THE BAILLIE GALLERY.

Dominion, Volume 5, Issue 1434, 8 May 1912, Page 8

THE BAILLIE GALLERY.

AMONG THE OILS AND WATERCOLOURS. NO. 111. "The Harvesters," by T. Austen Brown, A.I'.S.A. (Xo. 87), is a powerful piece of work.'. which will surely find its way into some gallery. The subject, as the name indicates, is theWeturn of two toilers from the harvest field. The expressions conveyed by the artist in these two faces are quite illustrative of the idea of the picture. The force of character is ail in the woman's face. The man, en the contrary, seems utterly burdened. As to method in treatment-'this artist is himself and unlike anyone else—strong in tone, rich and glowing in colouring, and quite unconventional. It is a style that appeals and convinces. There is something fearless about the way those colours are'laid on. This picturo was marked for the National Gallery, but for tho present there is some delay. "Waiting for Darkness," by David Farquharsoii,' A.lf.A. (No. !),'!), is a large canvas. nnd a lino picture. -The twilight is passing away, and night is falling, and the gathering darkness is wonderfully painted. This picturo is one of a class that must be studied. Gradually the details emerge, and you see the quiet lorce of the work. You discover the watchers, the dog, the stream. This ought to and probably will find a place in-ono of tho galleries. The Suffolk Waterway.

A good deal of attention has been attracted by "On tho Suffolk Waterway," by Bertram Priestman, ,11.0.1. (No. 102). -This is a striking picture, painted with vigour, and it will appeal to those who are disciples of the modern school. It is a large canvas presenting n characteristic scene in Suffolk. The most notable feature is the, way the sky .and its reflection are treated. The picture is a good example of what may be termed freo stvle. To some eves (hero may ho an arresting vividness in the bright green, but that is redeemed by other balancing tints. The horse towing the barge, and tiiii quiet figuro on the bank, and tho way the distance is shown, all go to inako a-worthy picture suitable for a gallery. "Judith Shakespeare," by I. Aoung Hunter (No. MS)," presents a very interest.ing. subject. This artist's speciality is iu illustrating' episodes. Several examples are reproduced in the Royal Academy pictures. In this case the story simple. Here is presumably a representation of tho great dramatist's younger daughter Judith, practising a minuet step, unconsciously observed by a witness at the cottaga' door. The instructive feature is the-way the contradictory colours harmonise. , ■ .'"The JBmief (No. 105). by,the same artist, transfers the poetry ot motion from; out-of-doors to the old-timo hall. The suggestion that old and new may bo found in happy combination is given by the modern grand piano and the centuries-old-Hoo'riiig. It is a bright little picture. A Fine Landscape. "A Landscape," by Henri Harpignies (No. 120), is fairly classed as. among the gems of ,the : 'collectiqn. Though a small example, it. . possesses rare quality. Hiu'iiignies's power tis a landscape painter is little known to the general public, who would do,-well to secure the retention of this exaniple of .'the artist s .work for the National Gallery. This artist was born at Valepcieniies in 1819. He visited Italy with 'Corot iu 1860, and in the 'following vear exhibited his first important work, in which the influence of Corot is apparent. Harpignies is also kr.own as an. excellent water-colour painter. There is a wonderful depth and power.in hi? treatment of foliage. Tho way in which tho sense of gniet- and rest is conveyed is quite remarkable. Tho date cf this picture is 18110. , ~ , „ , T "Norman Arches, by Sydney Lee, N ]■; \ (No. 120) as the title convoys is a study of the builder's art. There wero artists in those days who have left such evidence of grace of form combined.with strength. The painter revels in the snnplo dignity of his subject. Those old columned a relies and walls aro a- ink between he old t'imo and the development in the architecture of to-day. passive yet gracefill are those lines, and the skill ot tho painter stands out in the, wonderful way bo has opened up the vistas in such severe simplicity; The Tower Bridge. "Tho Tower Bridge, London" (No. 132), bv James S. Hill, R-L, is « sudden change from ancient to modern. Ihe ruer scene, which is probably familiar to some, is quite typical. The artist introduces tho bridgo in that grey, misty light so peculiar to that portion of the river. In viewing the picture one cannot but realise thnt it represents the highway to tho great world market-grey and busy London. Thoso turbid waters ceaselessly churned, the restless but orderly-traffic, tho constant insistence of need, the eager competition of trade. The artist had a messago to deliver, and those who wish can read it The-picture is a very fine one, and is full of instructive points for an art student. ... Tlio other examples of oil paintings claiming special notice are those that havo been purchased for the National Uallerv by the Selection Committee, and thoso gifts that have so generously been made. These pictures will be the subject of a special notice, which is deferred until the further purchases are determined. The Water Colours. Parsing on to gallery No. 3, the water colour drawings'claim attention, but when there aro no fewer than 151 examples of this department of art, the very closest observation is demanded if there is to be any useful purpose served in differentiation. A dozen drawings are marked as already puichased, nnd these will be reviewed presently. Landscapes, studies, and seascapes are ull well represented, and there are some notable types. 11l this medium tho individuality of the artist conies'out; and where a refined treatment of a subject is required there are some charming results. Nos. 2, 61. and 153 are three studies of flowers, by Hugh L. Norris. Their charm and finish are so complete that it is difficult to get away from these examples. There is a freshness and refinement about them that is delightful. Pure tint, careful drawing, charming combination of blossoms and foliage present as it were glimpses of a garden in the best sense. To the student who wants to learn how to draw flowers, how to leave out what is extraneous, these drawings are models. It is not uncommon to hear the remark, "I don't like pictures of flowers." The answer is: Have you had the opportunity i,f considering what can be done when you set about it the right way? Great i would be the benefit to students if these drawings could find a place in our National Gallery. There is 110 laboured work, every line tells, and every omission is intentional. "The Breakfast Room at Holland House," by Kate If. AA-yatt (No. 13), is a most attractive specimen of water-coloiir work- dealing with the peculiar difficulties of representing a room with its appointments. Holland House is so rich in liistorical memories, that if is difficult to think of any great name that lias not at some time or other been associated with it. A house renowned for its hos- , pitality, "Beautiful Holland House," as if has been named, is now fortunately in tlie bands of one who fully values and guards its treasures and associations. From the point of view of this drawing every detail is worthy of the closest." study—colouring, texture, perspective. and light. AVindr Dav" (No. 17) is a very clever piece of work, 'by Dudley Hardy. The idea of a squally salt-laden day is convincingly expressed- This is a difficult mode, but the nrtist lias proved his power, In the Highlands. "Sentemlier in the Highlands," by R. W. Allen (No. 37), should satisfy the most fastidiou3. The landscape is charming— the high mountain standing out through i the haze in the distance, its clear, distinct 1 outline quite soft and grey, and the bum ' making its way among the lower undula--1 tions, and coming right down to the jnoor--1 lnnd heather—is a fine piece of drawing. ' The colouring is so entirely of that rich " autumn tint that it appeals and recalls. I This 'water colour has many admirers, > and is of that quality that it rare in this country. Nos. 82, 88, 110, and 129 are four char- " acteristic examples by Albert Goodwin, 3 R.AY.S. "Dartmoor" (SSj is typical of this artist. The ni"f!iod. the detail, the tone, " the very selection of the view, point Iu ' the artist of ''dined ta.-te and rare technique. The way in wliic.h (lie wild lunor , i- drawn--there i~ no elVovt I't rfiee'. I- hi.it an V.eo'rale transcript ff «h.it 'o'' artist saw u evident. In his "Summer

