DOI Heft:
No. 264 (1915)
DOI Artikel:Folliott Stokes, A. G.: Alfred Hartley, painter and etcher
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21212#0118
Alfred Hartley, Painter and Etcher
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“THE FLAG-STAFF ”
FROM AN ETCHING IN COLOUR BY ALFRED HARTLEY, R.B.A., R.E.
over six years of age. Yes, it is all here, though
recorded with a very few lines. But it is a record
of love. And I am inclined to think that in all
creative art love and genius are very nearly, if not
quite, synonymous terms.
Unfortunately limitation of space precludes me
from doing little more than just enumerating
Hartley’s landscape paintings which are here repro-
duced in black and white. They may be taken as
fairly representative, though they do not, of course,
give any hint of their colour-schemes, which in all
his oil paintings are refined and very personal.
The Estuary is a scheme of blue and gold. It
was painted in St. Ives Bay where, as those who
know it are aware, the colour in fine weather is of
almost Italian intensity.
Versailles. Bright and gay as the spirit of the
people who created it. It is one of her spacious
terraces that Hartley here depicts. He tells me
that this unique palace always strangely affects
him. He feels it is so instinct with the genius of
11 2
France and so closely
connected with the death
knell of her kings.
The Garden oj the
Grand Trianon is a
dignified composition.
It is a symphony of
blue, green, and yellow
vitalised or, as it were,
tuned up to concert
pitch by the brilliant
note of red in the fore-
ground parasol.
In the Forest is full
of rich warm browns,
and the spirit of a wood-
land solitude.
Silvery Night. Here
the colour-scheme is
very subtle, and the
veiled moonlight is most
poetically realised.
A. G. F. S.
[As various works by
Mr. Hartley, other than
those which have been
reproduced to illustrate
the foregoing article,
have appeared in these
pages from time to time,
the following list may
prove useful to readers.
A sketch in oils was
reproduced in the fifth number of the magazine
(August 1894); a painting entitled The Belated
Flock, in May 1899; a lithograph, Man's Head, in
November 1895 ; a decorative panel for a Rose-
wood Piano, as a supplement to the February
number, 1903; two etchings, Ch&teau de Blouay
and On the Tees appeared in April 1894 and
May 1897, respectively ; The Drooping Ash, an
etching in colours, as a supplement in May 1910,
and Herring Boats, St. Ives, an aquatint, also
reproduced as a supplement, in April 1914. The
Special Winter Number for 1912-13 on “ Modern
Etchings, Mezzotints and Drypoints,” contained
a colour reproduction of Silverv Night, an etching
in colours corresponding in composition to the
painting with the same title now reproduced.]
The Brighton Corporation has purchased for its
permanent collection the picture by Mr. Frederic
Whiting, R.B.A., called The Amateur Rider, which
was reproduced in our issued of March 1914.
m
’
m
“THE FLAG-STAFF ”
FROM AN ETCHING IN COLOUR BY ALFRED HARTLEY, R.B.A., R.E.
over six years of age. Yes, it is all here, though
recorded with a very few lines. But it is a record
of love. And I am inclined to think that in all
creative art love and genius are very nearly, if not
quite, synonymous terms.
Unfortunately limitation of space precludes me
from doing little more than just enumerating
Hartley’s landscape paintings which are here repro-
duced in black and white. They may be taken as
fairly representative, though they do not, of course,
give any hint of their colour-schemes, which in all
his oil paintings are refined and very personal.
The Estuary is a scheme of blue and gold. It
was painted in St. Ives Bay where, as those who
know it are aware, the colour in fine weather is of
almost Italian intensity.
Versailles. Bright and gay as the spirit of the
people who created it. It is one of her spacious
terraces that Hartley here depicts. He tells me
that this unique palace always strangely affects
him. He feels it is so instinct with the genius of
11 2
France and so closely
connected with the death
knell of her kings.
The Garden oj the
Grand Trianon is a
dignified composition.
It is a symphony of
blue, green, and yellow
vitalised or, as it were,
tuned up to concert
pitch by the brilliant
note of red in the fore-
ground parasol.
In the Forest is full
of rich warm browns,
and the spirit of a wood-
land solitude.
Silvery Night. Here
the colour-scheme is
very subtle, and the
veiled moonlight is most
poetically realised.
A. G. F. S.
[As various works by
Mr. Hartley, other than
those which have been
reproduced to illustrate
the foregoing article,
have appeared in these
pages from time to time,
the following list may
prove useful to readers.
A sketch in oils was
reproduced in the fifth number of the magazine
(August 1894); a painting entitled The Belated
Flock, in May 1899; a lithograph, Man's Head, in
November 1895 ; a decorative panel for a Rose-
wood Piano, as a supplement to the February
number, 1903; two etchings, Ch&teau de Blouay
and On the Tees appeared in April 1894 and
May 1897, respectively ; The Drooping Ash, an
etching in colours, as a supplement in May 1910,
and Herring Boats, St. Ives, an aquatint, also
reproduced as a supplement, in April 1914. The
Special Winter Number for 1912-13 on “ Modern
Etchings, Mezzotints and Drypoints,” contained
a colour reproduction of Silverv Night, an etching
in colours corresponding in composition to the
painting with the same title now reproduced.]
The Brighton Corporation has purchased for its
permanent collection the picture by Mr. Frederic
Whiting, R.B.A., called The Amateur Rider, which
was reproduced in our issued of March 1914.