DOI issue:
No. 239 (February 1913)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.21160#0089
Studio-Talk
Christ the Consoler standing beside the bowed landscapes of note were W. Y. Macgregor's virile
figure of a sorrowing woman, but the more im- Sands of Morar, R. B. Nisbet's Stormy Aloonligkt,
portant work was Syrinx, the Arcadian nymph who C. H. Mackie's The Balcony, Venice, W. M. Frazer's
fled from the importunities The Ending of Aiciumn,
of Pan and was metamor-__ with its reposeful beauty,
!--:-------------------------------------------f
phosed into a reed from Henderson Tarbet's opu-
which the nature god made lently rendered October in
his flute. The illustration the Dell, James Riddell's
shows, as well as a mono- Canadian Birches, well
chrome reproduction can, composed and duly re-
how Mr. Borthwick has ticent in colour, Walter G.
realised the subject. By J "p- Gneve's richly phrased
virtue of his Highland moorland scene, and A. R.
Sheep and Maternal In- j Sturrock's Rainbow Valley,
stinct Andrew Douglas has portentous in its cloud
stepped at a bound into - masses. Robert Noble's
the front rank of animal Spring Garden was notable
painters. In the former, lor its wealth of rhodc-
with its powerful charac- dendron blossom,
terisation, not the least
impressive feature was the Among the portrait and
painting of the sky. figure work a leading place
was taken by Robert
WalterGrieve'sCWw-rj' Hope's The Gipsy, a figure
Hill Ij6j was a cleverly i i of a girl in a red shawl
executed historic group, that was a departure both
with Queen Mary and by in type and method of
her side Bothwell as lead- handling. David Alison's
ing features, while a semi- portrait of Mrs. Ewen
nude figure among the showed a gain in suavity
soldiers and bystanders without loss of character,
seemed to be declaiming T. Martine Ronaldson had
something to the unfor- three portraits that indi-
tunate Queen. The com- cated advance in his art,
position and colour were particularly that of his
striking and the figures full wife; and examples of por-
of character and vitality, trait and figure work that
with a Spanish influence merit mention were con-
too abundantly evident. tributed by Robert Home,
The colour motive of Sara McGregor, Graham
Stanley Cursitor's large • :l\ ' , j M\ Glen, F. C. B. Cadell and
H^^Hl^^HHBHlHHl^HBHHI Malcolm Gavin.
on a couch was reflected
in its title Ivory and Rose. "syrinx'' by a. e. borthwick, r.s.w. The water-colours were
, ,, , . . (Society of Scottish Artists) , ,. , • .
It would have been a gam J mostly small, but the
had greater simplicity quality of the work was
been observed in working out the motive, but high, and it was satisfactory to find a comparative
the painting, which showed very commendable absence of all attempt to realise in water-colour
ambition in a young artist, attained a high quality what can be more suitably presented in oil. The
of craftsmanship allied to its artistic virtues. In principal work in the room was curiously a large
After the Storm J. Campbell Noble realised the oil painting on fine canvas by Robert T. Rose,
closing stages of a conflict in nature, and not less placed there probably because the effect was sug-
satisfying was his Sunset, a river scene with the gestive of water-colour. Named The Wilderness,
warmly tinted clouds of the passing day. Other its suggestion_of wide arid space and unclouded
66
Christ the Consoler standing beside the bowed landscapes of note were W. Y. Macgregor's virile
figure of a sorrowing woman, but the more im- Sands of Morar, R. B. Nisbet's Stormy Aloonligkt,
portant work was Syrinx, the Arcadian nymph who C. H. Mackie's The Balcony, Venice, W. M. Frazer's
fled from the importunities The Ending of Aiciumn,
of Pan and was metamor-__ with its reposeful beauty,
!--:-------------------------------------------f
phosed into a reed from Henderson Tarbet's opu-
which the nature god made lently rendered October in
his flute. The illustration the Dell, James Riddell's
shows, as well as a mono- Canadian Birches, well
chrome reproduction can, composed and duly re-
how Mr. Borthwick has ticent in colour, Walter G.
realised the subject. By J "p- Gneve's richly phrased
virtue of his Highland moorland scene, and A. R.
Sheep and Maternal In- j Sturrock's Rainbow Valley,
stinct Andrew Douglas has portentous in its cloud
stepped at a bound into - masses. Robert Noble's
the front rank of animal Spring Garden was notable
painters. In the former, lor its wealth of rhodc-
with its powerful charac- dendron blossom,
terisation, not the least
impressive feature was the Among the portrait and
painting of the sky. figure work a leading place
was taken by Robert
WalterGrieve'sCWw-rj' Hope's The Gipsy, a figure
Hill Ij6j was a cleverly i i of a girl in a red shawl
executed historic group, that was a departure both
with Queen Mary and by in type and method of
her side Bothwell as lead- handling. David Alison's
ing features, while a semi- portrait of Mrs. Ewen
nude figure among the showed a gain in suavity
soldiers and bystanders without loss of character,
seemed to be declaiming T. Martine Ronaldson had
something to the unfor- three portraits that indi-
tunate Queen. The com- cated advance in his art,
position and colour were particularly that of his
striking and the figures full wife; and examples of por-
of character and vitality, trait and figure work that
with a Spanish influence merit mention were con-
too abundantly evident. tributed by Robert Home,
The colour motive of Sara McGregor, Graham
Stanley Cursitor's large • :l\ ' , j M\ Glen, F. C. B. Cadell and
H^^Hl^^HHBHlHHl^HBHHI Malcolm Gavin.
on a couch was reflected
in its title Ivory and Rose. "syrinx'' by a. e. borthwick, r.s.w. The water-colours were
, ,, , . . (Society of Scottish Artists) , ,. , • .
It would have been a gam J mostly small, but the
had greater simplicity quality of the work was
been observed in working out the motive, but high, and it was satisfactory to find a comparative
the painting, which showed very commendable absence of all attempt to realise in water-colour
ambition in a young artist, attained a high quality what can be more suitably presented in oil. The
of craftsmanship allied to its artistic virtues. In principal work in the room was curiously a large
After the Storm J. Campbell Noble realised the oil painting on fine canvas by Robert T. Rose,
closing stages of a conflict in nature, and not less placed there probably because the effect was sug-
satisfying was his Sunset, a river scene with the gestive of water-colour. Named The Wilderness,
warmly tinted clouds of the passing day. Other its suggestion_of wide arid space and unclouded
66