DOI Heft:
Nr. 233 (July, 1916)
DOI Artikel:Baldry, Alfred Lys: Mr. Arthur Wardle's pastel paintings
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43462#0114
Arthur Wardles Pastel Paintings
has obtained a ful command over main principles
as well as minor details.
An excellent illustration of the way in which this
absolute command over different mediums can be
acquired by the artist who is a serious student of
technical processes is provided in the work of
Mr. Arthur Wardle. An able oil painter he has
proved himself to be by the number of important
canvases he has produced ; all of them are distin-
guished by admirable significance of brushwork
and by appropriate strength of statement, and all
of animals Mr. Wardle needs especially to have at
his disposal a painting method which is both sure
and rapid, which will enable him to arrive at his full
results in the shortest possible time, and which will
not hamper him by any lack of immediate respon-
siveness. In pastel he has a process which is both
mechanically convenient and artistically satisfying,
a process which goes smoothly from start to finish
and which has in all its devices the merit of
absolute simplicity. Unlike oil or water-colour it
does not involve the use of a great deal of
have that thoroughness of handling which is
possible only to the painter who has analysed and
investigated the properties of the oil medium. In
none of them is there any suggestion of imperfect
knowledge, in none is there any hint that he as a
craftsman is not fully equal to the tasks he under-
takes ; the response of his hand to his mental
intention is as sensitive and
apparatus and it does not need either preliminary
preparation or subsequent delay while the pigments
are drying. The pastel chalks enable both drawing
and painting to be done at one operation and give
instantly both the colour and tone required, and
the touches set down remain unaltered, neither
darkening like oil paint nor lightening like water¬
intimate as it well could be, and
no hesitation or lack of convic-
tion ever diminishes the power of
his expression.
But he is quite as skilful in his
management of a medium which
has properties and qualities very
unlike those by which oil painting
is distinguished—which has,
indeed, characteristics that are in
many respects just the opposite
of those that the oil painter
has to study. As a pastellist
Mr. Wardle has taken a place in
the modern British school which
he can hardly be said to share
with anyone else, a place gained
by sheer strength of artistic per-
sonality. He has a brilliant
appreciation of the' genius of
pastel, of its distinctive qualities
as well as its natural limitations,
and he knows exactly how far it
is to be depended upon in his
pictorial practice. He uses it
with delightful dexterity and with
a sureness of touch that proves
him to be fully acquainted with
its mechanical peculiarities and
to have an entirely correct judg-
ment of its technical resources.
That he should have sought
for and obtained such a thorough
command over the pastel medium
is natural enough. As a painter
“head of a lioness”
BY ARTHUR WARDLE
4
has obtained a ful command over main principles
as well as minor details.
An excellent illustration of the way in which this
absolute command over different mediums can be
acquired by the artist who is a serious student of
technical processes is provided in the work of
Mr. Arthur Wardle. An able oil painter he has
proved himself to be by the number of important
canvases he has produced ; all of them are distin-
guished by admirable significance of brushwork
and by appropriate strength of statement, and all
of animals Mr. Wardle needs especially to have at
his disposal a painting method which is both sure
and rapid, which will enable him to arrive at his full
results in the shortest possible time, and which will
not hamper him by any lack of immediate respon-
siveness. In pastel he has a process which is both
mechanically convenient and artistically satisfying,
a process which goes smoothly from start to finish
and which has in all its devices the merit of
absolute simplicity. Unlike oil or water-colour it
does not involve the use of a great deal of
have that thoroughness of handling which is
possible only to the painter who has analysed and
investigated the properties of the oil medium. In
none of them is there any suggestion of imperfect
knowledge, in none is there any hint that he as a
craftsman is not fully equal to the tasks he under-
takes ; the response of his hand to his mental
intention is as sensitive and
apparatus and it does not need either preliminary
preparation or subsequent delay while the pigments
are drying. The pastel chalks enable both drawing
and painting to be done at one operation and give
instantly both the colour and tone required, and
the touches set down remain unaltered, neither
darkening like oil paint nor lightening like water¬
intimate as it well could be, and
no hesitation or lack of convic-
tion ever diminishes the power of
his expression.
But he is quite as skilful in his
management of a medium which
has properties and qualities very
unlike those by which oil painting
is distinguished—which has,
indeed, characteristics that are in
many respects just the opposite
of those that the oil painter
has to study. As a pastellist
Mr. Wardle has taken a place in
the modern British school which
he can hardly be said to share
with anyone else, a place gained
by sheer strength of artistic per-
sonality. He has a brilliant
appreciation of the' genius of
pastel, of its distinctive qualities
as well as its natural limitations,
and he knows exactly how far it
is to be depended upon in his
pictorial practice. He uses it
with delightful dexterity and with
a sureness of touch that proves
him to be fully acquainted with
its mechanical peculiarities and
to have an entirely correct judg-
ment of its technical resources.
That he should have sought
for and obtained such a thorough
command over the pastel medium
is natural enough. As a painter
“head of a lioness”
BY ARTHUR WARDLE
4