Studio: international art (38.1906)

JValter Tyndale

convinced that the refusal may be traced to some
gaucherie or want of tact on the part of the artists
themselves.”

Of the art influences which have been at various
times brought to bear upon him, Mr. Tyndale
considers he is chiefly indebted to that of Claude
Hayes, and in a lesser degree to that of Mrs.
Allingham. And, bearing this admission in mind,
it will not be difficult for those who are acquainted
with the style of work produced by these artists, to
trace that influence fairly clearly. Jan Van Beers
he knew for some time in Paris; and at his studio,
in company with other Antwerp students, who all
spoke Flemish well, he undoubtedly acquired a love
for careful and detailed work where such is likely
to add to the finish and beauty of the picture.
Those who have an extended acquaintance with
Mr. Tyndale’s work will easily trace the influences
which, as we have already said, he admits that he
came under during the time that he was endeavour-
ing to find his true metier.

The care with which he applies a wide knowledge
of architecture and architectural detail is easily seen
in such pictures as La Piazza San Pietro, Genoa,
in which the quality of detailed work, without

what may be called “ niggling,” is apparent. And
in addition this particular picture also proves an
excellent example of Mr. Tyndale’s skill in the
introduction of suitable figures naturally grouped;
this is noticeably the case as regards the two
Sisters of Charity, the gendarmes, and the wooden,
legged market-man in the foreground,

In The Guardian of the Harem, Mr. Tyndale
found a Moorish subject entirely to his liking. The
attitude of the figure, though not traditionally the
one associated with the guardian of a harem, is
very natural and true to life. The guards of such
places at high noon, when this picture was painted,
are more frequently, indeed, to be found taking a
siesta than standing upright, fierce, and armed to
the teeth, as they are traditionally supposed to be.

In his picture of A Pot Market at Assisi, Mr.
Tyndale depicts a subject thoroughly after his own
heart. Here, too, is all the effective grouping of
suitable figures, and the background of interesting,
carefully and sympathetically painted architecture.
Few pictures, indeed, in this genre have more
carefully rendered the somewhat indolent aspect
of a market, such as that depicted, in an Italian
town or village. In the picture A Corner of the

“a pot market at ASSISI
296

(By permission of R. /. Moser, Esq.)

BY WALTER TYNDALE