DOI Heft:
No. 175 (October, 1907)
DOI Artikel:Atkins, Henry: William Keith, landscape painter, of California
DOI Artikel:Further leaves from the sketch-book of A. Romilly Fedden
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20776#0064
A. Romilly Fedderis Drawings
fecund ; of waving harvests, bounded by low purple the manner of this tradition as successfully as
ranges veiled in vibrant haze, the weird majesty of any of its exponents, using the pencil less as
sibyllic hemlocks and junipers in their Sierra fast- a fine point than with the breadth of handling
nesses, and the perennial vigour of those mighty which is characteristic of brush - work. The
evergreen oaks that were old in the years when art artist's application of his method to shadowy
was young. moonlight effects has always been happy. In
The joy and rewards inherent in successful effort more than one of his sketches, too, he has
are peculiarly Mr. Keith's. The happiest hours of caught the idyllic note of figures bathed in the
life are those spent before his easel, and the waking cold light. The fishing village of Cornwall—which,
hours that do not find him there are few indeed, with its white walls, is, perhaps above other English
His home studio in the quiet university town of villages, the one for providing beautiful moonlight
Berkeley adjoins the campus, with its famous effects—has afforded him inspiration for many of his
"live oaks," which, because they are the very type drawings. There is often in an artist's drawings
of perennial strength and beauty, are oftenest on the suggestion for his larger pictures, and this gives
Mr. Keith's canvases. And as he walks beneath them another interest; but it is Mr. Fedden's
the low boughs in the evening, he can say, "If the habit to carry his sketches to a degree of finish
joy of this day's work were all that life had to offer, which warrants us in regarding them as in them-
I should be satisfied." Henry Atkins. selves complete pictures.
FURTHER LEAVES
FROM THE SKETCH
BOOK OF A. RO-
MILLY FEDDEN.
We had occasion some two years
ago to notice and illustrate in our
columns the pencil work of Mr.
Romilly Fedden. By adding to the
work he had then achieved, not only
fresh drawings of interest, but evi-
dence of improved skill in dealing
with his chosen, effects, a further
note is merited. The drawings which
we now reproduce are culled from a
collection which he recently exhibited
at the galleries of Messrs. Frost &
Reed in Bristol, and the improved
skill just alluded to will be manifest
if they are compared with the
examples we reproduced on the
occasion named. There is a quality
in the moonlight subjects atPolperro,
which is becoming notably a feature
of the artist's work, calling for appre-
ciation. Mr. Fedden keeps his hand
in practice with studies of heads,
and in the one entitled Fausline
the drawing speaks of more than
successful craftsmanship. This form
of pencil-work has always been the
achievement of a school of artists
who arose under Sir H. von Her-
komer's training at Bushey. Mr. „ , .
. . A Polperro Type From a lead pencil drawing
Redden has practised drawing m By A. Romilly Fedden
42
fecund ; of waving harvests, bounded by low purple the manner of this tradition as successfully as
ranges veiled in vibrant haze, the weird majesty of any of its exponents, using the pencil less as
sibyllic hemlocks and junipers in their Sierra fast- a fine point than with the breadth of handling
nesses, and the perennial vigour of those mighty which is characteristic of brush - work. The
evergreen oaks that were old in the years when art artist's application of his method to shadowy
was young. moonlight effects has always been happy. In
The joy and rewards inherent in successful effort more than one of his sketches, too, he has
are peculiarly Mr. Keith's. The happiest hours of caught the idyllic note of figures bathed in the
life are those spent before his easel, and the waking cold light. The fishing village of Cornwall—which,
hours that do not find him there are few indeed, with its white walls, is, perhaps above other English
His home studio in the quiet university town of villages, the one for providing beautiful moonlight
Berkeley adjoins the campus, with its famous effects—has afforded him inspiration for many of his
"live oaks," which, because they are the very type drawings. There is often in an artist's drawings
of perennial strength and beauty, are oftenest on the suggestion for his larger pictures, and this gives
Mr. Keith's canvases. And as he walks beneath them another interest; but it is Mr. Fedden's
the low boughs in the evening, he can say, "If the habit to carry his sketches to a degree of finish
joy of this day's work were all that life had to offer, which warrants us in regarding them as in them-
I should be satisfied." Henry Atkins. selves complete pictures.
FURTHER LEAVES
FROM THE SKETCH
BOOK OF A. RO-
MILLY FEDDEN.
We had occasion some two years
ago to notice and illustrate in our
columns the pencil work of Mr.
Romilly Fedden. By adding to the
work he had then achieved, not only
fresh drawings of interest, but evi-
dence of improved skill in dealing
with his chosen, effects, a further
note is merited. The drawings which
we now reproduce are culled from a
collection which he recently exhibited
at the galleries of Messrs. Frost &
Reed in Bristol, and the improved
skill just alluded to will be manifest
if they are compared with the
examples we reproduced on the
occasion named. There is a quality
in the moonlight subjects atPolperro,
which is becoming notably a feature
of the artist's work, calling for appre-
ciation. Mr. Fedden keeps his hand
in practice with studies of heads,
and in the one entitled Fausline
the drawing speaks of more than
successful craftsmanship. This form
of pencil-work has always been the
achievement of a school of artists
who arose under Sir H. von Her-
komer's training at Bushey. Mr. „ , .
. . A Polperro Type From a lead pencil drawing
Redden has practised drawing m By A. Romilly Fedden
42