International studio (40.1910)

Henry Tonks

relished by Charles Conder. By Mrs. Conder's ness of The Crystal Gazer and The Bird Cage.
kindness we are able to illustrate it here. In this Remarkably self-critical as he is, the rate of his
small piece the painter, experimentally I daresay, production is comparatively slow. Pictures that
carefully attained, and kept all through, that fail to pass his scrutiny are destroyed. When in
opposition of transparent to economically loaded due perspective the later phases of impressionism
pigment that may rightly be esteemed of all are seen and sorted out, works such as The
methods the most pleasing to the eye. That it is Strolling Players and those I have just named
perhaps the most difficult to maintain is certain. will be allotted distinguished rank. They will be
Compared with his technique in oils that of his honoured for their brilliant achievement of light
water-colours is more precious ; in them he prac- and atmosphere; for their integrity in draughts-
tises a master's selection of nothing but what is manship, and above all for the spirit in them
indispensable. Certain of his landscapes, his that expresses the romance and tender beauty of
sketch portraits, and interiors in the latter medium womanhood. And in those days, I think, as rare
are the type of style and elimination. Very reticent, examples of line expressing projection and subtle
devoid of surplusage, and filled with an instinctive movement Mr. Tonks' drawings will fill space
colour, they wear a distinguished aspect of mastery that is devoted to old masters on the walls of
and taste. In the heavier medium Mr. Tonks the academies. C. H. C. B.

but rarely does landscape. I recall
but three or four, among them,

The Escaped Bird of 1900, and r--------------------- - - -------- ........---------- - -----------..........____,

Chalk Cliffs, a remarkable har-
mony of blues, opalescent greys
and white. In his capacity as t'j.
designer no picture has given him
a finer chance than his Pastoral
Play of 1899, and the beautiful
portrait of Mrs. Hugh Hammersley
(1904). The latter (page 8) is a
splendid decoration in a scheme of
black and silver foiled by notes of
glowing depth.

To sum up Mr. Tonks' position
and achievement, as far as one
may in the case of an art that
has not reached its maturity, we
have to keep in view his various
range, as a line draughtsman and as
a painter in oils and water colour.
Also we must consider his asso-
ciations and the influences he has
undergone. Thus, his early admira-
tion for Millais and Walker, his

subsequent and sympathetic en- .,
gagement with Watteau, and his
close intimacy with Wilson Steer,
are essential to a grasp of his com-
ponents. In all his work the most
distinguishing factors are a decisive
and crisp sense of form and an
unrivalled sympathy, at the present
day, with the gracious refinement

of femininity. As a colourist he •'• n'li™IMMBH» —

has achieved his best in the quiet (lr^ ,,

n "THE GIRL WITH A PARROT BY HENRY TONKS

symphonies and wonderful rich- {In the possession of Mrs. Conder)

10