DOI Heft:
No. 139 (September, 1908)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28255#0250
Studio- Talk
shortening, from the knee downwards, of the right
limb.
Mr. W. M. Frazer this year occupies the position
of Chairman of the Council of the Society, and he
has justified the honour by one of the finest
Scottish landscapes of this year’s art. In colour,
composition and feeling, his Highlaiid Pastoral
has a winning charm, and the brush work is both
broad and refined. The modern Scottish artist
has so rarely sought inspiration from classical
subjects or ancient myths that one welcomes
R. Duddingstone Herdman’s incursion into this
field in his Song to Spring. It is bold and joyous
in colour, and the figure of the woman is
beautifully drawn. One might question the softness
and purity of the flesh tones as perhaps savouring
too much of modernity to completely carry out the
idea of the picture, but if in this respect Mr.
Herdman has departed from convention he will not
be without justifiers.
An inspiring contribution to the landscape work
is J. Campbell Mitchell’s March Weather, Mid-
lothian. In the delicate harmony of its tones, the
beauty of line, and above all in the glorious massing
of soft grey cloud, the artist has achieved marked
success. Not less attractive is Robert Burns’
The Lone Shieling, a placid evening effect that
appeals with its sensuous beauty like a Chopin
nocturne. In Sunshine', and Shade, E. A. Walton
shows a striking composition in its arrangement of
almost detached tree forms set against a sky of
summer brilliance.
Dutch landscape continues to be the principal
subject for J. Campbell Noble’s brush, and his
picture of one of the less" frequented waterways at
Dordrecht, which neither shows the inevitable
church nor the ubiquitous windmill, but merely
some common-place houses lining the banks of a
canal, with sleepy barges lying beside a swing
bridge, is one of his happiest efforts both as to
colour and atmosphere. C. H. Mackie is not this
year represented by any large work, but his indi-
viduality in colour scheme is well expressed in his
Milking Time, and a picture of a boy in white
smock with a Chinese lantern. Clearing up at
Sundown marks a new departure for James Riddel
in breadth and boldness of style, particularly notice-
able in his cloud forms. H. Ivan Neilson, a
Galloway artist, shows an ambitious spring land-
scape intense in its blues, R. Payton Reid a dainty
figure subject in The Maid of the Inn, and John
Duncan a classical figure subject, Italian in treat-
ment, with a tenderly painted Highland landscape
as background to the exiled figure.
In portraiture, the leading place is taken by
Robert Hope’s three-quarter length of Mrs. Fraser
232
shortening, from the knee downwards, of the right
limb.
Mr. W. M. Frazer this year occupies the position
of Chairman of the Council of the Society, and he
has justified the honour by one of the finest
Scottish landscapes of this year’s art. In colour,
composition and feeling, his Highlaiid Pastoral
has a winning charm, and the brush work is both
broad and refined. The modern Scottish artist
has so rarely sought inspiration from classical
subjects or ancient myths that one welcomes
R. Duddingstone Herdman’s incursion into this
field in his Song to Spring. It is bold and joyous
in colour, and the figure of the woman is
beautifully drawn. One might question the softness
and purity of the flesh tones as perhaps savouring
too much of modernity to completely carry out the
idea of the picture, but if in this respect Mr.
Herdman has departed from convention he will not
be without justifiers.
An inspiring contribution to the landscape work
is J. Campbell Mitchell’s March Weather, Mid-
lothian. In the delicate harmony of its tones, the
beauty of line, and above all in the glorious massing
of soft grey cloud, the artist has achieved marked
success. Not less attractive is Robert Burns’
The Lone Shieling, a placid evening effect that
appeals with its sensuous beauty like a Chopin
nocturne. In Sunshine', and Shade, E. A. Walton
shows a striking composition in its arrangement of
almost detached tree forms set against a sky of
summer brilliance.
Dutch landscape continues to be the principal
subject for J. Campbell Noble’s brush, and his
picture of one of the less" frequented waterways at
Dordrecht, which neither shows the inevitable
church nor the ubiquitous windmill, but merely
some common-place houses lining the banks of a
canal, with sleepy barges lying beside a swing
bridge, is one of his happiest efforts both as to
colour and atmosphere. C. H. Mackie is not this
year represented by any large work, but his indi-
viduality in colour scheme is well expressed in his
Milking Time, and a picture of a boy in white
smock with a Chinese lantern. Clearing up at
Sundown marks a new departure for James Riddel
in breadth and boldness of style, particularly notice-
able in his cloud forms. H. Ivan Neilson, a
Galloway artist, shows an ambitious spring land-
scape intense in its blues, R. Payton Reid a dainty
figure subject in The Maid of the Inn, and John
Duncan a classical figure subject, Italian in treat-
ment, with a tenderly painted Highland landscape
as background to the exiled figure.
In portraiture, the leading place is taken by
Robert Hope’s three-quarter length of Mrs. Fraser
232