1935-04-10 — Page 3

CHINESE MASTERS OF ART

COMPARISON OF OLD AND NEW

BRITISH TALENT

By FRANK RUTTER

Just as the living painters of Italy are heavily handicapped by the world's conscioustics of the

THE HONGKONG TELEGRAPH

FAREWELL DINNER

GENERAL AND MES BONNETT ENTERTAIN GOVERNOR

recently bought for the nation by. the Contemporary Art Society. His one-man-show at the Redfern Gallory reveals a painter of great tulent, who is neither restless nor seeking after novelty. Trained at the Slade, Mr. Eurich worthily maintalan the tradition of that. His Excellency the Governor and school in his disciplined draughts-Lady Post were entertained by His manship; and while numerous Excellency the General Officer shipping subjects show his appre-Commanding and Mrs. Borrett, at elation of the value of line and an official farewell dinner inst Sincar design, hie-painter like evening at Flagstaff House, quailles are seca not only in his clear, limpid colour, but also in his three-dimensional rendering, of mans and recession.

The following gucata had the honour to attend Major General F. W. Barron, Brigadier H. G. and Mre, Seth Smith, Colonel J. H. and · Born at Bradford in 1903, Mr. Mrs. Morris, Colonel R. A. Bryden, Eurich is at little over 30. How Colonel H. C. and Mrs. Harrison, far he has already gone may be Colonel E. St. G. and Mrs. Kirke, acen in such paintings as "Robin Colonel W. J. II. and Mrs. Bilder- Hood's Town" (10) and "Ships in beck, Colonel L. C. and Mrs. Lowis, Harbour" (13). The sobriety of Colonel A. B. and Mrs. Hearn, these achievements" "and thoir Lieut. Colonel E. J. de C. Boys, Lt. freedom from "vulnerable charac-Colonel Kirby, Lt. Colonel A. C. teristics" persuade us that Mr. Marsh, Lt. Colonel M. and Mrs. Eurich, good painter as he now 16, Carrington-Sykos, Lt. Colonel R. will advance still further in, the

F. Hindson, Miss M. McCormick, future.

Captain R. P. II, Walter, Mr. W. S. A. Clough-Taylor, and Mr. R. C. Rose Price.

FORAIN

*

When Daumier died in 1870, d. L. Forain (1862-1931) was young man of 27 and Degas a man of 45. As early as the eighties Fornin bad a reputation aB en illustrator, and all who remember his front-page drawings in "G Blas" will recognise an old friend In the subject of "La Confidence" (39), one of the finest oil paintings In the Fornin Exhibition at the Arthur Tooth Galleries. Because this painting depicts a ballot girl whispering something into the ear of a rather coarse man, somebody is sure to any that it shows the Influence of Degas; but if there is one picture in the exhibition which shows the inimitable personal style of Forain, it is this. Degas.could not have painted it.

strious mastera their country produced in the past, so modern Chinese artists are at a terrible of the diaddvantage by reason aupremely high achievements of their venerated ancestors. Among the treasures of that first part of the Eumorfopoulos Collection, which has recently been placed on vlow at the Victoria and Albert Museum, ого Deveral ancient Chinese paintings of the highest quality, and it is impossible 'not to think of these, or of Sung and other examples at the British Museum, when we visit the exhibi- tion of Modern Chinese Painting which remains open at the New Burlington Galleries till March 25: Thus we come to this exhibition with standards of past excellence vividly presont to our minda, standards which-fortunately for our European contemporaries-we usually forget when we go to the Royal Academy or the Paris Salons. Fairness demands that if we judge the work of lving Chinese painters by its relation to traditions of the past, then we must be equally ready to test modern European & x pictures by the highest standards that Western art affords.

NEW WORLD CRITICISM

Earlier this year a similar ex- hibition of contemporary Chinese painting was held at the Forg Museum, Cambridge, Massachu setts, when an American critle

made some very interesting com- parlsons between Eastern and Western art. These scrolls," said this writer, "do possess a quality which recommends them; they are dynamic

are not copies or adapta- tiona. The artists, painting landscapes, or reeds, or blos- soms, feel a personal reaction to the subject, and they struggle with. their paint-brushes Lo convey the quality of their feel- ings. And at this point we may mention A kinship with the Western world of art. For modern art anywhere does not seem to want for vivacity. It surpasses for that very quality, True, it lacks, discipline, prac- tice, co-ordination, purpose. suffers from disrespect for yes- traint; from restlessness, and an angovernable desire for novelty. The Chinese of this era havo hút fraction of the vulnerable, characteristics of their con- temporaries. It may be

that their respect for their ante- cedents hna saved them from many pitfalls.

So writes Miss Dorothy Adiow, and all who have seen the exhibi- flon #t the New Burlington Galleries will admit that her re- marks are very much to the point. Collectively these modern Chinese paintings impress us by their dignity and poetic feeling. We recognise discipline in their duent draughtmanship; restraint in their sparing use of colour. For the majority of those hanging acrolls are in black-and-white, and colour, when employed, is used with great discretion. Rarely do we find so full a use of it as in Mr. Chou Leng-wu's "Landscape in Blue" (202), a charming symphony of cool colour, in which the drawing of the trees skilfully combines Anished detail with breadth of *effect.

DIGNIFIED DESIGN

Realism is expressed by draughts- manship, and these modern paint ora, like their Sung predecessors, excel in the graphic rendering of bird and animal forms. Note the vitality and expression in Mr.. Chang

"Dog under banana tree"

the horse of Prof. Liu Hai-su's

Cha-chiraty" (79).

must

the broad Impressionism of Mr. Jung Ta-kuala "Tiger" (20), tho purposeful economy and admirablo landscape perspective in Mr. Chang s-chion's "The painter Wang

· Mien (1385-1407) riding on a buffalo" (104). Surely, as we look round this exhibition, we recognise that respect for tradition has done more than save Chinese artists from the pitfalls in which many European painters foundering; it has given their work a serene distinction and a dignity of denign rarely found in the work of Europeans restlessly striving after novelty.

are

RICHARD EURICH Searching current. exhibitions for a British artist who acquires morit by respect for tradition, we find a happy example ready to hand in Mr Richard Eurich, whose ad- mirable quayside scene, "The Blue Barges Weymouth"

(24)

Similarly somebody may say that

I

the magnificently powerful paint- Ing "Le Pretoire" (17) shows the influence of Daumier, though Daumier nevar painted anything emotely like it. Because he some- times painted low courts and ballet girls, let us not Imagine that Forain spent his life imitating Daumier and Degas. He was in- Buenced by them, as Deumfor was influenced by Goyn and Degas by Ingres; but the paintings and drawings at Tooth's should suffice to prove that Forain was not only a great draughtsman but

a fine painter, and a true artist with a strong personality.

Shrove Tuesday football in the River Henmore, near Ashbourne, was abolished by James 1 in 1830 because so many players wore killed. Hers it

·la-abolished i~~

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The MING YUEN STUDIO has removed to the 3rd Floor of No. 6 Queen's Road Central