DOI Heft:
Nr. 225 (November 1915)
DOI Artikel:Halton, Ernest G.: The water-colours of Alfred W. Rich
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43460#0031
The Water-Colours of Alfred W. Rich
“RICHMOND, YORKSHIRE”
BY ALFRED W. RICH
the work is intensely interesting. Especially fine,
too, is the way in which the artist, with the simplest
touches, has suggested the landscape to the right
of the composition receding into the distance to the
far horizon. A second Richmond drawing (p. 9)
is very different in character and strangely unlike
any other of our illustrations as regards composition
and general treatment, both of which are engaging.
The varied colours of the roofs are exceedingly
agreeable; but the introduction of one or two
figures might, perhaps, have added interest to the
composition. A feeling of “ the deserted village ”
is not altogether absent.
Reference has already been made to the drawing
Near Stevenage, Hertfordshire (p. 10), a typical and
very beautiful example of Mr. Rich’s art. The fine
open sky and spacious landscape are put in with a
liquid touch, giving an effect of spontaneity and
freedom. It is a direct transcript from nature in
which the artist has succeeded in conveying a
remarkable sense of the open countryside. In the
same category should be placed Huntingdon (p. 15)
with its fine rolling sky in which the original treat-
ment of the clouds is worthy of careful study. It is
a fresh, breezy landscape, broadly and vigorously
handled.
Conceived in the spirit of true romanticism is the
drawing entitled In an English Park (p. 12), noble
in its repose and grandeur. The colour harmony is
exquisite, while the painting of the rich shadows,
thrown upon the water by the trees, could hardly
be surpassed. The artist has rendered the scene
with the fervour of the poet, informing it with a
lyrical and appealing beauty.
As an example of the dexterous use of mixed
mediums (pen and water-colour) South Croydon
(p. 16) is interesting. It is a dark and sombre
composition in which the heavy sky and murky
atmosphere are cleverly rendered. It represents a
phase of Mr. Rich’s art with which we are not very
familiar and one offering considerable possibilities.
The merits of this drawing are indisputable and the
suggestion of busy industrialism is subtly conveyed.
As a second plate in colours we illustrate a study
of trees, in which the treatment of the foliage is
distinctly personal. To artists this reproduction
will appeal as giving an insight into Mr. Rich’s
methods. And finally we show two drawings of
9
“RICHMOND, YORKSHIRE”
BY ALFRED W. RICH
the work is intensely interesting. Especially fine,
too, is the way in which the artist, with the simplest
touches, has suggested the landscape to the right
of the composition receding into the distance to the
far horizon. A second Richmond drawing (p. 9)
is very different in character and strangely unlike
any other of our illustrations as regards composition
and general treatment, both of which are engaging.
The varied colours of the roofs are exceedingly
agreeable; but the introduction of one or two
figures might, perhaps, have added interest to the
composition. A feeling of “ the deserted village ”
is not altogether absent.
Reference has already been made to the drawing
Near Stevenage, Hertfordshire (p. 10), a typical and
very beautiful example of Mr. Rich’s art. The fine
open sky and spacious landscape are put in with a
liquid touch, giving an effect of spontaneity and
freedom. It is a direct transcript from nature in
which the artist has succeeded in conveying a
remarkable sense of the open countryside. In the
same category should be placed Huntingdon (p. 15)
with its fine rolling sky in which the original treat-
ment of the clouds is worthy of careful study. It is
a fresh, breezy landscape, broadly and vigorously
handled.
Conceived in the spirit of true romanticism is the
drawing entitled In an English Park (p. 12), noble
in its repose and grandeur. The colour harmony is
exquisite, while the painting of the rich shadows,
thrown upon the water by the trees, could hardly
be surpassed. The artist has rendered the scene
with the fervour of the poet, informing it with a
lyrical and appealing beauty.
As an example of the dexterous use of mixed
mediums (pen and water-colour) South Croydon
(p. 16) is interesting. It is a dark and sombre
composition in which the heavy sky and murky
atmosphere are cleverly rendered. It represents a
phase of Mr. Rich’s art with which we are not very
familiar and one offering considerable possibilities.
The merits of this drawing are indisputable and the
suggestion of busy industrialism is subtly conveyed.
As a second plate in colours we illustrate a study
of trees, in which the treatment of the foliage is
distinctly personal. To artists this reproduction
will appeal as giving an insight into Mr. Rich’s
methods. And finally we show two drawings of
9