DOI Heft:
Nr. 115 (October 1902)
DOI Artikel:Little, James Stanley: A cosmopolitan painter: John Lavery, [1]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19877#0018
John Lavery
covers this particular one. But it covers a great presently shown—entirely off his own bat. He
deal besides. Exactly what this is, it is very difficult has not relied upon any of those aids to dis-
to write or speak about without dropping into the tinction and success, and assuredly he has not
commonplace. What man of taste is there who benefited by any of them, which nine in ten British
can set forth lucidly why, of two fabrics or wall artists of any kind of position, and ninety-nine in
papers, let us say, one is impossible, and the other a hundred successful artists, using the word success
is beautiful ? To those who cannot see the differ- ful in its popular sense, have relied upon. To the
ence, nothing in the way of rhetorical demonstration Royal Academy, I think I am right in saying, he
will appeal. has not sent for some half-dozen years. Of no
The conditions premised as to what constitutes time can it be said that he owed anything material
a great painter are in any case satisfied in the to the favour of that institution. Presumably his
subject of this article. If anyone should be dis- attitude towards it is an attitude of benevolent
posed to question this—that is to say, if anyone indifference—that, however, need not concern us.
should think that something more than the mere It is the attitude in any case of the majority of the
assertion is demanded—let him consider the matter men forming the "school" widely known as the
from a point of view which ought to carry con- Glasgow School, to which John Lavery -belongs,
viction with it. John Lavery has achieved what In common with other men of this artistic
he has achieved — and what that is may be fraternity who have since shown themselves to
be painters of parts—
James Guthrie, D. Y.
Cameron, James Pater-
son, J. E. Christie, George
Henry, to name a few
of the more conspicuous
among them—no doubt
Lavery, in the earlier
stages of his career, did
derive artistic stimulus
and moral support from
close association with
men of high artistic aim ;
men who, however diverse
they have since proved
themselves in achieve-
ment, were at least anima-
ted by a common ambi-
tion— the determination
to study and interpret
Nature unfettered by any
control other than that
which sprang from within;
the control, that is to
say, imposed upon them
inherently, as the inborn
artistic instinct came un-
der the sway of their own
quickened artistic con-
sciousness. In this regard
the Glasgow men, about
whom it is not the pur-
pose of this article to
write in detail, differed not
at all from any other
PORTRAIT OF JAMES FITZMAURICE KELLY, ESQ. BY JOHN LAVERY School, ancient Or modem.
6
covers this particular one. But it covers a great presently shown—entirely off his own bat. He
deal besides. Exactly what this is, it is very difficult has not relied upon any of those aids to dis-
to write or speak about without dropping into the tinction and success, and assuredly he has not
commonplace. What man of taste is there who benefited by any of them, which nine in ten British
can set forth lucidly why, of two fabrics or wall artists of any kind of position, and ninety-nine in
papers, let us say, one is impossible, and the other a hundred successful artists, using the word success
is beautiful ? To those who cannot see the differ- ful in its popular sense, have relied upon. To the
ence, nothing in the way of rhetorical demonstration Royal Academy, I think I am right in saying, he
will appeal. has not sent for some half-dozen years. Of no
The conditions premised as to what constitutes time can it be said that he owed anything material
a great painter are in any case satisfied in the to the favour of that institution. Presumably his
subject of this article. If anyone should be dis- attitude towards it is an attitude of benevolent
posed to question this—that is to say, if anyone indifference—that, however, need not concern us.
should think that something more than the mere It is the attitude in any case of the majority of the
assertion is demanded—let him consider the matter men forming the "school" widely known as the
from a point of view which ought to carry con- Glasgow School, to which John Lavery -belongs,
viction with it. John Lavery has achieved what In common with other men of this artistic
he has achieved — and what that is may be fraternity who have since shown themselves to
be painters of parts—
James Guthrie, D. Y.
Cameron, James Pater-
son, J. E. Christie, George
Henry, to name a few
of the more conspicuous
among them—no doubt
Lavery, in the earlier
stages of his career, did
derive artistic stimulus
and moral support from
close association with
men of high artistic aim ;
men who, however diverse
they have since proved
themselves in achieve-
ment, were at least anima-
ted by a common ambi-
tion— the determination
to study and interpret
Nature unfettered by any
control other than that
which sprang from within;
the control, that is to
say, imposed upon them
inherently, as the inborn
artistic instinct came un-
der the sway of their own
quickened artistic con-
sciousness. In this regard
the Glasgow men, about
whom it is not the pur-
pose of this article to
write in detail, differed not
at all from any other
PORTRAIT OF JAMES FITZMAURICE KELLY, ESQ. BY JOHN LAVERY School, ancient Or modem.
6