DOI Heft:
No. 36 (March, 1896)
DOI Artikel:Mr. Fulleylove's water-colour drawings of greek architecture and landscape
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17296#0091
Mr. Fulleylove s Drawings
commonly met with. The evil is, however, in too
many cases due not merely to the lack of mental
energy on the part of the artist, but, rather, to the
want of any efficient knowledge of construction ;
the draughtsman being consequently unable to em-
phasise those parts which are of primary import-
ance in the expression of a building.
The last-mentioned consideration might seem to
indicate the conclusion that the best drawings of
architectural subjects would be found amongst
scape, that architects have excelled as draughts-
men.
Mr. John Fulleylove, of whose recent work in
Greece we are enabled to give some reproductions,
has devoted himself chiefly to the wider and more
delightful field of architecture in relation to land-
scape. He has had the undeniably great advantage
of passing through the usual course of an architect's
training, in addition to a thorough study of land-
scape art; and he possesses also the incommuni-
THE ACROPOLIS FROM THE PNYX FROM A WATER-COLOUR BY JOHN FULLEYLOVE, R.I.
those of professional architects. The interesting
exhibition held at the Burlington Fine Arts Club
in 1884, afforded an excellent opportunity of form-
ing an opinion on this point, so far as deceased
British artists are concerned; and certainly the
drawings of such men as C. R. Cockerell, Barry,
Pugin, and Street are of very high quality from
many points of view \ but they could not hold their
own side by side with the work of some of the
professional painters, more especially Turner, whose
supreme excellence was of course partly due to his
training in an architect's office. Moreover, it is
naturally rather in the case of purely architectural
subjects, i.e., drawings practically excluding land-
78
cable gift of a fine feeling for colour. He has
shown in his practice, both as an oil and water-
colour painter, a marked preference for classical
architecture in the widest acceptation of that term,
although he has by no means neglected the Gothic,
as his fine series of drawings of Oxford and Cam-
bridge bear witness. It was natural, therefore,
that he should desire to study the venerable re-
mains which seem to our modern eyes to be the
actual transcendental ideas of ancient Greek archi-
tecture, in the land of their birth ; and he accord-
ingly paid a somewhat prolonged visit to Greece in
the spring and summer of last year The results
of his labours will be on view at an exhibition to
commonly met with. The evil is, however, in too
many cases due not merely to the lack of mental
energy on the part of the artist, but, rather, to the
want of any efficient knowledge of construction ;
the draughtsman being consequently unable to em-
phasise those parts which are of primary import-
ance in the expression of a building.
The last-mentioned consideration might seem to
indicate the conclusion that the best drawings of
architectural subjects would be found amongst
scape, that architects have excelled as draughts-
men.
Mr. John Fulleylove, of whose recent work in
Greece we are enabled to give some reproductions,
has devoted himself chiefly to the wider and more
delightful field of architecture in relation to land-
scape. He has had the undeniably great advantage
of passing through the usual course of an architect's
training, in addition to a thorough study of land-
scape art; and he possesses also the incommuni-
THE ACROPOLIS FROM THE PNYX FROM A WATER-COLOUR BY JOHN FULLEYLOVE, R.I.
those of professional architects. The interesting
exhibition held at the Burlington Fine Arts Club
in 1884, afforded an excellent opportunity of form-
ing an opinion on this point, so far as deceased
British artists are concerned; and certainly the
drawings of such men as C. R. Cockerell, Barry,
Pugin, and Street are of very high quality from
many points of view \ but they could not hold their
own side by side with the work of some of the
professional painters, more especially Turner, whose
supreme excellence was of course partly due to his
training in an architect's office. Moreover, it is
naturally rather in the case of purely architectural
subjects, i.e., drawings practically excluding land-
78
cable gift of a fine feeling for colour. He has
shown in his practice, both as an oil and water-
colour painter, a marked preference for classical
architecture in the widest acceptation of that term,
although he has by no means neglected the Gothic,
as his fine series of drawings of Oxford and Cam-
bridge bear witness. It was natural, therefore,
that he should desire to study the venerable re-
mains which seem to our modern eyes to be the
actual transcendental ideas of ancient Greek archi-
tecture, in the land of their birth ; and he accord-
ingly paid a somewhat prolonged visit to Greece in
the spring and summer of last year The results
of his labours will be on view at an exhibition to