DOI Heft:
No. 32 (November, 1895)
DOI Artikel:Little, James Stanley: On the work of Edward Stott
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17295#0088
The Work of Edward Stott
a black dog by his side. The next year (1890) is descending over some low-lying hills, and fields
was an extremely disappointing one. The young in which the hay-wains tarry. In the foreground
painter speaks of it as a blank year. It is true he and middle distance urchins disport themselves in
had three pictures at the Royal Academy, but a river, their figures come as pearly, opalescent
they may as well have been excluded, for his whole patches against the yellow background. The
year's work told for nothing. But this I have said Bathers is the property of Mr. Maddocks, who may
in my haste; for although, in one sense, it was a be congratulated upon possessing it. It is a fine
blank year, it gained for the painter the advocacy effort of creative genius, lost when exhibited at Bur-
of one of the most learned, emancipated and lington House, and not properly seen until three
sympathetic among the critics of our day. Mr. years later when it found a temporary home at
D. C. McColl, in picking out four pictures from the New Gallery, from whence it passed into the
the exhibition of 1890 as worthy of high com- possession of Mr. John Maddocks. In 1891 Mr.
mendation, included in his selection The Bathers, Stott had three pictures at the New Gallery. Two
one of the works skyed by the Forty. This work of these show in a high degree the influence of the
was not the earliest of that series of pictures painter's environment. He had now lived and
wherein Mr. Stott has grappled with the problems worked at Amberley for some three years, and
involved in painting flesh against water, sky and during that time had slowly but surely absorbed, so
land—in other words, the nude in nature—the nude to speak, the beauty of the country wherein he
environed by landscape and waterscape. Nature's had made his home. In one of these pictures,
Mirror and other works preceded it. But The Peaceful Evening, the flats are running back to
Bathers was the first of this series to achieve a the Downs, a white cow is licking a red one, and
conspicuous succ'es d'cstime. In this work the sun their forms are reflected in the margin of the water.
" IN AN ORCHARD
FROM A PAINTING BY EDWARD STOTT
75
a black dog by his side. The next year (1890) is descending over some low-lying hills, and fields
was an extremely disappointing one. The young in which the hay-wains tarry. In the foreground
painter speaks of it as a blank year. It is true he and middle distance urchins disport themselves in
had three pictures at the Royal Academy, but a river, their figures come as pearly, opalescent
they may as well have been excluded, for his whole patches against the yellow background. The
year's work told for nothing. But this I have said Bathers is the property of Mr. Maddocks, who may
in my haste; for although, in one sense, it was a be congratulated upon possessing it. It is a fine
blank year, it gained for the painter the advocacy effort of creative genius, lost when exhibited at Bur-
of one of the most learned, emancipated and lington House, and not properly seen until three
sympathetic among the critics of our day. Mr. years later when it found a temporary home at
D. C. McColl, in picking out four pictures from the New Gallery, from whence it passed into the
the exhibition of 1890 as worthy of high com- possession of Mr. John Maddocks. In 1891 Mr.
mendation, included in his selection The Bathers, Stott had three pictures at the New Gallery. Two
one of the works skyed by the Forty. This work of these show in a high degree the influence of the
was not the earliest of that series of pictures painter's environment. He had now lived and
wherein Mr. Stott has grappled with the problems worked at Amberley for some three years, and
involved in painting flesh against water, sky and during that time had slowly but surely absorbed, so
land—in other words, the nude in nature—the nude to speak, the beauty of the country wherein he
environed by landscape and waterscape. Nature's had made his home. In one of these pictures,
Mirror and other works preceded it. But The Peaceful Evening, the flats are running back to
Bathers was the first of this series to achieve a the Downs, a white cow is licking a red one, and
conspicuous succ'es d'cstime. In this work the sun their forms are reflected in the margin of the water.
" IN AN ORCHARD
FROM A PAINTING BY EDWARD STOTT
75