DOI Heft:
Nr. 335 (April 1925)
DOI Artikel:Quigley, Jane: A modern English painter
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19985#0065
mceRnAcionAL
1 I 'M
" mm '<
S§ii
Gallery at Worthing. Since the
war the fortunes of artists have
been at their lowest ebb until
the present moment, when there
appears to be a marked improve-
ment in sales of modern art.
But collectors have found their
way to the little old-world town
of Steyning, in 700 a flourishing
sea-port in Sussex, where Mr.
NichoIIs lives, and bought ex-
amples of his art in the studio.
Looking at this collection of
paintings at Barbizon House it
was not surprising to learn that
the artist is a disciple of Richard
Wilson, a great master of the
English school. Also there is an
obvious affinity with Cotman "the bridge" by Bertram nicholls
and Crome in the massed effects
of light and shade, the broad handling of color and Bertram NichoIIs has worked in France and
and the quiet, subtle tones. Most of the paintings Spain and Italy, especially at Volterra, that
were of medium size, some quite small, but the unique town of northern Italy, which offers endless
conception and treatment were always broad. scope to a painter of architecture. Rugged walls,
Some were of English subjects, and the artist is stark and sharply defined against a deep blue sky,
at his best in depicting some typically English in dramatic contrast to the masses of deep shadow,
scene, with an old church or dwelling in its setting so typical of Italy, such effects as these lend them-
of peaceful landscape. But always to paint the selves to the work of an artist who shows remark-
same range of subjects would mean stagnation, able skill in rendering the height and the solidity
of buildings.
"low tide, honfleur" by bertram nicholls s°me °f tke critics find.a
By courtesy of Barbizon House certain sameness, and a certain
lack of individuality in the
works of Bertram NichoIIs —
while others give him unmiti-
gated praise. But the truth of
the matter is that we moderns
are so accustomed to crude color
and vivid impressionism that
work which is low in tone and
reposeful in feeling is almost
disconcerting. Moreover, sin-
cerity and simplicity, both of
which qualities characterize Mr.
NichoIIs' work, are somewhat
out of favor for the moment,
though the swing of the pendu-
lum is already shown by this
artist's success with those who
appreciate sound painting. He
has never asserted his individu-
ality as does the mere virtuoso,
for he is in love with his subject
rather than with himself, and
he is arriving at that highest
form of art which conceals art.
april 1925
sixly-Jive
1 I 'M
" mm '<
S§ii
Gallery at Worthing. Since the
war the fortunes of artists have
been at their lowest ebb until
the present moment, when there
appears to be a marked improve-
ment in sales of modern art.
But collectors have found their
way to the little old-world town
of Steyning, in 700 a flourishing
sea-port in Sussex, where Mr.
NichoIIs lives, and bought ex-
amples of his art in the studio.
Looking at this collection of
paintings at Barbizon House it
was not surprising to learn that
the artist is a disciple of Richard
Wilson, a great master of the
English school. Also there is an
obvious affinity with Cotman "the bridge" by Bertram nicholls
and Crome in the massed effects
of light and shade, the broad handling of color and Bertram NichoIIs has worked in France and
and the quiet, subtle tones. Most of the paintings Spain and Italy, especially at Volterra, that
were of medium size, some quite small, but the unique town of northern Italy, which offers endless
conception and treatment were always broad. scope to a painter of architecture. Rugged walls,
Some were of English subjects, and the artist is stark and sharply defined against a deep blue sky,
at his best in depicting some typically English in dramatic contrast to the masses of deep shadow,
scene, with an old church or dwelling in its setting so typical of Italy, such effects as these lend them-
of peaceful landscape. But always to paint the selves to the work of an artist who shows remark-
same range of subjects would mean stagnation, able skill in rendering the height and the solidity
of buildings.
"low tide, honfleur" by bertram nicholls s°me °f tke critics find.a
By courtesy of Barbizon House certain sameness, and a certain
lack of individuality in the
works of Bertram NichoIIs —
while others give him unmiti-
gated praise. But the truth of
the matter is that we moderns
are so accustomed to crude color
and vivid impressionism that
work which is low in tone and
reposeful in feeling is almost
disconcerting. Moreover, sin-
cerity and simplicity, both of
which qualities characterize Mr.
NichoIIs' work, are somewhat
out of favor for the moment,
though the swing of the pendu-
lum is already shown by this
artist's success with those who
appreciate sound painting. He
has never asserted his individu-
ality as does the mere virtuoso,
for he is in love with his subject
rather than with himself, and
he is arriving at that highest
form of art which conceals art.
april 1925
sixly-Jive