DOI Heft:
No. 104 (November, 1901)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19874#0145
Studio- Talk
method of work, apparently so cool in all its mental
processes, has no doubt in art, as it had in the
prose works of Swift, a tendency to make us feel
that the artist puts a check upon himself; that he
is afraid, in his touches of pathos, of being as sym-
pathetic as he could be ; that he dreads the elation
caused by a recent discovery, and sets too much
store by his excellent qualities, distinctness of
vision, clearness of expression, and virility of senti-
ment. For all that, the real duty of every artist is
to be true to himself.
When once the inborn tendency of Mr. Garth
Jones's mind is understood, the fact that it should
have been drawn, towards Diirer seems not less
natural than that the mind of the elder Dumas
should have been drawn towards Homer. We
all love to find our inner and stronger selves
aggrandized in the imaginative world that we
delight in most of all.
Whenever anyone studies "what he most affects,"
as Shakespeare advises, it is for that, his inner and
stronger self, that he looks for, consciously or
unconsciously. Natural inclination brought Mr.
Garth Jones into kindred touch with the masterful
conviction and poignancy of Dtirer's prints ; and
that he has learnt much thereby is clear to a large
section of the French public, and surely it must be
no less evident to any one who has seen the draw-
ing by which he was represented in The Studio's
special number on "Modern Pen Drawings:
European and American."
The drawing in question represents Love, Youth
and Death, and the realisation of this story is
a lesson to those pen-draughtsmen who try to
suggest so much colour and so many qualities
of texture that they lose the essential charm
of pure line-work. They wish to be painters in
pen-and-ink, and not simple draughtsmen proud
of their craft. But it is fair to add that Mr. Garth
Jones sometimes errs in another way, and that is
by neglecting to show the peculiar quality that
speaks to us of the pen's point. Some of his most
striking illustrations suggest wood engraving rather
than pen drawing.
In his pencil work Mr. Garth Jones is true to
the means of expression that he has made really
method of work, apparently so cool in all its mental
processes, has no doubt in art, as it had in the
prose works of Swift, a tendency to make us feel
that the artist puts a check upon himself; that he
is afraid, in his touches of pathos, of being as sym-
pathetic as he could be ; that he dreads the elation
caused by a recent discovery, and sets too much
store by his excellent qualities, distinctness of
vision, clearness of expression, and virility of senti-
ment. For all that, the real duty of every artist is
to be true to himself.
When once the inborn tendency of Mr. Garth
Jones's mind is understood, the fact that it should
have been drawn, towards Diirer seems not less
natural than that the mind of the elder Dumas
should have been drawn towards Homer. We
all love to find our inner and stronger selves
aggrandized in the imaginative world that we
delight in most of all.
Whenever anyone studies "what he most affects,"
as Shakespeare advises, it is for that, his inner and
stronger self, that he looks for, consciously or
unconsciously. Natural inclination brought Mr.
Garth Jones into kindred touch with the masterful
conviction and poignancy of Dtirer's prints ; and
that he has learnt much thereby is clear to a large
section of the French public, and surely it must be
no less evident to any one who has seen the draw-
ing by which he was represented in The Studio's
special number on "Modern Pen Drawings:
European and American."
The drawing in question represents Love, Youth
and Death, and the realisation of this story is
a lesson to those pen-draughtsmen who try to
suggest so much colour and so many qualities
of texture that they lose the essential charm
of pure line-work. They wish to be painters in
pen-and-ink, and not simple draughtsmen proud
of their craft. But it is fair to add that Mr. Garth
Jones sometimes errs in another way, and that is
by neglecting to show the peculiar quality that
speaks to us of the pen's point. Some of his most
striking illustrations suggest wood engraving rather
than pen drawing.
In his pencil work Mr. Garth Jones is true to
the means of expression that he has made really