DOI Heft:
No. 130 (January, 1904)
DOI Artikel:Baldry, Alfred Lys: The paintings & etchings of Sir Charles Holroyd
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19880#0304
Sir Charles Holroyd
disciplined, as it was one involving authority over analysing the Professor's creed, shaping it to fit his
others. Possibly, if he had been less intelligent, or own temperament, and grafting on (to it what he
less disposed to think out the why and wherefore felt to be necessary for the full expression of him-
of his convictions, he might have had his indi- self. The thoroughness with which this analytical
viduality ground out of him between the two process was carried out shows very plainly in his
millstones of the teacher and the taught. But work to-day. He is no copyist, no mere imitator
while he was occupied in this fashion in receiving of the man on whom he has modelled himself;
and imparting instruction, he was building up out rather he may be said to be carrying on in a way
of the materials supplied to him his own personal of his own the tradition established by a most able
system, which was to serve him later on in his master, and to be adding to it much that strengthens
independent production. He was studying and its meaning and increases its authority.
That in his earliest work
the influence of Legros
, should be altogether ob-
// vious, is only what might
have been expected. He
; . had at first to go through
v .",-- • the stage of the devout
^' follower, and to try to use
„■■■•<: . ' in his own statements the
:exact phraseology of his
teacher. But this purely
imitative phase lasted for
quite a short time, and
k even while it was at its
\ height he never entirely
surrendered his indepen-
dence. The pictures he
painted during the first
few years of his producing
career — the Satyr Kitig
H (1889), In a Roman
|k| Church (1892), Pan and
mlk Peasants (1893), A Water
111 Witch (1895), all of
which appeared at the
x . , ~ Academy, and others like
Vr!^ ' \ The Death of Torrigiano,
; The Supper at Emmaus,
\ and Pan Piping — prove
HI
that he was quite prepared
! and well qualified to think
y ' for himself. The decision
:■' and reserve of his master's
style he adopted without
hesitation, but its rugged-
ness and its grim severity he
softened off by giving more
consideration to elegances
of composition and suavity
of line. In his use
/ of colour, too, he made
study for "pan piping" from a drawing in lead pencil f(BWer Unctions, aiming
by sir charles holroyd more at a kind of quiet
287
disciplined, as it was one involving authority over analysing the Professor's creed, shaping it to fit his
others. Possibly, if he had been less intelligent, or own temperament, and grafting on (to it what he
less disposed to think out the why and wherefore felt to be necessary for the full expression of him-
of his convictions, he might have had his indi- self. The thoroughness with which this analytical
viduality ground out of him between the two process was carried out shows very plainly in his
millstones of the teacher and the taught. But work to-day. He is no copyist, no mere imitator
while he was occupied in this fashion in receiving of the man on whom he has modelled himself;
and imparting instruction, he was building up out rather he may be said to be carrying on in a way
of the materials supplied to him his own personal of his own the tradition established by a most able
system, which was to serve him later on in his master, and to be adding to it much that strengthens
independent production. He was studying and its meaning and increases its authority.
That in his earliest work
the influence of Legros
, should be altogether ob-
// vious, is only what might
have been expected. He
; . had at first to go through
v .",-- • the stage of the devout
^' follower, and to try to use
„■■■•<: . ' in his own statements the
:exact phraseology of his
teacher. But this purely
imitative phase lasted for
quite a short time, and
k even while it was at its
\ height he never entirely
surrendered his indepen-
dence. The pictures he
painted during the first
few years of his producing
career — the Satyr Kitig
H (1889), In a Roman
|k| Church (1892), Pan and
mlk Peasants (1893), A Water
111 Witch (1895), all of
which appeared at the
x . , ~ Academy, and others like
Vr!^ ' \ The Death of Torrigiano,
; The Supper at Emmaus,
\ and Pan Piping — prove
HI
that he was quite prepared
! and well qualified to think
y ' for himself. The decision
:■' and reserve of his master's
style he adopted without
hesitation, but its rugged-
ness and its grim severity he
softened off by giving more
consideration to elegances
of composition and suavity
of line. In his use
/ of colour, too, he made
study for "pan piping" from a drawing in lead pencil f(BWer Unctions, aiming
by sir charles holroyd more at a kind of quiet
287