226



Duveen from the great collection of the late M.
Maurice Kann. The pastoral scene by Watteau
is a brilliant little example of a master who is
well represented in none of our public collec-
tions except the Wallace, and not at all in the
chief one. The original was presented to the
National Gallery of Scotland in 1 866. Our other
illustration is the beautiful Portrait of an Old Lady
by Rembrandt, a work which is believed to portray
the same lady as is seen in the National Gallery's
Port fait of an Old Lady\ painted about 1661.



The Goupil Gallery Salon now ranks as one of
the exhibitions of the year to look forward to.
Perhaps this year the rank and file of pictures are
not of so stimulating an order as last year's,
but painters like Emile Blanche, Wilson Steer,
Wm. Nicholson and Wm. Orpen, give a fine lead,
In his interiors — especially The Dressing Room^
Offranville^ and Two Mirrors in the Music Room —
M. Blanche refines even upon the remarkable



PORTRAIT OF A MAN BY FRANZ HALS

{National Loan Exhibition^ lent by Messrs. Duveen Bros)



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NAT i J ,A . la .L< â– ^. riT ; (



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• t»y l'u>.. ii froin the .2;r< at coilt.'riii»n of the lite N^
â–  ''- <'n M., â– â– â– ! Kann. l/; - pastoral scene by Wattr. .-i;
''■■'> ol 1., ..-. ''!:hi.int ii'.''- •wiiriple of a master who :.^
•^Jitii-rv .* ; ii nroset'ivJ ;;i none of our pu!jhc coli^^:-
'!^ ;■'■;' : -^s t\( «. [)t ••>■ '»'• vLirc, and rint at aii \\- t'.e
ef oi>e 'Ir 'r^jp.al was j)resi.ntcd to I ...
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• ■!!■!. trata.,^ ;-• (' e Iv.t if-iu] P^rtjaif rf an Old I.a,:

\-))' KLn-'l'S'i'id;. :i •A;)rk \vhi(h is hv-lic\cd to [)orira\
iVa- >a.*ie Li!\ i> ib Seen in liie National Gallor\ .-
/f /.•;• •///■ r\'' ..-■. . '.d Lui-\\ namted about fo6i.



'" i ne «. . , . Gali- :\ Salon ntnv rank^ as one oi

'1^ ^'i^ - ' '-'â–  ns of ti^v- year lo look forward to.

''^' i''' -1 \^.'ir t'^.; -,j.k and file of pictures are

^^■^ '"' ■ • slin:: 'a .11.; an order a.s last )ear's,

"'^ '^Ts i:-..- !"i.:i:e Hian<he, Wilson Steer,

â–  h 'l.-on t'<i \\'m. OjH-n, _mve a fine h.ad,

• \nU:x\i'-> •.;...'.,:]!)• lli€ Dres>ifi^ RooTti,

.' '.'/'>, a lid / -r '/.rr<'ri in the Music Koow —

i' aneh.- rt :':i:-> t;vv;n iiT..;n the remarkable



l.Y F K.A.N 7 ]{,\\-



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"SCENE PASTORALE." after the oil-painting in the

NATIONAL GALLERY OF SCOTLAND BY ANTOINE WATTEAU.



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truth of interpretation attained in his interiors
last year. A. Falchetti's Inverno al Saniuario
d*Oropu sulk Aipi\ and Mr. D. Y. Cameron's The
Citadel^ Cairo^ are two of the most important
pictures in the Salon. Mr. J. D. Fergusson's
Chez Reboux^ Mr. J. C. W. Cossaar's Binnenhofy
Mr. Alexander Jamieson's Summer in France^ Mr.
Fred. Mayor's The Circus, Mr. F. H. S. Shepherd's
A Conversation, are other pictures of much interest,
as also are the curious little panel, A May Queen,
by Mr. A. S. Hartrick ; The Prison, Venice, by Mr.
George Thomson ; the Dinner Table, with Flowers,
by Sir Wm. Eden; Newlyn, by Mr. Lamoma Birch;
A Frosty Morn, by Mr. Arthur Friedenson ; The
View from the Loggia, by Mr. Alfred Hay ward; In
a Park, by Mr. Albert Rothenstein, and Mist and
Calm, by Miss Ethel Walker. There are two
interesting canvases by M. Le Sidaner, and The
Happy Mother, by Mr. G. W. Lambert, is a fine
achievement. Mr. Walter Russell's Poole Harbour
is a landscape of unusual beauty.



