DOI issue:
No. 350 (May 1922)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21395#0293
STUDIO-TALK
artistic intentions and ideas ; and while the
majority of the prints were in monochrome,
the use of refined colour was also admirably
exemplified, notably in the exhibits of Miss
Dorothy Hutton, Miss Marian Ellis, Miss
Hutchings, and Miss Margarite Janes, the
last of whom has been having a show of her
own at the Little Art Rooms in the Adelphi
during the past few weeks. a a
Numerous as were the art exhibitions of
last autumn—one distinguished art critic
spoke of them as a “ deluge ”■—those of the
present season will by the time it closes
probably far outnumber them. Already, in
addition to the big memorial exhibition at
the Royal Academy, all the Societies that
usually hold their annual exhibitions in the
spring have solicited the attention of the
public, and besides these displays there
have been all sorts of u one man ” or small
group exhibitions. That the critic should
find it an irksome task to write about
these multitudinous manifestations of ar-
tistic activity is not at all surprising, for his
criticisms are intended to be read by many
people who have no first-hand knowledge
of the work he criticises, so that much
must necessarily be left to the imagination
of the reader. Unconvincingas much of this
sort of criticism is when it particularises, it
is apt to be even more so when it indulges in
generalisation, as frequently happens when
a large assemblage of pictures is the subject
of discussion. It is not easy to avoid gener-
alities in these cases, but put to the test they
prove to be of slender value. Generalisa-
tion often takes the form of comparison—
such and such a society's exhibition is
better or worse than previous exhibitions,
or is “ much the same ” as before. If one
could go to an exhibition and allot marks to
the exhibits as examiners do to the answers
to examination papers, there might be
some justification for the verdict pro-
nounced, but the methods of the class-
room are not applicable to an exhibition of
276
PONTE DELLA PAGLIA.” LITHOGRAPH IN
TWO COLOURS BY DOROTHY HUTTON
(Senefelder Club Exhibition, 1922)
artistic intentions and ideas ; and while the
majority of the prints were in monochrome,
the use of refined colour was also admirably
exemplified, notably in the exhibits of Miss
Dorothy Hutton, Miss Marian Ellis, Miss
Hutchings, and Miss Margarite Janes, the
last of whom has been having a show of her
own at the Little Art Rooms in the Adelphi
during the past few weeks. a a
Numerous as were the art exhibitions of
last autumn—one distinguished art critic
spoke of them as a “ deluge ”■—those of the
present season will by the time it closes
probably far outnumber them. Already, in
addition to the big memorial exhibition at
the Royal Academy, all the Societies that
usually hold their annual exhibitions in the
spring have solicited the attention of the
public, and besides these displays there
have been all sorts of u one man ” or small
group exhibitions. That the critic should
find it an irksome task to write about
these multitudinous manifestations of ar-
tistic activity is not at all surprising, for his
criticisms are intended to be read by many
people who have no first-hand knowledge
of the work he criticises, so that much
must necessarily be left to the imagination
of the reader. Unconvincingas much of this
sort of criticism is when it particularises, it
is apt to be even more so when it indulges in
generalisation, as frequently happens when
a large assemblage of pictures is the subject
of discussion. It is not easy to avoid gener-
alities in these cases, but put to the test they
prove to be of slender value. Generalisa-
tion often takes the form of comparison—
such and such a society's exhibition is
better or worse than previous exhibitions,
or is “ much the same ” as before. If one
could go to an exhibition and allot marks to
the exhibits as examiners do to the answers
to examination papers, there might be
some justification for the verdict pro-
nounced, but the methods of the class-
room are not applicable to an exhibition of
276
PONTE DELLA PAGLIA.” LITHOGRAPH IN
TWO COLOURS BY DOROTHY HUTTON
(Senefelder Club Exhibition, 1922)