DOI Heft:
Nr. 154 (December 1909)
DOI Artikel:Baldry, Alfred Lys: The art of Edward John Gregory
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19868#0232
Edward J. Gregory, R.A.
Spoils of Opportunity and The Sound of Oars. naturally without any deliberate intention on his
Here the search for detail, the desire to record all part. But in this superlative completeness every-
that he could see, has not tempted or misled him one who knows what the attainment of accuracy
into loss of breadth, and has not induced him to in draughtsmanship and modelling demands in the
disregard the vital principles of design. His way of patient application and exhaustive study,
realism is admirable, but the decorative quality will recognise one of the most convincing proofs of
of all three pictures is not less to be admired, and the thoroughness with which he prepared himself
the largeness with which they are conceived and for the responsibilities of his profession. That his
carried out is worthy of all praise. To see things work should wear this appearance of having given
in this way, broadly and with a sense of dignified him but little trouble is of the greatest possible
completeness, and yet to be able to draw the significance, because few painters succeed in con-
minutest distinctions between the little things cealing so happily the actual struggle by which at
which fill out the pictorial scheme, is eminently the last success has been secured,
the faculty of the master. There is in his management of the oil and
Another quality which gives particular distinc- water-colour mediums the same air of confidence
tion to his art is the certainty and freedom of his that distinguishes his drawing. A lover of high
draughtsmanship. There is no academic pedantry finish, he fell at no time into the mistake of
in his drawing and no laborious effort, but there is believing that mere surface elaboration would have
a fascinating expressiveness and a delightful flexL a meaning unless it logically explained the funda-
bility which is obviously the outcome of an mental purpose of the picture. Finish, as he
absolute agreement between mind and hand. His rightly understood it, meant the carrying on of
portraits and his figure subjects convey an im- technical processes until they had fulfilled to the
pression of unhesitating knowledge of form and utmost their mission of explanation, until not
contour, and of an exact understanding of subtleties a touch more was needed to make clear the inten-
of modelling. They show no struggle with diffi- tion which the picture embodied. So his painting
culties of statement, everything seems to come is calm, deliberate and serious, without any fan-
right as a matter of course, and to fit together tastic cleverness of brushwork, without any affected
"the sound of oars"
90
(The property of John Maddocks, Esq.)
by edward j. gregory, r.a.
Spoils of Opportunity and The Sound of Oars. naturally without any deliberate intention on his
Here the search for detail, the desire to record all part. But in this superlative completeness every-
that he could see, has not tempted or misled him one who knows what the attainment of accuracy
into loss of breadth, and has not induced him to in draughtsmanship and modelling demands in the
disregard the vital principles of design. His way of patient application and exhaustive study,
realism is admirable, but the decorative quality will recognise one of the most convincing proofs of
of all three pictures is not less to be admired, and the thoroughness with which he prepared himself
the largeness with which they are conceived and for the responsibilities of his profession. That his
carried out is worthy of all praise. To see things work should wear this appearance of having given
in this way, broadly and with a sense of dignified him but little trouble is of the greatest possible
completeness, and yet to be able to draw the significance, because few painters succeed in con-
minutest distinctions between the little things cealing so happily the actual struggle by which at
which fill out the pictorial scheme, is eminently the last success has been secured,
the faculty of the master. There is in his management of the oil and
Another quality which gives particular distinc- water-colour mediums the same air of confidence
tion to his art is the certainty and freedom of his that distinguishes his drawing. A lover of high
draughtsmanship. There is no academic pedantry finish, he fell at no time into the mistake of
in his drawing and no laborious effort, but there is believing that mere surface elaboration would have
a fascinating expressiveness and a delightful flexL a meaning unless it logically explained the funda-
bility which is obviously the outcome of an mental purpose of the picture. Finish, as he
absolute agreement between mind and hand. His rightly understood it, meant the carrying on of
portraits and his figure subjects convey an im- technical processes until they had fulfilled to the
pression of unhesitating knowledge of form and utmost their mission of explanation, until not
contour, and of an exact understanding of subtleties a touch more was needed to make clear the inten-
of modelling. They show no struggle with diffi- tion which the picture embodied. So his painting
culties of statement, everything seems to come is calm, deliberate and serious, without any fan-
right as a matter of course, and to fit together tastic cleverness of brushwork, without any affected
"the sound of oars"
90
(The property of John Maddocks, Esq.)
by edward j. gregory, r.a.