DOI issue:
Nr. 43 (October 1896)
DOI article:White, Gleeson: The work of Charles J. Watson
DOI Page / Citation link:https://doi.org/10.11588/diglit.17298#0020
The Work of C. J. Watson
nigh completes the task. The choice of
the very word " selection " is one instance
of its own meaning. Used as Mr. W. E.
Henley has used it, and understood as he
has taught willing critics to understand it,
you realise how much can be crowded
into a single word. Volumes might be
written to define it, and yet the word
itself will convey more than all its com-
mentaries.
Concerning no possible subject could
you draw up a mathematically exact state-
ment of the truths it contains for a painter.
For the real selection is the revelation of
the personality of the one who selects it.
As a great critic is far more interesting for
what he unconsciously reveals of himself
than what he discovers in his hero; so it
is the artist's impression of the theme
that ultimately detains your sympathy.
The literal presentation of all sorts of
irrelevant facts, given with equally minute
finish—as you get them in an ordinary
" local view," or in the hard, imitative
textures of a Dutch school—are both
outside the pale of art as Mr. Watson
recognises it and as it affects thoughtful
critics to-day.
But intention is not sufficient; a deter-
mination to select only essentials may
reveal merely a lack of discrimination in
the artist. Mr. Watson, judged by his
pictures—for the personality of a painter
should not be intruded—is a keenly obser-
vant student of people, places, and things,
and possesses the artist's critical, analytical
vision as fully as many men who have ac-
quired a European reputation. Indeed,
from ax etching by c j watson, r e. the quality which adds distinction to all he
touches is one that might be expected to
appeal more strongly to fellow-artists
satisfied, and turns away to study some apparently than to the public. He neither dazzles you nor
more complex scheme, which does not really possess affects undue simplicity. He seems to care little
a hundredth part of the real complexity, the real how his work may look in a mixed collection ; it
subtlety of these water-colours. does not shriek at you from the walls, nor does it
For the art of Mr. Watson is the art of bringing assume a preposterously modest self-effacement. It
thought and observation of Nature within the fewest is evidently the reflection of the beauty which a
essential details. Selection—the final watchword of trained eye can extract from most unlikely subjects ;
the artist to-day—consists not only in leaving out. but all the same there is no sense of prettiness, no
To leave out essentials is as easy as to include cunning little spots of impossible colour put in
non-essentials. So little understood is the word, merely as devices to rivet the attention. Nor does
that some people profess to think that selection of it reflect the mannerism of any better known painter,
the subject, selection of the point of view, selection nor supply a strong mannerism of its own. It is
of the technique which is best to express it, well- just the beauty of sunshine and shadows, atmo-
8
nigh completes the task. The choice of
the very word " selection " is one instance
of its own meaning. Used as Mr. W. E.
Henley has used it, and understood as he
has taught willing critics to understand it,
you realise how much can be crowded
into a single word. Volumes might be
written to define it, and yet the word
itself will convey more than all its com-
mentaries.
Concerning no possible subject could
you draw up a mathematically exact state-
ment of the truths it contains for a painter.
For the real selection is the revelation of
the personality of the one who selects it.
As a great critic is far more interesting for
what he unconsciously reveals of himself
than what he discovers in his hero; so it
is the artist's impression of the theme
that ultimately detains your sympathy.
The literal presentation of all sorts of
irrelevant facts, given with equally minute
finish—as you get them in an ordinary
" local view," or in the hard, imitative
textures of a Dutch school—are both
outside the pale of art as Mr. Watson
recognises it and as it affects thoughtful
critics to-day.
But intention is not sufficient; a deter-
mination to select only essentials may
reveal merely a lack of discrimination in
the artist. Mr. Watson, judged by his
pictures—for the personality of a painter
should not be intruded—is a keenly obser-
vant student of people, places, and things,
and possesses the artist's critical, analytical
vision as fully as many men who have ac-
quired a European reputation. Indeed,
from ax etching by c j watson, r e. the quality which adds distinction to all he
touches is one that might be expected to
appeal more strongly to fellow-artists
satisfied, and turns away to study some apparently than to the public. He neither dazzles you nor
more complex scheme, which does not really possess affects undue simplicity. He seems to care little
a hundredth part of the real complexity, the real how his work may look in a mixed collection ; it
subtlety of these water-colours. does not shriek at you from the walls, nor does it
For the art of Mr. Watson is the art of bringing assume a preposterously modest self-effacement. It
thought and observation of Nature within the fewest is evidently the reflection of the beauty which a
essential details. Selection—the final watchword of trained eye can extract from most unlikely subjects ;
the artist to-day—consists not only in leaving out. but all the same there is no sense of prettiness, no
To leave out essentials is as easy as to include cunning little spots of impossible colour put in
non-essentials. So little understood is the word, merely as devices to rivet the attention. Nor does
that some people profess to think that selection of it reflect the mannerism of any better known painter,
the subject, selection of the point of view, selection nor supply a strong mannerism of its own. It is
of the technique which is best to express it, well- just the beauty of sunshine and shadows, atmo-
8