At the Leicester Gallery the three exhibitions
held simultaneously in October and November
were all of much interest. Mr. William Strang's
work is so individual and his aims so high that an
exhibition of a collection of his work is an event.
Steeped as his art appears to be in scholarship of
Venetian tradition — that is, as regards his paintings
— his etchings reveal quite another Mr. Strang, with
whom we are more familiar. It is only in such a
painting as The Blind Musician that the character
which we associate with his etchings, and which,
we think, reveals his true personality, reappears.
The other exhibitions were those of the water-
colour illustrations of Mr. W. Lee Hankey for
" The Deserted Village " and the illustrations of
Mr. Edmund Dulac for the Rubaiyat of Omar
Khayyam. Mr. Lee Hankey*s work emphasises
the difference between illustration in the old days
and as it is now. There is no one of the newer
school cleverer than this artist, and his interpreta-
tions are not unpoetic for all their realism. Mr.
Edmund Dulac's pictures
are upon the best hnes for
the decoration of a book.
We wonder if he has not
missed a little of the grace
in drawing feminine char-
acter which was so attrac-
tive in his last designs,
but in all other respects
his art is enriched and
shows a closer observance
of beauty.



PORTRAIT OF A WOMAN BY FRANZ HALS

{^National Loan Exhibition, lent by Messrs, Duveen Bros,)



Tempera is a medium
which has its native
quality, just as water-
colour, and the artist's
work of course is most
admirable that expresses
its essential quality. In
the Exhibition of the
Society of Painters in
Tempera, — the most im-
portant of recent exhibi-
tions at the Baillie Gallery
— we found these merits
best exemplified in such
works as The Half-
Way House, Minchin-
hampton Common, by Mr.
Norman Wilkinson ; San
Giorgio Maggiore, by
Mr. Joseph £, Southall;
229



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PORTRAIT OF AN OLD LADY ,, ^ .-.â– â– , .

{National Loan Exhtbtiton^ lent by
BY REMBRANDT the J^ight hon. Lady Wantage)



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,, „ ,., , , PORTRAIT OF GIOVANNI ONIGO

{National Loan ExhtbUion^ lent by ^ ^ ^ __

Sir Frederick Cook, Bart.) ASCRIBED TO GIORGIONE



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On the Cotswolds^ by Mr. Arthur J. Gaskin ; Beauty
and the Beast^ by Mr. John D. Batten ; Mockery ^
by Mr. R. Anning Bell ; Study in Frescoe^ by Miss
Mary Sargant Florence ; A Dew Pond in Cotswoidy
by Mr. Maxwell Armfield, and the designs of
Sir Charles Holroyd and Mr. Sydney Lee, amongst
others.

Perhaps the most interesting exhibition which
the Fine Art Society has held for some time is
that of the Society of Country Painters. We found
plenty of fresh and characteristic effort in this exhi-
bition, and in many cases that better side of an
artist's talent which the exhibition "pitch" excludes.
The following are the members of this society :
Frank Bramley, A.R.A., Arnesby Brown, A.R.A.,
T. C. Gotch, M. Greiffenhagen, W. Ayerst Ingram,
Francis James, A.R.W.S., Frank Kelsey, Moffat
Lindner, Hugh L. Norris, James Paterson, R.W.S.,
Adrian Stokes, and H. S. Tuke, A.R.A.



Mr. W. Russell Flint, who has also exhibited at
the Fine Art Society, is happier, we think, in his
figure subjects than in his landscapes, the former



having a more personal character in their technique.
The exhibition was a very successful representation
of the artist's facility, many of the drawings being
most attractive and finished in style.



