International studio (21.1903/1904(1904))

BY H. M. WALCOTT

THE CONTEST

A night effect aiso is the motive of Edward W.
Redfieid's A2hr2t?7*, and the phenomenon is
weh expressed ; yet the picture, as a picture, is want-
ing in intrinsic charrn of coior. This quahty is
much more apparent in his other exampie,
A?h7'A77-, a foreground of siabby rocks
with water Stretching to a distance ; and herein, too,
is exhibited his power of strong drawing. Indeed
this painter's 7//22zk/- wouid seem to be the reaiization
of the construction and forms of nature, joined to a
sense of coior, vigorous rather than subtie ; so that
he is at his best when his vision embraces simpiy
the objective appearance of the iandscape. It is
customary, I know, to think that a iandscape shouid
be "poeticai " ; which often resuits in nothing more

than the stirring of a iittie syrup into what wouid
otherwise be a giass of plain whoiesome water. The
iatter is good enough in its way, and a heaithy man,
when in the mood, wiii find a smack in it that even
Champagne wiii hardiy yieid; whiie the syrupy
addition oniy cloys his paiate. It is just the same
with a good objective iandscape picture; it gives us
the bracing Suggestion of reai nature, and ieaves us
free, if we are so minded, to discover in it a Senti-
ment for ourseives. In fact, I expect, it is the
experience of many of us as we grow oider that,
uniess a iandscape reveals a distinctiy Creative
imagination on the part of the painter, we wouid
rather he gave us his undiiuted impression of the
appearances of nature ; moreover, is it not true that
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