DOI Heft:
No. 202 (January, 1910)
DOI Artikel:The Arts and Crafts Exhibition Society: A retrospect
DOI Artikel:The late A. G. Macgregor: an appreciation
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20968#0328
A. G. MacGregor
students of the craft schools of London and
Birmingham, whose teachers may fairly be said
to have obtained their inspiration, if not their
direct instruction, from the men who more than
twenty years ago were instrumental in founding
the Arts and Crafts Society. W. T. Whitley.
[The illustrations accompanying the foregoing
article represent a few of the more important con-
tributions to the present exhibition of the Arts and
Crafts Society, but we defer dealing specifically
with this exhibition until next month, when we
hope to illustrate a further selection of the works
shown, including the remaining portions of Mr.
Batten's altar triptych destined for the Church of
St. Martin (erected as a memorial to Dean Vaughan)
at Kensal Rise. Of this important work, on
which the artist has been engaged for some four
years, only the centre
panel had been photo-
graphed in time for repro-
duction in this number.
—The Editor.]
philosophies, he was well aware that our philoso-
phies and histories, and therefore our religions,
are all under revision. These were all human
activities which interested him intensely, as witness
his Descent of Ishtar, The Vision of St. Ausgarius
and the beautiful interpretation of a Northern saga
in The Spirit of Life.
It is no surprise to find that a man who could
feel some of life's great verities so articulately as
appears in Wasted Hours or Sorrow and Memory,
had a fervent admiration for the art of Watts, whom
in his few canvases he so resembled in intellectual
outlook, while in accurate and strong drawing he
may be said to have been superior to the master.
Moderate as was Macgregor's output in quantity,
one feels at once awed and lifted by the robust and
yet supremely sympathetic character of his recorded
visions. The actuality and strength of his work are
T
HE LATE A.
G. MACGRE-
GOR. — AN
APPRECIA-
TION.
A consistent and sin-
cere conception of art as
serving and ennobling life
appears in the work of
the late A. G. Macgregor.
Like Millet in France he
quietly scorned to play
any tricks for the amuse-
ment of the public, and
owed allegiance to no
school but himself.
Whether in one of his few
laboured ethical canvases
or in a water-colour draw-
ing of landscape, one
knows that he was realis-
ing his creed, that to
embody in a symbol some
sensation, great or trivial,
is the artist's main busi-
ness. As a student of
history and as one who "sorrow and memory" by a. g. macgregor
had groped among the [By pet mission of Mrs. MacGregor)
306
students of the craft schools of London and
Birmingham, whose teachers may fairly be said
to have obtained their inspiration, if not their
direct instruction, from the men who more than
twenty years ago were instrumental in founding
the Arts and Crafts Society. W. T. Whitley.
[The illustrations accompanying the foregoing
article represent a few of the more important con-
tributions to the present exhibition of the Arts and
Crafts Society, but we defer dealing specifically
with this exhibition until next month, when we
hope to illustrate a further selection of the works
shown, including the remaining portions of Mr.
Batten's altar triptych destined for the Church of
St. Martin (erected as a memorial to Dean Vaughan)
at Kensal Rise. Of this important work, on
which the artist has been engaged for some four
years, only the centre
panel had been photo-
graphed in time for repro-
duction in this number.
—The Editor.]
philosophies, he was well aware that our philoso-
phies and histories, and therefore our religions,
are all under revision. These were all human
activities which interested him intensely, as witness
his Descent of Ishtar, The Vision of St. Ausgarius
and the beautiful interpretation of a Northern saga
in The Spirit of Life.
It is no surprise to find that a man who could
feel some of life's great verities so articulately as
appears in Wasted Hours or Sorrow and Memory,
had a fervent admiration for the art of Watts, whom
in his few canvases he so resembled in intellectual
outlook, while in accurate and strong drawing he
may be said to have been superior to the master.
Moderate as was Macgregor's output in quantity,
one feels at once awed and lifted by the robust and
yet supremely sympathetic character of his recorded
visions. The actuality and strength of his work are
T
HE LATE A.
G. MACGRE-
GOR. — AN
APPRECIA-
TION.
A consistent and sin-
cere conception of art as
serving and ennobling life
appears in the work of
the late A. G. Macgregor.
Like Millet in France he
quietly scorned to play
any tricks for the amuse-
ment of the public, and
owed allegiance to no
school but himself.
Whether in one of his few
laboured ethical canvases
or in a water-colour draw-
ing of landscape, one
knows that he was realis-
ing his creed, that to
embody in a symbol some
sensation, great or trivial,
is the artist's main busi-
ness. As a student of
history and as one who "sorrow and memory" by a. g. macgregor
had groped among the [By pet mission of Mrs. MacGregor)
306