DOI issue:
Nr. 101 (August 1901)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19788#0228
Studio- Talk
the country is distinguished
receive in his work their
most adequate illustration.
He may fairly be said to
have carried further than
almost any of his contem-
poraries the development of
that direct and expressive
style which can be accepted
as the natural outcome of
the Dutch temperament
and the Dutch traditions.
There is always to be per-
ceived in his pictures and
drawings a serious resolve
to use devices of technique
not merely for purposes of
display, but rather for the
embodiment of a certain
sentiment characteristic
both of the man and the
race from which he sprang.
portion of a frieze—"the lieeral ship" by f. carruthers gould He aimed at a particular
interpretation of the facts
of nature—an interpreta-
As to the other sketches, they are equally good tion that should be at the same time unhesitating
and suggestive. They illustrate a New Canterbury in its straightforward assertion and full of tender
Tale. Lord Salisbury, out hawking with the owl poetry. The work he has left reflects to the
of wisdom, and the Lord Chancellor, dressed as utmost the strength of his sturdy personality, but it
the Wife of Bath, are excellent figures; and the is equally memorable for its quiet reserve and its
manner in which the Chancellor of the Exchequer, freedom from any straining after effect. The
aided by his horse, defends himself from the strength came to him as part of the inheritance
sober ambitions of the last
War Minister could not
well be bettered. The
Duke of Devonshire slum-
bers calmly on a sleeping
horse, so that the leadership
has passed away from him.
It dashes along elsewhere,
at the pioneer end of this
decorative pilgrimage.
Among the many ad-
mirable artists who are
worthy of places in the
front rank of the modern
Dutch school, there are
few whose claim to be
regarded as masters is as
great as that of James
Maris. Those qualities of
thought and intention by
which the whole art of portion of a frieze—"the irish boat
by f. carruthers gould
the country is distinguished
receive in his work their
most adequate illustration.
He may fairly be said to
have carried further than
almost any of his contem-
poraries the development of
that direct and expressive
style which can be accepted
as the natural outcome of
the Dutch temperament
and the Dutch traditions.
There is always to be per-
ceived in his pictures and
drawings a serious resolve
to use devices of technique
not merely for purposes of
display, but rather for the
embodiment of a certain
sentiment characteristic
both of the man and the
race from which he sprang.
portion of a frieze—"the lieeral ship" by f. carruthers gould He aimed at a particular
interpretation of the facts
of nature—an interpreta-
As to the other sketches, they are equally good tion that should be at the same time unhesitating
and suggestive. They illustrate a New Canterbury in its straightforward assertion and full of tender
Tale. Lord Salisbury, out hawking with the owl poetry. The work he has left reflects to the
of wisdom, and the Lord Chancellor, dressed as utmost the strength of his sturdy personality, but it
the Wife of Bath, are excellent figures; and the is equally memorable for its quiet reserve and its
manner in which the Chancellor of the Exchequer, freedom from any straining after effect. The
aided by his horse, defends himself from the strength came to him as part of the inheritance
sober ambitions of the last
War Minister could not
well be bettered. The
Duke of Devonshire slum-
bers calmly on a sleeping
horse, so that the leadership
has passed away from him.
It dashes along elsewhere,
at the pioneer end of this
decorative pilgrimage.
Among the many ad-
mirable artists who are
worthy of places in the
front rank of the modern
Dutch school, there are
few whose claim to be
regarded as masters is as
great as that of James
Maris. Those qualities of
thought and intention by
which the whole art of portion of a frieze—"the irish boat
by f. carruthers gould