Studio: international art (87.1924)

DRAWINGS BY FOUR FAMOUS ETCHERS

give him also a worthy position in the
exhibition. 00000
One turns to the drawings with ex-
pectation that is not denied. Here the
personalities of the artists play spon-
taneously untrammelled with whatever
medium has appealed suddenly and freely
to their hands. We find them working in
chalk or pencil, pen, charcoal, sepia, pastel
or the slightest of tints. And one responds
to their joyous moment. 00a
Versatility is naturally the first im-
pression of the Strang set of drawings.
His nudes in sanguine reveal his forth-
right realistic sense for form. A graceful
gold-point and several portraits in chalk
are characteristic. One feels that only
Strang could have treated Fate as a subject
with such weight of emotion as in his bowed
nude climbing a slope—done in line and
warm flowing water-colour—a sketch of
extreme intensity of feeling. His study

for a picture, Supper-time, is fine in its
humanity, the medium being chalk and
charcoal. 00000
The graceful direct use of pen line and
fresh washes of cool colour characterises
James McBey’s sketches. His Notre Dame
is full of the effervescing vitality of a
Paris day. How absolute is the contrast of
calm and remoteness in Unloading Timber,
Banff! In The Draughtsman an apparently
haphazard handling adds to the charm of
the study. 0 0 0 0 0

Muirhead Bone handles, with typical
mastery of the component values of detail,
such a sketch in pencil, touched with body
colours, as The Demolition of the Old Sugar
House. His Bagnorea, Umbria, is a huge
sepia drawing of dominating strength.
The Campagna is expressive of Bone's sense
for dramatic expression of an architectural
subject. 00000

D. Y. Cameron is delightful when his

"UNLOADING TIMBER, BANFF”
TINTED DRAWING BY JAMES McBEY

(By courtesy of Sir Hugh Reid, Bart., LL.D.>

77