DOI Heft:
No. 56 (November, 1897)
DOI Artikel:Tomson, Arthur: The work of William Estall
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18390#0104
The Work of William Estall
in paint ; yet he never allowed his intense sympathy
with his motives to lead him into a choice of forms
that, however characteristic it might be of the in-
cident he was painting, however much, indeed, it
might have deepened the impression he was striving
to convey, was at the same time of such a nature
as to interfere with the purely decorative aspect
of his picture. I mention Millet because Millet
perhaps more than any painter had a peculiar
message of his own—a message that was not simply
artistic—to convey to humanity. There have been
artists who have found some inner feeling satisfied
by the use of symbolism, some by a strict adherence
to certain facts in nature; others have loved to
illustrate legends, historical events, and the customs
of their time ; but the lasting success of their work
will be found to depend far more on their picture's
value as decoration than because of any choice
of subject, or for any special knowledge therein
not common to every great artist. Mr. Estall
certainly realises this fact; his pictures are so
arranged that, seen in any light or under any
conditions, whether their minor details be patent
to the eye or not, they always present a scheme of
colour and a combination of forms that immediately
appeals to the senses. Closer contemplation cer-
tainly leads to the discovery of other qualities,
qualities of drawing and qualities of technique,
and to a better comprehension of their delicate
and uncommon poetry ; but their chief distinc-
tion comes from admirable unity of purpose that
directs the artist from first to last in his artistic
undertakings, just as he selects from the dic-
tionary of nature only such forms as he can
weave into an elegant and harmonious pattern, so
also does he take from the masses of colour that
nature clothes herself in only those tones that are
in perfect harmony with each other. His colouring,
like his pattern, consists usually of very simple
combinations ; but so great is the taste of the
painter, so subtly are these combinations effected,
that more variety is suggested to the eye by them
than by a complexity of tones; while the big
decorative effect obtained by the use of large
masses of colour is undeniable. As it is with
writers of pastorals, so it is with painters of the
same motives—the range of their subjects is rather
limited. But the painter has, I think, the advan-
tage of the poet. What description of sheep and
shepherds under trees, or in the open plain by the
river, or on the hill side can be set down in words
with so great a variety as Estall sets them down in
paint ? What words could describe the subtle
variations of mists with which the painter en-
velops his sheep-folds and his marshland scenes ?
Nor could any manner of literary expression recall so
'' THE
ARUN "
78
LROM A DRAWING BY WILLIAM ESTALL
in paint ; yet he never allowed his intense sympathy
with his motives to lead him into a choice of forms
that, however characteristic it might be of the in-
cident he was painting, however much, indeed, it
might have deepened the impression he was striving
to convey, was at the same time of such a nature
as to interfere with the purely decorative aspect
of his picture. I mention Millet because Millet
perhaps more than any painter had a peculiar
message of his own—a message that was not simply
artistic—to convey to humanity. There have been
artists who have found some inner feeling satisfied
by the use of symbolism, some by a strict adherence
to certain facts in nature; others have loved to
illustrate legends, historical events, and the customs
of their time ; but the lasting success of their work
will be found to depend far more on their picture's
value as decoration than because of any choice
of subject, or for any special knowledge therein
not common to every great artist. Mr. Estall
certainly realises this fact; his pictures are so
arranged that, seen in any light or under any
conditions, whether their minor details be patent
to the eye or not, they always present a scheme of
colour and a combination of forms that immediately
appeals to the senses. Closer contemplation cer-
tainly leads to the discovery of other qualities,
qualities of drawing and qualities of technique,
and to a better comprehension of their delicate
and uncommon poetry ; but their chief distinc-
tion comes from admirable unity of purpose that
directs the artist from first to last in his artistic
undertakings, just as he selects from the dic-
tionary of nature only such forms as he can
weave into an elegant and harmonious pattern, so
also does he take from the masses of colour that
nature clothes herself in only those tones that are
in perfect harmony with each other. His colouring,
like his pattern, consists usually of very simple
combinations ; but so great is the taste of the
painter, so subtly are these combinations effected,
that more variety is suggested to the eye by them
than by a complexity of tones; while the big
decorative effect obtained by the use of large
masses of colour is undeniable. As it is with
writers of pastorals, so it is with painters of the
same motives—the range of their subjects is rather
limited. But the painter has, I think, the advan-
tage of the poet. What description of sheep and
shepherds under trees, or in the open plain by the
river, or on the hill side can be set down in words
with so great a variety as Estall sets them down in
paint ? What words could describe the subtle
variations of mists with which the painter en-
velops his sheep-folds and his marshland scenes ?
Nor could any manner of literary expression recall so
'' THE
ARUN "
78
LROM A DRAWING BY WILLIAM ESTALL