DOI Heft:
No. 173 (August, 1907)
DOI Artikel:Baldry, Alfred Lys: Robert W. Little, R.W.S.: a review of his work
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20775#0210
Robert IV. Little, R.IV.S.
included in the excellent show of his work held has guided the whole of his development and
in the earlier months of this year in the galleries determined his choice of material throughout his life,
of the Fine Art Society. Practically the only But this habit of mind is just what might have
memorable figure subject he has shown since 1900 been looked for in a man brought up, as Mr. Little
is the interior The Tudor Window Seat, which he was, among impressive and romantic scenery. By
sent to the "Old Society " in 1905. the associations of his Scottish home, by the visits
In reverting to landscape he has, after all, only he paid to Italy during his boyhood and early man-
fulfilled his artistic destiny. Clever painter as he hood, he learned almost unconsciously to see nature
is of figure subjects, he does not find in them quite largely and with a sense of her grandeur, to under-
time same scope which is afforded him by open-air stand her vast sim'plicity, and not, by attending too
motives for the exercise of his remarkable indivi- closely to her infinite complexity of detail, to over-
duality. But in landscape he takes a direction look the greater facts of her teaching. Upon these
which leads him surely to results that are of the associations he has built up a system of practice
greatest possible interest as revelations of his man- which is more than commonly complete, and which
ner of regarding nature, and as demonstrations of serves him perfectly whatever may be the demands
his preference for her most romantic aspects. One he makes upon it. It can be applied with equal
great merit of his work is that in following this appropriateness to such a piece of fantasy as The
direction he never allows himself to be led into any Red Cross Knight, and to such a frank and direct
extravagance of expression. His romanticism is record of something seen as the quiet landscape
free from the taint of theatrical exaggeration, and Shardeloes ; it is equally accountable for the decora-
the decorative qualities of his art are not spoiled by tive robustness of the Rising Storm on the Solway,
conventional limitations. The distinctive character for the repose and subtlety of The Clyde from
of his performance is frankly a reflection of his per- Gletian, and for the studied elegance of the
sonality, and comes from the habit of mind which Italian scenes On the Tiber and Massa Carrara ;
"from criffel to allonisy" (By permission of C. Plumtre fohnson, Esq.) by Robert w. little
180
included in the excellent show of his work held has guided the whole of his development and
in the earlier months of this year in the galleries determined his choice of material throughout his life,
of the Fine Art Society. Practically the only But this habit of mind is just what might have
memorable figure subject he has shown since 1900 been looked for in a man brought up, as Mr. Little
is the interior The Tudor Window Seat, which he was, among impressive and romantic scenery. By
sent to the "Old Society " in 1905. the associations of his Scottish home, by the visits
In reverting to landscape he has, after all, only he paid to Italy during his boyhood and early man-
fulfilled his artistic destiny. Clever painter as he hood, he learned almost unconsciously to see nature
is of figure subjects, he does not find in them quite largely and with a sense of her grandeur, to under-
time same scope which is afforded him by open-air stand her vast sim'plicity, and not, by attending too
motives for the exercise of his remarkable indivi- closely to her infinite complexity of detail, to over-
duality. But in landscape he takes a direction look the greater facts of her teaching. Upon these
which leads him surely to results that are of the associations he has built up a system of practice
greatest possible interest as revelations of his man- which is more than commonly complete, and which
ner of regarding nature, and as demonstrations of serves him perfectly whatever may be the demands
his preference for her most romantic aspects. One he makes upon it. It can be applied with equal
great merit of his work is that in following this appropriateness to such a piece of fantasy as The
direction he never allows himself to be led into any Red Cross Knight, and to such a frank and direct
extravagance of expression. His romanticism is record of something seen as the quiet landscape
free from the taint of theatrical exaggeration, and Shardeloes ; it is equally accountable for the decora-
the decorative qualities of his art are not spoiled by tive robustness of the Rising Storm on the Solway,
conventional limitations. The distinctive character for the repose and subtlety of The Clyde from
of his performance is frankly a reflection of his per- Gletian, and for the studied elegance of the
sonality, and comes from the habit of mind which Italian scenes On the Tiber and Massa Carrara ;
"from criffel to allonisy" (By permission of C. Plumtre fohnson, Esq.) by Robert w. little
180