DOI Heft:
No. 215 (January 1915)
DOI Artikel:Fitzsimons, Theodore L.: Decorative pictures at the Pennsylvania Academy of Fine Arts
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43457#0328
Decorative Pictures at the Pennsylvania Academy
TANGIER
BY ALEXANDER ROBINSON
ECORATIVE PICTURES AT THE
PENNSYLVANIA ACADEMY OF
FINE ARTS
BY THEODORE L. FITZSIMONS
The four groups of pictures in the water-colour
exhibition, all of which share the decorative
quality in common, yet are very distinctive in
character and artistic expression—are those by
Alexander Robinson, Thornton Oakley, Elenore
Abbott and M. W. Zimmerman.
In the paintings by Robinson and Oakley, one
gets two points of view. In the Oriental motif—-
in Robinson’s bold, dashing handling we see a
strong contrast to the finished, subtle style of
Thornton Oakley. In the former we get the rela-
tions of simple masses of colour to each other, in
the latter we get detailed form as well as relative
colour—both are charming and both breathe the
spirit of the East. Yet we are looking through
very different lenses on almost the same aspect of
colourful Oriental life. Though one painter draws
his inspiration from Tangier and the other from
India, needless to say, the handling and technique
is as different as the temperamental vision of these
two painters.
The picture entitled Tangier, by Alexander
Robinson, is a typical example of his brilliant col-
our and decorative massing. The rich-hued man-
tles of the Moors grouped in the foreground and
the clear note of the white-walled city singing
against the purple-blue sky of the background,
though somewhat posterish in effect, are neverthe-
less of high dramatic appeal. Arab Girls and
Market Tenants, by the same painter, show his
love of dazzling sunlight and the gorgeous tropic
colouring. But the painting which best betrays
his personality is that of Hadi-Ben-Hassan of Bag-
dad. The riot of pure colour in this picture, which
at first sight appears to be merely a riot, resolves
itself into a wonderful harmony constructed upon
a decorative design, all the colours having sym-
pathetic relationship with each other and blending
into a warm, rich tone. They are one, though
many, as in a Persian rug.
The Guard of the Maharajah, by Thornton
Oakley, is probably the most decorative of his
Indian scenes, though they are all so well studied
LXXXVII
TANGIER
BY ALEXANDER ROBINSON
ECORATIVE PICTURES AT THE
PENNSYLVANIA ACADEMY OF
FINE ARTS
BY THEODORE L. FITZSIMONS
The four groups of pictures in the water-colour
exhibition, all of which share the decorative
quality in common, yet are very distinctive in
character and artistic expression—are those by
Alexander Robinson, Thornton Oakley, Elenore
Abbott and M. W. Zimmerman.
In the paintings by Robinson and Oakley, one
gets two points of view. In the Oriental motif—-
in Robinson’s bold, dashing handling we see a
strong contrast to the finished, subtle style of
Thornton Oakley. In the former we get the rela-
tions of simple masses of colour to each other, in
the latter we get detailed form as well as relative
colour—both are charming and both breathe the
spirit of the East. Yet we are looking through
very different lenses on almost the same aspect of
colourful Oriental life. Though one painter draws
his inspiration from Tangier and the other from
India, needless to say, the handling and technique
is as different as the temperamental vision of these
two painters.
The picture entitled Tangier, by Alexander
Robinson, is a typical example of his brilliant col-
our and decorative massing. The rich-hued man-
tles of the Moors grouped in the foreground and
the clear note of the white-walled city singing
against the purple-blue sky of the background,
though somewhat posterish in effect, are neverthe-
less of high dramatic appeal. Arab Girls and
Market Tenants, by the same painter, show his
love of dazzling sunlight and the gorgeous tropic
colouring. But the painting which best betrays
his personality is that of Hadi-Ben-Hassan of Bag-
dad. The riot of pure colour in this picture, which
at first sight appears to be merely a riot, resolves
itself into a wonderful harmony constructed upon
a decorative design, all the colours having sym-
pathetic relationship with each other and blending
into a warm, rich tone. They are one, though
many, as in a Persian rug.
The Guard of the Maharajah, by Thornton
Oakley, is probably the most decorative of his
Indian scenes, though they are all so well studied
LXXXVII