Studio: international art (88.1924)

LONDON

" OLIVE GATHERERS, LA TURBIE." WATER-
COLOUR BY CHARLES E. CUNDALL

(Grosvenor Galleries)

be so summary as he is in statement with-
out becoming incoherent, but he never
seems to fail to give the full meaning to
each of his subjects. At Walker's Galleries
a young artist, Mr. Wallace Wood, showed
a number of water-colours which had more
seriousness of intention and more honesty
of expression than is commonly found in
the work of painters of the younger school.
Mr. Wood avoids the affectations which
spoil the production of so many of his
contemporaries, and seems to be genuinely
striving to acquire a correct understanding
of nature : for that decidedly he deserves
to be commended. 0 ' 0 0 0

Three exhibitions were opened last
month in the Leicester Galleries—of draw-
ings, lithographs and sculptures of wild
animals by Miss E. M. Henderson, of
paintings in oil and water-colour by Mr.
F. Whiting, and of paintings and water-
colours by Mr. Paul Nash. Miss Hender-
son's studies carried complete conviction
because they were not only intimately
observed and full of finely expressed
character, but also wonderfully decisive in
statement and excellent in their flexibility
and sensitiveness of line. They were inter-
preted, too, with much individuality, and

36

had often a decorative suggestion which
added appreciably to their significance and
aesthetic interest. Mr. Whiting's oil paint-
ings are memorable for their freshness and
vitality and their well-directed freedom of
handling. He paints country life and sport-
ing subjects with more than ordinary skill,
and he gives to them a full measure of the
right spirit; his technical method is direct
and confident, and he has evidently a
thorough knowledge of the material with
which he deals. His picture Watching
Sheep Dog Trials, Scotland, was in many
respects the best in the show, but there
was a landscape also—Near Lewes—that
was very persuasive in its luminosity and
breadth of effect. Mr. Nash's works illus-
trated a rather dull and superficial man-
nerism, and were vaguely uncertain in
draughtsmanship and curiously fumbling
in brushwork; they suggested that the
artist was trying to veil by curious affecta-
tions an insufficiency of technical equip-
ment. 0 e> a c> 0 a
The painter, Nicholas Himona, whose
paintings of Greece were recently exhibited
at the Beaux Arts Gallery, was born in
Russia of Greek parentage, and in his
earlier work he dealt mainly with the