International studio (60.1916/1917)

Water-Colours by D. Murray Smith, A.R.W.S.

It has been said of his compositions that they
show a certain formality in the arrangement which
reveals him as the master of his subject and not
subservient to it.
That he has a marked predilection for the flat
open landscape, where the eye is carried far away
into the distance, may be gathered from the repro-
ductions shown here. As an instance of this we
cannot take a better example than The Plain of
Worcester from Great Malvern (p. 23), a spacious
composition in which the clever suggestion of
distance is only surpassed by the fine atmospheric
qualities and the masterly treatment of the sky.
This drawing is executed in the artist’s broadest
and most vigorous style, and as a direct transcript
from Nature is both stimulating and refreshing.
It reveals a power to visualise the original impres-
sion of a scene so as to convey the effect of
spontaneity. Equally successful is the drawing
Near Christchurch, Hampshire (p. 25), in which,
with a liquid brush and a judicious treatment of
light and shade, the artist expresses the charms of
a typical English landscape. The painting of the
sky and the effect of the heavy clouds upon the
foreground and distant hills are worthy of careful

study. This drawing, like the one mentioned
above, suggests a feeling of freshness and the open
air which will appeal to every lover of the country.
As an example of Mr. Murray Smith’s remark-
able simplicity of method, Among the Hampshire
Hills, reproduced in colours, is particularly inter-
esting. Here again the skilful treatment of light
and shade plays an important part in the com-
position. Though not quite so freely handled as
the two drawings just mentioned, this work attracts
by its subtle harmony of colour and quiet dignity.
As a study of cloud-painting alone it is a notable
achievement. The solemnity of the scene, inten-
sified by the absence of any human element or
habitation, is rendered with strength and sim-
plicity together with commendable restraint. The
second drawing reproduced in colours, Cardiff
from the Wenallt, if hardly so characteristic
of the artist’s work in water-colour, is interest-
ing on account of its somewhat unusual colour
scheme. It is an entirely satisfactory composition
and one which cannot fail to arrest the attention.
The city in the distance is deftly suggested; while
the beautiful tones of the landscape give distinction
to the drawing and place it amongst the artist’s


BY D. MURRAY SMITH, A. R. W. S.

“PENARTH HEAD, GLAMORGANSHIRE”
(The property of W. T. Le Fanu, Esq.)

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