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#0024
Frank Brangwyn's Landscapes and Still-Life
as characteristic of him when he was a beginner wyn's still-life pieces especially contribute—his clear
as it is characteristic of him to-day. And un- definition of forms, and his rich, luscious colour,
doubtedly it is this massive designing which I venture to think that in Mr. Brangwyn's land-
gives its immediate distinction to his still-life— scapes—that other province of his work imme-
a branch of art in which other qualities than diately before us—his strongly defined and sil-
this are those we have been accustomed to, houetted forms are sometimes a little over-solid,
even in the best examples. As a result of it, Mr. and a little over-solid and sombre too his colouring.
Brangwyn's pictures of fruit, vegetables, and the Though this is far from being always the case, yet it
like, are, in their way, as impressive as his pictures seems to me that there is now and again a ten-
of more important subjects. Apart from the sub- dency this way; and I suggest that it is a tendency
ject and its suggestiveness one would as lief have the artist would be wise to keep his eye upon. But
this artist's presentation of a heap of melons or a in his still-life pieces, with their objects and interest
bundle of onions as his painting of a group of necessarily for the most part in the foreground,
figures, even in some heroic or moving human strong definition and solidity are a virtue; and
incident. Nor in this fine treatment of these com- here, so far as colour goes, Mr. Brangwyn lets his
paratively unimportant objects does he attain his im- splendid gift for it have its way, and though
pressiveness by any forced or undue means. Under he is always master of it, he revels in their
proper artistic conditions he is as true to the ob- brilliancy and sumptuousness. Nothing could
vious appearances of nature as a man can be. Any well be more brilliant, more sumptuous—and
simple spectator, that is to say, would be as readily altogether rightly so.
receptive of his onions and melons as of the onions Mr. Brangwyn's love of silhouette, of broad
and melons of William Hunt himself. To use a masses defined against broad masses, upon which
natural expression, they are as like the things as like I have more than once touched, is noticeable in
can be. Towards the attainment of this desirable every branch of his art; and it undoubtedly gives
end (for desirable it is that an artist's appeal should his landscapes their not-too-common character of
reach as far as possible), two qualities in Mr. Brang- simplicity, largeness, and weighty impressiveness.
" HAMMERSMITH "
FROM THE OIL-PAINTING BY FRANK BRANGWYN
as characteristic of him when he was a beginner wyn's still-life pieces especially contribute—his clear
as it is characteristic of him to-day. And un- definition of forms, and his rich, luscious colour,
doubtedly it is this massive designing which I venture to think that in Mr. Brangwyn's land-
gives its immediate distinction to his still-life— scapes—that other province of his work imme-
a branch of art in which other qualities than diately before us—his strongly defined and sil-
this are those we have been accustomed to, houetted forms are sometimes a little over-solid,
even in the best examples. As a result of it, Mr. and a little over-solid and sombre too his colouring.
Brangwyn's pictures of fruit, vegetables, and the Though this is far from being always the case, yet it
like, are, in their way, as impressive as his pictures seems to me that there is now and again a ten-
of more important subjects. Apart from the sub- dency this way; and I suggest that it is a tendency
ject and its suggestiveness one would as lief have the artist would be wise to keep his eye upon. But
this artist's presentation of a heap of melons or a in his still-life pieces, with their objects and interest
bundle of onions as his painting of a group of necessarily for the most part in the foreground,
figures, even in some heroic or moving human strong definition and solidity are a virtue; and
incident. Nor in this fine treatment of these com- here, so far as colour goes, Mr. Brangwyn lets his
paratively unimportant objects does he attain his im- splendid gift for it have its way, and though
pressiveness by any forced or undue means. Under he is always master of it, he revels in their
proper artistic conditions he is as true to the ob- brilliancy and sumptuousness. Nothing could
vious appearances of nature as a man can be. Any well be more brilliant, more sumptuous—and
simple spectator, that is to say, would be as readily altogether rightly so.
receptive of his onions and melons as of the onions Mr. Brangwyn's love of silhouette, of broad
and melons of William Hunt himself. To use a masses defined against broad masses, upon which
natural expression, they are as like the things as like I have more than once touched, is noticeable in
can be. Towards the attainment of this desirable every branch of his art; and it undoubtedly gives
end (for desirable it is that an artist's appeal should his landscapes their not-too-common character of
reach as far as possible), two qualities in Mr. Brang- simplicity, largeness, and weighty impressiveness.
" HAMMERSMITH "
FROM THE OIL-PAINTING BY FRANK BRANGWYN