Studio: international art — 26.1902

Page: 161
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E. A. Walton

ASCOTTISH PAINTER: E. A. This close companionship, augmented as it was
WALTON, A.R.S.A. BY JAMES hY study from the life in the studio of one of
L CAW their number, and by painting in the country

together, focussed the movement and gave it
Just twenty years ago the work 01 a number of special characteristics, without interfering with
young painters began to attract attention in the the individuality of those concerned. Young and
Glasgow exhibitions by its difference from what was enthusiastic, they were iconoclasts, of course, and
current in Scotland at the time. Although many denied any merit to art not obviously in sym-
good and some noble pictures were being produced pathy with their own. Their ideals were narrow
by Scottish painters, the great majority were con- and excluded much that is excellent and desirable,
cerned with incidentand fact fortheir own sake rather but to them they were the only legitimate aims in
than with their artistic possibilities and the problems painting. Still, if they had the arrogance, they had
involved in their pictorial presentation. Sentimen- the earnestness of youth also ; and separation from
tality was strong in the figure subjects, and, like most the older school only gave the coterie greater
of the landscapes, they were deficient in harmonious cohesion and added to its belief in itself. Working
design and unity. There were notable exceptions, in this spirit and stimulated by friendly emulation,
and in many cases a pleasant vein of feeling and in which there was no envy, their work was almost
a genuine love of nature were evident; but diffuse- certain to possess distinctive qualities. Briefly
ness, the elaboration of
parts without relation to
the whole, was in fashion;
and, for the most part,
the oil medium was used
with little sense of style
and less feeling for its
material beauty. It was
in re-action from, these
that the new movement
(forit soon assumed such
proportions) originated
by these young men had
its beginnings; and, to
some extent, its mani-
festations were moulded
by a wider horizon than
most Scottish painters
had enjoyed. All of
them were familiar with
the pictures of the
French and Dutch Ro-
manticists, which were
favourites with Scottish
collectors, and were
often to be seen at the
Glasgow Institute ; a
few had received a Paris
training, and others had
been impressed by the
work of some of the
greatest moderns. Yet
there is no doubt that
the determining factor

was the association of the ,, „„ _ . „,iT__„

" romance from a water-colour by e. a. walton

men with one another. (In possession of James Smith, Esq.)

XXVI. No. 113.—August, 1902. 161
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