DOI issue:
No. 174 (September, 1907)
DOI article:Oliver, Maude I. G.: An American portrait painter, Wilton Lockwood
DOI Page / Citation link: https://doi.org/10.11588/diglit.20775#0301
IVilton Lockwood
that it had not been employed as a cloak for
shirking.
The same year saw paintings by Lockwood in
the " Secession " exhibition at Munich, and in the
triennial exhibition of the "Grosse Berliner Kunst-
Ausstellung " of the German capital. In both places
the appearance upon the arena of a vigorous,
original and, at the same time, subtle painter, was
hailed with unreserved enthusiasm, The portrait
of Mrs. Lockwood, shown in Berlin, was regarded
as being in the first rank of modern art.
It had been a hard road—ten years, chiefly spent
in Paris, of incessant labour under the direction of
eminent European masters. Then came the desire
to follow up this foreign success by a career in the
artist's native country. Accordingly, after duly con-
sidering what, to him, would be the most congenial
surroundings inhis mother country, he decided finally
to locate in Boston; and it was in Boston the year
following his triple success abroad that he set the
critics agog by his exhibition at the St. Botolph
Club, styled, according to the catalogue, A Collection
of Portraits, Studies, and Notes. This epoch-making
display was arranged to remain for a two-weeks'
showing, but, in consequence of its enthusiastic
reception, was continued for another week. Every-
where " the new man " was the talk of the hour.
Viewed askance by the conservatives, wildly ac-
claimed by that certain element which is constantly
in search for sensation, honestly admired by dis-
criminating, thoughtful judges, he nevertheless was
candidly acknowledged by all as an innovator, a
man of marked ability, and one who was striking
a decidedly personal note.
After this exhibition, one appearance in a notable
gathering succeeded another; the genius of the
man began to find its proper level until, some
twelve months later, Mr. Lockwood received for
The Violinist an honourable mention at the Car-
negie Gallery at Pittsburg; and by the Pennsyl-
vania Academy of Fine Arts at Philadelphia he
was awarded a Temple gold medal for the same
painting, which is now at Skibo Castle, Scotland.
The painting so honoured was a remarkably
sincere character interpretation of the virttcoso,
Otto Roth. That it is an adequate likeness, the
best critics agree, but it is far more than a super-
ficial likeness. It is straightforward and refined.
It is a worthy description of the man, but the man
at his truest and best—as the musician.
Of Mr. Lockwood's portrait examples, the one
of ex-President Cleveland is a frankly meritorious
work. It is a scholarly rendition expressing sym-
pathy of thought and feeling between subject and
artist. Executed on the regulation coarse-webbed
canvas, it defines a certain confidence and eager
directness of brushwork which command unquali-
fied attention. It represents Mr. Cleveland, not as
the chief magistrate of his country, but Mr. Cleve-
land as the retired citizen, the scholar and thinker.
And, for a convincing understanding of the sitter,
the portrait of John La Farge, Mr. Lockwood's old
master, is notable. Nothing but the warmest
affection could inspire such a work, containing as
it does the impress of the sensitive, penetrating and
alert characteristics of La Farge himself.
Another justly notable work is the spirited
FRANK SEABURV, M.F.H. BY WIT.TON LOCKWOOD
263
that it had not been employed as a cloak for
shirking.
The same year saw paintings by Lockwood in
the " Secession " exhibition at Munich, and in the
triennial exhibition of the "Grosse Berliner Kunst-
Ausstellung " of the German capital. In both places
the appearance upon the arena of a vigorous,
original and, at the same time, subtle painter, was
hailed with unreserved enthusiasm, The portrait
of Mrs. Lockwood, shown in Berlin, was regarded
as being in the first rank of modern art.
It had been a hard road—ten years, chiefly spent
in Paris, of incessant labour under the direction of
eminent European masters. Then came the desire
to follow up this foreign success by a career in the
artist's native country. Accordingly, after duly con-
sidering what, to him, would be the most congenial
surroundings inhis mother country, he decided finally
to locate in Boston; and it was in Boston the year
following his triple success abroad that he set the
critics agog by his exhibition at the St. Botolph
Club, styled, according to the catalogue, A Collection
of Portraits, Studies, and Notes. This epoch-making
display was arranged to remain for a two-weeks'
showing, but, in consequence of its enthusiastic
reception, was continued for another week. Every-
where " the new man " was the talk of the hour.
Viewed askance by the conservatives, wildly ac-
claimed by that certain element which is constantly
in search for sensation, honestly admired by dis-
criminating, thoughtful judges, he nevertheless was
candidly acknowledged by all as an innovator, a
man of marked ability, and one who was striking
a decidedly personal note.
After this exhibition, one appearance in a notable
gathering succeeded another; the genius of the
man began to find its proper level until, some
twelve months later, Mr. Lockwood received for
The Violinist an honourable mention at the Car-
negie Gallery at Pittsburg; and by the Pennsyl-
vania Academy of Fine Arts at Philadelphia he
was awarded a Temple gold medal for the same
painting, which is now at Skibo Castle, Scotland.
The painting so honoured was a remarkably
sincere character interpretation of the virttcoso,
Otto Roth. That it is an adequate likeness, the
best critics agree, but it is far more than a super-
ficial likeness. It is straightforward and refined.
It is a worthy description of the man, but the man
at his truest and best—as the musician.
Of Mr. Lockwood's portrait examples, the one
of ex-President Cleveland is a frankly meritorious
work. It is a scholarly rendition expressing sym-
pathy of thought and feeling between subject and
artist. Executed on the regulation coarse-webbed
canvas, it defines a certain confidence and eager
directness of brushwork which command unquali-
fied attention. It represents Mr. Cleveland, not as
the chief magistrate of his country, but Mr. Cleve-
land as the retired citizen, the scholar and thinker.
And, for a convincing understanding of the sitter,
the portrait of John La Farge, Mr. Lockwood's old
master, is notable. Nothing but the warmest
affection could inspire such a work, containing as
it does the impress of the sensitive, penetrating and
alert characteristics of La Farge himself.
Another justly notable work is the spirited
FRANK SEABURV, M.F.H. BY WIT.TON LOCKWOOD
263