DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43450#0173
Stttdio- Talk
“the marriage column
BY FRANK TOWNSEND HUTCHENS
painting’s sake. He is an excellent draughtsman—
perhaps best shown in his figure work—he under-
stands the significance of fundamental shapes and
lines, and always remains true to the laws of per-
spective. His colour sense is remarkably accurate.
He rarely exaggerates local values, and yet produces
an exquisite texture that can be examined with the
same pleasure in detail as en masse. But even
more strongly pronounced than these accomplish-
ments is the artist’s faculty for composition. There
is hardly ever a line or shape or colour note that
jars. He paints loosely but forcefully, with rare
precision and a suavity of values that will win him
before long a place among our foremost tonal
painters.
I don’t think it is of particular interest where this
painter has studied and exhibited. It may suffice
to mention that many of his canvases have hung on
the walls of the Royal Academy, the New York
Academy, and the leading galleries of America.
His pictures tell the story of his life and personality.
With their simplicity, their soft, rich colour, and the
vague mystery of their themes, they win him friends
wherever they are exhibited. Not too delicate to
impress the majority, they appeal at the same time
to those refined temperaments who demand of art
that it shall lift them from the world of realities to
a realm of subtler imaginings. S. H.
CALCUTTA.'—The Indian Society of
Oriental Art held its fifth annual exhibi-
tion early this year at Simla, Bombay. The
society owes its inception to the “new”
school of painting which has given promise of a latter-
day renaissance in Indian art. When the school was
born it was nursed by three Bengalee artists—A. N.
Tagore, Nanda Lal Bose, and Surendra Nath
161
“the marriage column
BY FRANK TOWNSEND HUTCHENS
painting’s sake. He is an excellent draughtsman—
perhaps best shown in his figure work—he under-
stands the significance of fundamental shapes and
lines, and always remains true to the laws of per-
spective. His colour sense is remarkably accurate.
He rarely exaggerates local values, and yet produces
an exquisite texture that can be examined with the
same pleasure in detail as en masse. But even
more strongly pronounced than these accomplish-
ments is the artist’s faculty for composition. There
is hardly ever a line or shape or colour note that
jars. He paints loosely but forcefully, with rare
precision and a suavity of values that will win him
before long a place among our foremost tonal
painters.
I don’t think it is of particular interest where this
painter has studied and exhibited. It may suffice
to mention that many of his canvases have hung on
the walls of the Royal Academy, the New York
Academy, and the leading galleries of America.
His pictures tell the story of his life and personality.
With their simplicity, their soft, rich colour, and the
vague mystery of their themes, they win him friends
wherever they are exhibited. Not too delicate to
impress the majority, they appeal at the same time
to those refined temperaments who demand of art
that it shall lift them from the world of realities to
a realm of subtler imaginings. S. H.
CALCUTTA.'—The Indian Society of
Oriental Art held its fifth annual exhibi-
tion early this year at Simla, Bombay. The
society owes its inception to the “new”
school of painting which has given promise of a latter-
day renaissance in Indian art. When the school was
born it was nursed by three Bengalee artists—A. N.
Tagore, Nanda Lal Bose, and Surendra Nath
161