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Studio: international art — 71.1917

DOI Heft:
No. 292 (July 1917)
DOI Artikel:
Finch, Arthur: The paintings of Joseph Southall
DOI Seite / Zitierlink: 
https://doi.org/10.11588/diglit.21263#0066

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The Paintings of Joseph Southall

on her floral patterned robe, is reminiscent of the fountain bringing into prominence the main
Byzantine and Persian art. composition. The decorative foliage shows the
Mr. Southall's greatest work, perhaps, is influence of Botticelli and the conservative
Changing the Letter. It is a truly masterful Florentines of the Early Renaissance,
narrative in symbolical decorative tempera If an analysis of this artist's work in decora-
painting. Exhibited at the Rome International tive tempera painting reveals him as a tem-
in 1911, it is a good example of the artist's peramental painter, this quality is the one, more
elusive quality. All his powers of architectural than all else, which stands out in his portraiture,
design and delineation of the human figure are This phase of his art reveals Joseph Southall's
brought into play for the purpose of fixing, so sincerity and power of characterization. It is
to say, the story of William Morris's princess, emphasized in the tempera portrait of the late
who by her stratagem saved the life of the Joseph Chamberlain's niece, Bertha Hope, as a
beggar-son whose death was planned by her nurse, painted last year and exhibited in the
father, the King, and afterwards reigned with current exhibition of the New English Art Club,
him. How well he has envisaged the scene those That she is a niece of the great politician there
readers acquainted with the passage in the is no doubt—her eyes are the evidence. His
" Earthly Paradise," where the princess with portrait of John Arthur Kendrick, exhibited at
her maid had entered the King's garden and the New English Art Club in 1914, is another
saw the sleeping Michael by the fountain, will example of fine brushwork.
agree. It is essentially Pre-Raphaelite in design. As to this artist's influence on modern art, it
The crimson of the boy's gown is a wonderful is only necessary to recall the work of the
mass of colouring, the light tonal scheme of Birmingham group in tempera. Most of them

' CHANGING THE LETTER." (FROM "THE MAN BORN TO BE KING," IN WILLIAM MORRIS'S "EARTHLY
PARADISE.") TEMPERA PAINTING BY JOSEPH E. SOUTHALL

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