DOI issue:
Werbung
DOI article:Sparrow, Walter Shaw: The centenary of Thomas Girtin: his genius and work
DOI Page / Citation link:https://doi.org/10.11588/diglit.26228#0127
Z/%W/'2<3.S' GY7Z/73
something more even than that must be borne in
mind, if we wish to do fuli justice to the historic
worth of Girtin's example. We must remember also
the immediate success of Bonington in France, with
its effect on Deiacroix and others ; and we must
keep in memory the importance of Constable's art as
the immediate forerunner of the French Schooi of
Corot, of Rousseau, and of Daubigny. Yes, much
as Girtin did in his own art, he achieved far more
at second-hand through his ascendency over rising
painters.
2. <7/* -S/yZ?.—This, in paint, is a rare
quality, and for some reason or other it has not
received in criticism aii the attention it deserves.
According to some writers it consists in a forceful
and harmonious arrangement of the whole subject
through all its several parts. But this gives us
only a bit of the truth. A man may paint badly,
and break every ruie of composition, and yet be
able to interest us with one necessary constituent
of the quaiity now under consideration. The
phrase to be understood in criticism
at its fuii vaiue, must be appiied to the weight
avoirdupois suggested by the various objects in a
picture. Ail objects represented in art have in
nature some weight avoirdupois; and it is an im-
portant part of a painter's business not oniy to
suggest in his work that pressure downwards which
heavy substances have in nature, but aiso to make
us keenly alive to the inhnite variety of difference
"VIEW ON THE THAMES: SOMERSET HOUSE" FROM THE SKETCH IN WATER-COLOUR BY THOMAS GIRTIN
f?'.??/?? 7///??? 7?;-z7zj/ /
" BLACKFRIARS BRIDGE
FROM THE WATER-COLOUR BY THOMAS GIRTIN
//?? //* //??' ///??7??w7/? /??^/?7??/?', .l/?????'/?^.?/?'?'/
93
something more even than that must be borne in
mind, if we wish to do fuli justice to the historic
worth of Girtin's example. We must remember also
the immediate success of Bonington in France, with
its effect on Deiacroix and others ; and we must
keep in memory the importance of Constable's art as
the immediate forerunner of the French Schooi of
Corot, of Rousseau, and of Daubigny. Yes, much
as Girtin did in his own art, he achieved far more
at second-hand through his ascendency over rising
painters.
2. <7/* -S/yZ?.—This, in paint, is a rare
quality, and for some reason or other it has not
received in criticism aii the attention it deserves.
According to some writers it consists in a forceful
and harmonious arrangement of the whole subject
through all its several parts. But this gives us
only a bit of the truth. A man may paint badly,
and break every ruie of composition, and yet be
able to interest us with one necessary constituent
of the quaiity now under consideration. The
phrase to be understood in criticism
at its fuii vaiue, must be appiied to the weight
avoirdupois suggested by the various objects in a
picture. Ail objects represented in art have in
nature some weight avoirdupois; and it is an im-
portant part of a painter's business not oniy to
suggest in his work that pressure downwards which
heavy substances have in nature, but aiso to make
us keenly alive to the inhnite variety of difference
"VIEW ON THE THAMES: SOMERSET HOUSE" FROM THE SKETCH IN WATER-COLOUR BY THOMAS GIRTIN
f?'.??/?? 7///??? 7?;-z7zj/ /
" BLACKFRIARS BRIDGE
FROM THE WATER-COLOUR BY THOMAS GIRTIN
//?? //* //??' ///??7??w7/? /??^/?7??/?', .l/?????'/?^.?/?'?'/
93