MODERN PAINTERS

Evening Post, Volume CXXI, Issue 36, 12 February 1936, Page 18

MODERN PAINTERS

EARLY WORKS OF SICKERT

DROP SCENE BY EPSTEIN

(From "The Post's" Representative.) LONDON, January 18. An exhibition of paintings at the Redfeni Gallery brings the work of three remarkable moderns together. It is interesting to see the paintings of Mr. Eichard Sickert done between the years 1895 and 1905, and to note tbe early style that has led to his present defiance of literalness. In these harmonies of low-toned colour, Mr. Sickert showed his ability to keep close to the facts, but having got the facts he would apparently introduce some element of destruction. Thus, in a picture of two old people iti conversation the artist adheres closely to the facts of life, but finally takes cakes of grey paint and mutilates the faces out of recognition. In "The Frame-maker's Daughter" (priced at 125 guineas) there is no defiance of natural form, but the face of the good lady is painted with the colours associated with the longsince dead. In those early days, however, Mr. Sickert painted a good many landscapes, in which he made no attempt to alter the form as appreciated by the ordinary observer. Among these are "Church, Dieppe," "St. Mark's, Venice," "Canal in Venice," and "Royal Crescent, Bath." "The Camden Town Murder" recalls a strange incident in the life of the artist. A woman of Camden Town was found with her throat cut. After the police had taken note of the tragedy Mr. Sickert got into the room and made a sketch of the scene from which he subsequently painted several, pictures. Mr. lan Fairweather is not unknown in Australia, where he has exhibited and otherwise' come into the public eye. At present he is in China, and a' collection of his paintings reflects the scenes of China and the Philippines. They are most subtle in their colourings, and from a decorative point of view most pleasing. A new ballet, "David," is being staged at the Duke of York's Theatre : this week, and before the performance : begins the audience have the oppor- : tunity of examining a drop scene : painted by the famous sculptor Epstein; The original sketch of this j (abour 8 feet by 6 feet) is to be seen , at the Redfern Gallery. The picture ; depicts scenes in the life of David, i Apart from the details, the colour 1 scheme is very fine. But the details : provide an interesting study. At the i top of the picture is a choir of angels, 1 all with brightly-coloured wings. All "primitives" seem to have coloured their angels' wings, so Epstein has a good precedent. In the centre of the picture is David, in juxtaposition with , great pillars of stone, probably indicating the strength of the man. On one side is the Lord speaking to David, ou the other a scene showing David unclothed, mourning for Jonathan. David's wife, with her maidens, is seen in another scene, apparently scoffing at k David's strange actions. An effeminate Jonathan is shown lying on a carpet, and there are various groups of priests gathered around the golden candlesticks. The drawing of all these fig- „ 'ures is precise and correct. The artvst 'has then applied his colour with a . view to the general effect; and. in the g large-drop-scene at the theatre the . work is an important feature of the ? entertainment. ' f