International studio (21.1903/1904(1904))

with several commissions. Many of his English
pictures found homes in Denmark after being ex-
hibited at Copenhagen. There he also showed a
characteristic painting, Az'wxy^w/ IHzx'^x*xxxdxx wxzx'z'z'xxg'
Y&x* axx T^rxxxxzx'xx^' ^4//axxx*xk Zx'xxfx*—a fleet of sailing
boats in the gioaming.
For Queen Alexandra Holst painted Axzxxi^Y
z'xx a/ C^gxx^ag^xx, which went to
Marlborough House. King Edward has 21%<?
f?yYcx*xx^ /gacx'xxg' CxzxÄ'axz^'xx x'xx A^x-wap — this
hangs at Sandringham.
Holst has visited, among other places, the
Riviera, Gibraltar, the northern littoral of Africa,
Madeira, the Scandinavian coasts, and the coasts
of Italy and France. His Studio is full of beautiful
studies, ßnished and unßnished, of sea and land,
under every conceivable aspect of sky, in storm
and in calm.
In 188g he did much work on the north and
west rock-bound coasts of France. His Cax'M Jg
Cbx-xxizxzaxYA^, CcAy xA Ax-^^ag-xz^ and ^ Az'axv-zA;,
and others of the .rxxzYg, were exhibited in Paris and
elsewhere; and they called forth the unstinted
praise of many French brother-artists.
Holst has also explored the basin of the Nile
and Egypt. His best Nile picture, Axw/W axz
x'AxAz'wz'A%', was exhibited at the Royal Academy
in ipoi. It is one of his Hnest paintings; the

scudding boat, hlled with men, sail and rope
stretched to the utmost, fairly cuts through the
brown-blue water.
Holst's composition is remarkable for its sim-
plicity. He reduces his ränge of view and his
details to the smallest possible proportions. His
idea is to present a "bit" of Nature in such a truthful
manner that there shali be no possibility of con-
fusion or uncertainty. With this in view he, ßrst
of all, gets all his values of things by ßxing distances.
Next he indicates atmospheric effects—time of day,
season of the year, weather, and so forth. Lastly,
after a rapid xraxz^ xf'azzY, he puts in his telling
touches.
Holst's drawing is entirely free-hand. He never
uses spacing lines or phrasing points on his paper
or canvas. Outlines, thick or thin, he does with
charcoal, smudging them with his thumb. This is
so delicately accomplished that no evidence of it
shows through his hnished work.
Holst's colour-scheme is generous. His palette
is always gay. He delights in loading it with all
the pigments of his fancy, and then in mixing them
all together with his brush. He lays on his colour
with a liberal hand, and makes much use of his
hnger for Clearing and toning. He works from
dark to light, with solid foreground bearing aloft
spongy spray and ßeecy cloud. The colour of


"APES' HILL, FROM GIBRALTAR
126

BY L. HOLST