DOI Heft:
No. 203 (February, 1910)
DOI Artikel:Baker, C. H. Collins: The paintings of Prof. Henry Tonks
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20969#0033
Henry Tonks
relished by Charles Conder. By Mrs. Conder’s
kindness we are able to illustrate it here. In this
small piece the painter, experimentally I daresay,
carefully attained, and kept all through, that
opposition of transparent to economically loaded
pigment that may rightly be esteemed of all
methods the most pleasing to the eye. That it is
perhaps the most difficult to maintain is certain.
Compared with his technique in oils that of his
water-colours is more precious ; in them he prac-
tises a master’s selection of nothing but what is
indispensable. Certain of his landscapes, his
sketch portraits, and interiors in the latter medium
are the type of style and elimination. Very reticent,
devoid of surplusage, and filled with an instinctive
colour, they wear a distinguished aspect of mastery
and taste. In the heavier medium Mr. Tonks
but rarely does landscape. I recall
but three or four, among them,
The Escaped Bird of 1900, and
Chalk Cliffs, a remarkable har-
mony of blues, opalescent greys
and white. In his capacity as
designer no picture has given him
a finer chance than his Pastoral
Play of 1899, and the beautiful
portrait of Mrs. Hugh Hammersley
(1904). The latter (page 8) is a
splendid decoration in a scheme of
black and silver foiled by notes of
glowing depth.
To sum up Mr. Tonks’ position
and achievement, as far as one
may in the case of an art that
has not reached its maturity, we
have to keep in view his various
range, as a line draughtsman and as
a painter in oils and water colour.
Also we must consider his asso-
ciations and the influences he has
undergone. Thus, his early admira-
tion for Millais and Walker, his
subsequent and sympathetic en-
gagement with Watteau, and his
close intimacy with Wilson Steer,
are essential to a grasp of his com-
ponents. In all his work the most
distinguishing factors are a decisive
and crisp sense of form and an
unrivalled sympathy, at the present
day, with the gracious refinement
of femininity. As a colourist he
has achieved his best in the quiet
symphonies and wonderful rich-
ness of The Crystal Gazer and The Bird Cage.
Remarkably self-critical as he is, the rate of his
production is comparatively slow. Pictures that
fail to pass his scrutiny are destroyed. When in
due perspective the later phases of impressionism
are seen and sorted out, works such as The
Strolling Players and those I have just named
will be allotted distinguished rank. They will be
honoured for their brilliant achievement of light
and atmosphere; for their integrity in draughts-
manship, and above all for the spirit in them
that expresses the romance and tender beauty of
womanhood. And in those days, I think, as rare
examples of line, expressing projection and subtle
movement Mr. Tonks’ drawings will fill space
that is devoted to old masters on the walls of
the academies. C. H. C. B.
“THE GIRL WITH A PARROT” BY HENRY TONKS
(/« the possession of Mrs. Conder)
10
relished by Charles Conder. By Mrs. Conder’s
kindness we are able to illustrate it here. In this
small piece the painter, experimentally I daresay,
carefully attained, and kept all through, that
opposition of transparent to economically loaded
pigment that may rightly be esteemed of all
methods the most pleasing to the eye. That it is
perhaps the most difficult to maintain is certain.
Compared with his technique in oils that of his
water-colours is more precious ; in them he prac-
tises a master’s selection of nothing but what is
indispensable. Certain of his landscapes, his
sketch portraits, and interiors in the latter medium
are the type of style and elimination. Very reticent,
devoid of surplusage, and filled with an instinctive
colour, they wear a distinguished aspect of mastery
and taste. In the heavier medium Mr. Tonks
but rarely does landscape. I recall
but three or four, among them,
The Escaped Bird of 1900, and
Chalk Cliffs, a remarkable har-
mony of blues, opalescent greys
and white. In his capacity as
designer no picture has given him
a finer chance than his Pastoral
Play of 1899, and the beautiful
portrait of Mrs. Hugh Hammersley
(1904). The latter (page 8) is a
splendid decoration in a scheme of
black and silver foiled by notes of
glowing depth.
To sum up Mr. Tonks’ position
and achievement, as far as one
may in the case of an art that
has not reached its maturity, we
have to keep in view his various
range, as a line draughtsman and as
a painter in oils and water colour.
Also we must consider his asso-
ciations and the influences he has
undergone. Thus, his early admira-
tion for Millais and Walker, his
subsequent and sympathetic en-
gagement with Watteau, and his
close intimacy with Wilson Steer,
are essential to a grasp of his com-
ponents. In all his work the most
distinguishing factors are a decisive
and crisp sense of form and an
unrivalled sympathy, at the present
day, with the gracious refinement
of femininity. As a colourist he
has achieved his best in the quiet
symphonies and wonderful rich-
ness of The Crystal Gazer and The Bird Cage.
Remarkably self-critical as he is, the rate of his
production is comparatively slow. Pictures that
fail to pass his scrutiny are destroyed. When in
due perspective the later phases of impressionism
are seen and sorted out, works such as The
Strolling Players and those I have just named
will be allotted distinguished rank. They will be
honoured for their brilliant achievement of light
and atmosphere; for their integrity in draughts-
manship, and above all for the spirit in them
that expresses the romance and tender beauty of
womanhood. And in those days, I think, as rare
examples of line, expressing projection and subtle
movement Mr. Tonks’ drawings will fill space
that is devoted to old masters on the walls of
the academies. C. H. C. B.
“THE GIRL WITH A PARROT” BY HENRY TONKS
(/« the possession of Mrs. Conder)
10