DOI Heft:
No. 239 (February 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21160#0083
Studio-Talk
"high noon in the boatyard—rye"
time, but something which would weary the person
who attempted to live with it. The exhibitors at
the Carfax Gallery do not shirk the difficulties of
their programme. Their independence of "subject"
in all but their own specialised sense, does not
permit us to accuse them of wilfully seeking out
something unbeautiful in sentiment for representa-
tion, otherwise, certainly Mr. Gilman could be
charged with making a positive cult of the meaner
aspects of the human physique in his nudes.
Among the forty-three interesting and, in several
instances, very charming etchings recently exhibited
at the Baillie Gallery by Mr. Martin Hardie, A.R.E.,
we have chosen for reproduction the remarkably
accomplished and original plate High Noon in the
Boatyard—Rye. In this the artist's conception
has been expressed in the most legitimate way of
the etcher, inspired by unerring instinct for the
essential lines of the subject, controlled by an
admirable sense of design. The exhibition con-
tained other notable plates of distinguished quality.
60
original etching by martin hardie, a. r. e.
Lucien Pissarro, the gifted son of the great French
Impressionist, was fortunate in his early environ-
ment. His father had been a pupil of Corot. He
knew intimately all the great men of the day, about
whose names time has woven a halo of romance.
Painting with his father in the quiet farmlands and
valleys of France, the constant companionship of
the most profound thinker of the original band of
French Impressionists must have been a unique
training for the young artist. Memories of the
fight with the official art of the Salons coloured his
young years. In such an atmosphere of stirring
artistic development and thought, the quick sensi-
tive mind of the young painter blossomed like the
rose. Lucien Pissarro had thus from the first
acquired a grasp and understanding of the essential
principles of landscape painting. It is many years
since Pissarro settled in London. His career has
been successful in the best sense of the word (the
success which is possible only to a master),
although of public or official recognition he has
had little. Quite recently however there have been
"high noon in the boatyard—rye"
time, but something which would weary the person
who attempted to live with it. The exhibitors at
the Carfax Gallery do not shirk the difficulties of
their programme. Their independence of "subject"
in all but their own specialised sense, does not
permit us to accuse them of wilfully seeking out
something unbeautiful in sentiment for representa-
tion, otherwise, certainly Mr. Gilman could be
charged with making a positive cult of the meaner
aspects of the human physique in his nudes.
Among the forty-three interesting and, in several
instances, very charming etchings recently exhibited
at the Baillie Gallery by Mr. Martin Hardie, A.R.E.,
we have chosen for reproduction the remarkably
accomplished and original plate High Noon in the
Boatyard—Rye. In this the artist's conception
has been expressed in the most legitimate way of
the etcher, inspired by unerring instinct for the
essential lines of the subject, controlled by an
admirable sense of design. The exhibition con-
tained other notable plates of distinguished quality.
60
original etching by martin hardie, a. r. e.
Lucien Pissarro, the gifted son of the great French
Impressionist, was fortunate in his early environ-
ment. His father had been a pupil of Corot. He
knew intimately all the great men of the day, about
whose names time has woven a halo of romance.
Painting with his father in the quiet farmlands and
valleys of France, the constant companionship of
the most profound thinker of the original band of
French Impressionists must have been a unique
training for the young artist. Memories of the
fight with the official art of the Salons coloured his
young years. In such an atmosphere of stirring
artistic development and thought, the quick sensi-
tive mind of the young painter blossomed like the
rose. Lucien Pissarro had thus from the first
acquired a grasp and understanding of the essential
principles of landscape painting. It is many years
since Pissarro settled in London. His career has
been successful in the best sense of the word (the
success which is possible only to a master),
although of public or official recognition he has
had little. Quite recently however there have been