Studio: international art (90.1925)

MANCHESTER—PARIS

In his aquatint, Building the Manchester DARIS.—Since the Salon des Tuileries

Cenotaph^ Mr. F. H. Williamson has 1 is held under the aegis of a number

experimented, and because the experi- of masters who, though their talents are

ments have made his vision concrete, the of varying kinds, have common charac-

result is the best sort of success. He teristics and form a definite group in the

has dared and achieved from both a history of French art, one might expect

visionary and technical point of view, 0 to find a similarity in expression, related

The subject of this aquatint is full of also to the more conservative elements,

romance and the romantic treatment but in point of fact this is not so. This

given to it is suitable. Manchester's salon, like the two others, no longer bears

Cenotaph stands, not as London's Ceno- that particular mark of uniformity which

taph does, in a street devoted to the at one time was most noticeable in the

dignity of Empire, but at the cross-roads Artistes Francais and the Nationale. These

of roaring commerce. The contrast be- vast groups, coming into being at a

tween it and its surroundings is violent, moment's notice, out of a rivalry of theories

and in some ways impressive. 0 0 or opposing tendencies, are much less

Mr. F. H. Williamson acknowledges easily justified nowadays. The various

the friendly help of Mr. Albert Dodd, salons may now hardly be said to be

whose influence in the art world of assembled by a number of artists working

Manchester, both among students and towards the same ends, and they are bound

those of greater advancement, must be to disappear in course of time under the

far-reaching. 0 0 0 0 0 pressure of their own imperfections. There

J. W. S. is too much crowding together of works,

"THE HAMMOCK." BY
CHARLES KVAPIL

(Salon des Tuileries)