands held out showing
the wounds. To those who cherish the
traditional conception of Christ, perpe-
tuated in those elaborately illustrated Bibles
which were so popular with past genera-
tions, Mr. Epstein's interpretation must
appear almost blasphemous, but those not
so hampered cannot but accept it as a re-
markable interpretation, full of pathos and
without any symptom of irreverence. 0
Other notable exhibitions last month
included a display at Messrs. Colnaghi and
Co.'s gallery of original drawings and
studies by Mr. Charles Shannon, A.R.A.;
a group of water-colours of Isle of Wight
and other scenery by Professor Frederick
Brown at the Goupil Gallery—chiefly
remarkable for the variety of atmospheric
conditions recorded by the artist; and at
the same gallery the first exhibition of a
new Anglo-French group of Impressionists
who designate themselves the 44 Monarro "
group—a name apparently compounded
from those of the two leaders of the
school, M. Claude Monet, honorary presi-
dent of the group, and M. Pissarro. This
inaugural exhibition consisted largely of
36
landscapes, but there were also some ex-
cellent studies in portraiture and other
figure subjects—as, for instance, M. Lucien
Pissarro's Portrait, M. Rodo's The Green
Jumper, Mr. J. B. Manson's Portrait of
Mary, Mr. VanRysselberghe's Etude de Nu.
The two last-named artists act for the
group as honorary secretaries for London
and Paris respectively. 000
PARIS. — To obey the sensations he
experiences and to translate them
with all the art of which he is capable,
with due regard to the teachings of the
past, such is the proper function of the
artist who pursues his destiny while
“LA LE£ON DE PIANO
FROM THE PAINTING
BY WILLIAM LAPARRA