DOI Heft:
Nr. 182 (May 1908)
DOI Artikel:Baldry, Alfred Lys: John Buxton Knight: an appreciation
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20777#0309
John Buxton Knight
of his work at different periods—for instance, The
Weald of Kent, near Sevenoaks, a youthful essay in
which there is a hint of the influence of Richard
Wilson ; Hinksey Ferry, Oxford, and The Hoppers,
characteristic productions of his middle age; and
Nature's Cathedral, Chorley Wood, and Mill on
the Colne, near Rickmansivorth, which were painted
towards the end of his life. And there are
others which can be compared advantageously
because they prove his adaptability and his
capacity for entering into the spirit of the scene
which he found before him. To contrast pastorals
like Tending the Flock with such coast subjects
as The Hanvich Steamer and the Dover water-
colour, or the two other water-colours in which he
has realised so brilliantly the freshness of the salt
air and the briskness of the sea breeze, is to gain a
definite insight into his sympathetic and sensitive
impressionism and to understand something of
the secret of his power. In The Lock, too, the
Nairn water - colour, and in West Drayton, his
grasp of large essentials and his sense of digni-
fied and spacious design are made completely
apparent; his masses and lines are admirably har-
monised, and nothing is wanting which would help
to perfect the pictorial arrangement.
In all these examples, in fact, as in many others
that might be selected from the great array of
paintings which are available to prove to future
generations how just is the estimate of him formed
to-day by art lovers of the better sort, it is the rare
combination of exquisite tenderness and robust
vitality that is so immediately impressive. He
never used his strength indiscreetly, he never tried
to gain by mere vehemence or needless insistence
effects which were more surely though less easily
attainable by delicate and carefully considered
devices of craftsmanship. Vigorous he always was,
decisive and direct as became a man who was
impatient of ingenious evasions of artistic responsi-
bility and hated artificialities which were meant to
cover deficiencies in knowledge. But his vigour
was tempered by an admirable restraint, and his
decision was the outcome of long and sincere
study; and, above all, he had for nature a love too
deep and absorbing to allow him to forget that in
everything he did her guidance was necessary to
save him from mistakes. A. L. B.
(The Editor is indebted to Messrs. W. Marchant &
Co., of the Goupil Gallery, Regent Street, for facilitat-
ing the reproduction of several of Mr. Buxton Knight’s
pictures, recently on exhibition at their gallery.)
“ THE WEALD OF KENT, NEAR SEVENOAKS
BY J. BUXTON KNIGHT
29O
( By special permission J
of his work at different periods—for instance, The
Weald of Kent, near Sevenoaks, a youthful essay in
which there is a hint of the influence of Richard
Wilson ; Hinksey Ferry, Oxford, and The Hoppers,
characteristic productions of his middle age; and
Nature's Cathedral, Chorley Wood, and Mill on
the Colne, near Rickmansivorth, which were painted
towards the end of his life. And there are
others which can be compared advantageously
because they prove his adaptability and his
capacity for entering into the spirit of the scene
which he found before him. To contrast pastorals
like Tending the Flock with such coast subjects
as The Hanvich Steamer and the Dover water-
colour, or the two other water-colours in which he
has realised so brilliantly the freshness of the salt
air and the briskness of the sea breeze, is to gain a
definite insight into his sympathetic and sensitive
impressionism and to understand something of
the secret of his power. In The Lock, too, the
Nairn water - colour, and in West Drayton, his
grasp of large essentials and his sense of digni-
fied and spacious design are made completely
apparent; his masses and lines are admirably har-
monised, and nothing is wanting which would help
to perfect the pictorial arrangement.
In all these examples, in fact, as in many others
that might be selected from the great array of
paintings which are available to prove to future
generations how just is the estimate of him formed
to-day by art lovers of the better sort, it is the rare
combination of exquisite tenderness and robust
vitality that is so immediately impressive. He
never used his strength indiscreetly, he never tried
to gain by mere vehemence or needless insistence
effects which were more surely though less easily
attainable by delicate and carefully considered
devices of craftsmanship. Vigorous he always was,
decisive and direct as became a man who was
impatient of ingenious evasions of artistic responsi-
bility and hated artificialities which were meant to
cover deficiencies in knowledge. But his vigour
was tempered by an admirable restraint, and his
decision was the outcome of long and sincere
study; and, above all, he had for nature a love too
deep and absorbing to allow him to forget that in
everything he did her guidance was necessary to
save him from mistakes. A. L. B.
(The Editor is indebted to Messrs. W. Marchant &
Co., of the Goupil Gallery, Regent Street, for facilitat-
ing the reproduction of several of Mr. Buxton Knight’s
pictures, recently on exhibition at their gallery.)
“ THE WEALD OF KENT, NEAR SEVENOAKS
BY J. BUXTON KNIGHT
29O
( By special permission J