DOI issue:
No. 184 (July 1912)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20778#0169
Studio-Talk
“thb banquet” by monticelli
(Dublin Gallery of Modern Art)
unit—a comprehensive
thought of a place, the
details of which are only
so many chords of indi-
vidual feeling in the har-
mony represented by the
whole. The impression is
one, although the minor
effects contributing to it be
many. He works largely
in semitones, in russets,
grey, green and soft shades
of blue. A leaning towards
low tones is accompanied
by a frequent choice of
evening, moonlight and
winter effects. He loves to look dreamily across
the moorland, when the sun is low, when the
clouds absorb the dying light, and the world
reposes in shadow. His colour, nevertheless, pos-
sesses a purity suggestive of the lush freshness of
nature, and akin to the transparency of water-colour.
In this quality his oils are sometimes almost, if
not altogether, unique in contemporary Scots
practice.
Above all things else, Mr. Brown excels in the
imaginative suggestiveness which, with all his
modest reserve—perhaps by reason of it—sets us
dreaming among the poets of nature, and of all
the poets he is perhaps most closely in accord
with Thomson and Burns, his countrymen. Burns
rarely strikes the chord of sublimity, but in many
forms sings of pastoral peace, of musical stream, or
the melody of the wind. Mr. Brown paints the
“thb banquet” by monticelli
(Dublin Gallery of Modern Art)
unit—a comprehensive
thought of a place, the
details of which are only
so many chords of indi-
vidual feeling in the har-
mony represented by the
whole. The impression is
one, although the minor
effects contributing to it be
many. He works largely
in semitones, in russets,
grey, green and soft shades
of blue. A leaning towards
low tones is accompanied
by a frequent choice of
evening, moonlight and
winter effects. He loves to look dreamily across
the moorland, when the sun is low, when the
clouds absorb the dying light, and the world
reposes in shadow. His colour, nevertheless, pos-
sesses a purity suggestive of the lush freshness of
nature, and akin to the transparency of water-colour.
In this quality his oils are sometimes almost, if
not altogether, unique in contemporary Scots
practice.
Above all things else, Mr. Brown excels in the
imaginative suggestiveness which, with all his
modest reserve—perhaps by reason of it—sets us
dreaming among the poets of nature, and of all
the poets he is perhaps most closely in accord
with Thomson and Burns, his countrymen. Burns
rarely strikes the chord of sublimity, but in many
forms sings of pastoral peace, of musical stream, or
the melody of the wind. Mr. Brown paints the