DOI Heft:
Nr. 194 (May 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20966#0341
Studio-Talk
“a thaw” (See Glasgow Studio-Talk) by george Houston, a.r.s.a.
nental or English subjects, however, have not sup-
plied him with the motif for his finest work. He
is most at home in the varied scenery of his native
county. He came into prominence by the first of
a beautiful series of pictures of the reedy banks of
the lower reaches of the Tay, a picture which was
much admired for its fine tone and the pearly
quality of its greys. The Braes oj Atholl and A
Highland Pastoral, the last named reproduced in
The Studio, in October, 1908, are typical of his
Highland landscapes, in which we have great
expanses of open pastoral country leading up to
majestic hills. While his composition is effective
he looks at nature less with the eye of the draughts-
man, more with that of the poet, striving after
subtlety, the realisation of the enveloping atmo-
sphere, and in the finest of his work one feels the
poetry of the evening glow, much as we feel it when
in front of one of Mr. Lawton Wingate’s canvases.
The human figure does not intrude on his native
solitudes, the air is still and calm, the silence of
hill and valley is undisturbed. His forte is repose.
A characteristic feature of his wooded landscapes
is the filmy impressionism of the tree forms. Mr.
Frazer was, during the year ended in March, the
Chairman of the Scottish Artists’ Society. A. E.
GLASGOW.—-The forty-eighth Annual
Exhibition of the Fine Art Institute
opened this year under the most
favourable auspices. Since the last
exhibition local interest in art has been stimulated
by the publication of two notable works on the
Scottish school; by the opening of a new wing in
the extension of the School of Art; and by the
acquisition of works by Jessie M. King and George
Houston by the Walker Art Gallery, Liverpool,
and the Corporation of Preston. The imminence
of the Institute’s jubilee is also tending to direct
attention to its work.
It is a question whether the present exhibition
is more remarkable for landscape or figure painting.
There are quite a dozen men, equally divided
between the two sections, who have never con-
tributed finer work to a public exhibition. William
3i5
“a thaw” (See Glasgow Studio-Talk) by george Houston, a.r.s.a.
nental or English subjects, however, have not sup-
plied him with the motif for his finest work. He
is most at home in the varied scenery of his native
county. He came into prominence by the first of
a beautiful series of pictures of the reedy banks of
the lower reaches of the Tay, a picture which was
much admired for its fine tone and the pearly
quality of its greys. The Braes oj Atholl and A
Highland Pastoral, the last named reproduced in
The Studio, in October, 1908, are typical of his
Highland landscapes, in which we have great
expanses of open pastoral country leading up to
majestic hills. While his composition is effective
he looks at nature less with the eye of the draughts-
man, more with that of the poet, striving after
subtlety, the realisation of the enveloping atmo-
sphere, and in the finest of his work one feels the
poetry of the evening glow, much as we feel it when
in front of one of Mr. Lawton Wingate’s canvases.
The human figure does not intrude on his native
solitudes, the air is still and calm, the silence of
hill and valley is undisturbed. His forte is repose.
A characteristic feature of his wooded landscapes
is the filmy impressionism of the tree forms. Mr.
Frazer was, during the year ended in March, the
Chairman of the Scottish Artists’ Society. A. E.
GLASGOW.—-The forty-eighth Annual
Exhibition of the Fine Art Institute
opened this year under the most
favourable auspices. Since the last
exhibition local interest in art has been stimulated
by the publication of two notable works on the
Scottish school; by the opening of a new wing in
the extension of the School of Art; and by the
acquisition of works by Jessie M. King and George
Houston by the Walker Art Gallery, Liverpool,
and the Corporation of Preston. The imminence
of the Institute’s jubilee is also tending to direct
attention to its work.
It is a question whether the present exhibition
is more remarkable for landscape or figure painting.
There are quite a dozen men, equally divided
between the two sections, who have never con-
tributed finer work to a public exhibition. William
3i5