DOI issue:
No. 260 (November 1914)
DOI article:Taylor, J.: The fifty-third exhibition of the Royal Glasgow Institute
DOI Page / Citation link:https://doi.org/10.11588/diglit.21211#0121
Exhibition of the Royal Glasgow Institute
questioned vigour which Mr. Julius Olsson, A.R.A. luxurious in his colour, he gives us here a transposi-
exhibits when dealing with the angry moods of tion to tints of tenderest, most delicate value ; the
the sea; and The Ebbing Tide, by Mr. R.VV. Allan, quality is the same, but interest is intensified. Surely
R.W.S., doyen amonst Glasgow painters and a the woodland charm of La Belle France was never
regular contributor to the Institute exhibitions more sympathetically expressed on canvas,
since the year 1878, is such a breath of the ocean Realism reaches its highest interpretation in
as only may come from a painter familiar with our Snow in April, by Mr. George Houston, A.R.S.A.
whole coast-line, and in love with every mile of it. This artist paints in all weathers and seasons, but
Glasgow can have had few such opportunities of spring, with its fresh tints and lingering frost bite,
studying the art of the late William M'Taggart, as makes a special appeal to him. He catches its
that presented by Consider the Lilies* a huge crispness, and conveys its promise in a way that no
canvas, all but monopolising the space of an end other artist succeeds in doing. The tree clumps,
wall, and quite absorbing attention there. Groups the hedgerows, the brown harrowed land, the
of children give themselves over whole-heartedly patchwork of snow on the fresh green life, the
to " Jing-a-ring." There is rhythmic movement, cast shadow on the burn, the sunlight stealing
bewitching harmony, and an enveloping atmo- across the field, the farm-steading, are all faithfully
sphere palpitating with the radiance of light; it is and inimitably portrayed ; the intimate spirit of
a veritable triumph of the wizardry of painting, the country life is here.
First impressions convey
the idea of the artist's
complete absorption in
the middle distance, to the
unintentional forgetfulness
of the rest of the canvas.
But closer study suggests
a set purpose in this. The
lilies, the children, and
the trees are significant in-
terests enough to concen-
trate upon. Let us be
satisfied with the innocent
glee, the dazzling swish of
the frocks, the charm of
the intimate environment
and leave the intermediate
earth and distant sky for
another time. An unsur-
passable capturer of
sunlight was William
M'Taggart, who first
caught its enchantment on
the bright margin of the
Firth of Clyde.
In France, by Mr. W. A
Gibson, would be a feature
in any exhibition. In com-
position and tonality it is
distinct from any other
picture shown on this oc-
casion, and from all the
former work of the artist.
Habitually full, rich,
* Reproduced in The
Studio for July 1909. " constanxe " ky james paterson, r.s.a., r w.s.
116
questioned vigour which Mr. Julius Olsson, A.R.A. luxurious in his colour, he gives us here a transposi-
exhibits when dealing with the angry moods of tion to tints of tenderest, most delicate value ; the
the sea; and The Ebbing Tide, by Mr. R.VV. Allan, quality is the same, but interest is intensified. Surely
R.W.S., doyen amonst Glasgow painters and a the woodland charm of La Belle France was never
regular contributor to the Institute exhibitions more sympathetically expressed on canvas,
since the year 1878, is such a breath of the ocean Realism reaches its highest interpretation in
as only may come from a painter familiar with our Snow in April, by Mr. George Houston, A.R.S.A.
whole coast-line, and in love with every mile of it. This artist paints in all weathers and seasons, but
Glasgow can have had few such opportunities of spring, with its fresh tints and lingering frost bite,
studying the art of the late William M'Taggart, as makes a special appeal to him. He catches its
that presented by Consider the Lilies* a huge crispness, and conveys its promise in a way that no
canvas, all but monopolising the space of an end other artist succeeds in doing. The tree clumps,
wall, and quite absorbing attention there. Groups the hedgerows, the brown harrowed land, the
of children give themselves over whole-heartedly patchwork of snow on the fresh green life, the
to " Jing-a-ring." There is rhythmic movement, cast shadow on the burn, the sunlight stealing
bewitching harmony, and an enveloping atmo- across the field, the farm-steading, are all faithfully
sphere palpitating with the radiance of light; it is and inimitably portrayed ; the intimate spirit of
a veritable triumph of the wizardry of painting, the country life is here.
First impressions convey
the idea of the artist's
complete absorption in
the middle distance, to the
unintentional forgetfulness
of the rest of the canvas.
But closer study suggests
a set purpose in this. The
lilies, the children, and
the trees are significant in-
terests enough to concen-
trate upon. Let us be
satisfied with the innocent
glee, the dazzling swish of
the frocks, the charm of
the intimate environment
and leave the intermediate
earth and distant sky for
another time. An unsur-
passable capturer of
sunlight was William
M'Taggart, who first
caught its enchantment on
the bright margin of the
Firth of Clyde.
In France, by Mr. W. A
Gibson, would be a feature
in any exhibition. In com-
position and tonality it is
distinct from any other
picture shown on this oc-
casion, and from all the
former work of the artist.
Habitually full, rich,
* Reproduced in The
Studio for July 1909. " constanxe " ky james paterson, r.s.a., r w.s.
116