DOI Heft:
No. 175 (October, 1907)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20776#0086
Studio- Talk
attractive foreground of water and reeds. It was background, but the flesh tones have a pure
in the rendering of this type of scenery that and refined quality that lifts the work above the
Mr. Frazer first drew attention to his work, and its realm of the merely decorative. In some respects
combination with a massive mountain range, which his Gloire de Dijon is even finer, the colour
occupies most of the mid-distance, has been well scheme there being a pale blue against a soft
worked out. J. Campbell Mitchell breaks new grey background. Decoration with a strong
ground with a very delicate evening effect on a leaning to Celtic motifs has been the principal
quiet sea and low-toned stretch of sand, and in a work of John Duncan, who this year has come
spring idyll W. S. MacGeorge gives a joyous group forward with a picture that suggests study on the
of two children set against a background of white lines with which we are familiar in the works of
blossom. His colour scheme is in a much lighter J. W. Waterhouse. The Song of the Rose is an
key than usual. Charles H. Mackie who, with a ambitious work, but so little is done in this
passion for daring colour effect, combines skill in direction in Scotland that the public may look
composition, evidences his ability in both direc- with favour on an attempt to strike out in a line
tions by a picture of fishermen drawing boats up that is not stereotyped at least north of the
the steep roadway that leads from a little creek Tweed. The figures of maidens grouped round a
to a hamlet. A much painted subject is the bush laden with crimson roses have individuality,
Dochart in " spate"
above the bridge at
Killin, and Marshall
Brown in his rendering
of it has made little
of the topographical,
but given a very im-
pressive picture of
wildly rushing water.
Another of the
younger men who have
made a decided hit
this year is Dudding-
stone Herdman. In-
spired by Longfellow's
verse, Mr. Herdman
has realised the poet's
fancy by a very beauti-
ful presentment of
budding womanhood,
the fine modelling of
the figure being em-
phasised by the very
free brushwork of the
landscape. In The
Peacock Feather Robert
Hope has painted a
figure subject that will
greatly enhance his re-
putation. It is not
only that the painting
of the rich blue and
brown draperies of the
lady's dress are made
to harmonise success-
fully with a soft grey "where brook and river meet" by duddingstone herdman
64
attractive foreground of water and reeds. It was background, but the flesh tones have a pure
in the rendering of this type of scenery that and refined quality that lifts the work above the
Mr. Frazer first drew attention to his work, and its realm of the merely decorative. In some respects
combination with a massive mountain range, which his Gloire de Dijon is even finer, the colour
occupies most of the mid-distance, has been well scheme there being a pale blue against a soft
worked out. J. Campbell Mitchell breaks new grey background. Decoration with a strong
ground with a very delicate evening effect on a leaning to Celtic motifs has been the principal
quiet sea and low-toned stretch of sand, and in a work of John Duncan, who this year has come
spring idyll W. S. MacGeorge gives a joyous group forward with a picture that suggests study on the
of two children set against a background of white lines with which we are familiar in the works of
blossom. His colour scheme is in a much lighter J. W. Waterhouse. The Song of the Rose is an
key than usual. Charles H. Mackie who, with a ambitious work, but so little is done in this
passion for daring colour effect, combines skill in direction in Scotland that the public may look
composition, evidences his ability in both direc- with favour on an attempt to strike out in a line
tions by a picture of fishermen drawing boats up that is not stereotyped at least north of the
the steep roadway that leads from a little creek Tweed. The figures of maidens grouped round a
to a hamlet. A much painted subject is the bush laden with crimson roses have individuality,
Dochart in " spate"
above the bridge at
Killin, and Marshall
Brown in his rendering
of it has made little
of the topographical,
but given a very im-
pressive picture of
wildly rushing water.
Another of the
younger men who have
made a decided hit
this year is Dudding-
stone Herdman. In-
spired by Longfellow's
verse, Mr. Herdman
has realised the poet's
fancy by a very beauti-
ful presentment of
budding womanhood,
the fine modelling of
the figure being em-
phasised by the very
free brushwork of the
landscape. In The
Peacock Feather Robert
Hope has painted a
figure subject that will
greatly enhance his re-
putation. It is not
only that the painting
of the rich blue and
brown draperies of the
lady's dress are made
to harmonise success-
fully with a soft grey "where brook and river meet" by duddingstone herdman
64