DOI Heft:
Nr. 164 (October, 1910)
DOI Artikel:Taylor, J.: A Glasgow painter: William Wells, R.B.A.
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19867#0374
William Wells, R.B.A.
theory for practice and sits in front of the spread-
ing branches, he thinks only of the case presented,
and renders the tree in truly individualistic fashion.
He has not pursued this side of his art sufficiently
far to be on absolutely sure ground; the lesson of
Preston will carry him farther.
However interesting Wells may be in his
larger work, it is in his drawings that he seems
more fully to reveal himself. The method is
unique, the medium somewhat unusual, but
the results, in such drawings as The Pigeon
Tower, Kentraugh, Isle of Man; Harbour, with
Bridge, Castletown; and The Old Garden,
which was reproduced in facsimile colours in the
January issue of The Studio, reveal such a
combination of strength and tenderness, such
architectural charm, such poetic quality, as to at
once suggest the inimitable. Wells is an artist who
paints because he must paint, just as the true poet
sings because he has a song to sing. He has already
done work which he will not easily excel, yet he is
but on the threshold of a great career. He seeks
to understand Nature's secrets, and to interpret them
wisely; and whether his work appears in public or
private exhibitions, it is the centre of interest for all
true lovers of art. A consistent rather than a
rapid worker, his production falls short of demand.
Few extraneous interests appeal to him, closely
wedded as he is to his beloved Art for which he
suffered and waited while his goddess was coy.
The Scottish Modern Arts Association was
fortunate last year in securing the artist's large
canvas, A Lancashire Fishing Village; this work,
of which a reproduction has already been given in
The Studio (see May number, 1909, p. 317), was
shown at the exhibition of the Glasgow Royal
Institute of the Fine Arts, where it was the
sensation of the year. By the prescience of a
discriminating member of the executive, it was
purchased before the public opening day.
The Oldham Corporation have in their per-
manent collection Home across the Sands; but the
most varied and typical selection of the artist's
works in public or private collections, is that in the
"the hackett" (oil)
(In the possession oj Jas. Hoivden, Esq.)
hy william wells
273
theory for practice and sits in front of the spread-
ing branches, he thinks only of the case presented,
and renders the tree in truly individualistic fashion.
He has not pursued this side of his art sufficiently
far to be on absolutely sure ground; the lesson of
Preston will carry him farther.
However interesting Wells may be in his
larger work, it is in his drawings that he seems
more fully to reveal himself. The method is
unique, the medium somewhat unusual, but
the results, in such drawings as The Pigeon
Tower, Kentraugh, Isle of Man; Harbour, with
Bridge, Castletown; and The Old Garden,
which was reproduced in facsimile colours in the
January issue of The Studio, reveal such a
combination of strength and tenderness, such
architectural charm, such poetic quality, as to at
once suggest the inimitable. Wells is an artist who
paints because he must paint, just as the true poet
sings because he has a song to sing. He has already
done work which he will not easily excel, yet he is
but on the threshold of a great career. He seeks
to understand Nature's secrets, and to interpret them
wisely; and whether his work appears in public or
private exhibitions, it is the centre of interest for all
true lovers of art. A consistent rather than a
rapid worker, his production falls short of demand.
Few extraneous interests appeal to him, closely
wedded as he is to his beloved Art for which he
suffered and waited while his goddess was coy.
The Scottish Modern Arts Association was
fortunate last year in securing the artist's large
canvas, A Lancashire Fishing Village; this work,
of which a reproduction has already been given in
The Studio (see May number, 1909, p. 317), was
shown at the exhibition of the Glasgow Royal
Institute of the Fine Arts, where it was the
sensation of the year. By the prescience of a
discriminating member of the executive, it was
purchased before the public opening day.
The Oldham Corporation have in their per-
manent collection Home across the Sands; but the
most varied and typical selection of the artist's
works in public or private collections, is that in the
"the hackett" (oil)
(In the possession oj Jas. Hoivden, Esq.)
hy william wells
273