DOI Heft:
No. 238 (January 1913)
DOI Artikel:Dixon, Marion Hepworth: The paintings of Philip Connard
DOI Artikel:Hind, Charles Lewis: An American landscape painter: W. Elmer Schofield
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21158#0302
W. Elmer Schofield
with its vivid black-and-white reflections, is a
stroke of genius in itself. “It is only when we
have seen a thing for the hundredth time that we
see it for the first time,” says the chief of modern
paradoxical writers. Well, Mr. Connard is one of
the artists who sees, that is what differentiates his
work from that of other artists.
Two of the painter’s most characteristic canvases
delineating the well-known interior with figures at
Chelsea are also among our illustrations. The
first (from the Leicester Galleries) is named The
Guitar, and shows us, beyond the now familiar
group of mother and children, the reflection of the
artist at work in a long mirror. The second and
larger black-and-white, The Little Ballerina, has
even more distinction and felicity of composition.
In it Mr. Connard touches on the true mystery of
the interior. There is magic in the lighting. The
canvas, indeed, is steeped in atmosphere, and
conveys to the spectator that subtle mixture of
intimacy and aloofness which only a master knows
how to convey. M. H. D.
AN AMERICAN LANDSCAPE
PAINTER: W. ELMER SCHO-
FIELD. BY C. LEWIS HIND.
A renowned marine and pastoral painter sat
in a deep chair smoking a discoloured pipe and
frowning. It was a winter evening; we were
gathered around the club fire, and one of the party
—you may be sure that he was a figure-man—was
reading aloud with glee passages from that egregious
book by “ Cosmos ” on “ The Position of Land-
scape in Art.” Suddenly the renowned marine and
pastoral painter stirred, rose, and said with
vehemence: “Look here! landscape painting is
much more difficult than figure. The model is
always moving, and if you do the right thing, and
always paint in the open, you have to be as strong
as an elephant to stand the exposure. I tell you
landscape painting is much more difficult, and the
sea is still more appallingly difficult.”
With that he stalked away. I moved apart
also, for the discussion promised to be profitless.
“ OI.D COVERED BRIDGE ”
280
BY W. ELMER SCHOFIELD
with its vivid black-and-white reflections, is a
stroke of genius in itself. “It is only when we
have seen a thing for the hundredth time that we
see it for the first time,” says the chief of modern
paradoxical writers. Well, Mr. Connard is one of
the artists who sees, that is what differentiates his
work from that of other artists.
Two of the painter’s most characteristic canvases
delineating the well-known interior with figures at
Chelsea are also among our illustrations. The
first (from the Leicester Galleries) is named The
Guitar, and shows us, beyond the now familiar
group of mother and children, the reflection of the
artist at work in a long mirror. The second and
larger black-and-white, The Little Ballerina, has
even more distinction and felicity of composition.
In it Mr. Connard touches on the true mystery of
the interior. There is magic in the lighting. The
canvas, indeed, is steeped in atmosphere, and
conveys to the spectator that subtle mixture of
intimacy and aloofness which only a master knows
how to convey. M. H. D.
AN AMERICAN LANDSCAPE
PAINTER: W. ELMER SCHO-
FIELD. BY C. LEWIS HIND.
A renowned marine and pastoral painter sat
in a deep chair smoking a discoloured pipe and
frowning. It was a winter evening; we were
gathered around the club fire, and one of the party
—you may be sure that he was a figure-man—was
reading aloud with glee passages from that egregious
book by “ Cosmos ” on “ The Position of Land-
scape in Art.” Suddenly the renowned marine and
pastoral painter stirred, rose, and said with
vehemence: “Look here! landscape painting is
much more difficult than figure. The model is
always moving, and if you do the right thing, and
always paint in the open, you have to be as strong
as an elephant to stand the exposure. I tell you
landscape painting is much more difficult, and the
sea is still more appallingly difficult.”
With that he stalked away. I moved apart
also, for the discussion promised to be profitless.
“ OI.D COVERED BRIDGE ”
280
BY W. ELMER SCHOFIELD