DOI Heft:
No. 32 (November, 1895)
DOI Artikel:Little, James Stanley: On the work of Edward Stott
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17295#0084
The Work of Edward Stott
N THE WORK OF EDWARD
real one. To such as these almost every painter
of marked individuality has to look ; for nothing is
olUl I. 1> Y J. ol A IN EE, Y , • .1 , u
T„™T ^ more certain than that the original artist, to whom
LITTLE.
the self-advertising tricks of the tradesman are
To-day it does not need much unknown or abhorrent, will be misunderstood and
boldness to say of a picture exhibited this season contemned by those crystallised corporate bodies,
at the New Gallery, and entitled JVoonday—Boys with interests to conserve, to which they ought to
Bathing, that it is the finest picture of its class be able to look for aid and encouragement. We
of the year; but there was a time, and I can re- may, however, let that pass.
member it, when it required some courage to As concerning Mr. Edward Stott, to come from
speak in terms of enthusiasm of Edward Stott's the general to the particular, his struggle against
art. Assuredly Edward Stott has received but in- adverse forces has been a strenuous and prolonged
different treatment at the hands of that artistic one; but to-day he has happily surmounted all the
hierarchy which even now, discredited though it difficulties which stood in the way of his advance,
be by all criticism of the illuminated kind, can do and has won for himself, literally at the point of
much to make or mar a painter. It is true this the sword, an altogether enviable position in the
institution is powerless to affect the ultimate issue, eyes of the art-world. It may be well, however,
but it is still able to rob an
artist during his lifetime of
the definite rewards of his
labours ; in extreme cases it
can embitter his existence
by making it a life-long
struggle with poverty, while
it can go far to prevent him
from gaining that popular
recognition to which even
the most modest and self-
contained art-worker cannot
be, at all times, insensible. \\ $jt■
Moreover, since for ten j « , :Mmr'
thousand persons who visit f >' , 'W j
"\ '■'jjf--
/ 1
the Academy, scarcely so
many units can find time
or opportunity to make the
round of the smaller gal-
leries, the painter who is
unjustly boycotted or ex-
cluded by the selecting
committee of that institu-
tion has a very real griev-
ance against that body. It
is only the professional
critic or cultured amateur,
with leisure at his com-
mand, who can spare time
to unearth the real art-
produce of his day and
generation. Fortunately,
however, among connois-
seurs, patrons and critics of
the better kind, the joy of
discovering and proclaiming
unrecognised genius is a very portrait of edward stott from a sketch by p. wilson steer
VI. No. 32.—November, 1895. ^l
N THE WORK OF EDWARD
real one. To such as these almost every painter
of marked individuality has to look ; for nothing is
olUl I. 1> Y J. ol A IN EE, Y , • .1 , u
T„™T ^ more certain than that the original artist, to whom
LITTLE.
the self-advertising tricks of the tradesman are
To-day it does not need much unknown or abhorrent, will be misunderstood and
boldness to say of a picture exhibited this season contemned by those crystallised corporate bodies,
at the New Gallery, and entitled JVoonday—Boys with interests to conserve, to which they ought to
Bathing, that it is the finest picture of its class be able to look for aid and encouragement. We
of the year; but there was a time, and I can re- may, however, let that pass.
member it, when it required some courage to As concerning Mr. Edward Stott, to come from
speak in terms of enthusiasm of Edward Stott's the general to the particular, his struggle against
art. Assuredly Edward Stott has received but in- adverse forces has been a strenuous and prolonged
different treatment at the hands of that artistic one; but to-day he has happily surmounted all the
hierarchy which even now, discredited though it difficulties which stood in the way of his advance,
be by all criticism of the illuminated kind, can do and has won for himself, literally at the point of
much to make or mar a painter. It is true this the sword, an altogether enviable position in the
institution is powerless to affect the ultimate issue, eyes of the art-world. It may be well, however,
but it is still able to rob an
artist during his lifetime of
the definite rewards of his
labours ; in extreme cases it
can embitter his existence
by making it a life-long
struggle with poverty, while
it can go far to prevent him
from gaining that popular
recognition to which even
the most modest and self-
contained art-worker cannot
be, at all times, insensible. \\ $jt■
Moreover, since for ten j « , :Mmr'
thousand persons who visit f >' , 'W j
"\ '■'jjf--
/ 1
the Academy, scarcely so
many units can find time
or opportunity to make the
round of the smaller gal-
leries, the painter who is
unjustly boycotted or ex-
cluded by the selecting
committee of that institu-
tion has a very real griev-
ance against that body. It
is only the professional
critic or cultured amateur,
with leisure at his com-
mand, who can spare time
to unearth the real art-
produce of his day and
generation. Fortunately,
however, among connois-
seurs, patrons and critics of
the better kind, the joy of
discovering and proclaiming
unrecognised genius is a very portrait of edward stott from a sketch by p. wilson steer
VI. No. 32.—November, 1895. ^l