DOI Heft:
No. 129 (November, 1907)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.28253#0080
Studio- Talk
attractive foreground of water and reeds. It was
in the rendering of this type of scenery that
Mr. Frazer first drew attention to his work, and its
combination with a massive mountain range, which
occupies most of the mid-distance, has been well
worked out. J. Campbell Mitchell breaks new
ground with a very delicate evening effect on a
quiet sea and low-toned stretch of sand, and in a
spring idyll W. S. MacGeorge gives a joyous group
of two children set against a background of white
blossom. His colour scheme is in a much lighter
key than usual. Charles H. Mackie who, with a
passion for daring colour effect, combines skill in
composition, evidences his ability in both direc-
tions by a picture of fishermen drawing boats up
the steep roadway that leads from a little creek
to a hamlet. A much painted subject is the
Dochart in “ spate ”
above the bridge at
Killin, and Marshall
Brown in his rendering
of it has made little
of the topographical,
but given a very im-
pressive picture of
wildly rushing water.
background, but the flesh tones have a pure
and refined quality that lifts the work above the
realm of the merely decorative. In some respects
his Gloire de Dijon is even finer, the colour
scheme there being a pale blue against a soft
grey background. Decoration with a strong
leaning to Celtic motifs has been the principal
work of John Duncan, who this year has come
forward with a picture that suggests study on the
lines with which we are familiar in the works of
J. W. Waterhouse. The Song of the Rose is an
ambitious work, but so little is done in this
direction in Scotland that the public may look
with favour on an attempt to strike out in a line
that is not stereotyped at least north of the
Tweed. The figures of maidens grouped round a
bush laden with crimson roses have individuality,
Another of the
younger men who have
made a decided hit
this year is Dudding-
stone Herdman. In-
spired by Longfellow’s
verse, Mr. Herdman
has realised the poet’s
fancy by a very beauti-
ful presentment of
budding womanhood,
the fine modelling of
the figure being em-
phasised by the very
free brushwork of the
landscape. In The
Peacock Feather Robert
Hope has painted a
figure subject that will
greatly enhance his re-
putation. It is not
only that the painting
of the rich blue and
brown draperies of the
lady’s dress are made
to harmonise success-
fully with a soft grey
64
‘ WHERE ISROOK AND RIVER MEET
BY DUDDINGSTONE HERDMAN
attractive foreground of water and reeds. It was
in the rendering of this type of scenery that
Mr. Frazer first drew attention to his work, and its
combination with a massive mountain range, which
occupies most of the mid-distance, has been well
worked out. J. Campbell Mitchell breaks new
ground with a very delicate evening effect on a
quiet sea and low-toned stretch of sand, and in a
spring idyll W. S. MacGeorge gives a joyous group
of two children set against a background of white
blossom. His colour scheme is in a much lighter
key than usual. Charles H. Mackie who, with a
passion for daring colour effect, combines skill in
composition, evidences his ability in both direc-
tions by a picture of fishermen drawing boats up
the steep roadway that leads from a little creek
to a hamlet. A much painted subject is the
Dochart in “ spate ”
above the bridge at
Killin, and Marshall
Brown in his rendering
of it has made little
of the topographical,
but given a very im-
pressive picture of
wildly rushing water.
background, but the flesh tones have a pure
and refined quality that lifts the work above the
realm of the merely decorative. In some respects
his Gloire de Dijon is even finer, the colour
scheme there being a pale blue against a soft
grey background. Decoration with a strong
leaning to Celtic motifs has been the principal
work of John Duncan, who this year has come
forward with a picture that suggests study on the
lines with which we are familiar in the works of
J. W. Waterhouse. The Song of the Rose is an
ambitious work, but so little is done in this
direction in Scotland that the public may look
with favour on an attempt to strike out in a line
that is not stereotyped at least north of the
Tweed. The figures of maidens grouped round a
bush laden with crimson roses have individuality,
Another of the
younger men who have
made a decided hit
this year is Dudding-
stone Herdman. In-
spired by Longfellow’s
verse, Mr. Herdman
has realised the poet’s
fancy by a very beauti-
ful presentment of
budding womanhood,
the fine modelling of
the figure being em-
phasised by the very
free brushwork of the
landscape. In The
Peacock Feather Robert
Hope has painted a
figure subject that will
greatly enhance his re-
putation. It is not
only that the painting
of the rich blue and
brown draperies of the
lady’s dress are made
to harmonise success-
fully with a soft grey
64
‘ WHERE ISROOK AND RIVER MEET
BY DUDDINGSTONE HERDMAN