A critic has taken exception to the work shown
at the Old Dudley Society as amateurish. But
those who produce that kind of work will exhibit
somewhere, and it must be said that it is the best
of this element that we get in the exhibitions
of this society, which has always contained many
very gifted painters. And the latter have not
decreased in number under Mr. Burleigh Briihl's
presidency.

EDINBURGH.— One is apt to lose sight of
the fact that the Royal Scottish Society
of Painters in Water Colours is a national
body and not a West Country Institu-
tion, through its headquarters being in Glasgow
and its annual exhibitions being almost exclusively
held there. Occasionally, however, the society
comes to Edinburgh, and after the lapse of a decade
Edinburgh has again been selected as the place



'a BELGIAN peasant'

232



BY JAMES RIDDELL, R.S.W.



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* MOORLAND '



BY JAMBS CADENHBAD, A.R.S.A., R.S.W.



where the members make their appeal to the public.
This year it was a broad-based appeal as the ex-
hibition was made an open one, and the display
of work in the first three galleries of the Royal
Scottish Academy consisted of 327 drawings, of
which no less than 131 were by non-members. A
purely water-colour exhibition is such a rarity in
Edinburgh, where space limitations are at present
unfortunately rather pronounced, that the public
have little opportunity of properly appraising the
value of water-colour art, and thus the opportunity
given by this exhibition was doubly valuable.
Under Mr. E. A. Walton*s supervision the heavy
wall decoration of the galleries was superseded by
a white scrim, to which the under colour of deep
red gave a soft, warm tint that formed an admirable
background, more especially for" the many drawings
which were mounted in white.



The collection was one of the finest the society
has placed before the public. No attempt was
made to widen the scope so that it m'ght be



more than a record of contemporary work, for
the few loan drawings on the walls were but
notes by the way without historic importance.
The brilliant style and astonishing craftsman-
ship of Arthur Melville were displayed in his TAe
Procession^ and two small drawings by Joseph
Crawhall, notably the Spangled Cock^ were in-
stances of studied precision of touch so utilised as
to convey a sense of beauty and distinction to the
commonplace. Two honorary members contri-
buted. Sir James D. Linton showing a picture of a
Spanish woman burnishing armour, and Prof, von
Bartels a rather too strongly coloured drawing of
Dutch fisherwomen seated on the sand " dunes
watching for the boat that perchance may never
come to land.

The veteran President of the Society, Sir Francis
Powell, showed a tenderly painted Highland land-
scape, and the Vice-President, Mr. W. McTaggart,
three drawings not taken beyond the stage of
colour notes, but impressive even at that . Three



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EgyptiaS "^drawings by Mr. D. Y. Cameron, placed
together, 'werjs remarkable for the purity of their
colour and grave simplicity. Mr. Cameron has
not shown a finet quality of work than in Luxor,
where pillared temples,, seen across the brimming
river, speak of the mystic majestjr of Egypt's
golden past. The scope of Mr. C; H. Mackie's
art was convincingly evidenced in three such diver-
gent scenes as A Winter Night at Rye, An Even-
ing in the Royal Gardens, Venice, and The Shepherd,
the latter a French pastoral. The alluring influences
of nature in repose were presented in these varying
media with the certainty of artistic insight. The
water-colour medium seems to suit Mr. E. A.
Walton quite as well as the sister vehicle, and
in The Ford he showed a welcome departure from
his customary colour scheme, a suffusing sunset
warmth permeating sky and landscape with beauti-
ful purple-greys.

The largest drawing in the exhibition was Mr.



