DOI Heft:
No. 161 (August, 1906)
DOI Artikel:Vallance, Aymer: Recent lead-work by Mr. G. P. Bankart
DOI Artikel:Halton, Ernest G.: A note on the landscape paintings of Montague Smyth
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20715#0220
Mr. Montague Smyths Landscapes
manufacture are refined and smoothed away with
an ultra-artificial finish.
To conclude, in lead-work the great secret which
it is Mr. Bankart’s aim always to act upon, is to
make use of whatever local sand may come to
hand, its coarseness sifted out, so as to avoid any
very gross imperfections and inequalities. More-
over, the pattern should be done in the sand
quickly, and easily also, with whatever little
models or implements may be found most con-
venient at the moment. And, lastly, the sand-bed
itself, once made firm and level, should be left
largely to chance as to whether its surface is quite
smooth and uniform all over or otherwise ; because
too minute precision has a hard and mechanical
effect, and such that infallibly robs the work of
those very properties in which its peculiar charm
and quality consist. Aymer Vallance.
A NOTE ON THE LANDSCAPE
PAINTINGS OF MONTAGUE
SMYTH.
Originality in both technique and ex-
pression is one of the leading characteristics of
certain English and Scottish landscapists of to-day,
who, while they follow to some extent the teachings
of the masters of Fontainebleau, are producing
works which are strongly marked by personal
sentiment. They recognise the great truth that
the charm of a landscape does not lie in the
accurate rendering of the details but in the ex-
pression of those deeper and more subtle beauties
by which nature appeals to the imagination of each
one of them according to his mood or tempera-
ment. To them a landscape is not only the
portrayal of a piece of scenery, not mere actuality,
but the means by which they can give utterance to
their poetic sentiments and aspirations. Like
their progenitor Constable, they revel in the
mysteries of atmosphere and light, two of the
greatest problems landscape painting has to offer—
though their work does not sparkle with the
delightful freshness which is one of the great
charms of that master’s pictures. They strike a
more sombre note, more mysterious and more
romantic. To such group of painters belongs
Mr. Montague Smyth.
It is a moot point, and one on which some of
the best authorities differ, whether a self-taught
“ ON THE WENSUM, NORWICH
BY MONTAGUE SMYTH
I99
manufacture are refined and smoothed away with
an ultra-artificial finish.
To conclude, in lead-work the great secret which
it is Mr. Bankart’s aim always to act upon, is to
make use of whatever local sand may come to
hand, its coarseness sifted out, so as to avoid any
very gross imperfections and inequalities. More-
over, the pattern should be done in the sand
quickly, and easily also, with whatever little
models or implements may be found most con-
venient at the moment. And, lastly, the sand-bed
itself, once made firm and level, should be left
largely to chance as to whether its surface is quite
smooth and uniform all over or otherwise ; because
too minute precision has a hard and mechanical
effect, and such that infallibly robs the work of
those very properties in which its peculiar charm
and quality consist. Aymer Vallance.
A NOTE ON THE LANDSCAPE
PAINTINGS OF MONTAGUE
SMYTH.
Originality in both technique and ex-
pression is one of the leading characteristics of
certain English and Scottish landscapists of to-day,
who, while they follow to some extent the teachings
of the masters of Fontainebleau, are producing
works which are strongly marked by personal
sentiment. They recognise the great truth that
the charm of a landscape does not lie in the
accurate rendering of the details but in the ex-
pression of those deeper and more subtle beauties
by which nature appeals to the imagination of each
one of them according to his mood or tempera-
ment. To them a landscape is not only the
portrayal of a piece of scenery, not mere actuality,
but the means by which they can give utterance to
their poetic sentiments and aspirations. Like
their progenitor Constable, they revel in the
mysteries of atmosphere and light, two of the
greatest problems landscape painting has to offer—
though their work does not sparkle with the
delightful freshness which is one of the great
charms of that master’s pictures. They strike a
more sombre note, more mysterious and more
romantic. To such group of painters belongs
Mr. Montague Smyth.
It is a moot point, and one on which some of
the best authorities differ, whether a self-taught
“ ON THE WENSUM, NORWICH
BY MONTAGUE SMYTH
I99