DOI Heft:
Nr. 165 (November, 1910)
DOI Artikel:Baker, C. H. Collins: The paintings of Mr. G. W. Lambert
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19869#0022
Mr. G. W. Lambert's Paintings
through with sound and speedy craft, on the travelled all the way from Sydney to improve
method laid down by his School's head. upon, and equally, if not more, unsuccessful in
We, on the other hand, are notoriously strong in providing what really was the conspicuous need,
the matters of "high art." The packets of labels As to what thai was he had little difficulty in
needed to explain advanced movements and the discovering. In turn, I daresay, he and many of
prevalent custom of "painting for posterity," as his fellow-students dabbled in the latest cries, in
regards the quality of our pigment, would badly varying stages of impressionism, in brushes of
puzzle men like Lely or Van Dyck, who began the peculiar magnitude, in atmosphere or neo-primihf-
other end. Mr. Lambert, by the way, is the first isms. Certainly they made a practice of painting
young painter I have heard express appreciation life-sized nudes with more or less effect and no
and practise emulation of Sir Peter. The steps by idea of ordered craftsmanship. And it was just
which he has reached this attitude are interesting this that struck Mr. Lambert, after two precious
not only as elucidating his development, but also years of the scholarship had run, that neither at
as an indictment of the unordered education that Carl Rossi's nor at Delacluse's was there any man
fails to train the students of to-day. Born in 1873 t0 show him a sane, sound, ordered system, a
in St. Petersburg, he was brought to England five working method. Penetrating to the Louvre and
years later. For some six years he lived in looking up at the Fete Champetre, at Van Dyck
Yeovil, there just touching the tedious fringe of and Velasquez, he always had been aware of the
academic training as re-
presented by the regular
South Kensington provin-
cial system. From this,
however, he must soon
have recovered when at
the end of that period he
went to Australia to the
Bush. In that untram-
melled atmosphere, riding,
working, and drawing in-
cidentally, he dwelt until
in 1891, coming into
town, he entered the
Sydney School of Art,
under Julian Rosse
Ashton. Therein his train-
ing as an artist seriously
began and, from what I
make of it, it is to that
Academy and its principal
that Mr. Lambert dedi-
cates the larger portion of
what he feels he owes for
his instruction. There, at
any rate, he learned to
draw, rigorously working
in the antique and later
in the life. The upshot
was a three years' scholar-
ship in rcjoi, that brought
him over to the Paris
studios.
They rather struck him
as a less individual affair
than the school he had "dona sol" by g. w. lambert
16
through with sound and speedy craft, on the travelled all the way from Sydney to improve
method laid down by his School's head. upon, and equally, if not more, unsuccessful in
We, on the other hand, are notoriously strong in providing what really was the conspicuous need,
the matters of "high art." The packets of labels As to what thai was he had little difficulty in
needed to explain advanced movements and the discovering. In turn, I daresay, he and many of
prevalent custom of "painting for posterity," as his fellow-students dabbled in the latest cries, in
regards the quality of our pigment, would badly varying stages of impressionism, in brushes of
puzzle men like Lely or Van Dyck, who began the peculiar magnitude, in atmosphere or neo-primihf-
other end. Mr. Lambert, by the way, is the first isms. Certainly they made a practice of painting
young painter I have heard express appreciation life-sized nudes with more or less effect and no
and practise emulation of Sir Peter. The steps by idea of ordered craftsmanship. And it was just
which he has reached this attitude are interesting this that struck Mr. Lambert, after two precious
not only as elucidating his development, but also years of the scholarship had run, that neither at
as an indictment of the unordered education that Carl Rossi's nor at Delacluse's was there any man
fails to train the students of to-day. Born in 1873 t0 show him a sane, sound, ordered system, a
in St. Petersburg, he was brought to England five working method. Penetrating to the Louvre and
years later. For some six years he lived in looking up at the Fete Champetre, at Van Dyck
Yeovil, there just touching the tedious fringe of and Velasquez, he always had been aware of the
academic training as re-
presented by the regular
South Kensington provin-
cial system. From this,
however, he must soon
have recovered when at
the end of that period he
went to Australia to the
Bush. In that untram-
melled atmosphere, riding,
working, and drawing in-
cidentally, he dwelt until
in 1891, coming into
town, he entered the
Sydney School of Art,
under Julian Rosse
Ashton. Therein his train-
ing as an artist seriously
began and, from what I
make of it, it is to that
Academy and its principal
that Mr. Lambert dedi-
cates the larger portion of
what he feels he owes for
his instruction. There, at
any rate, he learned to
draw, rigorously working
in the antique and later
in the life. The upshot
was a three years' scholar-
ship in rcjoi, that brought
him over to the Paris
studios.
They rather struck him
as a less individual affair
than the school he had "dona sol" by g. w. lambert
16