DOI issue:
No. 113 (August, 1902)
DOI article:Caw, James L.: A scottish painter: E. A. Walton, A. R. S. A.
DOI Page / Citation link:https://doi.org/10.11588/diglit.19876#0182
E. A. Walton
Amongst his most recent efforts a distinctive
place is taken by the large panel executed for the
Banqueting Hall of the Glasgow Corporation
Buildings, in the decoration of which he has been
associated with three of his old confreres. It occupies
the middle of the principal wall; and, like that on
either side, is divided by pilasters into three com-
partments. One subject, however, fills the whole
space; but it is so cunningly devised that the
architectural setting does not interfere with its
unity of impression. The subject, Glasgow Fair
in the Fifteenth Century, was such as Walton might
have chosen for himself, and as a consequence
the result is eminently characteristic. In those
days Glasgow was not a great grimy city, but a
little country town, no bigger than a village, and
the " Fair," unlike the annual exodus of thousands
of workers for a few days rest that it has become,
was a sale of horses on the "Green." But its
bargaining dealers and farmers and interested on-
lookers were representative of medireval Scots life,
and by judicious selection of a few types, the arlist
has suggested this variety without crowding his
canvas. A crowd, for the few figures hint the
presence of more, is gathered about a pair of
Clydesdales led by a rough farm-hand ; beyond
the sun-browned haughs stretch along the curve of
the river to where a bridge spans it • and overhead
is an aerial sky of mellow white and grey. The
whole scene savours of the country and a primitive
pastoral life. Landscape and sky are nobly con-
ceived ; the people, admirably grouped, are charac-
terised with subtle humour; the great horses,
which form the pivot of the picture, both in a
decorative and a subjective sense, are magnificently
designed and instinct with power and vitality.
And if one is not quite certain of its decorative
fitness it remains a fine achievement, vivid, verve-
ful, convincing ; a real work of art.
An artist in the true sense, Walton's work in
portraiture, figure, and, above all, in landscape is
never wanting in style and distinction. His art
gives expression to a joy in life, a delight in beauty,
and a relish for fine craftsmanship which ensure it
a high place in the regard of all who care for these
things.
" THE WEAVER "
170
FROM A MONOTYPE BY EDWARD ERTZ
(See article oil " Monotyping ")
Amongst his most recent efforts a distinctive
place is taken by the large panel executed for the
Banqueting Hall of the Glasgow Corporation
Buildings, in the decoration of which he has been
associated with three of his old confreres. It occupies
the middle of the principal wall; and, like that on
either side, is divided by pilasters into three com-
partments. One subject, however, fills the whole
space; but it is so cunningly devised that the
architectural setting does not interfere with its
unity of impression. The subject, Glasgow Fair
in the Fifteenth Century, was such as Walton might
have chosen for himself, and as a consequence
the result is eminently characteristic. In those
days Glasgow was not a great grimy city, but a
little country town, no bigger than a village, and
the " Fair," unlike the annual exodus of thousands
of workers for a few days rest that it has become,
was a sale of horses on the "Green." But its
bargaining dealers and farmers and interested on-
lookers were representative of medireval Scots life,
and by judicious selection of a few types, the arlist
has suggested this variety without crowding his
canvas. A crowd, for the few figures hint the
presence of more, is gathered about a pair of
Clydesdales led by a rough farm-hand ; beyond
the sun-browned haughs stretch along the curve of
the river to where a bridge spans it • and overhead
is an aerial sky of mellow white and grey. The
whole scene savours of the country and a primitive
pastoral life. Landscape and sky are nobly con-
ceived ; the people, admirably grouped, are charac-
terised with subtle humour; the great horses,
which form the pivot of the picture, both in a
decorative and a subjective sense, are magnificently
designed and instinct with power and vitality.
And if one is not quite certain of its decorative
fitness it remains a fine achievement, vivid, verve-
ful, convincing ; a real work of art.
An artist in the true sense, Walton's work in
portraiture, figure, and, above all, in landscape is
never wanting in style and distinction. His art
gives expression to a joy in life, a delight in beauty,
and a relish for fine craftsmanship which ensure it
a high place in the regard of all who care for these
things.
" THE WEAVER "
170
FROM A MONOTYPE BY EDWARD ERTZ
(See article oil " Monotyping ")