DOI Heft:
Nr. 165 (November, 1910)
DOI Artikel:Salaman, Malcolm C.: The mezzotints of Mr. Frank Short
DOI Artikel:Baker, C. H. Collins: The paintings of Mr. G. W. Lambert
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19869#0021
Mr. G. IV: Lambert's Paintings
will only allow Mr. Short to rest awhile on his
laurels as the interpretative engraver par excellence,
he will give us more of his own picture-poems in
mezzotint, for which all lovers of the beautiful
will owe him thanks.
A picture-poet he certainly is. Can anyone
with the love of the Cornish coast in his soul, his
eyes filled with its colour, look at that delightful
plate, A Slant of Light at Polperro* for instance,
without feeling that here, in black-and-white, the
artist has caught the very spirit, as well as tone,
of the place in one of its moods of most enchanting
beauty ? If only Mr. Short would give us more of
Cornwall ! Yet the influence of light, rather than
the spirit of place, is, of course, the guiding
motive of his mezzotints, as it must be of the
finest paintings. "As to subject," he will say,
"well, I am a wanderer with a sketch-book,
and draw almost everything; for all things in their
own time and light will come together and make
poetry—if one has eyes to see." M. C. S.
* Reproduced in The Studio, Vol. xxxviii., p. 53.
15
THE PAINTINGS OF MR. G. W,
LAMBERT. BY C. H. COLLINS
BAKER.
Idiosyncracy, with some justice, may be held
largely responsible for the unsatisfactory, queer
plight art finds herself in to-day. In contrast with
the compact front presented by the Schools of the
17th and 18th centuries, to go no further back,
painting now seems splintered up into individual
manners. The Schools of Van Dyck, of Lely,
Watteau, or Boucher, had each a common asset:
the observance of an ordered working method.
In consequence, even a mediocre hack painter of,
say, the Lely or the Kneller entourage, could paint
decently. Indeed, unless he were an extreme case
he could get through his job, elaborate draperies
and all, in three sittings, with more science than
the most prominent painters of our time. Dis-
carding the luxuries of what we call high art, and
with an easy virtue, no doubt, in the matter of
characterisation, yet he could carry his picture
will only allow Mr. Short to rest awhile on his
laurels as the interpretative engraver par excellence,
he will give us more of his own picture-poems in
mezzotint, for which all lovers of the beautiful
will owe him thanks.
A picture-poet he certainly is. Can anyone
with the love of the Cornish coast in his soul, his
eyes filled with its colour, look at that delightful
plate, A Slant of Light at Polperro* for instance,
without feeling that here, in black-and-white, the
artist has caught the very spirit, as well as tone,
of the place in one of its moods of most enchanting
beauty ? If only Mr. Short would give us more of
Cornwall ! Yet the influence of light, rather than
the spirit of place, is, of course, the guiding
motive of his mezzotints, as it must be of the
finest paintings. "As to subject," he will say,
"well, I am a wanderer with a sketch-book,
and draw almost everything; for all things in their
own time and light will come together and make
poetry—if one has eyes to see." M. C. S.
* Reproduced in The Studio, Vol. xxxviii., p. 53.
15
THE PAINTINGS OF MR. G. W,
LAMBERT. BY C. H. COLLINS
BAKER.
Idiosyncracy, with some justice, may be held
largely responsible for the unsatisfactory, queer
plight art finds herself in to-day. In contrast with
the compact front presented by the Schools of the
17th and 18th centuries, to go no further back,
painting now seems splintered up into individual
manners. The Schools of Van Dyck, of Lely,
Watteau, or Boucher, had each a common asset:
the observance of an ordered working method.
In consequence, even a mediocre hack painter of,
say, the Lely or the Kneller entourage, could paint
decently. Indeed, unless he were an extreme case
he could get through his job, elaborate draperies
and all, in three sittings, with more science than
the most prominent painters of our time. Dis-
carding the luxuries of what we call high art, and
with an easy virtue, no doubt, in the matter of
characterisation, yet he could carry his picture