DOI Heft:
No. 41 (August, 1896)
DOI Artikel:An English artist in Japan
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17297#0180
An English Artist in Japan
tion which the tradition of the Western schools many a print or kakemono ; and in the carrying
had implanted in his mind he was considerably out of these paintings liberal use has been made
diverted in the direction of more abstract decora- of metallic material, gilded backgrounds and
tion. The Japanese idea of space-filling, their decorations, in a purely Japanese fashion. This
desire to gain always fascinating arrangements of combination of the East and the West fascinates
colour, their insistence upon subtle harmony of by its novelty, but is also eminently instructive, be-
line, even their custom in the contrasting of cause it shows how successfully what is good in
the manner of both schools
can be harmonised and used
in real agreement. It cer-
tainly suggests that a style
of painting which would
preserve the superb deco-
ration of Japan and yet
retain the more flexible
technicality of Europe is by
no means an impossible
creation, a matter really of
judicious arrangement
rather than a troublesome
bringing together of dis-
cordant elements.
Mr. Sturdee, it must be
remembered, went to Japan
very well equipped with art
knowledge as it is acquired
among us. He had re-
ceived a thorough training
both in England and in
France, for he gained his
first experiences at the Slade
School, where he held a
scholarship, and then pro-
ceeded to Paris and worked
there for two years. At the
Slade School he was under
M. Legros; and in Paris he
was first at the Beaux Arts
under M. Heberr, and then
in the studio of M. Ferdi-
nand Cormon. Afterwards
he went to Italy for a
period of five years, painting
" AT THE GARDEN GATE " FROM A PAINTING BY PERCY STURDEE in 2L UlOTe Or leSS desultory
way, sketching the land-
coloured surfaces of particular pigments, found a scape of the various districts and studying the
way into his aesthetic belief and were grafted upon works by old masters which he found in the
the more material mode of practice that he had towns he visited. The first year of his stay was
brought with him from home. How appreciably spent at Perugia, and the rest of his time was
his stay among Japanese surroundings affected occupied with visits to Sorrento, Florence, Rome,
him shows in none of his work so well as in his and the Abruzzi mountains. While in this last
figure pictures. Many of these are brilliant com- part of Italy, he wrote, with Mr. Harrington
positions of gaily draped maidens working, playing, Mann, an account of the life in the mountains, an
dancing, or posing in attitudes reminiscent of article which appeared in the Scottish Art Review.
164
tion which the tradition of the Western schools many a print or kakemono ; and in the carrying
had implanted in his mind he was considerably out of these paintings liberal use has been made
diverted in the direction of more abstract decora- of metallic material, gilded backgrounds and
tion. The Japanese idea of space-filling, their decorations, in a purely Japanese fashion. This
desire to gain always fascinating arrangements of combination of the East and the West fascinates
colour, their insistence upon subtle harmony of by its novelty, but is also eminently instructive, be-
line, even their custom in the contrasting of cause it shows how successfully what is good in
the manner of both schools
can be harmonised and used
in real agreement. It cer-
tainly suggests that a style
of painting which would
preserve the superb deco-
ration of Japan and yet
retain the more flexible
technicality of Europe is by
no means an impossible
creation, a matter really of
judicious arrangement
rather than a troublesome
bringing together of dis-
cordant elements.
Mr. Sturdee, it must be
remembered, went to Japan
very well equipped with art
knowledge as it is acquired
among us. He had re-
ceived a thorough training
both in England and in
France, for he gained his
first experiences at the Slade
School, where he held a
scholarship, and then pro-
ceeded to Paris and worked
there for two years. At the
Slade School he was under
M. Legros; and in Paris he
was first at the Beaux Arts
under M. Heberr, and then
in the studio of M. Ferdi-
nand Cormon. Afterwards
he went to Italy for a
period of five years, painting
" AT THE GARDEN GATE " FROM A PAINTING BY PERCY STURDEE in 2L UlOTe Or leSS desultory
way, sketching the land-
coloured surfaces of particular pigments, found a scape of the various districts and studying the
way into his aesthetic belief and were grafted upon works by old masters which he found in the
the more material mode of practice that he had towns he visited. The first year of his stay was
brought with him from home. How appreciably spent at Perugia, and the rest of his time was
his stay among Japanese surroundings affected occupied with visits to Sorrento, Florence, Rome,
him shows in none of his work so well as in his and the Abruzzi mountains. While in this last
figure pictures. Many of these are brilliant com- part of Italy, he wrote, with Mr. Harrington
positions of gaily draped maidens working, playing, Mann, an account of the life in the mountains, an
dancing, or posing in attitudes reminiscent of article which appeared in the Scottish Art Review.
164