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Studio: international art — 33.1905

Seite: 226
DOI Artikel: DOI Artikel: DOI Seite: Zitierlink: i
http://digi.ub.uni-heidelberg.de/diglit/studio1905/0243
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0.5
1 cm
facsimile
T. L. Shoosmittis IVater-colours

strikingly effective room. In the drawing-room The work of the designer and decorative artist
on page 219, a novel treatment is adopted; all of to-day is no sinecure, particularly if he proceeds
the furniture being of maple stained a rich violet; on what is popularly known as " modern lines."
the carpet of apple-green colour; the strapping, He begins by encountering a certain amount of
and graceful dividing screen is in ivory-coloured prejudice, he speaks in a comparatively unfamiliar
enamel, and the wall panels are lined with an tongue, he has to arrange every detail, to see the
unpatterned willow-green silk. work carried through ; and if the completed result

The complete effect here is pleasingly graceful, falls short of what at times is unintelligently ex-
considering the daring nature of the conception. pected, the undivided responsibility and blame is

Stained glass for domestic purposes has long laid at the door of the artist,
attracted this artist; many of the effects he has pro- Notwithstanding this, the progress of modern
duced in this ancient medium of decoration, both decorative art in Glasgow is remarkable, and that
in beauty of line and arrangement of colour, being progress has been materially effected by E. A.
quite unique. Taylor. J. T.

In this work he takes the most infinite pains,
making drawing after drawing, altering a line here, r I "iHE WATER COLOURS OF T. L.
and a colour there, until he gets the exact idea he SHOOSMITH. BY T. MARTIN

wishes to express, before entrusting the work to the WOOD
craftsmen. He visits the workshop again and again

while it is in progress, the guiding idea of the artist It is possible for a water-colour painter's work
being that no detail, however secondary it may to be quite spontaneous, though the painter may
appear, is unimportant. have taken a long time in arriving at his results.

That E. A. Taylor does not limit his attention Every touch may have been spontaneous in the
to decoration and design,
the Royal Scottish
Academy and other ex-
hibitions from time to
time demonstrate. ^

of tone appeal most Kfe^u. c*«0- „

strongly to him; and his ■— . ~_ .-.

endeavour is not so much
to discard the methods
of other artists because
he disapproves of them,
but rather because they
do not enable him to

interpret nature as he <<the pQRT bridge> CORRIEj ARRAN„

sees it. from the water-colour by e. a. taylor

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