Studio: international art (6.1896)

The IVork of Edward Stott

horse. On the other side of the stream there are represents a group of boys bathing. The whole

also nude figures. Here the rising moon has work is aglow with the heat of the meridian sun ;

caught the group, and straggles across the river, it is full of vibrant colour. The tree-forms in the

illumining the lithe figures of the young bathers, middle distance, and sheep behind the pens and

Village Street was a sunset effect. The light receding to a low sky-line, are painted as only a

is dying out of the sky; the sun is setting in glory poet-painter could paint them. The work has a

behind the thatched cottages of Amberley. The silky texture about it. The same rare qualities of

children, standing in a group, are almost lost in balanced design and decorative unison distinguished

MILKING TIME—EARLY MORNING FROM A PAINTING BY EDWARD STOTT

the gloaming, whilst some figures, leaning against
the cottages, merge into the quaint old buildings.
Last year, too, brought forth that delightful little
study, The White Cow—a boy leading a white
cow through a meadow—of which a reproduction
is to be found in this article.

The pictures of the present year will be, or should
be, fresh in every one's memory, by which I mean
every one who visits the Art Galleries. Noonday

Mr. Stott's low-toned study, The Landing-Place—
Late Evening. Milking Time—Early Morning
was, perhaps, the finest picture at the New English
Art Club last season. It had the peculiar beauty
of the opal, or rather of mother-of-pearl. At the
New Gallery, the bright colours of a picture, en-
titled Mermaid and Tritons, cruelly handicapped
Mr. Stott's delightfully reticent Noonday effect;
but all three pictures were easily differentiated

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