ENGLISH ART
"11l our rough island story of English art, it is not. as in the history of France or of Italy, oil-painting that counts for most. lii'the past we have been, preeminently a nation of water-colourists," writes Mr U. K. Tallock, the art critic, in the "Daily Telegraph." "No other nation can compare with ours so far as the. water-colour medium is concerned, liefore Girtin, Cozens, Bonington, Column and Turner alone the water-colours of the Continent pale; and it is quite is [rue to say that of recent years the cult of the woodcut, the engraving, and the etching, as practised in England, has resulted in a mass of products that in bulk and quality place England first in the artistic world. Those who line to say that the lioyal Academy does mil ac curately reflect the aesthetic genius of England found themselves confronted this year with the strongest arguments against their theory. One had the feeling when passing in review the exhibits there thai one was in the presence of craftsmen who really know their business. When we come to the black-and-white section there is no room for doubt that the English achievement is unique in the modern world." Alright for tl7c"'~'UN iQU B"~i"[T>t Water I Bottle on frosty nights. Why not buy another? Guaranteed the best.
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https://paperspast.natlib.govt.nz/newspapers/NEM19290716.2.115
Bibliographic details
Nelson Evening Mail, Volume LXIII, 16 July 1929, Page 9
Word Count
219ENGLISH ART Nelson Evening Mail, Volume LXIII, 16 July 1929, Page 9
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