Studio: international art (6.1896)

The Work of Edward Stott

Another is an alluring silvery grey effect. The carries conviction with it. It evidently came crisp
sun is peeping through lateral cloud-forms and and fresh from his mind. This picture was shown
dips on to the back of a white horse, giving it a at the New Gallery, where also In an Orchard was
blue tinge and so completing a seductive harmony, seen, and Ploughing. In this last the team is going
The locale of this picture is on the outskirts of away from us—the scheme, in fact, is very similar in
the brooks under the castle walls, a spot to linger design to another ploughing scene exhibited at the
in, for here the streams gurgle pleasantly to the New English Art Club. The later work is now in
accompaniment of all manner of farmyard music ■ the possession of Lord Windsor. At the Academy
here children come to make daisy-chains, or to he had two canvases, both of which were skyed
hunt for the common objects of the fields and and cornered ; both, however, were admirable,
ditches, and Nature is full of that quiet beauty One of these represents a little girl standing against
which no grandeur can equal, much less surpass. a red wall feeding pigeons; the sun insinuates its

rays through the meshes of
trees, making attractive
spots of light on her sun-
bonnet. The other work
was called Snowstorm.

At the exhibition of the
New Gallery in 1893, no
picture attracted more at-
tention than Changing
Pastures. It was de-
servedly given a centre
place on the line. It is
a low-toned effect, and
represents that beautiful
hour of the day some forty
to fifty minutes after sun-
set, when the refracted
light lingers in the sky,
and sanctifies every object
with its tender touch. A
village girl is standing by
an open field gate, waiting
patiently until the cows
come through. They ap-
proach leisurely, and others
are lazily advancing in the

"THE WHITE COW' FROM A PAINTING BY EDWARD STOTT distance. In the fore-

(In possession of F. J. Howarth, Esq.) ground the broken soil is

made interesting, each

One of Edward Stott's most characteristic and clod of earth is rendered with significance. The eye

successful works, Gleaners, belongs to the succeed- is carried into the distance by two little spots of

ing year. In the foreground the ducks are foraging light, white-faced cottages under the cliffs. I regard

in the stubble, the decorative outlines of shocks of this picture as among Mr. Stott's most distinctive

corn taking the eye along to the horizon, against work. But in the same Gallery Labourers' Cottages

which graceful tree-forms stand out agreeably. competed for one's first love ; it was instinct in every

This is a delightfully simple work, so simple that, way with the spirit of Amberley life. Mr. Stott's

looking at it and finding oneself possessed by output for this year was completed by two engaging

its charm, one is tempted to ask oneself wherein harmonies, Storks and The Violin-Player. These

its remarkable power over us lies. It lies, of pictures were seen at the New English Art Club,

course, in its unrestrained simplicity. Mr. Stott In 1894, Mr. Stott exhibited Summer Evening at

says of this picture that it cost him as little trouble the New Gallery. In the foreground boys are

as anything he ever painted, and his assurance bathing, or about to bathe. One is seated on a
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