Studio: international art (55.1912)

James Cadenheaa, A.R.S.A.

was given in vol. vi. of The Studio (p. 70) along
with others of his earlier paintings; The Cottage
Madomia was reproduced in vol. xli. p. 39, and
The Good Samaritan in vol. 1. p. 5.—Editor. J

Ascottish landscape

PAINTER: JAMES CADEN-
HEAD, A.R.S.A., R.S.W. BY
A. STODART WALKER.

Aberdeen has produced many artists of note,
a few of fame. George Jamesone, Scotland’s
artistic “Adam,” and the doyen of the Pre-
Raphaelites, William Dyce, were of the Granite
City. John Philip—“Spanish Philip,” as he was
named—came from the same place. Mr. Sargent’s
brilliant young friend, Robert Brough, was the least
Aberdonian in temperament of Aberdeen men.
Sir George Reid and his two painter brothers,
Archibald and Sam, were born under the shadow
of Old Machar, and of others whose names are

familiar in contemporary art, Mr. Coutts Michie, Mr.
Douglas Strahan, Mr. Fiddes Watt, and Mr. James
Cadenhead are noteworthy. Of these the subject
of our sketch possesses a reputation in his own
country and abroad that is in effective contrast to
the unfamiliarity which is attached to his name in
England. For though for some years he was a
member of the New English Art Club, although in
the voluminous collections at the White City and
other allied exhibitions, at the Whitechapel Art
Gallery and a few other places, his work has been
seen, yet he, like his President, Sir James Guthrie,
is not a liberal contributor to London galleries.
His output is not great in quantity, and the results
of his talent are usually reserved for Scottish
exhibitions and for occasional shows in Paris,
Venice, and other Continental centres.

Born in 1858, the only son of the Procurator-
Fiscal of Aberdeen, Mr. Cadenhead applied
himself very early to the profession of art, thus
differing from the greater number of his contem-

FARMYARD DRAWINGS IN CHARCOAL AND WHITE CHALK

BY EDWARD STOTT, A.R.A.