DOI Heft:
No. 128 (November, 1903)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19880#0172
Studio- Talk
"EVENTIDE" FROM THE DRAWING IN CHARCOAL AND WATER-COLOUR BY GILBERT FOSTER
lower orders ; and hardly any other draughtsman
succeeded in expressing such exact observations
with such delightful absence of executive elabora-
tion. Throughout this whole series of drawings
the hand of an artist who knew exactly what he
intended to do is plainly to be perceived ; there is
no hesitation, no fumbling with materials, but a
frank directness in the use of the draughtsman's
devices which marks the man who has convinced
himself that the means he employs are those that
will give him most surely the results he desires.
Mr. David Green's water-colours at Graves's
Gallery are pleasant transcriptions of Nature which
deserve attention chiefly because they do not
attempt to do more than record agreeable facts.
The artist is content to render simply subjects
which have been judiciously chosen, and to avoid
fanciful adaptations. His work is honest, strong,
and expressive, agreeable in colour, and not lacking
in atmospheric subtlety. He is most successful in
his smaller pieces; in his larger works he seems to
lose some of his freshness and to sacrifice his
spontaneity in an effort to become impressive.
The second annual exhibition of the Modern
Sketch Club, now open at the Modern Gallery,
contains some excellent little pictures in various
materials. Mr. G. C. Haite's sunny study, The
Market, Tangiers, and his decorative landscape,
Old Timber, Mr. Tom Simpson's Villagers Hop-
picking, Mr. John Muirhead's atmospheric Sum-
mer's Day, Miss J. B. Constable's pastel Late
Harvest, and Miss K. Cameron's decorative panel
Pastoral Bandits (humble bees and blossoms), are
perhaps the best things in the collection ; but there
are also some notable contributions by Mr. O.
Garside, Mr. S. Reid, Mr. Alyn Williams, and Mr.
Romilly Fedden.
The two drawings here illustrated are the result
of an experiment made by Mr. Gilbert Foster in
the combination of charcoal and water-colour.
Ordinary rough-grained water-colour paper is un-
suitable for this method of work, for it takes the
charcoal in a rough and spotty way. The paper
employed by Mr. Foster is what is known as con-
tinuous cartridge. The paper is first mounted on
a board or canvas, and a drawing of the subject is
then made upon it, the charcoal being well rubbed
i'SS
"EVENTIDE" FROM THE DRAWING IN CHARCOAL AND WATER-COLOUR BY GILBERT FOSTER
lower orders ; and hardly any other draughtsman
succeeded in expressing such exact observations
with such delightful absence of executive elabora-
tion. Throughout this whole series of drawings
the hand of an artist who knew exactly what he
intended to do is plainly to be perceived ; there is
no hesitation, no fumbling with materials, but a
frank directness in the use of the draughtsman's
devices which marks the man who has convinced
himself that the means he employs are those that
will give him most surely the results he desires.
Mr. David Green's water-colours at Graves's
Gallery are pleasant transcriptions of Nature which
deserve attention chiefly because they do not
attempt to do more than record agreeable facts.
The artist is content to render simply subjects
which have been judiciously chosen, and to avoid
fanciful adaptations. His work is honest, strong,
and expressive, agreeable in colour, and not lacking
in atmospheric subtlety. He is most successful in
his smaller pieces; in his larger works he seems to
lose some of his freshness and to sacrifice his
spontaneity in an effort to become impressive.
The second annual exhibition of the Modern
Sketch Club, now open at the Modern Gallery,
contains some excellent little pictures in various
materials. Mr. G. C. Haite's sunny study, The
Market, Tangiers, and his decorative landscape,
Old Timber, Mr. Tom Simpson's Villagers Hop-
picking, Mr. John Muirhead's atmospheric Sum-
mer's Day, Miss J. B. Constable's pastel Late
Harvest, and Miss K. Cameron's decorative panel
Pastoral Bandits (humble bees and blossoms), are
perhaps the best things in the collection ; but there
are also some notable contributions by Mr. O.
Garside, Mr. S. Reid, Mr. Alyn Williams, and Mr.
Romilly Fedden.
The two drawings here illustrated are the result
of an experiment made by Mr. Gilbert Foster in
the combination of charcoal and water-colour.
Ordinary rough-grained water-colour paper is un-
suitable for this method of work, for it takes the
charcoal in a rough and spotty way. The paper
employed by Mr. Foster is what is known as con-
tinuous cartridge. The paper is first mounted on
a board or canvas, and a drawing of the subject is
then made upon it, the charcoal being well rubbed
i'SS