DOI Heft:
Nr. 170 (May 1907)
DOI Artikel:Wood, T. Martin: The landscape-paintings and water-colours of Oliver Hall
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20774#0299
Oliver Hall, Landscape Painter
the quiet country-side to finish the work in the which our thoughts may inhabit, without incident
spectator’s mind, which the suggestions of the which brings them always back to the present time,
picture began. Some of the legendary interest of localities he has
In painting trees Mr. Hall seems always to have painted seems to survive in Mr. Hall’s canvas,
striven to see them with some relation to the part This whisper of associations, together with the
they are to play in a picture. He apparently aims pleasant painting, makes his work essentially of
at a quite synthetical rendering of the restless masses that companionable order which allows us to
of leaves, alternately crossed with sun and shadow return to it often. His pictures stand the test of
as the day wears. Much knowledge of tree-form a frequent return. They have secrets which they
makes his synthesis very convincing, but the secret give up gradually—something is revealed that at
of his skill in this as in his other pictures is a care- first escaped us. Mr. Hall’s art is certainly not
ful search for all that art has already taught us to of the kind that delivers its whole message the
regard as beauty. He seeks always some idyllic first time that it is seen. And since it is an art
mood in nature. This together with the care he to live with, the trouble of the artist in the com-
expends in translating his subject with a pure posing and the finishing processes of his pictures is
technique gives to his work its salient charac- repaid many times.
teristic of repose. The part that the human T. Martin Wood.
figure plays in his work is a small one; just •-•
here and there a small group suggests the The two wall-paper friezes by Messrs. John
presence of human life, but nothing more than Line & Sons, called “Briar Rose” and “The Rose
this. It is stillness which he prefers to trans- Tree,” reproduced on page 131 of “The Studio
late. His translation is always a little romantic; Year-Book of Decorative Art, 1907,” are from
what is commonplace is not allowed to intrude in its designs by Mr. F. G. Froggatt and not Messrs. J.
commonplace shape. He makes his pictures a place Wood and C. Overy Masters.
“NYETIMBER COMMON” BY OLIVER HALL
277
the quiet country-side to finish the work in the which our thoughts may inhabit, without incident
spectator’s mind, which the suggestions of the which brings them always back to the present time,
picture began. Some of the legendary interest of localities he has
In painting trees Mr. Hall seems always to have painted seems to survive in Mr. Hall’s canvas,
striven to see them with some relation to the part This whisper of associations, together with the
they are to play in a picture. He apparently aims pleasant painting, makes his work essentially of
at a quite synthetical rendering of the restless masses that companionable order which allows us to
of leaves, alternately crossed with sun and shadow return to it often. His pictures stand the test of
as the day wears. Much knowledge of tree-form a frequent return. They have secrets which they
makes his synthesis very convincing, but the secret give up gradually—something is revealed that at
of his skill in this as in his other pictures is a care- first escaped us. Mr. Hall’s art is certainly not
ful search for all that art has already taught us to of the kind that delivers its whole message the
regard as beauty. He seeks always some idyllic first time that it is seen. And since it is an art
mood in nature. This together with the care he to live with, the trouble of the artist in the com-
expends in translating his subject with a pure posing and the finishing processes of his pictures is
technique gives to his work its salient charac- repaid many times.
teristic of repose. The part that the human T. Martin Wood.
figure plays in his work is a small one; just •-•
here and there a small group suggests the The two wall-paper friezes by Messrs. John
presence of human life, but nothing more than Line & Sons, called “Briar Rose” and “The Rose
this. It is stillness which he prefers to trans- Tree,” reproduced on page 131 of “The Studio
late. His translation is always a little romantic; Year-Book of Decorative Art, 1907,” are from
what is commonplace is not allowed to intrude in its designs by Mr. F. G. Froggatt and not Messrs. J.
commonplace shape. He makes his pictures a place Wood and C. Overy Masters.
“NYETIMBER COMMON” BY OLIVER HALL
277