DOI Heft:
No. 235 (October 1912)
DOI Artikel:Taylor, Ernest Archibald: Some etchings from the recent salons in Paris
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21158#0038
Etchings from the Paris Salons
huddled together in a confusing mass, no distinc-
tion being made between mere pictorial copies and
original work.
In viewing the collection of work shown this
year at the Old Salon, it was with a great sense
of relief that one came across such spontaneous,
open-air work as that of Amedee Feau in Les
Grands Pins, the Vieille Rue a Argentan of
Robert Desouches, with its restrained aestheticism,
and Mr. Hugh Paton’s charming little print
Cottages in Cornwall, in which that artist has
fulfilled and accepted all the limitations of his
medium without affected knowledge. Characteristic,
too, of a close and intimate relationship between
the etcher and the interpretation upon copper of
the subject were Frank Milton Armington’s Mount
Sir Donald Glacier, Canada (Rocky Mountains),
and the little memories of Canada by Mrs. Caroline
H. Armington. For subtle refinement the Dor-
drecht of Mr. Andrew F. Affleck claimed more than
momentary attention, as did the Catludrale de
Cl.artres, by Mr. Hedley Fitton, for pattern and
design. The Illustrations dune Monographic de
Fribourg, by M. Paul-Adrien Bouroux, were simi-
larly attractive. For a more distinct personality
in selection and technique the Dancing Water and
Pont Neuf by Mr. P. Roy Partridge, were out-
standing. The Roman Bridge and The Haunted
House, with its suggestion of imagination, by Mr.
Lister Rosenfield, were two most refreshing exhibits
amongst much honest work with little inspiration.
The prominent feature of the Old Salon was
certainly technicality and ability applied to the
pictorial representation of things as they are, and
one felt thankful in viewing the coloured etchings
that those qualities so far had not yet been achieved.
Among the prints which kept within the medium’s
limits most successfully without presenting in ap-
pearance a well-tubbed water-colour, Mr. Hugh
Paton’s Soir and M. Raoul du Gardier’s Sur I'Eau
were the most important. The aquatint Au Clair
de Lune, by Miss Hilda Porter, and Dans les Alpes,
by M. Georges-Albert-Etienne Belnet, were also
notable. Miss Polly Phill Morris showed some
THE Tirsy DWARF
16
( Society Nationale des Beaux-Arts)
BY JAN GORDON
huddled together in a confusing mass, no distinc-
tion being made between mere pictorial copies and
original work.
In viewing the collection of work shown this
year at the Old Salon, it was with a great sense
of relief that one came across such spontaneous,
open-air work as that of Amedee Feau in Les
Grands Pins, the Vieille Rue a Argentan of
Robert Desouches, with its restrained aestheticism,
and Mr. Hugh Paton’s charming little print
Cottages in Cornwall, in which that artist has
fulfilled and accepted all the limitations of his
medium without affected knowledge. Characteristic,
too, of a close and intimate relationship between
the etcher and the interpretation upon copper of
the subject were Frank Milton Armington’s Mount
Sir Donald Glacier, Canada (Rocky Mountains),
and the little memories of Canada by Mrs. Caroline
H. Armington. For subtle refinement the Dor-
drecht of Mr. Andrew F. Affleck claimed more than
momentary attention, as did the Catludrale de
Cl.artres, by Mr. Hedley Fitton, for pattern and
design. The Illustrations dune Monographic de
Fribourg, by M. Paul-Adrien Bouroux, were simi-
larly attractive. For a more distinct personality
in selection and technique the Dancing Water and
Pont Neuf by Mr. P. Roy Partridge, were out-
standing. The Roman Bridge and The Haunted
House, with its suggestion of imagination, by Mr.
Lister Rosenfield, were two most refreshing exhibits
amongst much honest work with little inspiration.
The prominent feature of the Old Salon was
certainly technicality and ability applied to the
pictorial representation of things as they are, and
one felt thankful in viewing the coloured etchings
that those qualities so far had not yet been achieved.
Among the prints which kept within the medium’s
limits most successfully without presenting in ap-
pearance a well-tubbed water-colour, Mr. Hugh
Paton’s Soir and M. Raoul du Gardier’s Sur I'Eau
were the most important. The aquatint Au Clair
de Lune, by Miss Hilda Porter, and Dans les Alpes,
by M. Georges-Albert-Etienne Belnet, were also
notable. Miss Polly Phill Morris showed some
THE Tirsy DWARF
16
( Society Nationale des Beaux-Arts)
BY JAN GORDON