DOI Heft:
No. 389 (August 1925)
DOI Artikel:Taylor, Ernest Archibald: The Royal Scottish Academy
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21403#0101
THE ROYAL SCOTTISH ACADEMY
THE Royal Scottish Academy is essen-
tially a Scottish exhibition, and in it
one expects to find all that is best in
Scottish art. If in the present exhibition
there is nothing to offend the taste of the
most fastidious unless they be followers
of the Cubistic cult, then there is probably
little that will please ; even Walter
Sickert's The Bar Parlour, which has
caused a considerable amount of varied
comment is academic in comparison with
what can be found in the autumn and
spring shows in Paris. In general planning
the most noticeable feature is the arrange-
ment of the sculpture section, entrances
to the main galleries having been trans-
ferred to the extreme ends, the central
opening being closed forming a large semi-
circular space in which H. S. Gamley's
Figure of Victory for the war memorial,
Montrose, commands attractive attention.
Amongst the invited work from France,
Le Belier Retif, Bacchante, and Melan-
colie, by Emile Antoine Bourdelle, chal-
lenge by their thoughtful and plastic
visualisation in comparison with the
majority of other exhibits. Outstanding
amongst these are the works of some of
the younger Scottish sculptors, notably
The Pillar of Salt, by George William
Salvesen ; the elephant study, A Keddah
Capture, by E. M. Alexander; con-
vincingly modelled heads of James McBey
and The Right Hon. Lord Weir, by Benno
Schotz ; the sensitively composed mother
and child in Reid Dick's Joy of Life. 0
Amongst the paintings by the three
recently elected associates, those of David
Foggie fully justify the voting result of
his brother artists, The Revel Dress and
The Blue Smock being distinguished in
their personality and artistic conception,
while Tom Hunt shows his powers in his
City Sunshine, and Peter Wishart expresses
nature's appeal to him in The Valley of
the Spey. Amongst the landscapes one
notices here and there distinct influences
of the vital art of S. J. Peploe whose single
canvas, Iona, is one of the most invigora-
ting shown. Ramatuelle and Pay sage de
Provence, by Maclaughlan Milne, too, are
much above the average. In quite a dif-
ferent spirit, the medium-sized Dalbrack
" THE PILLAR OF SALT." BY
GEORGE WILLIAM SALVESEN
Roval Scottish Academy)
95
THE Royal Scottish Academy is essen-
tially a Scottish exhibition, and in it
one expects to find all that is best in
Scottish art. If in the present exhibition
there is nothing to offend the taste of the
most fastidious unless they be followers
of the Cubistic cult, then there is probably
little that will please ; even Walter
Sickert's The Bar Parlour, which has
caused a considerable amount of varied
comment is academic in comparison with
what can be found in the autumn and
spring shows in Paris. In general planning
the most noticeable feature is the arrange-
ment of the sculpture section, entrances
to the main galleries having been trans-
ferred to the extreme ends, the central
opening being closed forming a large semi-
circular space in which H. S. Gamley's
Figure of Victory for the war memorial,
Montrose, commands attractive attention.
Amongst the invited work from France,
Le Belier Retif, Bacchante, and Melan-
colie, by Emile Antoine Bourdelle, chal-
lenge by their thoughtful and plastic
visualisation in comparison with the
majority of other exhibits. Outstanding
amongst these are the works of some of
the younger Scottish sculptors, notably
The Pillar of Salt, by George William
Salvesen ; the elephant study, A Keddah
Capture, by E. M. Alexander; con-
vincingly modelled heads of James McBey
and The Right Hon. Lord Weir, by Benno
Schotz ; the sensitively composed mother
and child in Reid Dick's Joy of Life. 0
Amongst the paintings by the three
recently elected associates, those of David
Foggie fully justify the voting result of
his brother artists, The Revel Dress and
The Blue Smock being distinguished in
their personality and artistic conception,
while Tom Hunt shows his powers in his
City Sunshine, and Peter Wishart expresses
nature's appeal to him in The Valley of
the Spey. Amongst the landscapes one
notices here and there distinct influences
of the vital art of S. J. Peploe whose single
canvas, Iona, is one of the most invigora-
ting shown. Ramatuelle and Pay sage de
Provence, by Maclaughlan Milne, too, are
much above the average. In quite a dif-
ferent spirit, the medium-sized Dalbrack
" THE PILLAR OF SALT." BY
GEORGE WILLIAM SALVESEN
Roval Scottish Academy)
95