DOI Heft:
No. 37 (April, 1896)
DOI Artikel:Royal Society of Painter-Etchers
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17296#0182
Royal Society of Painter-Etchers
absolute tone, secures as well a degree of lumin- view, his Water of Leigh would rank above the
osity and a delicacy of atmospheric gradation best work of many men who are by the profession
which are unfortunately rather rare in black and acclaimed as the most brilliant of shining lights,
white work as it is at present practised. Similar It is, however, just this absence of strong person-
merits give to Mr. John Finnie's Poplars, a mezzo- ality that prevents this artist from taking the place
tint, a place in the front rank of the exhibits. It that his love of beauty in Nature and his power of
is, besides, composed with judgment and drawn selecting what is most deserving of record would
with real sense of form, and this without losing the seem to mark out for him. His Water of Leigh
quality of indefiniteness, without which the sug- and Low Tide look as if they ought to be works
gestion of twilight would have been unattainable, of genius; but, after all, they end by being only
Mr. Lawrence B. Phillips, too, has, in his West- delightfully clever.
minster—Evening, studied with intelligence and The architectural subjects, numerous as they are,
recorded with delicacy an effect which many other do not include so many interesting results as might
etchers have failed to make credible. Incurious have been anticipated. Some of them miss the mark
opposition to these
efforts to realise the
fulness and strength of
Nature's tone contrasts
is the Ferine de Beau-
champ by Professor Le-
gros, an etching which
depends hardly at all
upon shadow for its
relief, and bases its
claim to notice almost
entirely upon line draw-
ing that seems perhaps
barbaric in its vigour.
The same sort of adher-
ence to style of hand-
ling characterises Mr.
Charles Holroyd's in-
tensely strong but occa-
sionally morbid designs.
He never allows him-
self outside the grim
limits of expression
which he has laid down,
and he works always
without digressing into
gentler ways. The clear,
decisive quality of his
technique is in this exhi-
bition best shown in the
small unelaborated
drawing of the Old
Barn, Great Fosters.
There is, maybe, less
individuality in Colonel
Goffs landscapes, and
there is certainly less
violence of method, but
it is not at all improba-
ble that, in the popular "poplars" from a mezzotint by john finnie, are.
167
absolute tone, secures as well a degree of lumin- view, his Water of Leigh would rank above the
osity and a delicacy of atmospheric gradation best work of many men who are by the profession
which are unfortunately rather rare in black and acclaimed as the most brilliant of shining lights,
white work as it is at present practised. Similar It is, however, just this absence of strong person-
merits give to Mr. John Finnie's Poplars, a mezzo- ality that prevents this artist from taking the place
tint, a place in the front rank of the exhibits. It that his love of beauty in Nature and his power of
is, besides, composed with judgment and drawn selecting what is most deserving of record would
with real sense of form, and this without losing the seem to mark out for him. His Water of Leigh
quality of indefiniteness, without which the sug- and Low Tide look as if they ought to be works
gestion of twilight would have been unattainable, of genius; but, after all, they end by being only
Mr. Lawrence B. Phillips, too, has, in his West- delightfully clever.
minster—Evening, studied with intelligence and The architectural subjects, numerous as they are,
recorded with delicacy an effect which many other do not include so many interesting results as might
etchers have failed to make credible. Incurious have been anticipated. Some of them miss the mark
opposition to these
efforts to realise the
fulness and strength of
Nature's tone contrasts
is the Ferine de Beau-
champ by Professor Le-
gros, an etching which
depends hardly at all
upon shadow for its
relief, and bases its
claim to notice almost
entirely upon line draw-
ing that seems perhaps
barbaric in its vigour.
The same sort of adher-
ence to style of hand-
ling characterises Mr.
Charles Holroyd's in-
tensely strong but occa-
sionally morbid designs.
He never allows him-
self outside the grim
limits of expression
which he has laid down,
and he works always
without digressing into
gentler ways. The clear,
decisive quality of his
technique is in this exhi-
bition best shown in the
small unelaborated
drawing of the Old
Barn, Great Fosters.
There is, maybe, less
individuality in Colonel
Goffs landscapes, and
there is certainly less
violence of method, but
it is not at all improba-
ble that, in the popular "poplars" from a mezzotint by john finnie, are.
167