DOI Heft:
Nr. 237 (November, 1916)
DOI Artikel:Halton, Ernest G.: Water-colours by D. Murray Smith, A.R.W.S.
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43463#0045
IVater-Coloztrs by D. Murray Smith, A.R.W.S.
WATER-COLOURS BY
D. MURRAY SMITH,
A.R.W.S.
In a previous issue of The Studio (Vol. LXIII.)
a number of landscapes executed in oils by Mr. D.
Murray Smith were reproduced. In the present
article we shall consider briefly some landscapes in
water-colour by the same artist. And let us say
at once that, while fully appreciating the fine quali-
ties that give distinction to his work in oil, we
venture to think that it is in his water-colours that
Mr. Murray Smith’s art finds its happiest expression.
That the medium is particularly well suited for
the rendering of English scenery is a fact which
is generally accepted, and in that fact lies the
secret of the undisputed position of the English
school of water-colour painting, from Paul Sandby
down to the present day. The peculiar atmo-
spheric effects and subtle contrasts of light and
shade form the principal charms of the English
landscape, and these are more readily suggested in
water-colour than in oil.
We have only to glance at the drawings repro-
duced in these pages to realise that here we have
an artist who not only possesses a strong feeling
for the beauties of the English countryside, but
one who is also equipped in a high degree with
those gifts necessary for the successful rendering
of them. Essentially an individual artist, he is
content to interpret Nature in his own way, thus
giving to his work a personal note which adds
considerably to its interest and appeal. His
landscapes are something more than mere copies
of scenery. They are the manifestations of a
mind imbued with poetic feeling expressing itself
through the many phases of Nature. At the same
time he realises the various aspects of a composi-
tion with a simplicity of means which is entirely
agreeable and satisfying. His broad outlook
enables him to note at once the essential features
of a landscape ; yet he does not hesitate to modify
such details as would be likely to interfere with
the spirit and romance of the scene, nor, on the
other hand, to accentuate those which thereby add
to the general harmony and balance of the drawing.
■“THE PLAIN OF WORCESTER FROM GREAT MALVERN^”
(The property of Rowland Houghton, Esq.)
BY D/ MURRAY SMITH, A.R.W.S.
23
WATER-COLOURS BY
D. MURRAY SMITH,
A.R.W.S.
In a previous issue of The Studio (Vol. LXIII.)
a number of landscapes executed in oils by Mr. D.
Murray Smith were reproduced. In the present
article we shall consider briefly some landscapes in
water-colour by the same artist. And let us say
at once that, while fully appreciating the fine quali-
ties that give distinction to his work in oil, we
venture to think that it is in his water-colours that
Mr. Murray Smith’s art finds its happiest expression.
That the medium is particularly well suited for
the rendering of English scenery is a fact which
is generally accepted, and in that fact lies the
secret of the undisputed position of the English
school of water-colour painting, from Paul Sandby
down to the present day. The peculiar atmo-
spheric effects and subtle contrasts of light and
shade form the principal charms of the English
landscape, and these are more readily suggested in
water-colour than in oil.
We have only to glance at the drawings repro-
duced in these pages to realise that here we have
an artist who not only possesses a strong feeling
for the beauties of the English countryside, but
one who is also equipped in a high degree with
those gifts necessary for the successful rendering
of them. Essentially an individual artist, he is
content to interpret Nature in his own way, thus
giving to his work a personal note which adds
considerably to its interest and appeal. His
landscapes are something more than mere copies
of scenery. They are the manifestations of a
mind imbued with poetic feeling expressing itself
through the many phases of Nature. At the same
time he realises the various aspects of a composi-
tion with a simplicity of means which is entirely
agreeable and satisfying. His broad outlook
enables him to note at once the essential features
of a landscape ; yet he does not hesitate to modify
such details as would be likely to interfere with
the spirit and romance of the scene, nor, on the
other hand, to accentuate those which thereby add
to the general harmony and balance of the drawing.
■“THE PLAIN OF WORCESTER FROM GREAT MALVERN^”
(The property of Rowland Houghton, Esq.)
BY D/ MURRAY SMITH, A.R.W.S.
23