DOI Heft:
No. 71 (february 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19231#0062
Studio- Talk
gained experience he gained also in largeness of
handling, and he substituted an extraordinary
freedom for the precision and close elaboration
of his youth. But from the beginning to the end
of his working life he was never at fault in his
appreciation of character, and never failed to
realise vividly the personality of his sitter. The
same vitality which distinguishes The Shipbuilder
makes magnificently convincing the portraits of
Alotte Adriaans, of Nicholas Berchem, of Burgo-
master Six, of Saskia, of A Gentleman with a
Hawk, and those studies of the painter himself,
many of which are hung in the Academy gal-
leries. In no picture, perhaps, is it so exquisitely
realised as in the Girl at a Windoiv, which comes
from the Dulwich Gallery, a suggestion of fresh
and attractive girlhood which is curiously appro-
priate in its simplicity and dainty reserve. As
POTTERY PANEL BY LEON V. SOLON
52
4
HANGING LAMP I5Y ERNEST AND NORMAN SPITTLE
{See Birmingham Studio-Talky
a study in adaptability it is instructive to com-
pare with this little canvas the Portrait of an
Old Woman, lent by Lord Wantage. It is only
a few years later in date, but it shows convinc-
ingly the width of the master's range and the
acuteness of his judgment. The exhibition is
rich in such contrasts, and is all the more
attractive on that account.
M. Leon V. Solon has recently completed
some delightful pottery panels, illustrations of
which are given herewith. The process by
which these panels are produced is as simple
as the results are rich and beautiful. The first
colours used on the slab when in the plastic
condition are oxides mixed with liquid clay.
All the broad masses of colour are mapped out
and then painted on to the thickness of from
one-sixteenth to one-eighth of an inch, in order
to prevent the ground showing through when
reduced by the fire. The slab is then very
carefully dried for several days and fired to the
" biscuit " state and afterwards glazed and fired
again. Next, the outline and fine detail are
gained experience he gained also in largeness of
handling, and he substituted an extraordinary
freedom for the precision and close elaboration
of his youth. But from the beginning to the end
of his working life he was never at fault in his
appreciation of character, and never failed to
realise vividly the personality of his sitter. The
same vitality which distinguishes The Shipbuilder
makes magnificently convincing the portraits of
Alotte Adriaans, of Nicholas Berchem, of Burgo-
master Six, of Saskia, of A Gentleman with a
Hawk, and those studies of the painter himself,
many of which are hung in the Academy gal-
leries. In no picture, perhaps, is it so exquisitely
realised as in the Girl at a Windoiv, which comes
from the Dulwich Gallery, a suggestion of fresh
and attractive girlhood which is curiously appro-
priate in its simplicity and dainty reserve. As
POTTERY PANEL BY LEON V. SOLON
52
4
HANGING LAMP I5Y ERNEST AND NORMAN SPITTLE
{See Birmingham Studio-Talky
a study in adaptability it is instructive to com-
pare with this little canvas the Portrait of an
Old Woman, lent by Lord Wantage. It is only
a few years later in date, but it shows convinc-
ingly the width of the master's range and the
acuteness of his judgment. The exhibition is
rich in such contrasts, and is all the more
attractive on that account.
M. Leon V. Solon has recently completed
some delightful pottery panels, illustrations of
which are given herewith. The process by
which these panels are produced is as simple
as the results are rich and beautiful. The first
colours used on the slab when in the plastic
condition are oxides mixed with liquid clay.
All the broad masses of colour are mapped out
and then painted on to the thickness of from
one-sixteenth to one-eighth of an inch, in order
to prevent the ground showing through when
reduced by the fire. The slab is then very
carefully dried for several days and fired to the
" biscuit " state and afterwards glazed and fired
again. Next, the outline and fine detail are