DOI issue:
No. 371 (February 1924)
DOI article:[Notes: two hundred and twenty-one illustrations]
DOI Page / Citation link:https://doi.org/10.11588/diglit.21399#0119
EDINBURGH—PARIS
“LA DANSE.” BAS-RELIEF
BY JOSEPH BERNARD
(Photo, Librairiede France)
EDINBURGH.—Were one to read the
history of Dundee I doubt if one
would find even a little mention about
art and artists. Yet it has been, and
still is, the nursing-ground of not a
few of the most outstanding Scottish
painters. They all, however, do not remain
permanently in their native schoolday
homeland, but migrate, sometimes to more
doubtfully fascinating centres ; but in the
doubt one cannot include Edinburgh, and
that is where some of the most distinguished
are to be found. Amongst them Mr. David
Foggie may justly claim to be numbered,
as it is now about four years since he
abandoned his Dundee studio for one in
the Scottish capital, where he employs his
time other than that spent in his own
studio as one of the instructors in life
drawing in the Edinburgh College of Art,
and as such is an energetic enthusiast. But,
then, he is an enthusiast in all things
pertaining to art as well as a prominent
member of the Royal Scottish Society of
Painters in Water Colour—a branch of his
art in which he always exhibits a distinct
personality. He is also an enthusiastic
member of the Society of Scottish Artists,
which recently, owing to his enthusiasm
and that of others, has sprung up into more
robust health than it has had for several year s.
In its present exhibition Mr. Foggie shows
his Fatigue and Woman with clasped hands,
both uncommonly distinguished by bold
painting, keen observation of character and
expressive delineation of sequence in form
and colour. And it is those masterly
painter-like qualities of grasping the live
character which attract one in all Mr.
Foggie handles ; be it a portrait, or a water-
colour of a Kippering Yard, or an excellent
charcoal drawing, like his Betty, which he
exhibited in The Royal Scottish Academy
in 1920. Each expresses on its surface
and in its depth the feeling of a genuine
artist. E. A. T.
PARIS.—A show of the collected works
of the sculptor Joseph Bernard was
recently held in the exhibition rooms of
the decorator Ruhlman. The works were
set out very intelligently to demon-
strate the idea, too often forgotten, of
the adaptation of sculpture to a decora-
tive scheme. This notion is very much in
favour with Joseph Bernard, who conceives
his works only in a predetermined setting,
his small bronzes on stands or furniture
harmonising with them (often executed
specially for him by Ruhlman), his large
works in stone,cement or bronze depending
on the general arrangement of a monument
or a garden. For example, nothing could
be more happy than the attitude of the
Girl with a Pitcher, which we reproduce,
executed life-size in cement in the same
101
“LA DANSE.” BAS-RELIEF
BY JOSEPH BERNARD
(Photo, Librairiede France)
EDINBURGH.—Were one to read the
history of Dundee I doubt if one
would find even a little mention about
art and artists. Yet it has been, and
still is, the nursing-ground of not a
few of the most outstanding Scottish
painters. They all, however, do not remain
permanently in their native schoolday
homeland, but migrate, sometimes to more
doubtfully fascinating centres ; but in the
doubt one cannot include Edinburgh, and
that is where some of the most distinguished
are to be found. Amongst them Mr. David
Foggie may justly claim to be numbered,
as it is now about four years since he
abandoned his Dundee studio for one in
the Scottish capital, where he employs his
time other than that spent in his own
studio as one of the instructors in life
drawing in the Edinburgh College of Art,
and as such is an energetic enthusiast. But,
then, he is an enthusiast in all things
pertaining to art as well as a prominent
member of the Royal Scottish Society of
Painters in Water Colour—a branch of his
art in which he always exhibits a distinct
personality. He is also an enthusiastic
member of the Society of Scottish Artists,
which recently, owing to his enthusiasm
and that of others, has sprung up into more
robust health than it has had for several year s.
In its present exhibition Mr. Foggie shows
his Fatigue and Woman with clasped hands,
both uncommonly distinguished by bold
painting, keen observation of character and
expressive delineation of sequence in form
and colour. And it is those masterly
painter-like qualities of grasping the live
character which attract one in all Mr.
Foggie handles ; be it a portrait, or a water-
colour of a Kippering Yard, or an excellent
charcoal drawing, like his Betty, which he
exhibited in The Royal Scottish Academy
in 1920. Each expresses on its surface
and in its depth the feeling of a genuine
artist. E. A. T.
PARIS.—A show of the collected works
of the sculptor Joseph Bernard was
recently held in the exhibition rooms of
the decorator Ruhlman. The works were
set out very intelligently to demon-
strate the idea, too often forgotten, of
the adaptation of sculpture to a decora-
tive scheme. This notion is very much in
favour with Joseph Bernard, who conceives
his works only in a predetermined setting,
his small bronzes on stands or furniture
harmonising with them (often executed
specially for him by Ruhlman), his large
works in stone,cement or bronze depending
on the general arrangement of a monument
or a garden. For example, nothing could
be more happy than the attitude of the
Girl with a Pitcher, which we reproduce,
executed life-size in cement in the same
101