Studio: international art — 37.1906

Page: 153
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Studio- Talk

STUDIO-TALK took place suddenly on August 29th, 1904, from

(From our own Correspondents) typhoid fever, removed him before he had reached

ONDON.—We have pleasure in reproduc- the zenith of his remarkable powers.

ing some further examples of Mr. T. L.


Shoosmith's water-colour painting. The Some of our most prominent painters owe a
* ^ artist has arrived at considerable know- large debt to Melville : his work can certainly be
ledge of the resources of his medium, and paints detected as the inspiration of much water-colour
with a very dainty, precise touch, and with a work to-day. Whilst his position as a water-
sensitiveness to colour. There is a certain old- colourist has by common consent been admitted to
fashioned air about some of his work, brought about be one of singular pre-eminence, as an oil painter
perhaps by his studious regard for pictorial he has never received the complete recognition
effectiveness in composition. He suggests the which his work deserved. It is true that his early
movement and life of the streets with a happy death prevented him from bringing all that he
gift. Some time since an article was devoted to essayed in the latter medium to its logical conclu-
Mr. Shoosmith's work in The Studio. Much is sion; but the recently closed exhibition has, we
to be expected of so earnest a student of water- think, done much to show that at the stage at which
coloui painting. Mr. Shoo-
smith rarely if ever attempts
oil painting: he has so
habituated his thoughts to
water-colour that an inter-
pretation of nature would
not, he feels, come from
him, for a long while, so
effectively in another me-
dium. There is an apparent
ease about Mr. Shoosmith's
work that is deceptive : he
proceeds slowly but without
indecision, and it is from
the absence of indecision
that his drawings attain the
appearance of spontaneity
which is a large part of
their charm.

Much interest was aroused
by the recently concluded
exhibition of paintings of
the late Arthur Melville.
Early in his career the
painter came to the fore of
English water-colourists and
explored seemingly every
possibility of the medium.
Towards the close of his life
he transferred his analytical
industry to the business of
acquiring as profound a
knowledge of the resources
of oil painting, and trans-
ferred to it his personal
vision and technique. His
unfortunate death, which

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