ART
Paintings of English Impressionists.
As a sort of unintentional poultice to the abrasions caused to the public sensibility by the pyrotechnics of Picasso and the miniature sorceries of Klee, the London Galleries this 'week are filled with the gentle unpretentious paintings of the tnglish Impressionists • Mark Fisher at Wildensteins, Lucien Pissarro at the Leicester Galleries, Steer, Clausen and more Mark Fisher at the Beaux Arts. Nothing here to cause dissention, nothing here but quiet competence and decorative pleasantry. Is it all a trifle dull, and even perhaps a little meaningless in these turgid days—or is it exactly what is required as a balm and comfort for the war-weary ? In my opinion it is dull as ditchwater and if almost any picture, by any of the aforementioned painters, hung on my wall, I should cease to look at it in two days. But that is opinion and not criticism. From their own points of view, each of these artists succeeds, Pissarro and Steer to a greater extent than Clausen and Fisher, but nevertheless within the self- imposed limits each one's expression is relatively complete. Lucien Pissarro simply continues the work of his famous father, and perhaps it would have been better for him had he beert. the son of an assistant librarian from Chelmsford. At times he almost achieved something of his father's quality, if not his rank, but always the unfair com- parison comes to mind. Even in the face of these odds, such pictures as "November morning Epping 1895" and " Summerlease, East Knoyle " are creditable performances by an artist of sensitivity, who may have had little to say but said it persuasively. Mark Fisher has nothing whatever to say but-says it very competently indeed, and his pictures are pleasantly decorative. In terms of Constable or Sisley, both of whom he found useful, he is nowhere. His world is one of pleasant summer afternoons with never more than a light shower to disturb the tranquility of his picnickers or encourage the agricultural. pursuits of his sturdy yeomen. Fisher as a water- colourist is really deplorable, he is no better than one's grandmother, and Clausen is not at his best in this medium. The watercolour show at the Beaux Arts Gallery is therefore dominated by Steer, who is a Master watercolourist and without question the most important artist so far Mentioned in this article. Even so only in two or-three examples at this exhibition is he seen at anything approaching his best ; No. 16, "The Quay, Shoreham," is outstanding.
• At the Redfern Galleries, T. Potworowski is another example of the immense influence of Matisse and Bonnard on Polish and Central European Art. Be has a fine sombre sense of colour and considerable ability as a designer,. but his pictures lack the necessary backbone of drawing. Norman Notley, also at the Redfern, is a late starter, and his watercolours, while pleasant and sensitive, are not sufficiently mature for one to assess his quality. His next exhibition will be more interesting. Fred Ulhman exhibits some very slight little pictures in the small room at the same gallery which are not up to his usual standard. MICHAEL AYRTON. "
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