DOI Heft:
No. 59 (January, 1902)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.22772#0258
Studio-Talk
EMBROIDERED CUSHION BY WILLY O. DRESSLER
pictures of these three Irish painters with under-
standing have, in one way or another, been
conscious of this latter influence. It is seen in
Mr. Hone’s sleepy landscapes, grey seas, and
broken skies ; in the portraits of the elder Yeats,
with their delicate reserve, their suggestion of some
subtle intimacy with the inner personality of his
sitters ; and it makes itself felt in Jack Yeats’s
vivid, human dramas on canvas, which seem literally
to exhale all the exuberance, all the buoyancy of
youth. But I would rather speak of the work of
these three artists as distinctively Irish work than
apply to it that long-suffering word Celtic. They
are all, each in his own way, thoroughly and
typically Irish; and while they do not claim to
have founded any school or led any movement,
their work may be taken as representing in Irish
art the best achievement in the present and the
hope for the future. _
Mr. Hone has been all his life painting the
external aspects of Nature as she reveals herself to
him on the eastern coast of Ireland. He has
painted quiet stretches of sand with breaking
waves, meadows that are just out ot reach of the
salt spray and fringed with the fine trees that one
sees close to the coast on the northern side of
Dublin Bay.
Mr. Yeats’s portraits are as remarkable as
Mr. Hone’s landscapes, and for reasons not wholly
dissimilar; the pictures, in fact, keep very good
company together, and you can turn from one of
Mr. Hone’s landscapes to one of Mr. Yeats’s
“ men and women ” without feeling the necessity
for any alteration in the mental point of view.
The collection was very representative of Mr.
Yeats’s work, including as it did a number of
pencil portraits and sketches, as well as several
of his best portraits in oils.
Jack Yeats’s Sketches of Life in the West of
Ireland attracted crowds of visitors during the
fortnight that the exhibition was open, and the
general feeling was one of surprise at the tremendous
progress made by this young artist during the
twelve months that have elapsed since his work
EMBROIDERY BY WILLY O. DRESSLER
was last seen in Dublin. His touch is firmer and
surer ; there is nothing now tentative in his style.
His colour is more certain of itself, more a part of
the picture. The subjects of Jack Yeats’s sketches
are mostly West of Ireland peasants, with the fine
faces and strongly marked features one sees along
the western seaboard. His method is simple and
direct ; the result is attained apparently without
effort, and the effect is of an amazingly vivid realism
transfigured by imagination. E. D.
BERLIN.—At the present time in Germany
there are a host of things that cannot
but appeal strongly to anyone who
follows with a keen interest the
international warfare of trade, and who pays
serious attention to the ever-increasing value of
the part played in its progress by the decorative
205
EMBROIDERED CUSHION BY WILLY O. DRESSLER
pictures of these three Irish painters with under-
standing have, in one way or another, been
conscious of this latter influence. It is seen in
Mr. Hone’s sleepy landscapes, grey seas, and
broken skies ; in the portraits of the elder Yeats,
with their delicate reserve, their suggestion of some
subtle intimacy with the inner personality of his
sitters ; and it makes itself felt in Jack Yeats’s
vivid, human dramas on canvas, which seem literally
to exhale all the exuberance, all the buoyancy of
youth. But I would rather speak of the work of
these three artists as distinctively Irish work than
apply to it that long-suffering word Celtic. They
are all, each in his own way, thoroughly and
typically Irish; and while they do not claim to
have founded any school or led any movement,
their work may be taken as representing in Irish
art the best achievement in the present and the
hope for the future. _
Mr. Hone has been all his life painting the
external aspects of Nature as she reveals herself to
him on the eastern coast of Ireland. He has
painted quiet stretches of sand with breaking
waves, meadows that are just out ot reach of the
salt spray and fringed with the fine trees that one
sees close to the coast on the northern side of
Dublin Bay.
Mr. Yeats’s portraits are as remarkable as
Mr. Hone’s landscapes, and for reasons not wholly
dissimilar; the pictures, in fact, keep very good
company together, and you can turn from one of
Mr. Hone’s landscapes to one of Mr. Yeats’s
“ men and women ” without feeling the necessity
for any alteration in the mental point of view.
The collection was very representative of Mr.
Yeats’s work, including as it did a number of
pencil portraits and sketches, as well as several
of his best portraits in oils.
Jack Yeats’s Sketches of Life in the West of
Ireland attracted crowds of visitors during the
fortnight that the exhibition was open, and the
general feeling was one of surprise at the tremendous
progress made by this young artist during the
twelve months that have elapsed since his work
EMBROIDERY BY WILLY O. DRESSLER
was last seen in Dublin. His touch is firmer and
surer ; there is nothing now tentative in his style.
His colour is more certain of itself, more a part of
the picture. The subjects of Jack Yeats’s sketches
are mostly West of Ireland peasants, with the fine
faces and strongly marked features one sees along
the western seaboard. His method is simple and
direct ; the result is attained apparently without
effort, and the effect is of an amazingly vivid realism
transfigured by imagination. E. D.
BERLIN.—At the present time in Germany
there are a host of things that cannot
but appeal strongly to anyone who
follows with a keen interest the
international warfare of trade, and who pays
serious attention to the ever-increasing value of
the part played in its progress by the decorative
205