DOI issue:
No. 265 (April 1915)
DOI article:Reddie, Arthur: Water-colours and oil paintings by S. J. Lamorna Birch, R.W.S.
DOI Page / Citation link:https://doi.org/10.11588/diglit.21212#0181
Water-Colours and Paintings by S. /. Lamorna Birch
in its main scheme, but conveys, in its adroitly
managed accents of light and dark, a feeling of
distance and atmosphere and of detailed vision
which nevertheless in no way conflicts with the
main theme, the broad expanse of moving water.
Less attractive to me is the Waterfall on the Rivet
Kent, near Kendal, in which Mr. Birch employs all
the resources of the water-colour medium, pure
colour, body colour, and the knife with which the
high lights have been boldly scraped out. Yet,
despite its undoubted cleverness, this sketch has
far less appeal than other and more deliberately
composed works. But, as we look at it, do we not
seem actually to hear the splashing of the water as
it rushes between the rocks, and is it not perhaps
unreasonable to ask for more than this—in itself
no mean achievement ?
That Mr. Birch delights in form no less than in
atmospheric effect and colour, is shown by the very
simply treated Tregiffian Cliffs. Here with sensi-
tive and sympathetic lines, he has touched in upon
a greyish paper the various planes of the rocks, and
with direct and simple washes of gouache, has given
atmospheric colour to the jagged cliffs round which
the sea laps with a fringe of foam. Another coast
study admirable in its appreciation of form is St.
Loy Bay, near Land's End. Here the economy ot
means—the pencil sketch is merely washed in and
tinted with slight colour—is surprising when we
consider the fine sense of perspective and space
conveyed.
In the Landscape Studv reproduced on page 174
Mr. Birch is seen in a more romantic vein, and
much has been subordinated to the purely decora-
tive arrangement. Here he uses an ink line to give
stability and precision to a delicate harmony of
greys.
The Crook of Lime, near Lancaster, is one of a
delightful series of sketches which the artist has
executed in this neighbourhood, but it is hardly
necessary to say that a black-and-white reproduc-
tion can only give the palest reflection of this
charming impression, in tones of blue and gold, of
the river which Mr. Birch has painted in varied
aspects but never with more beauty than in this
glowing water-colour.
Many are the pictures for which the Cornish
village of his adoption has afforded him most
happy inspiration, and I remember particularly two
sunny sketches of Lamorna Quay, with the water
dancing and sparkling round the stone jetty ; and
in AIv House—Lamorna, we have a drawing which
in its main scheme, but conveys, in its adroitly
managed accents of light and dark, a feeling of
distance and atmosphere and of detailed vision
which nevertheless in no way conflicts with the
main theme, the broad expanse of moving water.
Less attractive to me is the Waterfall on the Rivet
Kent, near Kendal, in which Mr. Birch employs all
the resources of the water-colour medium, pure
colour, body colour, and the knife with which the
high lights have been boldly scraped out. Yet,
despite its undoubted cleverness, this sketch has
far less appeal than other and more deliberately
composed works. But, as we look at it, do we not
seem actually to hear the splashing of the water as
it rushes between the rocks, and is it not perhaps
unreasonable to ask for more than this—in itself
no mean achievement ?
That Mr. Birch delights in form no less than in
atmospheric effect and colour, is shown by the very
simply treated Tregiffian Cliffs. Here with sensi-
tive and sympathetic lines, he has touched in upon
a greyish paper the various planes of the rocks, and
with direct and simple washes of gouache, has given
atmospheric colour to the jagged cliffs round which
the sea laps with a fringe of foam. Another coast
study admirable in its appreciation of form is St.
Loy Bay, near Land's End. Here the economy ot
means—the pencil sketch is merely washed in and
tinted with slight colour—is surprising when we
consider the fine sense of perspective and space
conveyed.
In the Landscape Studv reproduced on page 174
Mr. Birch is seen in a more romantic vein, and
much has been subordinated to the purely decora-
tive arrangement. Here he uses an ink line to give
stability and precision to a delicate harmony of
greys.
The Crook of Lime, near Lancaster, is one of a
delightful series of sketches which the artist has
executed in this neighbourhood, but it is hardly
necessary to say that a black-and-white reproduc-
tion can only give the palest reflection of this
charming impression, in tones of blue and gold, of
the river which Mr. Birch has painted in varied
aspects but never with more beauty than in this
glowing water-colour.
Many are the pictures for which the Cornish
village of his adoption has afforded him most
happy inspiration, and I remember particularly two
sunny sketches of Lamorna Quay, with the water
dancing and sparkling round the stone jetty ; and
in AIv House—Lamorna, we have a drawing which