DOI issue:
No. 265 (April 1915)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21212#0215
Studio-Talk
The picture is from Goya’s middle period and his
later technical bravura is not in evidence, but the
painting is superlative in its quiet sincerity and
admirably conceived colour quality.
Waterloo Bridge : the Sun in a Fog, by Monet,
may well come next. Unfortunately it defies
successful reproduction, but as one sits and studies
it, it is a revelation of atmospheric painting. The
bridge which at first glance is hardly visible takes
form, and in the eddying fog one begins to make
out the traffic crossing the bridge and the boats
passing in the river below, where the fiery reflection
of the red orbed sun gleams heavily. The picture
is a marvellous impression of an effect so elusive
that it is difficult to believe until one has seen it,
that anything but words could depict it. A land-
scape by Alfred Sisley, Laveuses pres de Champagne,
is another example of the same movement, and is
an admirable impression of summer sunshine on
river and distant village.
The animal bronzes of Antoine Barye have a
power and suggestiveness hardly ever equalled
except perhaps by those of J. M. Swan, R.A. A
selection of nine has recently been made by the
Trustees, and the beginning of a very representa-
tive exhibition of the master’s work secured.
Other purchases include an exquisitely spontaneous
study by Corot, of a Street at Atiiwerp; a flower
piece by Fantin-Latour; a small Monticelli, Don
Quixote and Sancho Panza; a portrait of The
Countess of Guildford by Allan Ramsay, and a
landscape, Through the Corn, by W. McTaggart.
Canadian art is undergoing a great change, a
renaissance almost. The earlier Canadian painters,
trained entirely in Europe, where they worked for
many years, and encouraged, when they were en-
couraged at all, by Canadians to paint European
pictures, or at best to paint Canada according to
European tradition, are passing. A younger
generation is coming to the fore, trained partly in
“RED maple” (National Gallery of Canada, Ottawa) BY A. Y. JACKSON
209
The picture is from Goya’s middle period and his
later technical bravura is not in evidence, but the
painting is superlative in its quiet sincerity and
admirably conceived colour quality.
Waterloo Bridge : the Sun in a Fog, by Monet,
may well come next. Unfortunately it defies
successful reproduction, but as one sits and studies
it, it is a revelation of atmospheric painting. The
bridge which at first glance is hardly visible takes
form, and in the eddying fog one begins to make
out the traffic crossing the bridge and the boats
passing in the river below, where the fiery reflection
of the red orbed sun gleams heavily. The picture
is a marvellous impression of an effect so elusive
that it is difficult to believe until one has seen it,
that anything but words could depict it. A land-
scape by Alfred Sisley, Laveuses pres de Champagne,
is another example of the same movement, and is
an admirable impression of summer sunshine on
river and distant village.
The animal bronzes of Antoine Barye have a
power and suggestiveness hardly ever equalled
except perhaps by those of J. M. Swan, R.A. A
selection of nine has recently been made by the
Trustees, and the beginning of a very representa-
tive exhibition of the master’s work secured.
Other purchases include an exquisitely spontaneous
study by Corot, of a Street at Atiiwerp; a flower
piece by Fantin-Latour; a small Monticelli, Don
Quixote and Sancho Panza; a portrait of The
Countess of Guildford by Allan Ramsay, and a
landscape, Through the Corn, by W. McTaggart.
Canadian art is undergoing a great change, a
renaissance almost. The earlier Canadian painters,
trained entirely in Europe, where they worked for
many years, and encouraged, when they were en-
couraged at all, by Canadians to paint European
pictures, or at best to paint Canada according to
European tradition, are passing. A younger
generation is coming to the fore, trained partly in
“RED maple” (National Gallery of Canada, Ottawa) BY A. Y. JACKSON
209