DOI Heft:
Nr. 46 (January 1897)
DOI Artikel:MacColl, D. S.: The new English art club
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17298#0303
The New English Art Club
a rose, not only as rose colour; the country and its
inhabitants are a creation of gallantry. But the
presence and absence of traits is determined by
the stress of reverie. Hence a kind of painting in
which the element of sensation is loose and pre-
carious ; not the solid projection of things and the
material threat or sublimity that lies in that, but
their charm in shape and colour, and the style
that comes of sincere choice, fixing, intensifying,
and neglecting. The opposite temper, that sees
things under no stress of feeling, and renders them
in detailed positive statement, is well exemplified
by Mr. Mark Fisher. There is, perhaps, no reporter
in the gallery so able, but we are inclined to
wonder for whom all these sharp reports are drawn
up. I catch a fact here and there that interests
me, but there are so many others.
Mr. Walter Sickert's view in Venice is executed
in a kind of drawing justified by the necessities
of rapid notation in seizing passing effects, such
as Mr. Brabazon has frequently given us. But
when I examine the colour 01 the picture I find
much more of a parti pris of the palette than of
such observation. I find the heliotrope ground
and the blue-black bath formerly applied to Dieppe
overpowering the share of observation. Such a
picture is merely a well arranged illustration of
Venice, as Mr. Hartrick's tinted drawing is a good
illustration of a prize fight. An example of the
opposite state of mind occurs to me in the work of
a painter named Lomont at last year's Salon. His
material had not the traditional importance and
attractiveness of Venice, being simply the effect of
a figure in shadow relieved against a tall space of
white panelling, yellowed by time; but this material
had so been brooded upon, had so passed through
the brain of the painter, as to acquire intensity and
importance. The man could not be called a great
painter, but he had this necessary beginning of
concentration, of himself making the importance of
what he painted, an importance the illustrator finds
ready-made. Something of this intensity I have
287
a rose, not only as rose colour; the country and its
inhabitants are a creation of gallantry. But the
presence and absence of traits is determined by
the stress of reverie. Hence a kind of painting in
which the element of sensation is loose and pre-
carious ; not the solid projection of things and the
material threat or sublimity that lies in that, but
their charm in shape and colour, and the style
that comes of sincere choice, fixing, intensifying,
and neglecting. The opposite temper, that sees
things under no stress of feeling, and renders them
in detailed positive statement, is well exemplified
by Mr. Mark Fisher. There is, perhaps, no reporter
in the gallery so able, but we are inclined to
wonder for whom all these sharp reports are drawn
up. I catch a fact here and there that interests
me, but there are so many others.
Mr. Walter Sickert's view in Venice is executed
in a kind of drawing justified by the necessities
of rapid notation in seizing passing effects, such
as Mr. Brabazon has frequently given us. But
when I examine the colour 01 the picture I find
much more of a parti pris of the palette than of
such observation. I find the heliotrope ground
and the blue-black bath formerly applied to Dieppe
overpowering the share of observation. Such a
picture is merely a well arranged illustration of
Venice, as Mr. Hartrick's tinted drawing is a good
illustration of a prize fight. An example of the
opposite state of mind occurs to me in the work of
a painter named Lomont at last year's Salon. His
material had not the traditional importance and
attractiveness of Venice, being simply the effect of
a figure in shadow relieved against a tall space of
white panelling, yellowed by time; but this material
had so been brooded upon, had so passed through
the brain of the painter, as to acquire intensity and
importance. The man could not be called a great
painter, but he had this necessary beginning of
concentration, of himself making the importance of
what he painted, an importance the illustrator finds
ready-made. Something of this intensity I have
287