International studio (21.1903/1904(1904))

toned autumn foliage of the wilderness,
against which his white face Stands out in
pathetic isolation. The artist has caught
the spirit of the poem, the spirit of
absolute, pitiless solitude. This picture
is one of the most perfectly hnished
pieces of work from the artist's brush.
In ^4 6^7*272^* 6<777j the poet-artist is
seen at his happiest. A pastoral, with
the breath of the tenderest spring morn-
ing sweeping over it—spring in the air,
and spring in the youthful hgures, pour-
ing out their simple melody ; and spring
in the daffodils, smiling up at them from
the green of the hillside. The 6^22<fy <7/
<272 (?<2^ 77*^ is an inimitable example
of Wilson's genius for drawing stems and
branches from nature, and a most delight-
ful bit of colour as well. In ZXg Z*<z72;rc
—a study for the unhnished picture,
^47*<r<2<f2<3—and in 622772777^7* <272^2*^
the artist is shown as altogether suc-
cessful in the fields of allegorical com-
position, and in giving perfect expression
to a sense of movement and of Hoating
drapery. The ^?<22T<%a722^, included among
the illustrations, is both strong in hand-
ling and rieh in tone. It is the most masterly
piece of modelling left by the artist.
In summing up the little exhibition of Wilson's

FROM THE PAINTING BY GEORGE WILSON
f F)' ^27'/722772l772 ff Al*. T-

work, the truth is forced home to one that rnuch
of the world's best work is done by just such quiet,
unassuming natures as his.


STUDY FOR "A SPRING SONG

f Ap^7W22772<772 Ar. yt 7 777/7 7777227'j

BY GEORGE WILSON

143