at Sultori Coiirlenay" (1211) the same refinement is apparent. Tin* feature ot artist's win!; is flint lie evidently revels in it—lie sees tlio wilil pardon ill tin: moor, 11 ml us lie sees so ill' draws. The spirit ot' delight is in his work. ;mil nothing is "suggested." f 1 is carelul, patient work, and wo liave file result ill these specimens of his. Mrs. Allingham's Pictures. "The Hinders' .Mill" and "Ornvkld rt Downfall" ■ -Vo. 12" and W) are the two examples ol' Mrs. Allinghnm'- K;irk. 'I liiartist i< a water-colour painter ot' Kng-li-.li pastoral scenery, and rural lite, and was at one time on Ihe sfiifi ot' I lie "llraphic." Kuskiu greatly admired her drawings, and >neaks of her works in "Art Notes" for ISi.i. It is only necessary to look at and examine the two specimens now hero to see how the artist believes in accuracy in every detail of her work. "The Hlioier,-.' Mill" is a charming picture. The old brick lint, Hie time-stained wall, the woman with tho basket, of clothes, the grass, the -tream. the whole picture, in short, i< redolent of the country. In the "Cornfield at Downton we are shbivn the way she draws a rural spot. .Mr. Allinghain records in his diary, dated December a, ISBl—speaking. of the artist: "We found her last year's point of view, and she sat courageously ior two hours sketching '"in the cold, lor 'twas an eager air tho' the ?un shone. , ''i e is always a reason when an artiM s work carries conviction; iu this case -Mrs. Allingham proves her earnestness in braving that "eager nil'." It is not only the work of the studio that is important, hut the -actual contact with nature in her moods, as with her charms.