DOI Heft:
No. 39 (June, 1896)
DOI Artikel:Baldry, Alfred Lys: The work of Solomon J. Solomon
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17297#0024
The Work of Solomon J. Solomon, A .R.A'.
less insistence upon the flesh surfaces, and more Mr. Zangwill's strongly marked individuality. As
inclination to use them as mere parts of a pattern a portrait-painter he has, indeed, a definite claim
which is not primarily devised to accentuate their to attention, because of this faculty of perceiving
importance ; but even in these paintings nudity has and accentuating what are the essentials in a like-
an important func- ness, because he
tion to fulfil, and
gives to the compo-
sitions their definite
character and tech-
nical meaning.
In his portraits,
however, Mr. Solo-
mon takes a view
which is in many
respects different.
For insistence upon
the painting of the
flesh he substitutes
a strong definition
of character. He
by no means ignores
the importance of
securing exactness
in his rendering of
the texture and the
modelling of the
face; but he aims
far more than in
his ideal pictures at
marking the small
differences in forms
of feature which go
to the making up
of a likeness.
There is in his por-
trait painting less
than the usual pre-
conception which
leads artists to
X
not only paints
what he sees, but
sees as well what
it is important to
make other people
notice. He has, in
a word, the capacity
which distinguishes
a good teacher: the
ability to convey to
others the know-
ledge which he has
acquired by the
exercise of his own
powers of observa-
tion.
It is, perhaps,
because of this
power of passing
on what he has
himself gathered
that he has been so
successful in his
excursions into the
field of Art educa-
tion. As a super-
visor of the work of
students he has
already established
a distinct reputa-
tion. He holds,
indeed, views about
art teaching which
are interesting be-
modify the appear- cause of their
ance of a sitter to divergence from
suit their own con- the theories on the
viction as to what a subject which are
face should be like, "the birth of love" generally accepted
a conventional view from a painting by s. j. Solomon, a.r.a. in this country,
which is more often Especially he is
than not entirely destructive of the personality of opposed to the notion, which is very prevalent here,
the portrait. He carries characterisation at times that the personality of the teacher is importanfas a
to considerable lengths, and by a subtle kind of means of influencing the development of the pupil,
exaggeration emphasises the salient facts in the His contention is that the principles taught are of
appearance of the people whom he paints. This infinitely more moment than the private opinion of
manner of treating portraiture is very clearly seen the man who happens to be the medium through
in such a canvas as his large character study of Mrs. which these principles are conveyed to the younger
Patrick Campbell, or in the smaller rendering of , members of the profession. The system which
less insistence upon the flesh surfaces, and more Mr. Zangwill's strongly marked individuality. As
inclination to use them as mere parts of a pattern a portrait-painter he has, indeed, a definite claim
which is not primarily devised to accentuate their to attention, because of this faculty of perceiving
importance ; but even in these paintings nudity has and accentuating what are the essentials in a like-
an important func- ness, because he
tion to fulfil, and
gives to the compo-
sitions their definite
character and tech-
nical meaning.
In his portraits,
however, Mr. Solo-
mon takes a view
which is in many
respects different.
For insistence upon
the painting of the
flesh he substitutes
a strong definition
of character. He
by no means ignores
the importance of
securing exactness
in his rendering of
the texture and the
modelling of the
face; but he aims
far more than in
his ideal pictures at
marking the small
differences in forms
of feature which go
to the making up
of a likeness.
There is in his por-
trait painting less
than the usual pre-
conception which
leads artists to
X
not only paints
what he sees, but
sees as well what
it is important to
make other people
notice. He has, in
a word, the capacity
which distinguishes
a good teacher: the
ability to convey to
others the know-
ledge which he has
acquired by the
exercise of his own
powers of observa-
tion.
It is, perhaps,
because of this
power of passing
on what he has
himself gathered
that he has been so
successful in his
excursions into the
field of Art educa-
tion. As a super-
visor of the work of
students he has
already established
a distinct reputa-
tion. He holds,
indeed, views about
art teaching which
are interesting be-
modify the appear- cause of their
ance of a sitter to divergence from
suit their own con- the theories on the
viction as to what a subject which are
face should be like, "the birth of love" generally accepted
a conventional view from a painting by s. j. Solomon, a.r.a. in this country,
which is more often Especially he is
than not entirely destructive of the personality of opposed to the notion, which is very prevalent here,
the portrait. He carries characterisation at times that the personality of the teacher is importanfas a
to considerable lengths, and by a subtle kind of means of influencing the development of the pupil,
exaggeration emphasises the salient facts in the His contention is that the principles taught are of
appearance of the people whom he paints. This infinitely more moment than the private opinion of
manner of treating portraiture is very clearly seen the man who happens to be the medium through
in such a canvas as his large character study of Mrs. which these principles are conveyed to the younger
Patrick Campbell, or in the smaller rendering of , members of the profession. The system which