James Cadenhead's Moorland, It is a vindication
of the capabilities of aquarelle painting to tran-
scribe nature on a large scale. One does not feel
that if the artist had chosen oil colour he would
have produced anything more convincing, whether
in the rendering of large masses of colour and
form or in the beauty of detail. In its colour
harmonies and composition and, above all, in its
intimacy of feeling, it marks an attainment greater
than the artist has hitherto reached. The Grey
City, by Mr. James Paterson, is another of a now
considerable series of inspiring studies of Edin-
burgh. Seen through a smoke-laden atmosphere
Mr. Paterson's creation blends realism and
romance. In his drawing, The Discoverer of the
North Poie, Mr. William Walls has given a
humorous touch to his figure of the Polar bear
stalking the ice-fields ; his group of camels resting
has some fine passages of colour, and in The Moor
Road, Aspisdale, we have a delicately beautiful
landscape work. Mr. R. B. Nisbet's drawings, of



"AN AYRSHIRE BY-WAY '*



BY TAYLOR BROWN



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"duke street, KILMARNOCK''

which there were several, particularly The Sfunv
Cloud and an evening scene, are of fine quality,
and Mr. J. H. Lorimer's Flying Buttresses of
Beauvais is an inspiring vision of architectural
loveliness.

Two of the finest winter landscapes were Mr.
James Kay's December and Mr. Ewan Geddes'
Winter — the former, however, obviously the work
of an oil painter in its virile handling and solidity,
the latter tender and delicate as the stiowflakes
themselves. Mr. James Riddell, in his Belgian
Feasant, has worked with certitude and effect ; his
colour values and tonal quality are both good. In
Taking it Easy Mr. Henry W. Kerr showed a de-
lightfully humorous study of a peasant smoking
and dreaming. Gem-like brilliance and purity of
colour characterise the drawings of Anstruther by
Mr. R. M. G. Coventry, but the artist has made no
attempt to realise the " atmosphere " of this quaint
old Fife fishing town. Mr. P. A. Hay's large



portrait of Mrs. Smith-
Ryland is, as regards the
•texture of the dress, a
iaur-de-forcey but the face
painting is commonplace.
Other pictures of note
were a large marine work
by Mr. C. Napier Hemy,
a church interior by Mr.
James G. Laing, a High-
land landscape by Mr. R.
W. Allan; Bannocks and
Butter, a study of a girl
in blue pinafore, by Mr.
Gemmell Hutchison;
Mr. A. K Brown's dainty
Sky and Heather ; Miss
Emily Paterson's boldly
conceived and spiritedly
painted The Church, Mon-
ireuil'Sur-Mer, and two
lovely flower studies by
Miss Katherine Cameron.
A. E.



G



BY ANDREW LAW



LASGOW.—
The fall of
the year brings
the artists
back from the sketching
grounds, and with their
return comes a plethora
of exhibitions and one-
man shows to the city. There has just been held
the Seventh Exhibition of the Glasgow Society of
Artists ; The Scottish Art Circle has courted public
favour a second time; The Glasgow Society of
Lady Artists has again demonstrated that all the
activities of the modem woman are not in the
direction of politics ; and Patrick Downie has been
showing, in Warneuke's Gallery, a collection of his
interesting landscapes and sea pictures. The three
societies named are active and aggressive. With
the full, robust vigour of youth, they encourage a
freedom and unconventionality denied by the
older and more sedate institutions, and it is due to
one, at least, that steady and remarkable progress is
to be noted in the work of some of the younger
men of the Glasgow School.



At the Exhibition of the Society of Artists some
hundred and thirty works by members were
hung by the Committee at the Fine Art Institute's
galleries on a specially arranged background, and

235



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it is well within the mark to say that this show has
been the best and most representative in all the
Society's series. Prominent on an end wall in one
of the large rooms there was a remarkable decorative
study by the President, Mr. John Hassall, R.I.
The unusual colour and treatment would single it
out in any exhibition ; at the same time the placing
of it would exercise the minds of any committee.
A soft, fleshy red suffuses the whole picture, except
where the brilliant and cleverly painted plumage of
the king of beautiful birds introduces a note of
contiast, and redeems the picture from being
monochromatic. Hassall is distinctly imaginative.
It is always interesting to follow his idea. The
Peacock, encouraged in the conceit that it is the
most beautiful of birds, renders voluntary Homage
to the Woman, and the painter makes this act of
self abnegation the more noteworthy by draping
the Woman in all simplicity, and representing the
bird faultlessly in all the splendour of its glorious
plumage.



rare atmospheric effects ; and Mr. Montague Smyth
(a new member) in Moonlight, A Devonshire Lanty
and A Chinese Harbour, showed a vigour and
versatility that gives promise of added strength to
the Society.

