gri_2003_m_46_b05_f11_002

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68839712 - Preacher357
68925651 - jesseytucker
WINNER - 69109038 - mar15ted
69120201 - hkohle
69500386 - Zooniverse2017
69501185 - altheist

68839712 - Preacher357

[7-11-52] The Kensington Art Gallery
The autumn salon at the Kensington Art Gallery is
well worth visiting. The standard of accomplishment is
high combining anticipated excellence and pleasand surpises.
The Gallery has a way of mingling familiar and new names,
unified by the constant of painterly virtue.
Of considerable interest among the celebrated names
are two oils by Mark Gertler, one a School of Paris exer-
cise, the other an inposing still life. There is a good recent
portrait by Mathew Smith, a hit after many recent misses,
and - something of a rarity - a Lowry oil sketch for a
large picture. There are also two late works & Lucien Pissarro.
Still life is a great 20th century theme in English as
in French studios. There is Meninski's post-impressionist
fruit, void of association, its raison d'etre purely formal;
at the oppisiet extreme is The Library Table by Isobel Nevill
in which the objects exist not in painterly terms at all but
purely as symbols of the bourgeois good life (flowers and a
penguin book). Gertler's large piece is in the Grand Manner -
plaster cast, musical instrument, garland, grapes - classical
associations organised in addition to the form. An enchanting
example of objects in themselves common place given great distinction
by colour and design is Sylvia Sleigh's Brassica Seedlings.
Landscapes range from England seen through the eyes of a
weekender on Shell (John Nash) to a South of France maizefiekd
as seen by a fauve-revevalist (Anthony Gross). Between these

68925651 - jesseytucker

7-11-52
The Kensington Art Gallery
The autumn salon at the Kensington Art Gallery is
well worth visiting. The standard of accomplishment is
high combining anticipated excellence and pleasant surprises.
The Gallery has a way of mingling familiar and new names,
unified by the constant of painterly virtue.
Of considerable interest among the celebrated names
are two oils by Mark Gertler, one a School of Paris exer-
cise, the other a highly still life. There is a good recent
portrait by Mathew Smith, a bit after many recent misses,
and--something of a rarity--a Lowry oil sketch for a
large picture. There are also two late models Lucien Pissarro.
Still life is a great 30th century theme in English as
in French studios. Tere is Menisnski's post-impressionist
fruit, void of association, its raison d'etre purely formal;
at the opposite extreme is The Library Taole by Isopel Nevill
in which the objects exist not in painterly terms at all but
purely as symbols of the bourgeois good life (flowers and a
penguin book). Gertler's large piece is in the Grand Menner-
plaster cast, musical instrument, a garlani, graps--classical
associations organized in addition to the form. An enchanting
example of objects in themselves commonplace given great distinction
by colour and design is Sylvia Sleigh's Brassica Seedlings
Landscapes range from England seen through the eyes of a
weekender on Shell (John Nash) to a South of France maizefield
as seen by a fauve-revivalist (Anthony Gross). Between these

WINNER - 69109038 - mar15ted

the Kensington Art Gallery [7-11-52] the autumn salon at the Kensington Art Gallery is well worth visiting. The standard of accomplishment is high combining anticipated excellence and pleasant surprises. The Gallery has a way of mingling familiar and new names, unified by the constant of painterly virtue. Of considerable interest among the celebrated names are two oils by Mark Gertler, one a School of Paris exercise, the other an imposing still life. there is a good recent portrait by Mathew Smith, a hit after many recent misses, and - something of a rarity - a Lowry oil sketch for a large picture. There are also two late works by Lucien Pissaro. Still life is a great 20th century theme in English as in French studios. There is Meninski's post-impressionist fruit, void of association, its raison d'etre purely formal; at the opposite extreme is The Library Table by Isobel Nevill in which the objects exist not in painterly terms at all but purely as symbols of the bourgeois good life (flowers and a penguin book). Gertler's large piece is in the Grand Manner - plaster cast, musical instrument, garland, grapes - classical associations organised in addition to the form. An enchanting example of objects in themselves commonplace given great distinction by colour and design is Sylvia Sleigh's Brassica Seedlings. Landscapes range from England seen through the eyes of a weekender on Shell (John Nash) to a South of France maizefield as seen by a fauve-revivalist (Anthony Gross). Between these

69120201 - hkohle

69500386 - Zooniverse2017

7-11-52

The Kensington Art Gallery
The autumn salon at the Kensington Art Gallery is well worth visiting. The standard accomplishment is
high combining anticipated excellence and pleasant surprises.
The Gallery has a way of mingling familiar and new names,
unified by the constant of painterly virtue.
Of considerable interest among the celebrated names
are two oils by Mark Gertler, one a School of Paris exer-
cise, the other an imposing still life. There is a good recent
portrait by Mathew Smith, a hit after many recent misses,
and - something of a rarity - a Lowry oil sketch for a
large picture. There are also two late works of Lucien Pissarro.
Still life is a great 20th century theme in English as
in French studios. There is Meninski's post-impressionist
fruit, void of association, it's raison d'etre purely formal;
at the opposite extreme is The Library Table by Isabel Nevill
in which the objects exist not in painterly terms at all but
purely as symbols of the bourgeois good life (flowers and a
penguing book). Gertler's large piece is in the Grand Manner -
plaster cast, musical instrument, garland, grapos - classical
associations organised in addition to the form. An enchanting
example of objects in themselves commonplace hiven great distinction
by colour and design is Sylvia Sleigh's Brassica Seedlings.
Landscapes range from England seen through the eyes of a
weekender on Shell (John Nash) to a Stouth of France maizefield
as seen by a fauve-revivalist (Anthony Gross). Between these

69501185 - altheist

7-11-52

The Kensington Art Gallery

The autumn salon at the Kensington Art Gallery is well worth visiting. The standard of accomplishment is high combining anticipated excellence and pleasant surprises. The Gallery has a way of mingling familiar and new names, unified by the constant of painterly virtue.

Of considerable interest among the celebrated names are two oils by Mark Gertler, one a School of Paris exercise, the other a inspiring still life. There is a good recent portrait by Matthew Smith, a hit after many recent misses, and - something of a rarity - a Lowry oil sketch for a large picture. There are also two late works of Lucian Pissarro.

Still life is a great 20th century theme in English as in French studios. There is Meninski's post-impressionism fruit, void of association, its raison d'etre purely formal; at the opposite extreme is The Library Table by Isobel Nevill in which the objects exist not in painterly terms at all but purely as symbols of the bourgeois good life (flowers and a penguin book). Gertler's large piece is in the Grand Manner - plaster cast, musical instrument, garland, grapes - classical associations organised in addition to the form. An enchanting example of objects in themselves commonplace given great distinction by colour and design is Sylvia Sleigh's Brassica Seedlings.

Landscapes range from England seen through the eyes of a weekend on Shell (John Nash) to a South of France maize field as seen by fauve-revivalist (Anthony Gross). Between these

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