International studio — 36.1908/​1909(1909)

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was maturing his own style, working out his artistic
Whatever may be the ultimate judgment of
posterity on his art, whether negiect or an in-
creased reputation is to be the iot accorded to
his work, he cannot be ranked with the painters of
the pretty or the obvious. It is ciear that he was
a man of true artistic impuise, and that his work is
charged with feeling; and it is equaiiy sure that,
though he had not arrived at the summit of his
endeavour, the work he did accomplish is both
strenuous and characteristic, and such as the future
historian of Scottish art wiii be far frorn ignoring.
In his last few years " his schemes grew bolder, his
perceptions more acute, his iyric note more fre-
quently was changed for the epic; and so his native
countryside lives in his later canvases serene and
conhdent, glowing with colour, steeped in the
essence of romance." He painted elsewhere, but
it must be as the limner of Scottish landscape
that we best appreciate him ; there his genius was
nurtured and inspired, and there his heart lies.



CoNCERNtNG variety of imagination, it
has been asked by a profound student of human
nature, "What is that but fatal, in the world of
affairs, unless so discipiined as not to be distin-
guished from monotony ?" True, this may be
in " the world of affairs "; and if so it should help
to explain the proverbial business inaptitude of
the artistic temperament, for assuredly variety of
imagination is a valuable asset to an artist. Nay,
we may even go so far as to assert that it is an
indispensable essential for all who aim to achieve
excellence in iHustration. In art, at all events,
success will not attend monotony, for to the creative
artist, as to his parent Nature, we look for that
infinite variety which age shall not stale nor custom
wither. His imagination may roam unfettered
within the bounds of his composition—that is to
say, it needs only to be disciplined by his sense of
design, and the variety of his decorative arrange-

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