DOI Heft:
No. 388 (July 1925)
DOI Artikel:Stephens, Jessica Walker: Hirst Walker, R.B.A.
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21403#0040
HIRST WALKER, R.B.A. 0 a
ENGLISH artistic genius may, very
broadly, be divided into two main
types—the literal-representational and the
intuitive-allegorical. Sir Joshua Reynolds
was a supreme example of the first type
and William Blake of the second. Both
types have their spheres of excellence, but
when either attempts to invade the other's
province results are apt to be disastrous.
If William Blake ever attempted literal
representation the error is forgotten. Sir
Joshua, however, made attempts at al-
legory. Because he lacked the requisite
intuitional power, the results were so banal
that subsequent generations, somewhat
unreasonably, took fright at all allegorical
painting. The representational mind sees
objects in their material form, and, being
undisturbed by other considerations, sees
them clearly. The intuitional mind may
see objects less precisely than the other,
but is alive to all the mystic but important
significances and relationships which go
to make up that strange dream, our life.
Within these two main streams all sorts
of diversities and modifications occur.
II y a fagots et fagots. Thus, whilst the
work of Hirst Walker is in no sense
fathered by the work of Blake, he is on
Blake's side of the main division. He is
a painter, not of objects as objects, but of
visions expounded by forms. Possibly
this sort of art is less easily comprehended
by the lay mind than work of which we
can say " Isn't it just done to the life i "
with smug satisfaction at having recog-
nised what we are accustomed to. An
American wit said recently, " Ideals are
funny little things : they won't work unless
you do," and this applies to idealistic art.
It requires the effort of comprehension
from the beholder, a 0 a 0
From what motives does such an artist
work id a a a a a
First, the work tells us, from a sense of
the dignity inherent in nature, and in
nature's architecture. Hirst Walker is,
above all things, a painter of mass forms
and the delicate lines by which nature
joins these forms. To put it in his own
ENGLISH artistic genius may, very
broadly, be divided into two main
types—the literal-representational and the
intuitive-allegorical. Sir Joshua Reynolds
was a supreme example of the first type
and William Blake of the second. Both
types have their spheres of excellence, but
when either attempts to invade the other's
province results are apt to be disastrous.
If William Blake ever attempted literal
representation the error is forgotten. Sir
Joshua, however, made attempts at al-
legory. Because he lacked the requisite
intuitional power, the results were so banal
that subsequent generations, somewhat
unreasonably, took fright at all allegorical
painting. The representational mind sees
objects in their material form, and, being
undisturbed by other considerations, sees
them clearly. The intuitional mind may
see objects less precisely than the other,
but is alive to all the mystic but important
significances and relationships which go
to make up that strange dream, our life.
Within these two main streams all sorts
of diversities and modifications occur.
II y a fagots et fagots. Thus, whilst the
work of Hirst Walker is in no sense
fathered by the work of Blake, he is on
Blake's side of the main division. He is
a painter, not of objects as objects, but of
visions expounded by forms. Possibly
this sort of art is less easily comprehended
by the lay mind than work of which we
can say " Isn't it just done to the life i "
with smug satisfaction at having recog-
nised what we are accustomed to. An
American wit said recently, " Ideals are
funny little things : they won't work unless
you do," and this applies to idealistic art.
It requires the effort of comprehension
from the beholder, a 0 a 0
From what motives does such an artist
work id a a a a a
First, the work tells us, from a sense of
the dignity inherent in nature, and in
nature's architecture. Hirst Walker is,
above all things, a painter of mass forms
and the delicate lines by which nature
joins these forms. To put it in his own