DOI Heft:
No.127 (October, 1903)
DOI Artikel:Veer, Lenore van der: The London sketch club and its members
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19880#0053
The London Sketch Club
due absolutely to the extraordinary opposites A number of outcasts — most of them asleep,
in his several lines of work. To those who some gazing upwards in vacant distress—lay under
know his work intimately there is a strong one of Landseer's lions, while one of their number
feeling against the lighter and more public slouched wearily away in the gray mists of the
side of it, and a sense of regret that so fine a approaching day. It was a grim and realistic
painter as Dudley Hardy should be widely known picture powerfully executed — a sinister page,
only as an artist in black-and-white. Gifted truthfully copied, out of the modern history of
draughtsman as he is, and sensitive to the most London; a piece of work which placed Dudley
exquisite proportion as his drawings are, the Hardy, at that time a student of art, in the
deep note in the harmony of his genius is front rank of modern painters at the age of two-
struck in his colour sense. Here he reigns and-twenty. Since then he has been in touch
supreme—no matter whether he essays to give with all the important art exhibitions of England
us the serious or humorous side of life, a and the Continent, and has for some years been a
bit of river calmness or a raging sea, touches of prominent member of the Royal Institute.
Oriental splendour or the quiet repose of the Mr. John Hassall, R.I., the "virtuous vice" of
twilight hour, his work holds the impress of the club, holds an unique position in the art world,
supreme talent, artistic sense, and a genius for being something of a modern edition of an old
colour. Small wonder, then, that those who know Dutch master on the one hand, and a thoroughly
him best should feel so strongly
the pity that his tremendous vogue
as an illustrator and for fanciful
studies in black-and-white should
have such demands on his time
that this deep chord in the
wonderful harmony should be
almost untouched by the artist
and unknown by the world.
Dudley Hardy inherited a goodly
share of his gifts from his talented
father, the late Mr. T. B. Hardy,
one of the strongest marine
painters of his day. At the time
of his death five years ago he was
working on a decoration for the
Junior United Service Club, a
very powerful representation of
the defeat of the Spanish Armada.
It was Dudley Hardy, his son,
who ultimately finished the work.
The first picture to bring the
young artist—he is still under
thirty five—into special notice
was done during his student days
in Paris. It held an important
position in the Salon of 1888,
and later was on exhibition at
the Society of British Artists in
London. The subject of the
picture, which was a large canvas,
was Homeless: Trafalgar Square
— a pathetic study in mourn-
ful greys, representing Trafalgar
Square on a winter's morning
in the dim light just before dawn. « fading day :" two-hour sketch by Montague smyth
36
due absolutely to the extraordinary opposites A number of outcasts — most of them asleep,
in his several lines of work. To those who some gazing upwards in vacant distress—lay under
know his work intimately there is a strong one of Landseer's lions, while one of their number
feeling against the lighter and more public slouched wearily away in the gray mists of the
side of it, and a sense of regret that so fine a approaching day. It was a grim and realistic
painter as Dudley Hardy should be widely known picture powerfully executed — a sinister page,
only as an artist in black-and-white. Gifted truthfully copied, out of the modern history of
draughtsman as he is, and sensitive to the most London; a piece of work which placed Dudley
exquisite proportion as his drawings are, the Hardy, at that time a student of art, in the
deep note in the harmony of his genius is front rank of modern painters at the age of two-
struck in his colour sense. Here he reigns and-twenty. Since then he has been in touch
supreme—no matter whether he essays to give with all the important art exhibitions of England
us the serious or humorous side of life, a and the Continent, and has for some years been a
bit of river calmness or a raging sea, touches of prominent member of the Royal Institute.
Oriental splendour or the quiet repose of the Mr. John Hassall, R.I., the "virtuous vice" of
twilight hour, his work holds the impress of the club, holds an unique position in the art world,
supreme talent, artistic sense, and a genius for being something of a modern edition of an old
colour. Small wonder, then, that those who know Dutch master on the one hand, and a thoroughly
him best should feel so strongly
the pity that his tremendous vogue
as an illustrator and for fanciful
studies in black-and-white should
have such demands on his time
that this deep chord in the
wonderful harmony should be
almost untouched by the artist
and unknown by the world.
Dudley Hardy inherited a goodly
share of his gifts from his talented
father, the late Mr. T. B. Hardy,
one of the strongest marine
painters of his day. At the time
of his death five years ago he was
working on a decoration for the
Junior United Service Club, a
very powerful representation of
the defeat of the Spanish Armada.
It was Dudley Hardy, his son,
who ultimately finished the work.
The first picture to bring the
young artist—he is still under
thirty five—into special notice
was done during his student days
in Paris. It held an important
position in the Salon of 1888,
and later was on exhibition at
the Society of British Artists in
London. The subject of the
picture, which was a large canvas,
was Homeless: Trafalgar Square
— a pathetic study in mourn-
ful greys, representing Trafalgar
Square on a winter's morning
in the dim light just before dawn. « fading day :" two-hour sketch by Montague smyth
36