DOI issue:
No. 117 (November, 1906)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.28250#0084
Studio-Talk
shaft of light between two hills in
shadow, gave him a scheme whose
opportunities he has not neglected.
hop-pickers •
Mr, Wright, in his earlier etch-
ings, shows a distinct tendency to
follow in Rembrandt’s footsteps.
His Village Street is an instance,
and ' its elaborate workmanship
contrasts strongly with the almost
brutal frankness of line in a more
recent work, Sheep under a Tree.
In The Pool a few masterly
touches in the right place suffice
to send back the distance.
Rigg Mill is quite in the best
Flemish traditions, but to my mind
his Yorkshire Moor appeals wi:h a
force beyond the rest. He has
absorbed in it one great fact, too
often overlooked, namely, that the
from THE etching by john wright sky does not start at the horizon,
but is on the moor as well as
Short’s delightful book on the subject, and also beyond it, flooding it with the feeling of infinity !
from the Rembrandt Exhibition which was held in Here the depth is obtained with very few lines,
the British Museum a few years ago. Since then and there is no painful elaboration.
he has done about forty plates, including some -
aquatints and dry-points, one of which, The Pool, Mr. Wright has also made some excursions in
was bought for the Royal Print Room, Dresden. coloured etching and in mezzotint, but the bitten
lie was elected an Asso-
ciate of the Royal Society
of Painter-Etchers in 1899,
and exhibited The Haut-
boy Player, and a little
plate in pure line two and
a half inches square, in
the manner of Van Ostade,
entitled Hop-Pickers,
whose confined space is
invested with all the
breadth of the open air.
A winter on the Riviera
gave us his Grasse from
Below, a most satisfactory
and classical composition.
Impatient at length of
the careful cultivation of
Kent, a desire for bigger
things brought him to our
north-east coast, where
the fisher village of Robin
Hood’s Bay, an irregular
grouping of red - roofed
houses touched with a
■the pool
FROM THE ETCHING BY JOHN WRIGHT
70
shaft of light between two hills in
shadow, gave him a scheme whose
opportunities he has not neglected.
hop-pickers •
Mr, Wright, in his earlier etch-
ings, shows a distinct tendency to
follow in Rembrandt’s footsteps.
His Village Street is an instance,
and ' its elaborate workmanship
contrasts strongly with the almost
brutal frankness of line in a more
recent work, Sheep under a Tree.
In The Pool a few masterly
touches in the right place suffice
to send back the distance.
Rigg Mill is quite in the best
Flemish traditions, but to my mind
his Yorkshire Moor appeals wi:h a
force beyond the rest. He has
absorbed in it one great fact, too
often overlooked, namely, that the
from THE etching by john wright sky does not start at the horizon,
but is on the moor as well as
Short’s delightful book on the subject, and also beyond it, flooding it with the feeling of infinity !
from the Rembrandt Exhibition which was held in Here the depth is obtained with very few lines,
the British Museum a few years ago. Since then and there is no painful elaboration.
he has done about forty plates, including some -
aquatints and dry-points, one of which, The Pool, Mr. Wright has also made some excursions in
was bought for the Royal Print Room, Dresden. coloured etching and in mezzotint, but the bitten
lie was elected an Asso-
ciate of the Royal Society
of Painter-Etchers in 1899,
and exhibited The Haut-
boy Player, and a little
plate in pure line two and
a half inches square, in
the manner of Van Ostade,
entitled Hop-Pickers,
whose confined space is
invested with all the
breadth of the open air.
A winter on the Riviera
gave us his Grasse from
Below, a most satisfactory
and classical composition.
Impatient at length of
the careful cultivation of
Kent, a desire for bigger
things brought him to our
north-east coast, where
the fisher village of Robin
Hood’s Bay, an irregular
grouping of red - roofed
houses touched with a
■the pool
FROM THE ETCHING BY JOHN WRIGHT
70