Mr Taylor Brown loves to linger over the
Ayrshire landscape. His Ayrshire By-way is one
of those typical renderings of his native country
with which he has familiarised Glasgow art lovers^
but his East Lothian Hamlet, with its rich
contrasts of red and green, supplied that interest
and variety sometimes lacking in the work of
an artist whose habitual sketching ground is
limited to one particular locality. Mr. W. A.
Gibson, who is one of the most vigorous of the
younger school of painters, and one of the founders
of the Society, has, in his Cartmei, handled a
familiar theme with that breadth and richness of
tonal quality for which his later work has become
distinguished.



Dudley Hardy, R.I., was liberal in his contribu- In landscape Mr. Andrew Law proved -more
tion to the show, yet not one of his efforts might interesting than in portraiture, subject undoubtedly
be lightly passed over. Solitude, a masterly having much to do with this. Duke Street, Kit-
landscape in low tones, » j

suffered by reason of in- ; ; '

adequate lighting in the
gallery; Consolation,
somewhat reminiscent of
Whistler*s portrait of his
mother, is a simple, dig-
nified rendering in black
and white of a touching
subject; Her Sanctum, a
charming colour rhythm,
in which the interest
centres in a pair of fleshy
shoulders cleverly drawn
and naturally posed. But
for downright forceful
painting there was noth-
ing in the exhibition to
excel The Old Kitchen, by
the same artist. It takes
an honourable place with
the finest examples of the
modern Dutch School.
Mr. Tom Robertson,
R.B.A., was well repre-
sented by The Lonely
Mill; by characteristic
seascapes with blue waters,
and shadowy ships with



STUDY FOR "CONSOLATION'



BY DUDLEY HARDY, R.I.



236



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mamocky by this artist, wa^ on^6f the centres of
attraction, both for artist and layman } here a
somewhat commonplace street in a commonplace
town becomes charming by the inspiration of the
painter. There is clever composition, well-drawn
architecture, skilful light and shade effect and a
breathing atmosphere. Mr. John Q. Pringle is
something of an enigma. Last year he contributed
a large-sized fantasy in colour; when the Society
showed in London he captured the critics, and
invitations from continental galleries to show
his work were unheeded. This year the artist was
content to show a miniature, Ducks^ rich and
luminous as an enamel, and choicely mounted,
and a small water-colour sketch of rare treatment
and charming colour effect. Art is an exacting
mistress. She will not be satisfied with less than
the whole-souled devotion of Mr. John Q. Pringle.



Stewart Orr's Arran sketches formed one of
the most attractive features of the water-colour
section. The brown hill, the lonely moor, the
broken cloud are all portrayed by this earnest
observer of nature with rare fidelity and charm.
Readers of this magazine will shortly have an
opportunity of seeing a reproduction in colours of
one of these delightful transcriptions
of Arran landscape. In Mr. Munro
S. Orr's figure studies there was a
quaintness and individuality familiar
in many of his well-known book illus-
trations. The Long Pipe being a typical
example of the artist's manner. In
The Dance Miss Jessie M. King dis-
played all her wonted imagination and
inimitable touch, while The Shep-
herdess^ a delicately executed water-
colour drawing, was charged with the
genius of originality and fine feeling.



