DOI issue:
No. 261 (December 1914)
DOI article:Reddie, Arthur: The landscapes of David Murray Smith, R.B.A.
DOI Page / Citation link:https://doi.org/10.11588/diglit.21211#0181
David Murray Smith, R.B.A.
Bridge (reproduced here in colour), with its ex-
panse of blue sky enhancing the loneliness and
solitude of the bridge standing statuesquely, like a
sentinel, over the cold steely-blue water, in which
is reflected the light falling upon the yellow stone
piers. Here, as in all this artist's paintings, we have
pure landscape, there is no hint of human interest,
we are not conscious of the bridge as man's agent,
promoting intercourse and the carrying on of daily
life. This is something quite detached as it stands
out monumentally in the still, low-lying landscape.
A Grey Day, Venice, another large canvas, is
again an example of subtle, low-toned harmonies of
colour, which are the more to be appreciated in
their relation to the vast expanse of grey clouds
which gives so fine a sense of spaciousness and
atmosphere to the scene. In On the Banks of the
Arno and The Chalk Cliff (R.B.A., Spring 1914)
we find the artist in a rather different mood. Both
of these are small works, and partake more of the
nature of sketches; and here, with perhaps rather
less beauty of quality in his paint, he achieves an
air of greater spontaneity in the landscape—the
composition is not so stylise'—and we have in the
first-mentioned picture a fleeting effect, delightfully
captured, of pale morning sunlight gilding the
walls of the Florentine buildings; and in The
Chalk Cliff, though a low-toned picture, the greens
are richer and more luscious, so that the bare chalk
on the hillside and the white clouds, rapidlyscudding
across the sky, gleam out with greater contrast.
Apart from his oil paintings, mention should be
made of the excellent water-colours, delightfully
free in handling, and of the etchings, which form
another side to Mr. Murray Smith's activities. From
among a number of admirable plates we reproduce
an interesting impression of Hammersmith.
Mr. Murray Smith has also made some excursions
into the region of portrait painting, and with success,
though here it is perhaps the figure in the com-
position, rather than the actual portrayal of character,
that interests him; but it is in the beautiful land-
scapes, studied with reverence^and composed with
sympathy, intelligence, and skill, that his art reaches
177
Bridge (reproduced here in colour), with its ex-
panse of blue sky enhancing the loneliness and
solitude of the bridge standing statuesquely, like a
sentinel, over the cold steely-blue water, in which
is reflected the light falling upon the yellow stone
piers. Here, as in all this artist's paintings, we have
pure landscape, there is no hint of human interest,
we are not conscious of the bridge as man's agent,
promoting intercourse and the carrying on of daily
life. This is something quite detached as it stands
out monumentally in the still, low-lying landscape.
A Grey Day, Venice, another large canvas, is
again an example of subtle, low-toned harmonies of
colour, which are the more to be appreciated in
their relation to the vast expanse of grey clouds
which gives so fine a sense of spaciousness and
atmosphere to the scene. In On the Banks of the
Arno and The Chalk Cliff (R.B.A., Spring 1914)
we find the artist in a rather different mood. Both
of these are small works, and partake more of the
nature of sketches; and here, with perhaps rather
less beauty of quality in his paint, he achieves an
air of greater spontaneity in the landscape—the
composition is not so stylise'—and we have in the
first-mentioned picture a fleeting effect, delightfully
captured, of pale morning sunlight gilding the
walls of the Florentine buildings; and in The
Chalk Cliff, though a low-toned picture, the greens
are richer and more luscious, so that the bare chalk
on the hillside and the white clouds, rapidlyscudding
across the sky, gleam out with greater contrast.
Apart from his oil paintings, mention should be
made of the excellent water-colours, delightfully
free in handling, and of the etchings, which form
another side to Mr. Murray Smith's activities. From
among a number of admirable plates we reproduce
an interesting impression of Hammersmith.
Mr. Murray Smith has also made some excursions
into the region of portrait painting, and with success,
though here it is perhaps the figure in the com-
position, rather than the actual portrayal of character,
that interests him; but it is in the beautiful land-
scapes, studied with reverence^and composed with
sympathy, intelligence, and skill, that his art reaches
177