International studio (19.1903)

as characteristic of him when he was a beginner
as it is characteristic of him to-day. And un-
doubtediy it is this massive designing which
gives its immediate distinction to his stiH-iife—
a branch of art in which other qualities than
this are those we have been accustomed to,
even in the best examples. As a resuit of it, Mr.
Brangwyn's pictures of fruit, vegetables, and the
iike, are, in their way, as impressive as his pictures
of more important subjects. Apart from the sub-
ject and its suggestiveness one wouid as lief have
this artist's presentation of a heap of melons or a
bundie of onions as his painting of a group of
hgures, even, in some heroic or moving human
incident. Nor in this trne treatment of these com-
parativeiy unimportant objects does he attain his im-
pressiveness by any forced orundue means. Under
proper artistic conditions he is as true to the ob-
vious appearances of nature as a man can be. Any
simpie spectator, that is to say, would be as readiiy
receptive of his onions and melons as of the onions
and meions of Wiliiam Hunt himself. To use a
natural expression, they are as iike the things as like
can be. Towards the attainment of this desirabie
end (for desirabie it is that an artist's appeai should
reach as far as possibie), two qualities in Mr. Brang-

wyn's stiii-life pieces especialiy contribute—his clear
definition of forms, and his rich, iuscious coiour.
I venture to think that in Mr. Brangwyn's iand-
scapes—that other province of his work imme-
diateiy before us—his strongiy dehned and sil-
houetted forms are sometimes a little over-solid,
and a little over-solid and sombre too his colouring.
Though this is far from being always the case, yet it
seems to me that there is now and again a ten-
dency this way; and I suggest that it is a tendency
the art'ist would be wise to keep his eye upon. But
in his still life pieces, with their objects and interest
necessarily for the most part in the foreground,
strong defrnition and solidity are a virtue; and
here, so far as colour goes, Mr. Brangwyn lets his
splendid gift for it have its way, and though
he is always master of it, he revels in their
brilliancy and sumptuousness. Nothing could
well be more brilliant, more sumptuous—and
altogether rightly so.
Mr. Brangwyn's love of silhouette, of broad
masses defined against broad masses, upon which
I have more than once touched, is noticeable in
every branch of his art; and it undoubtedly gives
his landscapes their not-too-common character of
simplicity, largeness, and weighty impressiveness.


FROM THE OfL-I'AINTING BY FRANK BRANGWYN

" HAMMERSMITH

12