DOI Heft:
Nr. 118 (January 1903)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19877#0310
Studio- Talk
the qualities one hopes for in a president but does
not expect to find combined in one man, and his
election is a happy augury for the future of the
institution which has honoured itself in electing
him, and for the art of Scotland as a whole.
To say that the work of none of the younger
Scottish artists excels that of Mr. Edwin Alexander
is to give no indication of the individuality and
beauty of his outlook and method. At a time
when the general tone and tendencies of painting
in Scotland have been influenced profoundly by
the art of the leaders of the Glasgow group—
whose work, if it is only now beginning to be
recognised in London, has been accepted and
acclaimed both in Scotland and abroad for more
than a decade—Mr. Alexander, while not un-
influenced by the finer qualities of that movement,
has not only maintained his independence, but has
achieved a really distinguished personal style.
than the work'"of any contemporary; and the
Scottish landscapes, especially a delicate vision of
sheep feeding on a bare upland, and two or three
twilights over ebb-tide sands, were no less personal.
But probably the little drawings of wayside flowers,
about which bees hum and butterflies flutter, were
the best things in the show. In them he joins a
daintiness of touch and a delicacy of colour spacing
and design, quite Japanese in charm, to truth ot
structure and searching draughtsmanship.
To some these wonderful drawings may seem to
be lacking in strength of tone and splendour of
colour, but they have the rarer strength of delicacy:
the tone is refined, the colour exquisite in its quiet
and subtle harmony. In some cases, however,
despite charm of drawing and colour, intensity
of study seems to have been allowed undue
prominence, to the loss of direct emotional
appeal. J. L. C.
The forty-six water
colours by this young artist
which were on view at
Messrs. Dott's gallery for
some weeks in November
and December, afforded
an excellent opportunity
for gauging the qualities
of his art and the range
of his achievement. Variety
of subject was a notable
feature. Not only were
there drawings of the birds
and animals usually asso-
ciated with his name, but
charming glimpses of land-
scape, sketches in the
East, and studies of flowers,
showed that his sym-
pathies are quick in many
directions. The most im-
portant drawings belonged
to the first class, and were
marked by great mastery
of drawing and firm yet
delicate handling. The
Egyptian studies, again,
though not the best he has
done in that particular
direction, expressed another
side of the East and a far
more intimate acquaint-
THE WINDMILL AT SANTA CRUZ BY JAMES PATERSON, A.R.S.A.
ance with life in the desert (See Glasgow Studio-Talk)
29S
the qualities one hopes for in a president but does
not expect to find combined in one man, and his
election is a happy augury for the future of the
institution which has honoured itself in electing
him, and for the art of Scotland as a whole.
To say that the work of none of the younger
Scottish artists excels that of Mr. Edwin Alexander
is to give no indication of the individuality and
beauty of his outlook and method. At a time
when the general tone and tendencies of painting
in Scotland have been influenced profoundly by
the art of the leaders of the Glasgow group—
whose work, if it is only now beginning to be
recognised in London, has been accepted and
acclaimed both in Scotland and abroad for more
than a decade—Mr. Alexander, while not un-
influenced by the finer qualities of that movement,
has not only maintained his independence, but has
achieved a really distinguished personal style.
than the work'"of any contemporary; and the
Scottish landscapes, especially a delicate vision of
sheep feeding on a bare upland, and two or three
twilights over ebb-tide sands, were no less personal.
But probably the little drawings of wayside flowers,
about which bees hum and butterflies flutter, were
the best things in the show. In them he joins a
daintiness of touch and a delicacy of colour spacing
and design, quite Japanese in charm, to truth ot
structure and searching draughtsmanship.
To some these wonderful drawings may seem to
be lacking in strength of tone and splendour of
colour, but they have the rarer strength of delicacy:
the tone is refined, the colour exquisite in its quiet
and subtle harmony. In some cases, however,
despite charm of drawing and colour, intensity
of study seems to have been allowed undue
prominence, to the loss of direct emotional
appeal. J. L. C.
The forty-six water
colours by this young artist
which were on view at
Messrs. Dott's gallery for
some weeks in November
and December, afforded
an excellent opportunity
for gauging the qualities
of his art and the range
of his achievement. Variety
of subject was a notable
feature. Not only were
there drawings of the birds
and animals usually asso-
ciated with his name, but
charming glimpses of land-
scape, sketches in the
East, and studies of flowers,
showed that his sym-
pathies are quick in many
directions. The most im-
portant drawings belonged
to the first class, and were
marked by great mastery
of drawing and firm yet
delicate handling. The
Egyptian studies, again,
though not the best he has
done in that particular
direction, expressed another
side of the East and a far
more intimate acquaint-
THE WINDMILL AT SANTA CRUZ BY JAMES PATERSON, A.R.S.A.
ance with life in the desert (See Glasgow Studio-Talk)
29S