DOI Heft:
Nr. 239 (January, 1917)
DOI Artikel:Studio-Talk
DOI Artikel:Reviews and notices
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43463#0244
Reviews and Notices
old royal burgh town of Kirkcudbright, wherein to
discover the joys and troubles of an artist’s life.
He was not, however, unacquainted with the ways
and methods of a painter’s career; for odd hours
and spare days from city work had all been devoted
to mingling with art and artists, and not a few of
his canvases found themselves in good company
in the various Scottish exhibitions. It is not
uncommon to find the most energy expended by
those who practise the painter’s craft in their
leisure moments, and most indolence amongst
those whose time is less limited. Idleness,
however, is not one of Mr. Clarke’s failings.
Never have I known an artist who works more
assiduously early and late—not that his output
is by any means prolific, but that each new canvas
when it emerges from
his hands shows a
REVIEWS AND NOTICES.
The Relation of Sculpture to Architecture. By
T. P. Bennett, A.R.I.B.A. (Cambridge: The
University Press.) 155. net.—The author notes
the growing use of sculpture upon important
buildings in various parts of the country. He
points out that it is possible to have beautiful
modelling which may be utterly bad decoration,
and condemns outrage of form which seeks to be
taken for originality. “ If an artist has originality,”
he writes, “he need never fear that it will remain
unexpressed. . . . The greater his personality
and the more natural his expression, the greater
will be this effect.” After reviewing the historic
periods of architecture from the Egyptian to
the English Renaissance, the author turns to
marked technical and
assured advance.
Having an idyllic
sense of colour, sun-
light and the pastoral
life surrounding farm
steadings and the
intimate woodlands
perhaps captivate him
most, as it is in such
simple subjects that
one finds the greatest
individualism as well
as distinct personality
of the artist. In his
smaller spontaneous
figure pastorals especi-
ally there is a charm
that endures. Whether
he will ultimately be
counted with the rare
artists of the genre he
has chosen, it is too
early to say; still in
the springtime of life
many years, it may be
hoped, lie before him,
and what he has done
and is still doing shows
him to be no self-
satisfied wayfarer on
the uphill road he has
voluntarily chosen to
follow. E. A. T.
“the goatherd”
(The Property of J. Kinnaird, Esq ) BY W. H. CI.ARKE
T54
old royal burgh town of Kirkcudbright, wherein to
discover the joys and troubles of an artist’s life.
He was not, however, unacquainted with the ways
and methods of a painter’s career; for odd hours
and spare days from city work had all been devoted
to mingling with art and artists, and not a few of
his canvases found themselves in good company
in the various Scottish exhibitions. It is not
uncommon to find the most energy expended by
those who practise the painter’s craft in their
leisure moments, and most indolence amongst
those whose time is less limited. Idleness,
however, is not one of Mr. Clarke’s failings.
Never have I known an artist who works more
assiduously early and late—not that his output
is by any means prolific, but that each new canvas
when it emerges from
his hands shows a
REVIEWS AND NOTICES.
The Relation of Sculpture to Architecture. By
T. P. Bennett, A.R.I.B.A. (Cambridge: The
University Press.) 155. net.—The author notes
the growing use of sculpture upon important
buildings in various parts of the country. He
points out that it is possible to have beautiful
modelling which may be utterly bad decoration,
and condemns outrage of form which seeks to be
taken for originality. “ If an artist has originality,”
he writes, “he need never fear that it will remain
unexpressed. . . . The greater his personality
and the more natural his expression, the greater
will be this effect.” After reviewing the historic
periods of architecture from the Egyptian to
the English Renaissance, the author turns to
marked technical and
assured advance.
Having an idyllic
sense of colour, sun-
light and the pastoral
life surrounding farm
steadings and the
intimate woodlands
perhaps captivate him
most, as it is in such
simple subjects that
one finds the greatest
individualism as well
as distinct personality
of the artist. In his
smaller spontaneous
figure pastorals especi-
ally there is a charm
that endures. Whether
he will ultimately be
counted with the rare
artists of the genre he
has chosen, it is too
early to say; still in
the springtime of life
many years, it may be
hoped, lie before him,
and what he has done
and is still doing shows
him to be no self-
satisfied wayfarer on
the uphill road he has
voluntarily chosen to
follow. E. A. T.
“the goatherd”
(The Property of J. Kinnaird, Esq ) BY W. H. CI.ARKE
T54