The Corot Exhibition SIR,—Concernin g the recent letter written by Mr.
Cecil Gould in response to Mr. Bryan Robertson's criticisms on the Corot exhibition may 1 point out how very unfortunate it was that Mr. Robertson did not exercise more understanding towards the very good Corot exhibition. In the first instance Mr. Robertson deplores the fact that the exhibition is not large enough and then farther down he writes: 'He is a painter beloved by artists and lacks several obvi- ous ingredients which help a large display: his quiet concentration of form and commensurate economy of gesture combine to make a deeply civilised, inti- mate art that can easily defeat the expansiveness of a large gathering.
Surely this whole exhibition has been brought to- gether with the greatest understanding of Corot's con- siderable achievements during the early and middle periods and his near failings in later life. The exhibi- tion is so good precisely because the choice has been made most carefully and Corot's various phases can be studied with care, and most of all from excellent examples. Surely, in giving once more a Corot exhibi- tion_one does not wish to repeat the mistakes of the past; to see Corot again clearly divided into his vari- ous important phases is a joy to behold. I think that the National Gallery can be congratulated on this exhibition for it affords one the opportunity to sec Corot's very important work with ease and one can readily enough appreciate the care with which it has been brought together.
City Art Gallery. Bristol
H. SCHUBART
Director
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