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Studio: international art — 36.1906

Seite: 346
DOI Heft: DOI Artikel: DOI Artikel: DOI Artikel: DOI Seite: Zitierlink: i
http://digi.ub.uni-heidelberg.de/diglit/studio1906/0364
Lizenz: Creative Commons - Namensnennung - Weitergabe unter gleichen Bedingungen Nutzung / Bestellung
0.5
1 cm
facsimile
Studio-Talk

these cottages open, with one main gate leading to
the five paths approaching the entrance doors, with
no divisional fences, so as to retain a quiet peaceful
effect in the general appearance. The drawing
reproduced was exhibited at the Academy last
summer.

Technical hints from the

DRAWINGS OF PAST MASTERS
OF PAINTING.—III. SIR PETER
LELY.

In the admirable portrait-study in pastels by Sir
Peter Lely, a facsimile reproduction of which is
here given, the artist has carried out his drawing
in somewhat greater detail than in the sketch by
him recently reproduced in these pages. The
method of reproduction is, however, the same in
both drawings. The “key-note” is in black
chalk, a few colours being added to enhance the
general effect. No attempt has been made, as
is too often the case in
modern pastel work, to
imitate the effect obtainable
by oil or water-colours
The crayon line is retained
because it is the simple and
legitimate outcome of the
medium employed, and in
this fact lies the chief
charm of the work from the
artist’s point of view. After
a careful examination of the
original drawing it would
appear that the details in
black chalk were first com-
pleted and the tone values
thus obtained, the colour
composition being after-
wards added. In the
original a dark stain, pro-
bably caused by water,
disfigures the left side of
the drawing. This defect
has, of course, not been
imitated in our print. There
are other signs of wear in
the original, from which it
may be surmised that the
drawing when it left the
artist’s hand was somewhat
more defined and brilliant
in colour than it at present
appears.

346

STUDIO-TALK

(From ow own Correspondents)

LONDON.—Following the attention which
is now being devoted by artists generally
to the interior decoration of churches,
Mr. E. Reginald Frampton has com-
pleted much work in this direction marked by
a thorough knowledge of suitable church designing
and by sympathy with the significance which is
attached to church work generally, if it is to raise
itself to be worthy of the purpose. We reproduce
two designs in various stages of completion for
churches which Mr. Frampton has recently
decorated. Mr. Frampton completes his wall
paintings himself from the beginning, being most
careful in preparing and grounding the wall. In
carrying his work out he uses a very carefully
selected palette, and paints in as direct and
simple a method as possible. Above all he
is careful never to lose sight of the science in
the mixing of his pigments. When his wall

“EMILY: THE KENTISH TALE ” BY E. REGINALD FRAMPTON
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