DOI Heft:
No. 107 (February, 1902)
DOI Artikel:Wedmore, Frederick: Frank Short
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19875#0022
Frank Short, R.E.
well as in volume, to some extent suffered by the the less, in the very simplicity, the moderation, the
obligations of the accepted, even though it may personal impression unswervingly recorded, the
have been the welcome and the congenial, task, recognition of the limitations of the individuality,
But I think, in cases like Frank Short's, there is and of the limitations of the medium employed,
advantage as well as disadvantage in this double And here I may profitably remind the reader that
work. It might have been otherwise had Frank Frank Short is in the habit of addressing himself to
Short, like Wenceslaus Hollar, drudged on at no less than five methods in original performance,
a starvation wage. Yet even Hollar, for all He chooses for the given subject the method that
his poverty, the arduousness of his labour, his can best express it. The five methods are Soft-
death in insufficient fame and with noble toil ground, and true Etching, and Drypoint, and Aqua-
unrequited, did gain something, I take it, by tint, and Mezzotint. And if a subject interests him
the fact that he was not always called upon for its lines he does not choose Mezzotint, and if a
to create—that he had at least such measure of subject interests him by its masses he does not
rest as change of occupation ensures. Most of us choose Etching.
who play on more than a single string, know It may be that one does more service by point-
something of the advantage of the transition, ing out a fact of this sort—which shows the spirit
The artist—whether writer, actor, painter, etcher— of the artist, his proper alertness to perceive the
who lives to please, as the old phrase has it, "must requirements of his theme—than by establishing
please, to live." Frank Short has pleased first comparisons between Mr. Short and some other
himself. As for the public, whether they bear, or artist, or comparisons between this and that work
whether they forbear, is not at present an important of his own— an endeavour to weigh relative merits,
matter. Time is on the side of all work that is Mr. Short has not, of course, the supreme and
executed with conscience, and executed with style, various grace of a Whistler, or the intensity of a
Style is " the great antiseptic." There is no Meryon—the depth of his sombre poetry—or the
parade of style whatever—there are directness, grim earnestness, the unrelenting and fruitful per-
simplicity, economy of means—in the original tinacity, of a Cameron. But he has his own gentler
etchings of Frank Short. But there is Style, none poetry; his cheerful pleasure in picturesque line;
_
if pip
" THE ANGLER'S BRIDGE ON THE WANDLE "
IO
FROM AN ETCHING BY FRANK SHORT, R.E.
well as in volume, to some extent suffered by the the less, in the very simplicity, the moderation, the
obligations of the accepted, even though it may personal impression unswervingly recorded, the
have been the welcome and the congenial, task, recognition of the limitations of the individuality,
But I think, in cases like Frank Short's, there is and of the limitations of the medium employed,
advantage as well as disadvantage in this double And here I may profitably remind the reader that
work. It might have been otherwise had Frank Frank Short is in the habit of addressing himself to
Short, like Wenceslaus Hollar, drudged on at no less than five methods in original performance,
a starvation wage. Yet even Hollar, for all He chooses for the given subject the method that
his poverty, the arduousness of his labour, his can best express it. The five methods are Soft-
death in insufficient fame and with noble toil ground, and true Etching, and Drypoint, and Aqua-
unrequited, did gain something, I take it, by tint, and Mezzotint. And if a subject interests him
the fact that he was not always called upon for its lines he does not choose Mezzotint, and if a
to create—that he had at least such measure of subject interests him by its masses he does not
rest as change of occupation ensures. Most of us choose Etching.
who play on more than a single string, know It may be that one does more service by point-
something of the advantage of the transition, ing out a fact of this sort—which shows the spirit
The artist—whether writer, actor, painter, etcher— of the artist, his proper alertness to perceive the
who lives to please, as the old phrase has it, "must requirements of his theme—than by establishing
please, to live." Frank Short has pleased first comparisons between Mr. Short and some other
himself. As for the public, whether they bear, or artist, or comparisons between this and that work
whether they forbear, is not at present an important of his own— an endeavour to weigh relative merits,
matter. Time is on the side of all work that is Mr. Short has not, of course, the supreme and
executed with conscience, and executed with style, various grace of a Whistler, or the intensity of a
Style is " the great antiseptic." There is no Meryon—the depth of his sombre poetry—or the
parade of style whatever—there are directness, grim earnestness, the unrelenting and fruitful per-
simplicity, economy of means—in the original tinacity, of a Cameron. But he has his own gentler
etchings of Frank Short. But there is Style, none poetry; his cheerful pleasure in picturesque line;
_
if pip
" THE ANGLER'S BRIDGE ON THE WANDLE "
IO
FROM AN ETCHING BY FRANK SHORT, R.E.