DOI issue:
Nr. 160 (June 1910)
DOI article:Wood, T. Martin: Mr. Robert Anning Bell's work as a painter
DOI Page / Citation link: https://doi.org/10.11588/diglit.19866#0354
Mr. Robert Aiming Bell
m
R. ROBERT ANNING BELL'S almost without his knowing it, though we watched
WORK AS A PAINTER. BY it, ms more pagan subjects slipped the outline
T MARTIN WOOD altogether, becoming almost impressionistic—and
here it is interesting to reflect that impressionism
When Mr. Anning Bell exchanged the restric- borders the realm of illusion, which is where imag-
tions and embarrassments of design in coloured inative art begins. ,
plaster or glass for the freedom of a liquid state Viewed in the Gothic spirit, ideal realms are
of painting in oils, tempera, and water colours, his super-sensual and apart from us, while in a pagan
art itself won a freedom which, while still decora- mood there can be familiarities between gods and
tive, was perhaps in a sense new to modern men, and frivolities without irreverence. Too
•decoration. light a touch were unworthy of cloistral senti-
At the time that outline was in process of becom- ments, and one can almost see in the leaded line a
ing nothing to the impressionists, it was almost symbol of the restraint which the priesthood had
an obsession with the decorative designers. An imposed. The tendencies that to-day follow the
arbitrary line, like the leaded line in glass work, Gothic revival are an outcome and not a reaction,
necessary nearly always to meet the conditions of Rigid lines are falling away, not being forced
applied design, was carried into oil and water- down, but surrendering as life itself moves religi-
colour paintings as an indispensable convention. ously to freedom. We seem to see the happy
And when the subject was abstractly Gothic in maidens of Mr. Anning Bell's art issuing forth into
inspiration this line seemed all the more inevitable. the open, with their bows and arrows in their
In Mr. Anning Bell's art, however, when it became hands, pretending to be Amazons, but not belong-
pagan and a little more gay, this convention ing to the early world, having the reflection of
seemed to embarrass the freedom of movement of altar lights in their eyes, and the restraint of
his figures, like stiff ecclesiastical robing, and those who have once followed in solemn proces-
1 the battle of flowers" by robert anning bell, r.w.s.
(Diploma Drawing reproduced by permission of the Royai Society of Painters in Water-Colours)
XL. No. 160.—June, 1910. 255!
m
R. ROBERT ANNING BELL'S almost without his knowing it, though we watched
WORK AS A PAINTER. BY it, ms more pagan subjects slipped the outline
T MARTIN WOOD altogether, becoming almost impressionistic—and
here it is interesting to reflect that impressionism
When Mr. Anning Bell exchanged the restric- borders the realm of illusion, which is where imag-
tions and embarrassments of design in coloured inative art begins. ,
plaster or glass for the freedom of a liquid state Viewed in the Gothic spirit, ideal realms are
of painting in oils, tempera, and water colours, his super-sensual and apart from us, while in a pagan
art itself won a freedom which, while still decora- mood there can be familiarities between gods and
tive, was perhaps in a sense new to modern men, and frivolities without irreverence. Too
•decoration. light a touch were unworthy of cloistral senti-
At the time that outline was in process of becom- ments, and one can almost see in the leaded line a
ing nothing to the impressionists, it was almost symbol of the restraint which the priesthood had
an obsession with the decorative designers. An imposed. The tendencies that to-day follow the
arbitrary line, like the leaded line in glass work, Gothic revival are an outcome and not a reaction,
necessary nearly always to meet the conditions of Rigid lines are falling away, not being forced
applied design, was carried into oil and water- down, but surrendering as life itself moves religi-
colour paintings as an indispensable convention. ously to freedom. We seem to see the happy
And when the subject was abstractly Gothic in maidens of Mr. Anning Bell's art issuing forth into
inspiration this line seemed all the more inevitable. the open, with their bows and arrows in their
In Mr. Anning Bell's art, however, when it became hands, pretending to be Amazons, but not belong-
pagan and a little more gay, this convention ing to the early world, having the reflection of
seemed to embarrass the freedom of movement of altar lights in their eyes, and the restraint of
his figures, like stiff ecclesiastical robing, and those who have once followed in solemn proces-
1 the battle of flowers" by robert anning bell, r.w.s.
(Diploma Drawing reproduced by permission of the Royai Society of Painters in Water-Colours)
XL. No. 160.—June, 1910. 255!