DOI Heft:
No. 117 (November, 1906)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.28250#0083
Studio- Talk
call of art. After studying
for some time in London
he joined the Antwerp
schools, where Logsdail,
Gotch and Frank Bramley
were among his fellow
students. In addition to
travelling in various Con-
tinental countries, he ex-
tended his horizon by visit-
ing Brazil, Uruguay and'
the Argentine, spending
two adventurous years in
the latter republic, where
his pictures of Natives
Dancing, the Zamba, the
River at Cruz del Eje and
On the Salt Plains were
painted.
•‘INTERIOR OF A mill” BY SYDNEY PILK1NGTON __
“the farmyard”
BY SYDNEY PILKINGTON
the old English landscape-
painters and the romantic
surroundings. These draw-
ings of the Interior of a
Mill and The Farmyard
are sufficiently remarkable
to need no comment, being
to all appearance the work
of a mature and experienced
artist. Like many other
drawings and several paint-
ings, very varied in style
and subject, they were the
outcome of a natural artistic
gift and genuine feeling for
nature. He exhibited for
several years at the New
English Art Club. To
those who knew him young
Mr. Pilkington was a man of rare charm and de-
lightful humour, with something fundamental in
him. In a word, he had character, and we can
only dep’ore that the great sense he possessed for
landscape-painting as the expression of a poetical
natur's was given so short an opportunity. He was
only thirty-two when he died. V. W.
ROBIN HOOD’S BAY, YORKS.—Brought
up to fill a desk in the office of his
cousin, one of the merchant princes of
v Liverpool, John AVright early deserted
the intricate ways of the mart at the imperative
On his return to England, Mr. Wright first
pitched his tent in Charles Kingsley’s country; a
large picture of The Beach at Clovelly being hung
in the Royal Academy. Migrating to Sevenoaks
in 1894, he first seriously started etching; the
principal works produced during that and the
following year being A Flood at Chevening, River-
headLone Barn and The Little Shepherdess. His
Academy picture of 1895, A Sunset, now hangs in
the permanent gallery of the Leeds Corporation.
Mr. Wright is ready to acknowledge that what
he knows of etching was learnt from Mr. Frank
69
call of art. After studying
for some time in London
he joined the Antwerp
schools, where Logsdail,
Gotch and Frank Bramley
were among his fellow
students. In addition to
travelling in various Con-
tinental countries, he ex-
tended his horizon by visit-
ing Brazil, Uruguay and'
the Argentine, spending
two adventurous years in
the latter republic, where
his pictures of Natives
Dancing, the Zamba, the
River at Cruz del Eje and
On the Salt Plains were
painted.
•‘INTERIOR OF A mill” BY SYDNEY PILK1NGTON __
“the farmyard”
BY SYDNEY PILKINGTON
the old English landscape-
painters and the romantic
surroundings. These draw-
ings of the Interior of a
Mill and The Farmyard
are sufficiently remarkable
to need no comment, being
to all appearance the work
of a mature and experienced
artist. Like many other
drawings and several paint-
ings, very varied in style
and subject, they were the
outcome of a natural artistic
gift and genuine feeling for
nature. He exhibited for
several years at the New
English Art Club. To
those who knew him young
Mr. Pilkington was a man of rare charm and de-
lightful humour, with something fundamental in
him. In a word, he had character, and we can
only dep’ore that the great sense he possessed for
landscape-painting as the expression of a poetical
natur's was given so short an opportunity. He was
only thirty-two when he died. V. W.
ROBIN HOOD’S BAY, YORKS.—Brought
up to fill a desk in the office of his
cousin, one of the merchant princes of
v Liverpool, John AVright early deserted
the intricate ways of the mart at the imperative
On his return to England, Mr. Wright first
pitched his tent in Charles Kingsley’s country; a
large picture of The Beach at Clovelly being hung
in the Royal Academy. Migrating to Sevenoaks
in 1894, he first seriously started etching; the
principal works produced during that and the
following year being A Flood at Chevening, River-
headLone Barn and The Little Shepherdess. His
Academy picture of 1895, A Sunset, now hangs in
the permanent gallery of the Leeds Corporation.
Mr. Wright is ready to acknowledge that what
he knows of etching was learnt from Mr. Frank
69