DOI Heft:
Studio-Talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43448#0074
Studio- Talk
realistic scheme of stage illusion the actor might
add a thousandfold to the significance of his
performance.
Although the period during which Mr. Harold
Knight has been before the public is comparatively
short he has already taken a place of real distinction
among the more notable of our present-day painters.
There are certain qualities in his work which make
it more than ordinarily interesting to students of
intelligent achievement, certain personal charac-
teristics which frankly claim acceptance because
they are expressed with unusual sincerity of con-
viction and freshness of style. The technical
merits of his paintings are particularly to be com-
mended ; his sureness and breadth of handling,
his flexibility of draughtsmanship, and his clever
management of subtleties of colour-gradation are
quite admirable, and his understanding of pictorial
all necessary weight of tone without lapsing into
sombreness or obscurity.
Some good after all may come from the theft of
La Gioconda if the fact is brought home that,
beyond the material triumph of superlative crafts-
manship, every great picture has an influence far
and wide. The influence of the Gioconda was every-
where, and we owe to it Pater’s most inspired page,
an influence in its turn.
The latest addition to our own art treasures is
the famous painting by Mabuse representing the
Adoration of the Kings. This painting has been for
more than a century the property of the Earls of
Carlisle, and its genealogy seems to be so well
established that there is never likely to be any dis-
pute about its authenticity, though as to its intrinsic
merits there is already considerable divergence of
devices and processes is ex-
ceptionally complete. This
command over methods of
practice counts for much in
his art for it enables him to
attack successfully problems
of painting which only the
most thoroughly equipped
craftsman can ever hope to
solve. For example, it serves
him perfectly in that study
of effects of brilliant open-
air illumination with which
he has been so much occu-
pied during recent years—a
form of study that demands
a special acuteness of ob-
servation and a high degree
of sensitiveness to tone re-
lations and colour modula-
tions. He is so much a
master of subtleties of ex-
pression that in subjects like
The Reader he can convey
the fullest impression of an
effect of pervading light
without having to resort to
tricks of colour subdivision
and without having to
sacrifice strength of local
colour in an effort to reach
an impossibly high pitch;
while in less exacting
motives like Grace before Meat
and The Letter he can secure
BY HAROLD KNIGHT
realistic scheme of stage illusion the actor might
add a thousandfold to the significance of his
performance.
Although the period during which Mr. Harold
Knight has been before the public is comparatively
short he has already taken a place of real distinction
among the more notable of our present-day painters.
There are certain qualities in his work which make
it more than ordinarily interesting to students of
intelligent achievement, certain personal charac-
teristics which frankly claim acceptance because
they are expressed with unusual sincerity of con-
viction and freshness of style. The technical
merits of his paintings are particularly to be com-
mended ; his sureness and breadth of handling,
his flexibility of draughtsmanship, and his clever
management of subtleties of colour-gradation are
quite admirable, and his understanding of pictorial
all necessary weight of tone without lapsing into
sombreness or obscurity.
Some good after all may come from the theft of
La Gioconda if the fact is brought home that,
beyond the material triumph of superlative crafts-
manship, every great picture has an influence far
and wide. The influence of the Gioconda was every-
where, and we owe to it Pater’s most inspired page,
an influence in its turn.
The latest addition to our own art treasures is
the famous painting by Mabuse representing the
Adoration of the Kings. This painting has been for
more than a century the property of the Earls of
Carlisle, and its genealogy seems to be so well
established that there is never likely to be any dis-
pute about its authenticity, though as to its intrinsic
merits there is already considerable divergence of
devices and processes is ex-
ceptionally complete. This
command over methods of
practice counts for much in
his art for it enables him to
attack successfully problems
of painting which only the
most thoroughly equipped
craftsman can ever hope to
solve. For example, it serves
him perfectly in that study
of effects of brilliant open-
air illumination with which
he has been so much occu-
pied during recent years—a
form of study that demands
a special acuteness of ob-
servation and a high degree
of sensitiveness to tone re-
lations and colour modula-
tions. He is so much a
master of subtleties of ex-
pression that in subjects like
The Reader he can convey
the fullest impression of an
effect of pervading light
without having to resort to
tricks of colour subdivision
and without having to
sacrifice strength of local
colour in an effort to reach
an impossibly high pitch;
while in less exacting
motives like Grace before Meat
and The Letter he can secure
BY HAROLD KNIGHT