DOI issue:
No. 83 (February, 1900)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19784#0070
Studio- Talk
" A GREY DAY " FROM AN OIL PAINTING BY MONTAGUE SMYTH
afterwards continued his studies on the continent. chief aim of some of the water-colourists. As a
For the last nine or ten years he has been a painter of -wind-blown skies he is broad, fresh,
constant exhibitor at the Royal Academy and and vigorous; and all his atmospheric effects are
other London exhibitions, and seven years ago admirably realised, boldly but truthfully painted,
was elected a member of the Royal Society of His colour is usually subdued in tone, but pure
British Artists. His strongest feeling has always and very pleasant, and far more effective than the
been towards the rendering of the romantic in more garish tints one sees on some exhibition
landscape art, rather than the solely realistic aspect walls. He uses his blues with excellent results,
of the visible world, and that he has a real poetic In addition to this he manages to put into almost
insight into nature, and a subtle understanding of all his work the glamour of a vivid imagination,
her most elusive and intimate effects, such as only and he expresses himself in paint in a manner
a painter of imagination can realise, is apparent which strongly appeals to kindred spirits. We
after an examination of his drawings. give two examples of his art: the first a water-
colour drawing called A November Day in the Fens,
in which a number of white ducks are disporting
There is no minute searching after faithful themselves in a dyke, which is very fine in colour;
rendering of detail in any of them. He paints and the other an oil-painting, A Grey Day, a
essentials only, but without sacrificing true form woman in an old boat at the edge of a quiet pool
to colour. His work is not merely a series of in a wood—a simple theme, but set down with the
meaningless splashes, such as seems to be the Drush of a poet.
■ 57
" A GREY DAY " FROM AN OIL PAINTING BY MONTAGUE SMYTH
afterwards continued his studies on the continent. chief aim of some of the water-colourists. As a
For the last nine or ten years he has been a painter of -wind-blown skies he is broad, fresh,
constant exhibitor at the Royal Academy and and vigorous; and all his atmospheric effects are
other London exhibitions, and seven years ago admirably realised, boldly but truthfully painted,
was elected a member of the Royal Society of His colour is usually subdued in tone, but pure
British Artists. His strongest feeling has always and very pleasant, and far more effective than the
been towards the rendering of the romantic in more garish tints one sees on some exhibition
landscape art, rather than the solely realistic aspect walls. He uses his blues with excellent results,
of the visible world, and that he has a real poetic In addition to this he manages to put into almost
insight into nature, and a subtle understanding of all his work the glamour of a vivid imagination,
her most elusive and intimate effects, such as only and he expresses himself in paint in a manner
a painter of imagination can realise, is apparent which strongly appeals to kindred spirits. We
after an examination of his drawings. give two examples of his art: the first a water-
colour drawing called A November Day in the Fens,
in which a number of white ducks are disporting
There is no minute searching after faithful themselves in a dyke, which is very fine in colour;
rendering of detail in any of them. He paints and the other an oil-painting, A Grey Day, a
essentials only, but without sacrificing true form woman in an old boat at the edge of a quiet pool
to colour. His work is not merely a series of in a wood—a simple theme, but set down with the
meaningless splashes, such as seems to be the Drush of a poet.
■ 57