DOI issue:
No. 58 (January, 1898)
DOI article:White, Gleeson: Mr. Gerald Moira's paintings and bas-relief decoration
DOI Page / Citation link:https://doi.org/10.11588/diglit.18390#0274
Mr. Moira s Paintings and Bas-Reliefs
half-light of many older schools. But this need necessity, and when, as in Mr. Moira's case, a painter
not make for censure or praise. Some ears delight shows himself capable of using it with power, there
in the sumptuous crash of a Wagner orchestra, should be no two opinions as to his wisdom,
others love the polyphonic maze But "colour" is a word
of a Bach fugue, others only ap- which many people use with a
preciate the soft delicacy of a tW^S^j^^^^^S^^W special meaning of their own.
Mozart quartette, or a suite for >v H al^H ' Some speak, and not incor-
stringed instruments. V ^ rectly, of the " fine colour " of
The new school of painters %J W^tUt certain black-and-white work as
ol which Mr. Moira is a notable ljllul „', «*f£SBHE opposed to examples not less
example is in some ways not \, -~~m*g£s' fine in other respects, which
unlike the younger operatic ' 1 \A! ' ' nevertheless do not possess
school of Italy. For, without < * . p^I|T\\ that particular quality. There-
pushing a fanciful parallel too flBWBMPh'^ ^WBln * ,olc' in praising Mr. Moira's
far, there is some similarit) B^SSP^l^ar^'* Wfffflwt' colour, one must be careful to
between the vigour of orches- ■H^^^ '' explain th.it the word is used
tration in Leoncavallo and ~%W'' k' A^S"i^^^ m tne simplest sense, tree from
Mascagni and the pictures of W' -.j 'J* / ' ^^\J^^^ any preconcerted limit. The
the few Englishmen who belong *')\'\ j a frank joyous pigment which
to the group in which Mr. ■KlSl' I iPt ^ut' makes a Japanese print of the
Moira is a distinguished mem- *** / f * ':<t \ \< * popular period a delightfully
ber. Those who love neither l3l ' If gay and attractive object, could
call both vulgar. This, again, '^^^^y I; K\w|lr *| hardly be approached in the
need not trouble us. " Vul- r p- '\" medium of oil: but, on the
garity" is usually the name \ l| I \\\ \| ] other hand, despite the real
supercilious people bestow on JR" ,^$v /» i abiding beauty of " symphonies
art with which they are not Jip ; \ \ k\ ' m slime and mud-colour,"' as
sympathetic. > \l \' /1 \ v^8H| [ their enemies have called them,
After a period of secondary |tt; % ^^f^jmWgKm - there is no earth!}'reason win-
colour in decoration it takes ■ the only perfect harmony
time to become accustomed to should be limited to low tones,
primary hues. It is also in- enid kring1ng food Probably eyes are sensitive to
~ . , j-rr , cartoon for the trocadero . . . . ,
finitely more difficult to com- certain problems in colour, as
j , . decoration by g. moira l '
pose harmonies in brilliant ears are attuned to certain
pigments, as a glance at modern combinations of sound ; hence
female costume reveals all too plainly. Yet in the the most honest person may have a congenital
sombre setting of London, colour is emphatically a dislike to bright pigments. But it should never
" 1 he boar hunt"
2 23
cartoon for the trocadero decoration
by gerald moira
half-light of many older schools. But this need necessity, and when, as in Mr. Moira's case, a painter
not make for censure or praise. Some ears delight shows himself capable of using it with power, there
in the sumptuous crash of a Wagner orchestra, should be no two opinions as to his wisdom,
others love the polyphonic maze But "colour" is a word
of a Bach fugue, others only ap- which many people use with a
preciate the soft delicacy of a tW^S^j^^^^^S^^W special meaning of their own.
Mozart quartette, or a suite for >v H al^H ' Some speak, and not incor-
stringed instruments. V ^ rectly, of the " fine colour " of
The new school of painters %J W^tUt certain black-and-white work as
ol which Mr. Moira is a notable ljllul „', «*f£SBHE opposed to examples not less
example is in some ways not \, -~~m*g£s' fine in other respects, which
unlike the younger operatic ' 1 \A! ' ' nevertheless do not possess
school of Italy. For, without < * . p^I|T\\ that particular quality. There-
pushing a fanciful parallel too flBWBMPh'^ ^WBln * ,olc' in praising Mr. Moira's
far, there is some similarit) B^SSP^l^ar^'* Wfffflwt' colour, one must be careful to
between the vigour of orches- ■H^^^ '' explain th.it the word is used
tration in Leoncavallo and ~%W'' k' A^S"i^^^ m tne simplest sense, tree from
Mascagni and the pictures of W' -.j 'J* / ' ^^\J^^^ any preconcerted limit. The
the few Englishmen who belong *')\'\ j a frank joyous pigment which
to the group in which Mr. ■KlSl' I iPt ^ut' makes a Japanese print of the
Moira is a distinguished mem- *** / f * ':<t \ \< * popular period a delightfully
ber. Those who love neither l3l ' If gay and attractive object, could
call both vulgar. This, again, '^^^^y I; K\w|lr *| hardly be approached in the
need not trouble us. " Vul- r p- '\" medium of oil: but, on the
garity" is usually the name \ l| I \\\ \| ] other hand, despite the real
supercilious people bestow on JR" ,^$v /» i abiding beauty of " symphonies
art with which they are not Jip ; \ \ k\ ' m slime and mud-colour,"' as
sympathetic. > \l \' /1 \ v^8H| [ their enemies have called them,
After a period of secondary |tt; % ^^f^jmWgKm - there is no earth!}'reason win-
colour in decoration it takes ■ the only perfect harmony
time to become accustomed to should be limited to low tones,
primary hues. It is also in- enid kring1ng food Probably eyes are sensitive to
~ . , j-rr , cartoon for the trocadero . . . . ,
finitely more difficult to com- certain problems in colour, as
j , . decoration by g. moira l '
pose harmonies in brilliant ears are attuned to certain
pigments, as a glance at modern combinations of sound ; hence
female costume reveals all too plainly. Yet in the the most honest person may have a congenital
sombre setting of London, colour is emphatically a dislike to bright pigments. But it should never
" 1 he boar hunt"
2 23
cartoon for the trocadero decoration
by gerald moira