DOI issue:
No. 260 (November 1914)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21211#0149
Studio- Talk
which was Spain's counterpart of our Victorian thorough knowledge of the horse and its movements
academicians. We accept the intimation from the has enabled him to do this with considerable
preface to the catalogue that the war is unfortu- success. That he is even happier in a more
nately responsible for this. The academic art of sketchy mood, with greater freedom of touch, we
Spain as here represented has been curiously may see in the charming little pastoral landscape
uniform in character, and it would be surprising if which is reproduced on this page—a happy
so much effort in one direction failed to result in glimpse of the Normandy he knows so well,
excellence of a kind. Meissonier's art seems to For it is with the horse that serves the worker in
have been the ideal. The Spanish painters, how- the fields that Mr. Gascoyne is pictorially most
ever, do not show the masculinity that was charac- intimate, and it is in the vein of this engaging
teristic of Meissonier, while they rival him in little etching that this accomplished painter,
daintiness of execution. The best piece of the when he lays aside his brushes and takes up the
kind in the collection, perhaps, is Luis Jimenez's etching-needle, is seen at his best.
Un Taller de Sastre
(Tailor's Shop). But
though this exhibition,
the proceeds of which are
being devoted to the
Prince of Wales's
National Relief Fund,
must disappoint those
who have long waited for
an opportunity to study
the work of the more in-
dependent Spanish artists
of the last decade, the
exquisiteness in execution
and love of the pictur-
esque shown by the works
on view will charm many.
Mr. George Gascoyne
is one of the few living
etchers who realise the
pictorial value of the
horse, though it may be
said that Battle Daivn,
the impressive plate re-
produced here, has, in its
deliberateness of com-
position and precision of
technique, more of the
elaborate character of the
old line-engraving than of
the suggestive sketchiness
of the modern etching.
But Mr. Gascoyne's
imaginative vision has
conceived the spectacular
nobility of a battle-array
of mediaeval knights,
and he has gone for a
complete picture upon
his copper-plate. His "a normandy landscape" from an etching by george gascoyne
144
which was Spain's counterpart of our Victorian thorough knowledge of the horse and its movements
academicians. We accept the intimation from the has enabled him to do this with considerable
preface to the catalogue that the war is unfortu- success. That he is even happier in a more
nately responsible for this. The academic art of sketchy mood, with greater freedom of touch, we
Spain as here represented has been curiously may see in the charming little pastoral landscape
uniform in character, and it would be surprising if which is reproduced on this page—a happy
so much effort in one direction failed to result in glimpse of the Normandy he knows so well,
excellence of a kind. Meissonier's art seems to For it is with the horse that serves the worker in
have been the ideal. The Spanish painters, how- the fields that Mr. Gascoyne is pictorially most
ever, do not show the masculinity that was charac- intimate, and it is in the vein of this engaging
teristic of Meissonier, while they rival him in little etching that this accomplished painter,
daintiness of execution. The best piece of the when he lays aside his brushes and takes up the
kind in the collection, perhaps, is Luis Jimenez's etching-needle, is seen at his best.
Un Taller de Sastre
(Tailor's Shop). But
though this exhibition,
the proceeds of which are
being devoted to the
Prince of Wales's
National Relief Fund,
must disappoint those
who have long waited for
an opportunity to study
the work of the more in-
dependent Spanish artists
of the last decade, the
exquisiteness in execution
and love of the pictur-
esque shown by the works
on view will charm many.
Mr. George Gascoyne
is one of the few living
etchers who realise the
pictorial value of the
horse, though it may be
said that Battle Daivn,
the impressive plate re-
produced here, has, in its
deliberateness of com-
position and precision of
technique, more of the
elaborate character of the
old line-engraving than of
the suggestive sketchiness
of the modern etching.
But Mr. Gascoyne's
imaginative vision has
conceived the spectacular
nobility of a battle-array
of mediaeval knights,
and he has gone for a
complete picture upon
his copper-plate. His "a normandy landscape" from an etching by george gascoyne
144