Studio: international art — 2.1894

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A New Decorative Artist

NEW-DECORATIVE ARTIST : t °f f*" *"? g0ld:

HERBERT GRANVILLE FELl! co|0- merging through crimen purples and

lilacs to the gorgeous orange and name of the

AIn this number of The Studio we sunset itself; the whole being full of light and
are able to reproduce three drawings superb chromatic passages, which give splendour to
by a young artist which exhibit great promise, the procession of knights passing before a pavilion
and show a marked feeling for beauty and grace, filled with the queens of beauty. This panel, al-
within the conventional lines of the school he though the description might suggest that it is some-
favours most. Nor is originality wanting, but the what akin to the picture—Music—on the opposite
individual excellence of their author is perhaps page, is really nearer the school of Rubens than of the
more marked in his colour than in black and white. pre-Raphaelites, and singularly devoid of the affec-
Although he has barely] attained his majority, Mr. tations of a certain archaic treatment of mediaeval
Herbert Granville Fell has a record that includes subjects common enough to-day. E. B. S.

the first prize in the Metro-
politan Sketching Club, 1893—
for his composition, Chivalry,
which, shown at the Suffolk
Street Galleries, was worthy of
the honour that it obtained,
as a masterly scheme of colour
far removed from the level of
the average student's work.
With The Return of the Victor,
he took a prize in 1890, and
also in 1892 with his Music
(exhibited in 1893 at the Royal
Academy). Mr. Fell has also
decorated pages for the English
Illustrated and other maga-
zines. The pencil drawing of
Cupid and Psyche, which forms
the frontispiece to this issue,
needs no comment; the Love
and Time, on this page, is re-
produced from a monochrome
study. Other designs for a
fan, for a Nativity, and various
imaginative compositions, not
yet carried out, give promise
of his attaining a high place ;
for, in all, originality and mere
novelty are second to beauty
of form and colour. The
colour he affects has a prismatic
beauty that depends less on
the local accidents of his sub-
jects than its decorative effect
as a whole. The Chivalry, for
example, so far as colour can
be recaptured in words, is
suffused with a rainbow-like at-
mosphere. To the left through
the arch is the green sky of

a reflected sunset, in front are "love and time." from a drawing by h. granville fell

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