International studio (40.1910)

A rt School Notes

almost like daylight land-
scapes. He impressed
upon the students that
London moonlight, owing
to the hazy, smoky at-
mosphere, was not cold,
and sometimes even ap-
proached to a warm glow.
In criticising a picture in
which some pillars were
shown reflected in water
with excessive exactness,
Mr. Strang warned the
young artists that this
tendency might lead to
their work being hung
upside down at galleries.
,, He himself, when hanging

evening at a woodland pool by prof. olof arr0relius ' . °

{See Stockholm Studio-Talk) pictures at an exhibition,

discovered a work of this

admitted the students and addressed them on the kind that had been placed in a reversed position

tendency of their work as a whole, and on the on the wall. " And it looked very well, too," said

general lines he thought they should endeavour to Mr. Strang, with a twinkling eye. He concluded

follow. Mr. Strang criticised the works in the his examination of the landscapes with some

presence of their authors, and in each section passed valuable hints on composition and the right

them all in review with a running fire of comment, placing of the picture on the canvas,

sometimes humorous, sometimes fault-finding, but -—

always exactly to the point. He was most anxious, The subject chosen for figure composition,

he told his audience, not to be too severe, and he London Workers, was, in Mr. Strang's opinion,

hoped that they would not consider him so. All an ideal one. The most obvious London workers

that he wished to do was to point out errors where were the workers in the streets, and they were

they existed, and on no account to discourage the always fine to watch and study, but whatever the

students. task they were engaged upon, the artist's first effort

One of the landscape
sections (subject, Moon- M^y^»-;
light) was the first dealt *;
with by Mr. Strang. He
thought the work good, jf&ai? Wt

taking the section in its ^HSt'
entirety, but that the fiij^.

showed in most BIBBwlt^S&^hAi
cases a tendency to lay 1^^.
too much stress on the H|

features of the landscape, B^^L* ^fl

instead of massing and HpHllB"*^' ' "

losing them and trying Wtjp " «mmm

to get the actual quality " vJpBjPl'V erPr

and mystery of moonlight. ■ '~^yy^^^^^^lMBWPIjBF^ JBBt

In reality things were not
so plainly seen in moon-

they to ^^M^^MHBI^MBMm^^^^^^^^^^^^^^HM^^^^M

be, and some of the pic- ,<a berqslagrn lake' ><y prof, oi.of arborbuus

tures before him looked (See Stockholm Studio-Talk)

33°