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#0159
The Royal Scottish Academy Exhibition
suggesting in some respects G. F. Watts's
famous picture of The Wounded Heron.
A winter pastoral, by Charles H.
Mackie, though not attaining quite
the same level as his principal work
in last year’s Academy exhibition, is
well thought out; there is no distract-
ing detail, the warm light is well
suffused, and the large masses of light
cloud give dignity and spaciousness.
W. S. MacGeorge, in The Turnip
Lantern, has, with success, essayed a
new type of subject, a cottage interior
with a group of three children
clustered round the homely toy. In a
winter landscape W. Y. Macgregor has
also made a departure, and to some
purpose, and he likewise exhibits an
attractive street scene in Rouen, while
J. H. Lorimer is represented by two
interiors in a light scheme of colour
painted with great refinement, and
W. D. McKay by three landscapes, of
which the principal is A Tidal Stream :
The Carse of Gowrie.
Wild Loses, by Marshall Brown, is
“ GABRIELLE CRAWFORD” BY ROBERT BURNS
and the dim light do not quite conceal the
autumnal warmth of the foliage, but the
colour is so modulated as to constitute an
unbroken harmony.
The only historical wToik in the galleries
is an incident of the later Jacobite rebellion,
portrayed by G. Ogilvy Reid, and represent-
ing five of the rebels discussing the causes
of their defeat at a round table. As a piece
of costume painting merely it is an admirable
work, and the figures are expressively grouped.
J. Campbell Mitchell, in his principal work
—A Midlothian Upland—has produced a
magnificent sky with the light breaking
through heavy masses of cloud; but the
supporting landscape lacks strength, espe-
cially towards the right, where a little more
solidity would have lifted the whole compo-
sition into a much higher plane.
Continuous progress is apparent in the
work of William Walls as an animal painter.
His study of a tiger lying on the horizontal
branch of a tree is a capital presentment of a
wild animal at rest, and The Wounded Sivan
is very striking in its arrangement of line,
“the wounded swan” by william walls
i37
suggesting in some respects G. F. Watts's
famous picture of The Wounded Heron.
A winter pastoral, by Charles H.
Mackie, though not attaining quite
the same level as his principal work
in last year’s Academy exhibition, is
well thought out; there is no distract-
ing detail, the warm light is well
suffused, and the large masses of light
cloud give dignity and spaciousness.
W. S. MacGeorge, in The Turnip
Lantern, has, with success, essayed a
new type of subject, a cottage interior
with a group of three children
clustered round the homely toy. In a
winter landscape W. Y. Macgregor has
also made a departure, and to some
purpose, and he likewise exhibits an
attractive street scene in Rouen, while
J. H. Lorimer is represented by two
interiors in a light scheme of colour
painted with great refinement, and
W. D. McKay by three landscapes, of
which the principal is A Tidal Stream :
The Carse of Gowrie.
Wild Loses, by Marshall Brown, is
“ GABRIELLE CRAWFORD” BY ROBERT BURNS
and the dim light do not quite conceal the
autumnal warmth of the foliage, but the
colour is so modulated as to constitute an
unbroken harmony.
The only historical wToik in the galleries
is an incident of the later Jacobite rebellion,
portrayed by G. Ogilvy Reid, and represent-
ing five of the rebels discussing the causes
of their defeat at a round table. As a piece
of costume painting merely it is an admirable
work, and the figures are expressively grouped.
J. Campbell Mitchell, in his principal work
—A Midlothian Upland—has produced a
magnificent sky with the light breaking
through heavy masses of cloud; but the
supporting landscape lacks strength, espe-
cially towards the right, where a little more
solidity would have lifted the whole compo-
sition into a much higher plane.
Continuous progress is apparent in the
work of William Walls as an animal painter.
His study of a tiger lying on the horizontal
branch of a tree is a capital presentment of a
wild animal at rest, and The Wounded Sivan
is very striking in its arrangement of line,
“the wounded swan” by william walls
i37