These were but a few of the more
striking pictures in an exhibition of
general excellence that will be an en-
couragement to the young society to
yet greater effort. J. T.



and pastels of this Munich artist (who, however,
is an Austrian by birth) revealed the genuine
interpreter of Rococo times. We cannot remember
a second artist who is so perfectly equipped to
render the seduction and flippancy, the grace,
frivolity and tenderness of this period. His pen
pirouettes and glides quite in the style of the sihle
charmant His abb^s, marquises and pages seem
credible enough, but woman is the star in this
realm. Bayros is the adorer of Rococo chic ; and
it seems only natural that he should show also a
fine hand in small portraits of elegant modem
ladies. In them he can be very simple, although
the atmosphere of the boudoir is ever present



At the October exhibition at Schulte*s, honours
were divided between foreign and German
Art The Hungarian, Ludwig Mark, from Buda-
pest, introduced himself as a portraitist of beautiful
women. His colourism has profited much by
Venetian classics and French modernists, but the
spirit in which he loves to render national femininity
is quite Hungarian. We felt fascinated by charms
of tonalities, whilst mien and pose struck one as in-
trusive. His inventiveness and origmality of moiif
and his colour sense are stronger than his pictorial



BE R L I N.— At the Hohen-
zollern Kunstgewerbehaus
Messrs. Fried mann and
Weber arranged a charm-
ing Louis Quinze and Seize setting
for the exhibition of the works of
Franz von Bayros. A study of the
numerous pen- drawings, water-colours
238



•in TllK PARK'



BY FRANZ VON BAYROS



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"DONNA ROM ANA"
BY FRANZ LIPPISCH



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*0N THB RHINB'



craftsmanship.' In the Aman-Jean collection, a
firmly < established reputation was jeopardised by
the weakness pi colour and line which it demon-
strated.' i We seemed to inhale enervating perfumes
from groups and single figures of sickly women
without a drop of healthy blood in their drooping
limbs. An earlier period of French Art had a
vigorous representative in
J. F. Millet, whose series
of clear and expressive
drawings of rural scenes,
landscapes and portraits
spoke of the realist's un-
flinching veracity and of
the idealist's love for the
grandeur of the antique
canon.



grounds of Italian skies
and groves induce the
mood of the elegy, a form
of music particularly
soothing in these days^of
unrest. Some well-known
Dilsseldorf painters
formed the " Kunstler-
Vereinigung, 1899," and
these sympathetic realists
sent some fine works.
Nature is their source of
inspiration, and ihey owe
much to Dutch models
and to modem improve-
ments. We found honesty
and delicacy in landscapes
of Eugen Kampf, HOnten,
Lasch, and Sohn-Rethel,
as well as in the subject
pictures of Claus Meyer,
Kohlschein, Heimig, and
Josse Gossens. The
Munich secessionist, Fritz Osswald, paints land-
scape, especially winter scenes and flowers, with
love and accuracy. His summary methods do nbt
conflict with delicate motifs. The groups of the
sculptor Ernst Miiller-Braunschweig, impressed
one by their charm' of line and tenderness of feel-
ing, and his portraiture by vividness, and Leo



BY WILHBLM SCHRBUER



Several of the contribu-
tions by modern German
artists proved a source of
real enjoyment. Franz
Lippisch, the Berlin
painter, has matured his
talent by careful study,
and some of his paintings
evoke the name of Bocklin.
Deep colour harmonies,
beautiful women in class-
ical garments and with
emotional souls, back-
240



**A trio"



BY WILHELM SCIIREUKR



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masters. He reappeared
with some moorland pic-
tures, in which his sappy
and poetic art has con-
vincingly mirrored the
grandeur of plain, the
dreamy mood of the
harbour, the joyousness of
cornfields and autumnal
witchery of beeches.



A select quantity of
Belgian pictures has been
on view in Casper's Salon.
Pictures of rather small
dimensions, distinguished
by refined colourism,
show well in these rooms,
where tradition and mod-
ernism are alike valued as



'EUROPA'



{See Vienna Studio-Talk)



BY MICHEL MORTI.



Ziemssen's talent was favourably introduced by
divers busts and plaquettes.



At Schulte's art gallery we have at last been
enabled to form a final opinion on the talent of
Wilhelm Schreuer, the DUsseldorf painter whose
occasional pictures here have always attracted
attention. He is a queer reviver of the Dutch
classics of the interior, but though not as rich as
they in his palette, he is by his very monotonies of
brown or grey or black and white and by very