DOI Heft:
Nr. 119 (February 1903)
DOI Artikel:Image, Selwyn: Mr. Frank Brangwyn's landscapes and still-life
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19878#0020
Frank Brangwyn's Landscapes and Still-Life
that "parerga," or side-works of this description, of their own which are singularly attractive,
are often of exceptional interest, having an intimacy This is so with nature. And instances will arise to
about them that is peculiarly attractive. It is with every reader's mind in which something analogous
art, that is to say, as it is with nature. The large, occurs in the life and work of innumerable artists
main, obviously important characteristics of a in every form of the arts. As Browning somewhere
country do not exhaust it for us; and when these says, What would one not give to read a poem by
have become familiar, have impressed themselves Raphael, to see a painting by Dante ! What a
upon us, it is more than possible that by happy curious delight it is to come upon a man of real
accident we may come across some retired quarter character doing something purely for his own
of it where unsuspected delights lurk and capture satisfaction—not the thing expected of him, but a
our attention. These nooks and by-ways may thing he has been moved to do at the moment for
undoubtedly gain something even from the mere his own enjoyment, though it should bring no name
fact of their retirement. They are not everybody's or reward along with it!
property who travels there ; but, apart from this, For the purpose in hand let me here make
they often contain certain beauties and surprises another general remark, not, I think, irrelevant.
In every department of
art there are many ways, it
must be remembered, of
producing admirable results
—results as dissimilar from
one another as have been
the tastes and aims of the
artists essaying them. Of
this we have often to remind
ourselves when criticising
or looking at works which
do not at once commend
themselves to us ; although,
of course, in so many words
no one questions the fact,
except when he is very
young, or is in a temper, or
is anxious to set somebody
by the ears. Let us take
the art of painting still-life,
or to limit ourselves yet
closer—the art of painting
fruit and flowers. In the
days of our forefathers it
was van Huysum's fruit
and flower pieces that were
held up to superlative ad-
miration ; while in the days
of Ruskin's ascendency it
was the fruit and flower
pieces of our own country-
man, William Hunt. Now,
though these men's subjects
were the same, it would be
difficult to find two methods
of observation and treat-
ment more unlike. Both
FROM THE OIL SKETCH BY FRANK BRANGWYN Vatl HuySUm and William
(In the possession of L. P. Gilbert, Esq.) Hunt are somewhat out of
that "parerga," or side-works of this description, of their own which are singularly attractive,
are often of exceptional interest, having an intimacy This is so with nature. And instances will arise to
about them that is peculiarly attractive. It is with every reader's mind in which something analogous
art, that is to say, as it is with nature. The large, occurs in the life and work of innumerable artists
main, obviously important characteristics of a in every form of the arts. As Browning somewhere
country do not exhaust it for us; and when these says, What would one not give to read a poem by
have become familiar, have impressed themselves Raphael, to see a painting by Dante ! What a
upon us, it is more than possible that by happy curious delight it is to come upon a man of real
accident we may come across some retired quarter character doing something purely for his own
of it where unsuspected delights lurk and capture satisfaction—not the thing expected of him, but a
our attention. These nooks and by-ways may thing he has been moved to do at the moment for
undoubtedly gain something even from the mere his own enjoyment, though it should bring no name
fact of their retirement. They are not everybody's or reward along with it!
property who travels there ; but, apart from this, For the purpose in hand let me here make
they often contain certain beauties and surprises another general remark, not, I think, irrelevant.
In every department of
art there are many ways, it
must be remembered, of
producing admirable results
—results as dissimilar from
one another as have been
the tastes and aims of the
artists essaying them. Of
this we have often to remind
ourselves when criticising
or looking at works which
do not at once commend
themselves to us ; although,
of course, in so many words
no one questions the fact,
except when he is very
young, or is in a temper, or
is anxious to set somebody
by the ears. Let us take
the art of painting still-life,
or to limit ourselves yet
closer—the art of painting
fruit and flowers. In the
days of our forefathers it
was van Huysum's fruit
and flower pieces that were
held up to superlative ad-
miration ; while in the days
of Ruskin's ascendency it
was the fruit and flower
pieces of our own country-
man, William Hunt. Now,
though these men's subjects
were the same, it would be
difficult to find two methods
of observation and treat-
ment more unlike. Both
FROM THE OIL SKETCH BY FRANK BRANGWYN Vatl HuySUm and William
(In the possession of L. P. Gilbert, Esq.) Hunt are somewhat out of