DOI Heft:
Nr. 119 (February 1903)
DOI Artikel:Image, Selwyn: Mr. Frank Brangwyn's landscapes and still-life
DOI Artikel:A young sculptor: Mr. Reginald F. Wells and his rustic art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19878#0029
$
A Young Sculptor
sinuous form and rich tone,
gives to landscape-painting
its higher significance, Mr.
Brangwyn's works of this
kind will certainly not
appear amongst his less
admirable performances.
They, as much as his
figure pieces, are character-
ised by his large outlook
on things. Mr. Brangwyn's
method of design and gift
of colour would find in
mosaic work a singularly
felicitous field for their
expression, and had space
permitted I should have
liked to dwell briefly on
relation to one another, constitute the structure, A YOUNG SCULPTOR: MR. REGI-
the anatomy, the main motive or subject, call it /\ NALD F. WELLS AND HIS
/-v
by what significant term you like, of Mr. Brang- f.—^ RUSTIC ART.
wyn's pictures. There are ways of seeing nature,
and of representing her other than this, and Mr. Wells has made a good beginning. A few
they are ways, let it be remembered, equally legiti- months ago he was merely a clever student in the
mate in art; but this js Mr. Brangwyn's way, schools, modelling at South Kensington under an ex-
and it is extraordinarily impressive as well as cellent teacher, Professor Lanteri; to-day he is solving
uncommon. No doubt our well-known friend the in his own manner some hard problems of profes-
" Man in the Street" does not see nature after sional work, and is already known to many good
this sort, and when she is so translated
for him he does not appreciate the
translation. Though it is well for art to
captivate the man in the street (and when
she puts on airs and ignores him, it
is, if she only knew it, bad for herself),
still the fancy and judgment of this
somewhat limited individual are ob-
viously not to be taken as a standard
of fine art: and in our own day this is
especially the case, for many reasons.
Mr. Brangwyn's landscapes, therefore,
are perhaps hardly likely to be so
widely approved of as his figure pieces
with their human appeal, or his still-
life studies with their familiar objects
so powerfully and brilliantly por-
trayed. But this from the artistic
side is of course nothing to their dis-
advantage; and for those who appre-
ciate design, those to whom an im-
pression of nature caught in one of her
larger and more forcible aspects, and
interpreted with surprising breadth of "turnips" from the study by frank brangwyn
17
A Young Sculptor
sinuous form and rich tone,
gives to landscape-painting
its higher significance, Mr.
Brangwyn's works of this
kind will certainly not
appear amongst his less
admirable performances.
They, as much as his
figure pieces, are character-
ised by his large outlook
on things. Mr. Brangwyn's
method of design and gift
of colour would find in
mosaic work a singularly
felicitous field for their
expression, and had space
permitted I should have
liked to dwell briefly on
relation to one another, constitute the structure, A YOUNG SCULPTOR: MR. REGI-
the anatomy, the main motive or subject, call it /\ NALD F. WELLS AND HIS
/-v
by what significant term you like, of Mr. Brang- f.—^ RUSTIC ART.
wyn's pictures. There are ways of seeing nature,
and of representing her other than this, and Mr. Wells has made a good beginning. A few
they are ways, let it be remembered, equally legiti- months ago he was merely a clever student in the
mate in art; but this js Mr. Brangwyn's way, schools, modelling at South Kensington under an ex-
and it is extraordinarily impressive as well as cellent teacher, Professor Lanteri; to-day he is solving
uncommon. No doubt our well-known friend the in his own manner some hard problems of profes-
" Man in the Street" does not see nature after sional work, and is already known to many good
this sort, and when she is so translated
for him he does not appreciate the
translation. Though it is well for art to
captivate the man in the street (and when
she puts on airs and ignores him, it
is, if she only knew it, bad for herself),
still the fancy and judgment of this
somewhat limited individual are ob-
viously not to be taken as a standard
of fine art: and in our own day this is
especially the case, for many reasons.
Mr. Brangwyn's landscapes, therefore,
are perhaps hardly likely to be so
widely approved of as his figure pieces
with their human appeal, or his still-
life studies with their familiar objects
so powerfully and brilliantly por-
trayed. But this from the artistic
side is of course nothing to their dis-
advantage; and for those who appre-
ciate design, those to whom an im-
pression of nature caught in one of her
larger and more forcible aspects, and
interpreted with surprising breadth of "turnips" from the study by frank brangwyn
17