DOI Heft:
No. 206 (May, 1910)
DOI Artikel:Art school notes
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20969#0355
A rt School Notes
“EVENING at a woodland pool
(See Stockholm Studio-Talk)
admitted the students and addressed them on the
tendency of their work as a whole, and on the
general lines he thought they should endeavour to
follow. Mr. Strang criticised the works in the
presence of their authors, and in each section passed
them all in review with a running fire of comment,
sometimes humorous, sometimes fault-finding, but
always exactly to the point. He was most anxious,
he told his audience, not to be too severe, and he
hoped that they would not consider him so. All
that he wished to do was to point out errors where
they existed, and on no account to discourage the
students.
almost like daylight land-
scapes. He impressed
upon the students that
London moonlight, owing
to the hazy, smoky at-
mosphere, was not cold,
and sometimes even ap-
proached to a warm glow.
In criticising a picture in
which some pillars were
shown reflected in water
with excessive exactness,
Mr. Strang warned the
young artists that this
tendency might lead to
their work being hung
upside down at galleries.
He himself, when hanging
pictures at an exhibition,
discovered a work of this
kind that had been placed in a reversed position
on the wall. “And it looked very well, too,” said
Mr. Strang, with a twinkling eye. He concluded
his examination of the landscapes with some
valuable hints on composition and the right
placing of the picture on the canvas.
The subject chosen for figure composition,
London Workers, was, in Mr. Strang’s opinion,
an ideal one. The most obvious London workers
were the workers in the streets, and they were
always fine to watch and study, but whatever the
task they were engaged upon, the artist’s first effort
BY PROF. OLOF ARHORELIUS
One of the landscape
sections (subject, Moon-
light) was the first dealt
with by Mr. Strang. He
thought the work good,
taking the section in its
entirety, but that the
artists showed in most
cases a tendency to lay
too much stress on the
features of the landscape,
instead of massing and
losing them and trying
to get the actual quality
and mystery of moonlight.
In reality things were not
so plainly seen in moon-
light as they appeared to
be, and some of the pic-
tures before him looked
“a bergslagen lake’
BY PROF. OLOF ARBORE1.IUS
(See Stockholm Studio-Talk)
33°
“EVENING at a woodland pool
(See Stockholm Studio-Talk)
admitted the students and addressed them on the
tendency of their work as a whole, and on the
general lines he thought they should endeavour to
follow. Mr. Strang criticised the works in the
presence of their authors, and in each section passed
them all in review with a running fire of comment,
sometimes humorous, sometimes fault-finding, but
always exactly to the point. He was most anxious,
he told his audience, not to be too severe, and he
hoped that they would not consider him so. All
that he wished to do was to point out errors where
they existed, and on no account to discourage the
students.
almost like daylight land-
scapes. He impressed
upon the students that
London moonlight, owing
to the hazy, smoky at-
mosphere, was not cold,
and sometimes even ap-
proached to a warm glow.
In criticising a picture in
which some pillars were
shown reflected in water
with excessive exactness,
Mr. Strang warned the
young artists that this
tendency might lead to
their work being hung
upside down at galleries.
He himself, when hanging
pictures at an exhibition,
discovered a work of this
kind that had been placed in a reversed position
on the wall. “And it looked very well, too,” said
Mr. Strang, with a twinkling eye. He concluded
his examination of the landscapes with some
valuable hints on composition and the right
placing of the picture on the canvas.
The subject chosen for figure composition,
London Workers, was, in Mr. Strang’s opinion,
an ideal one. The most obvious London workers
were the workers in the streets, and they were
always fine to watch and study, but whatever the
task they were engaged upon, the artist’s first effort
BY PROF. OLOF ARHORELIUS
One of the landscape
sections (subject, Moon-
light) was the first dealt
with by Mr. Strang. He
thought the work good,
taking the section in its
entirety, but that the
artists showed in most
cases a tendency to lay
too much stress on the
features of the landscape,
instead of massing and
losing them and trying
to get the actual quality
and mystery of moonlight.
In reality things were not
so plainly seen in moon-
light as they appeared to
be, and some of the pic-
tures before him looked
“a bergslagen lake’
BY PROF. OLOF ARBORE1.IUS
(See Stockholm Studio-Talk)
33°