DOI issue:
Nr. 194 (May 1909)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20966#0343
Studio-Talk
debatable point whether the interest in the picture
has not been lessened by the elimination of the
piper. Other striking landscapes are The Gipsy
Camp, by E. A. Walton, R.S.A., a rhythm of blue
and green; Plant Land, by Louis Grier, delightful
in decorative feeling; Pas de Calais, by H.
Hughes-Stanton, with fine sea and sky effect; The
Rhymer's Glen, by Archibald Kay, R.S.W., with
clever handling of early autumn foliage, and the
misty charm of highland ravine; The Sun peeped
o'er yon Southland Hills, by Joseph Farquharson,
A.R.A., remarkable for the golden glow of the
morning sun on the untrodden snow on the
mountain side ; and a thoughtful rendering of a
woodland scene by F. Spenlove Spenlove. Mr.
Kay’s picture just mentioned has been purchased
by the Corporation for the permanent collection.
Amongst the portraits and figure subjects The
Velvet Cloak, by Sir James Guthrie, P.R.S.A.,
attracts for many reasons; the pose is striking, the
velvet drapery convincing, drawing from another
noted portrait painter the confession, “ The best
black I have ever seen in paint.” There are two
figure studies more arresting to artist than layman,
because of the absolute cleverness of treatment.
Miss Lillah Macarthy, in the Dress of Dona Aha,
by Charles Shannon, a work already reproduced in
The Studio, and Silk and Ermine, by George
Henry, A.R.A., R.S.A. No two studies could be
more dissimilar; in the one there is the delightful
handling of beautiful colour contrasts, in the other
the complete mastery of monochromatic monotony.
No less than Whistler and Melville, Henry has
discovered that a grey gown or a reddish-brown
skirt placed against a background of similar tone,
permits the eye to rest on the subject of the
picture, without the irritation of distraction. In
Silk and Ermine this idea is emphasised, and
additional appropriateness is given by the style of
dress and that of the cleverly-painted panelling
being contemporaneous in period.
In the centre room there are two interesting
“A LANCASHIRE FISHING VILLAGE”
BY WILLIAM WELLS, R. B. A.
317
debatable point whether the interest in the picture
has not been lessened by the elimination of the
piper. Other striking landscapes are The Gipsy
Camp, by E. A. Walton, R.S.A., a rhythm of blue
and green; Plant Land, by Louis Grier, delightful
in decorative feeling; Pas de Calais, by H.
Hughes-Stanton, with fine sea and sky effect; The
Rhymer's Glen, by Archibald Kay, R.S.W., with
clever handling of early autumn foliage, and the
misty charm of highland ravine; The Sun peeped
o'er yon Southland Hills, by Joseph Farquharson,
A.R.A., remarkable for the golden glow of the
morning sun on the untrodden snow on the
mountain side ; and a thoughtful rendering of a
woodland scene by F. Spenlove Spenlove. Mr.
Kay’s picture just mentioned has been purchased
by the Corporation for the permanent collection.
Amongst the portraits and figure subjects The
Velvet Cloak, by Sir James Guthrie, P.R.S.A.,
attracts for many reasons; the pose is striking, the
velvet drapery convincing, drawing from another
noted portrait painter the confession, “ The best
black I have ever seen in paint.” There are two
figure studies more arresting to artist than layman,
because of the absolute cleverness of treatment.
Miss Lillah Macarthy, in the Dress of Dona Aha,
by Charles Shannon, a work already reproduced in
The Studio, and Silk and Ermine, by George
Henry, A.R.A., R.S.A. No two studies could be
more dissimilar; in the one there is the delightful
handling of beautiful colour contrasts, in the other
the complete mastery of monochromatic monotony.
No less than Whistler and Melville, Henry has
discovered that a grey gown or a reddish-brown
skirt placed against a background of similar tone,
permits the eye to rest on the subject of the
picture, without the irritation of distraction. In
Silk and Ermine this idea is emphasised, and
additional appropriateness is given by the style of
dress and that of the cleverly-painted panelling
being contemporaneous in period.
In the centre room there are two interesting
“A LANCASHIRE FISHING VILLAGE”
BY WILLIAM WELLS, R. B. A.
317