DOI Heft:
No. 90 (September, 1900)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19785#0306
Studio- Talk
artist left London to make his home at Derby, among mean people, for work which you could not
where for some time he worked successfully, execute but to your own harm and degradation. A
painting landscapes and portraits. But the run up to London annually to see—not the Academy,
curious fascination of London remained with but the National Gallery—prolonged sometimes to
him, and in a letter to Ruskin he expressed a Paris, sometimes to Antwerp or Bruges, will keep
strong desire to return to its fogs and horrors; your mind in true tone and sympathy with the
but Ruskin, writing from Venice on the 9th highest work: of which photographs (the originals
February, 1877, earnestly advised him to stay once seen) will be admirable auxiliary memorials."
where he was and form in Derby "an honourable -
and consistent position, painting portraits with con- This advice was followed for some time; then,
scientious attention," and employing the summer under the influence of the Impressionist movement,
in study out of doors. "To come up to London," Mr. Foottet began to try unfamiliar paths, and to
the letter said, " would be to expose yourself to the form his present style, which has sometimes the
chance of having to struggle wretchedly and meanly peculiar " eeriesomeness " of the landscape descrip-
tions by Edgar Allen Poe. It has been
^^^^^^^^^^^^^^^—^g^^^—j^^^^^^—^^—- said that Mr. Foottet is among the few
',. . living artists whose landscapes are
symbolistic and charged with human
emotion. True enough, and if this
'■'n^^'' :flHM5tf*l mystical and poetic way of treating
. ;-i Nature is appreciated far oftener in prose
\ than in paint, it is none the less very
noteworthy to all who take serious in-
terest in the productions of true artists.
Mr. Frampton's Lamia, a most im-
pressive and exquisite bust in ivory and
bronze, exhibited this year at the Royal
Academy, is the subject of the illustra-
tion on p. 270. It was inspired, not by
the Lamia in Latin superstition, where
she figures as a witch who sucks the
blood of children, but by - Keats's
haunting poem, where she is repre-
sented as a serpent who has assumed
the form of a woman.
FROM AX AUTOI.lTIIOGRAril
BY F. F. FOOTTET
E, DINBURGH. — Perhaps the
4 most notable feature of the
Exhibition of the Society of
Scottish Artists, at present
open in Edinburgh, is the charming
effect of the galleries as a whole. It is
somewhat difficult to believe that they
are the same rooms as those in which
the Royal Scottish Academy holds its
annual shows. But a sufficiency, rather
than a plethora of pictures, judicious
hanging, suitable backgrounds, and
arranging the sculptures tastefully, in-
stead of dumping them down anyhow
or placing them in a row like Aunt
Sallies at a fair, have worked wonders,
and the Society is to be congratulated
269
artist left London to make his home at Derby, among mean people, for work which you could not
where for some time he worked successfully, execute but to your own harm and degradation. A
painting landscapes and portraits. But the run up to London annually to see—not the Academy,
curious fascination of London remained with but the National Gallery—prolonged sometimes to
him, and in a letter to Ruskin he expressed a Paris, sometimes to Antwerp or Bruges, will keep
strong desire to return to its fogs and horrors; your mind in true tone and sympathy with the
but Ruskin, writing from Venice on the 9th highest work: of which photographs (the originals
February, 1877, earnestly advised him to stay once seen) will be admirable auxiliary memorials."
where he was and form in Derby "an honourable -
and consistent position, painting portraits with con- This advice was followed for some time; then,
scientious attention," and employing the summer under the influence of the Impressionist movement,
in study out of doors. "To come up to London," Mr. Foottet began to try unfamiliar paths, and to
the letter said, " would be to expose yourself to the form his present style, which has sometimes the
chance of having to struggle wretchedly and meanly peculiar " eeriesomeness " of the landscape descrip-
tions by Edgar Allen Poe. It has been
^^^^^^^^^^^^^^^—^g^^^—j^^^^^^—^^—- said that Mr. Foottet is among the few
',. . living artists whose landscapes are
symbolistic and charged with human
emotion. True enough, and if this
'■'n^^'' :flHM5tf*l mystical and poetic way of treating
. ;-i Nature is appreciated far oftener in prose
\ than in paint, it is none the less very
noteworthy to all who take serious in-
terest in the productions of true artists.
Mr. Frampton's Lamia, a most im-
pressive and exquisite bust in ivory and
bronze, exhibited this year at the Royal
Academy, is the subject of the illustra-
tion on p. 270. It was inspired, not by
the Lamia in Latin superstition, where
she figures as a witch who sucks the
blood of children, but by - Keats's
haunting poem, where she is repre-
sented as a serpent who has assumed
the form of a woman.
FROM AX AUTOI.lTIIOGRAril
BY F. F. FOOTTET
E, DINBURGH. — Perhaps the
4 most notable feature of the
Exhibition of the Society of
Scottish Artists, at present
open in Edinburgh, is the charming
effect of the galleries as a whole. It is
somewhat difficult to believe that they
are the same rooms as those in which
the Royal Scottish Academy holds its
annual shows. But a sufficiency, rather
than a plethora of pictures, judicious
hanging, suitable backgrounds, and
arranging the sculptures tastefully, in-
stead of dumping them down anyhow
or placing them in a row like Aunt
Sallies at a fair, have worked wonders,
and the Society is to be congratulated
269