DOI Heft:
No. 218 (May, 1911)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20972#0343
Studio-Talk
"the uplands of arbory " (By permission of James Craig,Esj.) by william wells, r.b.a.
the genius of Robert Brough, whose early demise no problems of draughtsmanship to an artist who
was an irreparable loss to Scottish Art. The Pre- has mastered the sense of distance, who can
Raphaelite School is represented in works by convey the feeling of anatomy in a figure com-
Millais, Holman Hunt, and Ford Madox Brown; pletely enshrouded in drapery. The picture is full
and there is an exquisitely patterned Albert Moore, of work, but there is no overcrowding; is intensely
- decorative, with subtle colour gradations, from
Of contemporary art there is a more than fresh green to milky blue; is well balanced, even
usually fine exhibition, as if artists to-day delighted the signature playing a by no means unimportant
in the celebration of the golden anniversary of the part in the general scheme of arrangement; but
Institute's union with an. There hangs a picture much of the charm lies in the simplicity of subject
in the east room, missed by the visitor on enter- and naturalistic manner of treatment. If there be
ing; the hangers were constrained to place it in virtue in familiarity, as there should be, it may
a corner, for in a prominent position it would have count a little that the picture was painted practically
upset calculations. But William Wells is a difficult from the artist's doorstep,
man to corner, and, turning round from any point -
in the room, the eye is attracted by two great Few artists indicate advance more distinctly
planes of exquisitely clear contrasting greens and than W. A. Gibson, whose Near Lavardin is one
blues, with immeasurably distant earth and ex- of a group of striking studies made under the
pansive sky; a well-defined group of figures, bewitching influence of the clear, pearly atmo-
painted at a distance, in an atmosphere of un- sphere of France. There is little spontaneity
stinted daylight, enhancing greatly the fine perspec- with this painstaking artist; his work is of the
tive effect. In The Uplands of Arbory there are thoughtful, steady order, his purpose is richness
321
"the uplands of arbory " (By permission of James Craig,Esj.) by william wells, r.b.a.
the genius of Robert Brough, whose early demise no problems of draughtsmanship to an artist who
was an irreparable loss to Scottish Art. The Pre- has mastered the sense of distance, who can
Raphaelite School is represented in works by convey the feeling of anatomy in a figure com-
Millais, Holman Hunt, and Ford Madox Brown; pletely enshrouded in drapery. The picture is full
and there is an exquisitely patterned Albert Moore, of work, but there is no overcrowding; is intensely
- decorative, with subtle colour gradations, from
Of contemporary art there is a more than fresh green to milky blue; is well balanced, even
usually fine exhibition, as if artists to-day delighted the signature playing a by no means unimportant
in the celebration of the golden anniversary of the part in the general scheme of arrangement; but
Institute's union with an. There hangs a picture much of the charm lies in the simplicity of subject
in the east room, missed by the visitor on enter- and naturalistic manner of treatment. If there be
ing; the hangers were constrained to place it in virtue in familiarity, as there should be, it may
a corner, for in a prominent position it would have count a little that the picture was painted practically
upset calculations. But William Wells is a difficult from the artist's doorstep,
man to corner, and, turning round from any point -
in the room, the eye is attracted by two great Few artists indicate advance more distinctly
planes of exquisitely clear contrasting greens and than W. A. Gibson, whose Near Lavardin is one
blues, with immeasurably distant earth and ex- of a group of striking studies made under the
pansive sky; a well-defined group of figures, bewitching influence of the clear, pearly atmo-
painted at a distance, in an atmosphere of un- sphere of France. There is little spontaneity
stinted daylight, enhancing greatly the fine perspec- with this painstaking artist; his work is of the
tive effect. In The Uplands of Arbory there are thoughtful, steady order, his purpose is richness
321