DOI Heft:
No. 259 (October 1914)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21211#0066
Studio-Talk
"JEAN AND JOHN {CHILDREN OF JOHN MARTIN, ESQ.)" BY WILLIAM FINDLAY
of the French method, a quality that recently canvas, is developing an intricate texture of cracks
placed him in the front amongst the artists who never contemplated by the artist; while certain
competed for the honour of completing the mural water-colour drawings in the permanent collection
decoration in the Glasgow Civic Banqueting Hall. have lost much of their original colour charm. Ex-
It was a happy idea to entrust the decoration of hibition committees practically ban pastel drawings,
the twenty-seven remaining panels to the younger when insisting on gilded frames as a passport ot
Glasgow men; it may help to discover decorative admission, and then showing but scant courtesy
talent worthy to rank with that already represented when hanging them,
by the work of Alexander Roche, E. A. Walton, -
John Lavery, and George Henry. In view of all this, there is no lack of determina-
- tion on the part of a young artist selecting pastel
If pastel as a medium be not unpopular with as his particular medium and all but confining his
artists, there is a widespread belief in its im- attention to it, as G. G. Anderson does. The
permanency on the part of the public. While medium exactly suits the idea and temperament
some of the greatest artists have shown but a of the artist, and the artist adapts his method
fleeting fancy for it, demonstration of its particular to the medium, making the utmost use of its
charm of expression has been made again and possibilities, and minimising its limitations. He
again, and an eminent Belgian authority makes loves the medium as he loves his art, his treatment
bold to say, that with ordinary care, chalk is less is extremely natural, yet individualistic, his effects
liable to affection by light and temperature than spontaneous and somewhat original. He divides his
oil and water colours. One at least of the large attention between landscape and portraiture; strong
civic'portraits at Glasgow, painted in oil on special in composition and keen in colour sense, his land-
61
"JEAN AND JOHN {CHILDREN OF JOHN MARTIN, ESQ.)" BY WILLIAM FINDLAY
of the French method, a quality that recently canvas, is developing an intricate texture of cracks
placed him in the front amongst the artists who never contemplated by the artist; while certain
competed for the honour of completing the mural water-colour drawings in the permanent collection
decoration in the Glasgow Civic Banqueting Hall. have lost much of their original colour charm. Ex-
It was a happy idea to entrust the decoration of hibition committees practically ban pastel drawings,
the twenty-seven remaining panels to the younger when insisting on gilded frames as a passport ot
Glasgow men; it may help to discover decorative admission, and then showing but scant courtesy
talent worthy to rank with that already represented when hanging them,
by the work of Alexander Roche, E. A. Walton, -
John Lavery, and George Henry. In view of all this, there is no lack of determina-
- tion on the part of a young artist selecting pastel
If pastel as a medium be not unpopular with as his particular medium and all but confining his
artists, there is a widespread belief in its im- attention to it, as G. G. Anderson does. The
permanency on the part of the public. While medium exactly suits the idea and temperament
some of the greatest artists have shown but a of the artist, and the artist adapts his method
fleeting fancy for it, demonstration of its particular to the medium, making the utmost use of its
charm of expression has been made again and possibilities, and minimising its limitations. He
again, and an eminent Belgian authority makes loves the medium as he loves his art, his treatment
bold to say, that with ordinary care, chalk is less is extremely natural, yet individualistic, his effects
liable to affection by light and temperature than spontaneous and somewhat original. He divides his
oil and water colours. One at least of the large attention between landscape and portraiture; strong
civic'portraits at Glasgow, painted in oil on special in composition and keen in colour sense, his land-
61