DOI Heft:
Nr. 229 (March 1916)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43461#0086
Studio-Talk
the new and more individual note now being
sounded in Canadian art is more pronouncedly
struck. In respect of differences in method and
handling these landscape paintings compose them-
selves into two principal divisions or groups, the
one representative in the main of the work of the
older painters, whose art is based on the sympa-
thetic rendering of natural effect, which necessitates
a faithful adherence to the principles of aerial per-
spective, tone relations, and chiaroscuro; while the
other division comprises the paintings of a younger
group of artists, with whom the theory has been
gaining in general acceptance that Canadian land-
scape may be more forcefully, and even more
truthfully, interpreted by decorative treatment than
by naturalistic representation ; and, in consequence,
their aim is to reveal the spirit of Canadian land-
scape by means of a rhythmical pattern or design
having as its basis some typically topographical
feature. Usually these designs are brilliant in
colour in harmonious relation; but concentration
of interest by accent or emphasis is studiously
avoided that the general effect of unity obtainable
64
by this essentially decorative treatment may not be
lessened thereby.
As employed by Mr. A. Y. Jackson, and one or
two others whom he has influenced, this method
has proved extraordinarily effective in producing
results that are not only tuneful but convincingly
truthful, as representing the still untamed spirit of
the lone Northland. It is merely a commonplace
to add, however, that the charm and significance
of these pictures are not in the least attributable to
any novelty of method employed in their produc-
tion, but wholly to their expression of personality.
Quite dissimilar in treatment and technique are the
landscapes of Mr. Maurice Cullen, yet none has
succeeded so adequately as he in the forceful
interpretation of the Eastern Canadian winter.
Of the three pictures he exhibited on this occasion,
two, Solitude and The North River, were pastels of
very exquisite quality and no less delightful in
sentiment; while his oil painting, Montreal Harbour,
if less poetical in conception, was a most inter-
esting presentation of an effect of light.
the new and more individual note now being
sounded in Canadian art is more pronouncedly
struck. In respect of differences in method and
handling these landscape paintings compose them-
selves into two principal divisions or groups, the
one representative in the main of the work of the
older painters, whose art is based on the sympa-
thetic rendering of natural effect, which necessitates
a faithful adherence to the principles of aerial per-
spective, tone relations, and chiaroscuro; while the
other division comprises the paintings of a younger
group of artists, with whom the theory has been
gaining in general acceptance that Canadian land-
scape may be more forcefully, and even more
truthfully, interpreted by decorative treatment than
by naturalistic representation ; and, in consequence,
their aim is to reveal the spirit of Canadian land-
scape by means of a rhythmical pattern or design
having as its basis some typically topographical
feature. Usually these designs are brilliant in
colour in harmonious relation; but concentration
of interest by accent or emphasis is studiously
avoided that the general effect of unity obtainable
64
by this essentially decorative treatment may not be
lessened thereby.
As employed by Mr. A. Y. Jackson, and one or
two others whom he has influenced, this method
has proved extraordinarily effective in producing
results that are not only tuneful but convincingly
truthful, as representing the still untamed spirit of
the lone Northland. It is merely a commonplace
to add, however, that the charm and significance
of these pictures are not in the least attributable to
any novelty of method employed in their produc-
tion, but wholly to their expression of personality.
Quite dissimilar in treatment and technique are the
landscapes of Mr. Maurice Cullen, yet none has
succeeded so adequately as he in the forceful
interpretation of the Eastern Canadian winter.
Of the three pictures he exhibited on this occasion,
two, Solitude and The North River, were pastels of
very exquisite quality and no less delightful in
sentiment; while his oil painting, Montreal Harbour,
if less poetical in conception, was a most inter-
esting presentation of an effect of light.