International studio (27.1905/1906(1906))

John Hass all




PIERROT S LUNCH

BY JOHN HASSALL

.almost leads one to the conclusion that its truthful-
ness of effect must bave some root in the truth itself;
and it is likely we should find this was so if we had
any means of applying a scientific test as to what
illusion the eye does actually receive under such
circumstances. In his pen-drawings Mr. Hassall
is very seldom twice the same—he leaves his style
pretty much to be decided by the subject; in every
■case he is wonderfully accomplished. Pierrofs
Lunch is full of sensitive and elastic drawing,
Pierrot’s clothes are beautiful; and with this we can
■contrast the robust style of the drawing called
General Cheerfulness, where the line and the treat-
ment of the shadows is methodical and precise, whilst
it conveys a sense of movement and merriness.
The drawing called CnpiPs Arrow, as a specimen
Mr. Hassairs work in wash for black-and-white of
purposes, betrays an attractive Suggestion of colour.
Mr. Hassall has received some artistic training,
partly in Antwerp and partly in Paris; but he

always attributes the greatest help
he has received to the teaching of
Mr. Charles von Havermaet, who
coached him for the schools at
Antwerp. Mr. Havermaet recently
established a dass in London.
At the Exhibition of the Royal In-
stitute of Painters in Water Colours
this year, Mr. Hassall exhibited a
large and ambitious water-colour.
The opportunity of seeing pictures
even by men who contribute most
lavishly to the exhibitions of the
year, is small indeed compared with
the publicity that a man’s name
achieves who has made himself
celebrated in the domain of the
poster. If the artist’s reputation
as a painter is a thing that is just
beginning it is only on this account.
But the general public will look for as
brilliant manifestations of his talents
in the galleries as they have been
accustomed to find in the streets,
when once it comes home to
them that he has thrown his
challenge down in the yearly ex-
hibitions. He has, throughout
all his various forms of art, always
shown himself to be the possessor
of the qualities which are essential
to good painting. It was left for
kind fate to monopolise his talents
almost entirely in the Service of the
more limited art, and he made of it an art which
expressed those qualities of artistic vitality and
humour which were entirely his own.
Mr. Hassall has more than once placed his
talent at the disposal of the children. He has had
many a scheme for nursery decoration. Something
of the vital fancifulness that is so characteristic of
childhood remains to this day with Mr. Hassall in
his art. Dogs, which are so humorous in their ways
and whimsical in expression, turn up in odd Corners
of his decoration with a happy impulse which
makes his work refreshing to look at. There
is about his art that real humour which forgets
that there is any other side to life than a funny
one. Art such as this, which reduces the serious
side of life down to a thing which is not to be
believed in by healthy people, contributes certainly
to the gaiety of some part of the nation. The old
gentlemen who dine so smugly in some of his draw-
ings—in evening dress, or in the habit of a monk—

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