DOI Heft:
No. 92 (November, 1900)
DOI Artikel:Stevenson, Robert Alan Mowbray: A. D. Peppercorn
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19786#0094
A. D. Peppercorn
"evening" by a. d. peppercorn
(By permission of Alexander Young, Esq.)
AD. PEPPERCORN. AN rather by magnifying his gifts than by seeking to
APPRECIATION BY THE correct his faults. In them he expresses his
LATE R. A. M. STEVENSON.* feelings with such poetic emphasis that what seems
• extravagance of praise is in reality no more than
One need not fear to overpraise Mr. Pepper- what is necessary for a just appreciation of his
corn's good gifts as a painter. To keep merits. But as he thinks of nothing but his high
due balance in estimating his work it is vaulting poetry, he makes no attempt to disguise
better to exaggerate the weakness than to his weaker side, and in this his critic and admirer
undervalue the strength of his art. Thus he may follow his example. All art demands sacrifice
proceeds in his own pictures, making them great of interests, truths, and beauties, in order that it
may express anything strongly; now if Mr.
* The following fragments of an article he was Peppercorn speaks more earnestly and eloquently
engaged upon for The Srunio were found amone Mr. ti t. 1 tj „f„(-„,- „ t-,,tK
<5f„™™- r-, i i c . t] . , , than most men, he says less. He states a truth
Stevenson s papers. Only the first part, down to the words
"they will certainly add Peppercorn" (page 78), had been with Srand simplicity, but at a sacrifice that often
revised. This had been three times rewritten. The rest, down makes his art appear a lofty but formal convention
to " Institute of 1896," is a rough draft, and what follows far removed from the full, various vitality of nature.
notes, whose order is uncertain. The three pictures referred TT- , • -i , , •
to in the passage where there is a blank in the MS. (page 82) HlS . WOrk 1S tembly chastened ; it seems ^ more
are very possibly three of which there are the following passionate, but less many-sided and convincing
indications in pencil on the cover of a note-book containing than life. It burns like a fierce fire raging at
the detached pieces of MS. = nigrit the centre f fagcinated glances, but not like
Peppercorn. Evening. Exhibited as 7 he Lane. Sheep ,-a- j j v , , •,, • r li_ u *
going down hill. Low-toned radiance. A dlffused daylight, the illuminator of the world to
masterpiece in effulgence. 1897, Dudley. 'he eyes of all beholders. You look at Mr.
Misty Morning. Munich, '97. Peppercorn's art, not at what it represents. Yet this
The Cornfield. Gold medal, Munich. seer of sad and remote aspects of the world, who
Sliver radiance on a cloud in a field of •,, , r , . , , .„ ,,
grey pearly sky. Low tone. Three or WlU n0t bate a J0t °f hlS dream' bu* sacrlfices a11
four broad bands of horizontal. Sun nature to his ideal, has slowly convinced painters
behind. during the last twenty years of the native, genuine,
XXI. No. 92.—November, 1900. 77
"evening" by a. d. peppercorn
(By permission of Alexander Young, Esq.)
AD. PEPPERCORN. AN rather by magnifying his gifts than by seeking to
APPRECIATION BY THE correct his faults. In them he expresses his
LATE R. A. M. STEVENSON.* feelings with such poetic emphasis that what seems
• extravagance of praise is in reality no more than
One need not fear to overpraise Mr. Pepper- what is necessary for a just appreciation of his
corn's good gifts as a painter. To keep merits. But as he thinks of nothing but his high
due balance in estimating his work it is vaulting poetry, he makes no attempt to disguise
better to exaggerate the weakness than to his weaker side, and in this his critic and admirer
undervalue the strength of his art. Thus he may follow his example. All art demands sacrifice
proceeds in his own pictures, making them great of interests, truths, and beauties, in order that it
may express anything strongly; now if Mr.
* The following fragments of an article he was Peppercorn speaks more earnestly and eloquently
engaged upon for The Srunio were found amone Mr. ti t. 1 tj „f„(-„,- „ t-,,tK
<5f„™™- r-, i i c . t] . , , than most men, he says less. He states a truth
Stevenson s papers. Only the first part, down to the words
"they will certainly add Peppercorn" (page 78), had been with Srand simplicity, but at a sacrifice that often
revised. This had been three times rewritten. The rest, down makes his art appear a lofty but formal convention
to " Institute of 1896," is a rough draft, and what follows far removed from the full, various vitality of nature.
notes, whose order is uncertain. The three pictures referred TT- , • -i , , •
to in the passage where there is a blank in the MS. (page 82) HlS . WOrk 1S tembly chastened ; it seems ^ more
are very possibly three of which there are the following passionate, but less many-sided and convincing
indications in pencil on the cover of a note-book containing than life. It burns like a fierce fire raging at
the detached pieces of MS. = nigrit the centre f fagcinated glances, but not like
Peppercorn. Evening. Exhibited as 7 he Lane. Sheep ,-a- j j v , , •,, • r li_ u *
going down hill. Low-toned radiance. A dlffused daylight, the illuminator of the world to
masterpiece in effulgence. 1897, Dudley. 'he eyes of all beholders. You look at Mr.
Misty Morning. Munich, '97. Peppercorn's art, not at what it represents. Yet this
The Cornfield. Gold medal, Munich. seer of sad and remote aspects of the world, who
Sliver radiance on a cloud in a field of •,, , r , . , , .„ ,,
grey pearly sky. Low tone. Three or WlU n0t bate a J0t °f hlS dream' bu* sacrlfices a11
four broad bands of horizontal. Sun nature to his ideal, has slowly convinced painters
behind. during the last twenty years of the native, genuine,
XXI. No. 92.—November, 1900. 77