Studio: international art (54.1912)

Hon. Walter James, A.R.E.

'the knowe" from an etching by the hon. walter tames, a.r.e.

truth of colour, of tone, of form, indeed of the whole look and distinction of style as he does through the

pictorial aspect and sentiment of the scene, one feels, medium of the paint-brush or the stump of pastel,

too, in such masterly pictures as Northumberland So we have in his etchings the same pictorial

Moors—Autumn, Simonside, and the Cavalcade, so largeness of vision, the same fine decorative feeling

full of romantic suggestion, with the dark crags on for composition, the same spacious sense of atmo-

the Roman wall; in the beautiful, restful river scene, sphere, the same vitality that distinguish his

The Rede atElishaw, with its rich August tones, and pictures. The long lines and undulations of the

the light on the distant Border hills ; in the charm- Northumbrian moorlands appeal, of course, to the

ing July Evening, and such distinguished things as eye of the true etcher, and Mr. James, being a true

Old Pines on the Moor, Northern Pastoral, a finely painter-etcher, sees also how the forms of the clouds

composed picture rich and harmonious in colour, of the great northern skies will make noble pictorial

and a splendid study of birches and rowans, trees patterns upon his copper-plates, while suggesting

of which Mr. James knows their every secret, and the whole truth of the scene. How successfully he

which he has introduced so impressively in his has seen this is shown by the impressive Moorland

weirdly beautiful picture of 1'he Three Ravens, and After the Rainstorm, reproduced here, as well

illustrating the old ballad of "the new-slain as by The North End ofWatling Street, The Wire

knight." Fence, Summer Afternoon on the Moors, Sewingshiel

Mr. Walter James seldom makes drawings in Crag, and those two powerful dry-points, The Huel

water-colour, but he uses that medium often as a Crags—Northumberland, and Evening Calm. The

ground over which to paint with translucent effect stems and branches of trees, of course, suggest by

in oils. For sketching out of doors, however, he their lines and patterns rich material for the etcher,

finds very happy and fertile expression upon the and Mr. James, with his masterly knowledge of the

copper-plate; indeed, although he did not begin structure and growth of trees, and a true apprecia-

seriously to work with the needle until he had tion of their beauty, has made them the subjects

thoroughly matured his art as a painter, etching has of some of his best etchings. The graceful Rowans

now become with Mr. James a very important form on the Hillside has already been seen by Studio

of his artistic work. He learnt the etcher's craft readers in association with the work of the School

from Sir Frank Short, R.A., and, thanks to the of Engraving,* and here are reproductions of The

teaching of that past-master of the art, aided by Fringe of the Wood, in which the rhythm of line is

the facilities afforded by the School of Engraving particularly happy, The Knowe, Redesdale Birches,

at South Kensington, he has acquired a sure and Northboume Abbey Garden in its wintry

command of technique, through which he is able to aspect. I would like to draw the attention of

express his art with as much individuality of out- * See The Studio, May 1911, p. 289.
10S