DOI issue:
No. 134 April, (1908)
DOI article:Eddington, A.: The Royal Scottish Academy Exhibition
DOI Page / Citation link: https://doi.org/10.11588/diglit.28254#0158
The Royal Scottish Academy Exhibition
is seated at the piano singing, by candlelight,
to an invalid—-husband presumably — who re-
clines on a couch in shadow. The large open
window revealing an expanse of earth and sky in
tender moon or starlight suggests the early flight
of the soul. The technical quality of the work is
throughout excellent, and particularly satisfactory
is the manner in which Mr. Burns has solved the
problems of lighting in the contrast of artificial
with natural light, a subject to which he has
devoted attention for the past few years. Another
of the younger artists—George Smith—the robust
quality of whose work is its prominent feature, has
made a great advance this year. His two pictures,
Wood Carting and Cattle Shelter, have not been
exceeded in those masculine qualities which we
desiderate so much in the animal painter by any-
thing that has appeared on the walls of the
Academy for some time. In the first-named and
larger work the drawing of the team of horses
fully expresses effort and strength, and in the latter
the sense of muscular repose is no less adequately
conveyed, while the shadows, heavy though they
be, are in no sense clogged.
No Scottish artist of to-day eclipses J. Lawton
Wingate in reproducing sunlight in landscape.
His three pictures are each distinguished by
this power, which always seems to find fullest
expression when he does not attempt large
work. J. Campbell Noble visited the Norfolk
Broads last year, and the result is seen in
three pictures. The atmospheric effects one
associates with this type of scenery, and which are
so characteristic of Mr. Noble’s Dutch pictures,
are lacking, but the composition is effective. The
life of the Breton fishers is illustrated in two small
but carefully painted contributions by Robert
McGregor, whose innate pessimism is curiously
allied with a love for joyous colour that makes
humanity the only sad element in nature.
A certain pearly quality in the colour and the
reposeful beauty of a quiet day characterise the
view of the estuary of the Nith, entitled Criffel., ex-
hibited by D. Y. Cameron, whose other contribution,
a view of the South Aisle at Tewkesbury, is an un-
usually warm scheme of colour. An early winter
evening landscape, by A. K. Brown, expresses the
mystery and witchery of the northern glens. Snow
BY MARSHALL BROWN
is seated at the piano singing, by candlelight,
to an invalid—-husband presumably — who re-
clines on a couch in shadow. The large open
window revealing an expanse of earth and sky in
tender moon or starlight suggests the early flight
of the soul. The technical quality of the work is
throughout excellent, and particularly satisfactory
is the manner in which Mr. Burns has solved the
problems of lighting in the contrast of artificial
with natural light, a subject to which he has
devoted attention for the past few years. Another
of the younger artists—George Smith—the robust
quality of whose work is its prominent feature, has
made a great advance this year. His two pictures,
Wood Carting and Cattle Shelter, have not been
exceeded in those masculine qualities which we
desiderate so much in the animal painter by any-
thing that has appeared on the walls of the
Academy for some time. In the first-named and
larger work the drawing of the team of horses
fully expresses effort and strength, and in the latter
the sense of muscular repose is no less adequately
conveyed, while the shadows, heavy though they
be, are in no sense clogged.
No Scottish artist of to-day eclipses J. Lawton
Wingate in reproducing sunlight in landscape.
His three pictures are each distinguished by
this power, which always seems to find fullest
expression when he does not attempt large
work. J. Campbell Noble visited the Norfolk
Broads last year, and the result is seen in
three pictures. The atmospheric effects one
associates with this type of scenery, and which are
so characteristic of Mr. Noble’s Dutch pictures,
are lacking, but the composition is effective. The
life of the Breton fishers is illustrated in two small
but carefully painted contributions by Robert
McGregor, whose innate pessimism is curiously
allied with a love for joyous colour that makes
humanity the only sad element in nature.
A certain pearly quality in the colour and the
reposeful beauty of a quiet day characterise the
view of the estuary of the Nith, entitled Criffel., ex-
hibited by D. Y. Cameron, whose other contribution,
a view of the South Aisle at Tewkesbury, is an un-
usually warm scheme of colour. An early winter
evening landscape, by A. K. Brown, expresses the
mystery and witchery of the northern glens. Snow
BY MARSHALL BROWN