DOI Heft:
No. 126 (September, 1903)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19879#0312
Studio- Talk
charming exhibition of some twenty-five works by
Le Sidaner introduced the luminous pictures of
this original colourist to the art lovers of Glasgow.
The second exhibition of the Glasgow Society of
Artists was chiefly remarkable for the paintings of
Miss Bessie MacNicol and Mr. W. A. Gibson.
The portraits by the termer are generally uncon-
ventional and freshly painted ; and the work of the
latter, as will be seen from the reproduction of On the
Wye, is both capable £nd refined. The illustration
(page 297) gives a very fair idea of the composition
and the delicate drawing ol this picture; but the
tender lighting, the sober and harmonious colour,
and the deft and liquid handling cannot be so
well rendered here. Mr. Gibson is admittedly
more concerned with a picture as a picture
than as a transcript from nature; tender greys,
sober greens and delicate browns characterise
his painting at its best. He is interested in
subtle cloud forms and simple landscapes; and
it cannot be denied that, working on his own
lines of selection and repression, he expresses
himself in paint to good purpose.
One of the most import-
ant one - man exhibitions
was undoubtedly that of
Mr. Stuart Park's flower
pictures. This artist
evinces a dexterity in the
use of the brush that
is little short of marvel-
lous ; and while his
pictures are always good
in tone, they are at the
same time pure in colour,
fresh and clear as the
flowers themselves. All his
works are painted au
premier coup; should he
fail with one skilful sweep
of his brush to realise
form, colour and tone, he
wipes out and starts
afresh. No layer on layer
of pigment, no laborious
drawing or strained man-
ipulation are to be found in
his pictures ; he knows his
flowers thoroughly, and,
charmingly placed on the
canvas, they glow amid
their transparent shadows
with a beauty all their
own, whether they be lilies
with their subtle white sim-
plicity, or roses with their
luminous complexity 01
form and colour.
'ROSES" FROM THE OIL PAINTING BY STUART I'ARK
296
DRESDEN. — A
number of
interesting ex-
hibitions have
taken place in the course
charming exhibition of some twenty-five works by
Le Sidaner introduced the luminous pictures of
this original colourist to the art lovers of Glasgow.
The second exhibition of the Glasgow Society of
Artists was chiefly remarkable for the paintings of
Miss Bessie MacNicol and Mr. W. A. Gibson.
The portraits by the termer are generally uncon-
ventional and freshly painted ; and the work of the
latter, as will be seen from the reproduction of On the
Wye, is both capable £nd refined. The illustration
(page 297) gives a very fair idea of the composition
and the delicate drawing ol this picture; but the
tender lighting, the sober and harmonious colour,
and the deft and liquid handling cannot be so
well rendered here. Mr. Gibson is admittedly
more concerned with a picture as a picture
than as a transcript from nature; tender greys,
sober greens and delicate browns characterise
his painting at its best. He is interested in
subtle cloud forms and simple landscapes; and
it cannot be denied that, working on his own
lines of selection and repression, he expresses
himself in paint to good purpose.
One of the most import-
ant one - man exhibitions
was undoubtedly that of
Mr. Stuart Park's flower
pictures. This artist
evinces a dexterity in the
use of the brush that
is little short of marvel-
lous ; and while his
pictures are always good
in tone, they are at the
same time pure in colour,
fresh and clear as the
flowers themselves. All his
works are painted au
premier coup; should he
fail with one skilful sweep
of his brush to realise
form, colour and tone, he
wipes out and starts
afresh. No layer on layer
of pigment, no laborious
drawing or strained man-
ipulation are to be found in
his pictures ; he knows his
flowers thoroughly, and,
charmingly placed on the
canvas, they glow amid
their transparent shadows
with a beauty all their
own, whether they be lilies
with their subtle white sim-
plicity, or roses with their
luminous complexity 01
form and colour.
'ROSES" FROM THE OIL PAINTING BY STUART I'ARK
296
DRESDEN. — A
number of
interesting ex-
hibitions have
taken place in the course