DOI Heft:
No. 248 (November 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21208#0184
Studio-Talk
fashion in an uncommon pose; and The Orchid—-
a fancy portrait—proves that Mr. Russell is a poet-
portraitist to boot. The last is a very attractive
piece of work : the orchid-tinted gown of the lady,
her orchid hat-feather, and the orchid bloom in her
hand are well graded in tone and substance. Mr.
Russell has a future before him. Milking Time, by
Horatio Walker, suggests the influence of English,
Dutch, and French cattle-painters. This canvas has
the brilliant illumination of the Barbizon masters,
the minute quaintness of the Lowlanders and the
open-handed work of British artists. It is such
a sunshiny canvas as is calculated to enliven
the dullest gallery or the most dreary drawing-room.
All Mr. Walker’s work is marked by unconven-
tionality : he is truthful and interesting. He is
a true son of Canada and a delightful exponent of
rustic life in the Dominion.
Other noteworthy pictures of the year are Mr.
F. M. Bell-Smith’s Where
the Lights Quiver so Far
into the River—a late
evening study of the pur-
ples and pearl-gold of the
Thames near Cleopatra’s
Needle; Mr. W. H.
Clapp’s Morning—a
pointilliste movement in
meadowland, in gold and
prismatic colours ; Mr. R.
F. Gagen’s Near High
Tide—a fine piece of
Atlantic rock and splash
work ; Mr. J. K. Dawson’s
Boston, Lincolnshire, with
all the subdued light and
colour of the fens; Mrs.
Mary H. Reid’s still-life
Study in Greys; and Mr.
Fauren Harris’s The
Corner Store—one of his
best renderings of golden
sunshine on the snow and
vivid blue shadows,
unique in Canada. The
veteran Mr. Robert Harris,
C.M.G., R.C.A., of Mon-
treal, has a clever por-
trait-study of himself
when a dreamy and
whimsical young man.
Four decorative panels
162
are attractive : Mr. G. A. Reid’s Mountain Top, a
view of wide rolling country through great pine
stems in the chiaroscuro of a Canadian sunset;
Mr. J. E. H. Macdonald’s Fine Weather, Georgian
Bay; Mr. U. Staple’s Brick Works, Don Valley, a
sunset effect of smoke and stacks; and Mr. H. S.
Palmer’s Down the Valley, an excellent study with
all the beetroot, sunflower, and burnt-umber tints
of the Canadian autumn. Fastly, but not least in
estimation, there are Mrs. Elizabeth A. Knowles’s
miniatures. Some of these little pictures, the sub-
jects of which are taken from rural life, are no more
than the size of a postage stamp, but they are
quite as fully painted as are the talented artist’s oil-
paintings in large.
The Canadian pictures of the year are noticeable
for high tone in conception, skilfulness in arrange-
ment, and carefulness in execution, whilst they are
peculiarly Canadian in character. The painters of
“YOUNG ENGLAND’1
(See Melbourne Studio-Talk)
BY H. S. POWER
fashion in an uncommon pose; and The Orchid—-
a fancy portrait—proves that Mr. Russell is a poet-
portraitist to boot. The last is a very attractive
piece of work : the orchid-tinted gown of the lady,
her orchid hat-feather, and the orchid bloom in her
hand are well graded in tone and substance. Mr.
Russell has a future before him. Milking Time, by
Horatio Walker, suggests the influence of English,
Dutch, and French cattle-painters. This canvas has
the brilliant illumination of the Barbizon masters,
the minute quaintness of the Lowlanders and the
open-handed work of British artists. It is such
a sunshiny canvas as is calculated to enliven
the dullest gallery or the most dreary drawing-room.
All Mr. Walker’s work is marked by unconven-
tionality : he is truthful and interesting. He is
a true son of Canada and a delightful exponent of
rustic life in the Dominion.
Other noteworthy pictures of the year are Mr.
F. M. Bell-Smith’s Where
the Lights Quiver so Far
into the River—a late
evening study of the pur-
ples and pearl-gold of the
Thames near Cleopatra’s
Needle; Mr. W. H.
Clapp’s Morning—a
pointilliste movement in
meadowland, in gold and
prismatic colours ; Mr. R.
F. Gagen’s Near High
Tide—a fine piece of
Atlantic rock and splash
work ; Mr. J. K. Dawson’s
Boston, Lincolnshire, with
all the subdued light and
colour of the fens; Mrs.
Mary H. Reid’s still-life
Study in Greys; and Mr.
Fauren Harris’s The
Corner Store—one of his
best renderings of golden
sunshine on the snow and
vivid blue shadows,
unique in Canada. The
veteran Mr. Robert Harris,
C.M.G., R.C.A., of Mon-
treal, has a clever por-
trait-study of himself
when a dreamy and
whimsical young man.
Four decorative panels
162
are attractive : Mr. G. A. Reid’s Mountain Top, a
view of wide rolling country through great pine
stems in the chiaroscuro of a Canadian sunset;
Mr. J. E. H. Macdonald’s Fine Weather, Georgian
Bay; Mr. U. Staple’s Brick Works, Don Valley, a
sunset effect of smoke and stacks; and Mr. H. S.
Palmer’s Down the Valley, an excellent study with
all the beetroot, sunflower, and burnt-umber tints
of the Canadian autumn. Fastly, but not least in
estimation, there are Mrs. Elizabeth A. Knowles’s
miniatures. Some of these little pictures, the sub-
jects of which are taken from rural life, are no more
than the size of a postage stamp, but they are
quite as fully painted as are the talented artist’s oil-
paintings in large.
The Canadian pictures of the year are noticeable
for high tone in conception, skilfulness in arrange-
ment, and carefulness in execution, whilst they are
peculiarly Canadian in character. The painters of
“YOUNG ENGLAND’1
(See Melbourne Studio-Talk)
BY H. S. POWER