Page 55 - Studio International - January 1965

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1 gives the movement of water to subtle colour schemes etchings and lithographs by 19th and 20th century
Ulrico Schettini in which blues, green, umber and yellow soak sympa­ masters for prices that were attractive. They included
A personage called Tchoubtchik. thetically into our retinas. This immersion in canal some Renoir drypoints. an excellent Nu Couche by
1963 depths displays a mysterious and limitless vein of Matisse and the well-known W. B. Yeats etching by
Oil and paper on canvas exploration that here and there almost takes a hint of Augustus John.
71 X 55,j, in.
McRoberts and Tunnard figuration in the linear design. Whether intentional or Fine drawings and water colours were on view at
not-and I am inclined to think it is not-the ambiguity Roland Browse and Delbanco with Rodin, Modigliani,
2 gives an augmented piquancy to these medium-sized Degas and Marie Laurenc;;in well-represented. Two
Anne Dunn canvases. Their mood, however, is largely serene with water-colours by Emil Nolde of South Seas natives lent
Pool Edge coolish colours flooding biggish areas and the network exotic richness to a well-varied offering.
38,l,x51,l,in.
Leicester Galleries of line and stipple casting its variations of tone across The human figure provided subject matter for two
the canvas in subtle changes of strength. Some of the painters having one-man shows. At the Hamilton
3 smaller watercolours are assembled as three and four in Galleries, Tony Underhill, Australian artist, who teaches
Bryan Kneale one mount with the bright accents of dragonflies in at Hornsey, makes a monumental image from the torso
Voice. 1964 completely free arabesques running across the paper. that is confronted centrally. The drawing is firm in its
Steel 39 in. high
Redfern Gallery Also at the Leicester was a very interesting show of definition of thorax, hips and limbs and the modelling
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