DOI Heft:
No. 335 (February 1921)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21392#0082
STUDIO-TALK
" THE STORM." WOODCUT
BY M. I. SOMEKSCALES
(New English Art Club)
tant exhibition of paintings and drawings.
Associated with Messrs. Colnaghi in the
management of the gallery is Mr. Alfred
Yockney, who has relinquished his position
as Keeper of Pictures at the Imperial War
Museum. Mr. Yockney was formerly
editor of the " Art Journal" and before his
appointment to the War Museum did
valuable work at the Ministry of
Information. 00000
The winter exhibition of the New
English Art Club, held in the gallery of the
Old Water-Colour Society, had very little
to show in the way of work of outstanding
■significance, especially among the paint-
ings, where again the " advanced" con-
tingent predominated. The gallery is, as
"we have before pointed out, not an ideal
■one for the Club's displays, for the colloca-
tion of oil paintings, water-colours, pencil
and other drawings, and prints gives to it a
motley appearance which is not a little
disconcerting to the onlooker. The paint-
ings, numbering about a hundred, filled
two of the walls, and amongst the items of
66
chief interest were a couple of landscapes
by Mr. C. J. Holmes, Mr. Allan Gwynne-
Jones's Poltesco Farm, Mr. Leon Under-
wood's Milliners, Miss M. Koop's Scene
from the Beggars' Opera, Mr. Walter
Bayes's Railway Bridge, Arthog, Italian
landscapes by Mr. C. M. Gere, an interior
by Mr. Maresco Pearce, and Mr. Med-
worth's Night Rays—the last a street scene
at night as viewed from above, with a
curious perspective effect. The drawings
included some excellent work by Mr.
Wilson Steer, Mr. Francis Unwin, Miss
K. Clausen, Mr. Francis Dodd, Mr. A. W.
Rich, Miss M. Gere, Mr. Rushbury, Mr.
Muirhead Bone, among others ; and on
one of the screens were two interesting
woodcuts by M. I. Somerscales, The
Storm (here reproduced) and Illustration to
Pilgrims' Progress. a 0 a 0
In the first of a series of " Modern
Painting " folios to be inaugurated shortly
after the publication of the present issue,
we are reproducing examples of the work
of Laura and Harold Knight in oil painting,
" THE STORM." WOODCUT
BY M. I. SOMEKSCALES
(New English Art Club)
tant exhibition of paintings and drawings.
Associated with Messrs. Colnaghi in the
management of the gallery is Mr. Alfred
Yockney, who has relinquished his position
as Keeper of Pictures at the Imperial War
Museum. Mr. Yockney was formerly
editor of the " Art Journal" and before his
appointment to the War Museum did
valuable work at the Ministry of
Information. 00000
The winter exhibition of the New
English Art Club, held in the gallery of the
Old Water-Colour Society, had very little
to show in the way of work of outstanding
■significance, especially among the paint-
ings, where again the " advanced" con-
tingent predominated. The gallery is, as
"we have before pointed out, not an ideal
■one for the Club's displays, for the colloca-
tion of oil paintings, water-colours, pencil
and other drawings, and prints gives to it a
motley appearance which is not a little
disconcerting to the onlooker. The paint-
ings, numbering about a hundred, filled
two of the walls, and amongst the items of
66
chief interest were a couple of landscapes
by Mr. C. J. Holmes, Mr. Allan Gwynne-
Jones's Poltesco Farm, Mr. Leon Under-
wood's Milliners, Miss M. Koop's Scene
from the Beggars' Opera, Mr. Walter
Bayes's Railway Bridge, Arthog, Italian
landscapes by Mr. C. M. Gere, an interior
by Mr. Maresco Pearce, and Mr. Med-
worth's Night Rays—the last a street scene
at night as viewed from above, with a
curious perspective effect. The drawings
included some excellent work by Mr.
Wilson Steer, Mr. Francis Unwin, Miss
K. Clausen, Mr. Francis Dodd, Mr. A. W.
Rich, Miss M. Gere, Mr. Rushbury, Mr.
Muirhead Bone, among others ; and on
one of the screens were two interesting
woodcuts by M. I. Somerscales, The
Storm (here reproduced) and Illustration to
Pilgrims' Progress. a 0 a 0
In the first of a series of " Modern
Painting " folios to be inaugurated shortly
after the publication of the present issue,
we are reproducing examples of the work
of Laura and Harold Knight in oil painting,