DOI article:
Halton, Ernest G.: The water-colours of Alfred W. Rich
DOI Page / Citation link:https://doi.org/10.11588/diglit.21214#0013
The Water-Colours of Alfred W. Rich
’
&
“THE OLD BRIDGE, LUDLOW”
BY ALFRED W. RICH
eye is carried from plane to plane towards the far
distance, while a great expanse of rolling clouds
dominates the composition. This preference for
the flat country may account for his admiration for
the old Dutch landscapists, and it is somewhat
surprising to find that he has not, as far as we
know, painted amidst the low-lying scenery of
Holland which inspired the masterpieces of Hob-
bema, and in more recent times of Maris and
Mauve. The reason, one would venture to think,
is to be found in the essentially English character
of his work, and, looking at his drawings, it is
not difficult to understand that so sincere and
sympathetic a student of his native countryside
should find all the inspiration he required in scenes
which lie near to hand.
His broad outlook enables Mr. Rich to note
at once the essential characteristics of a landscape,
and in water-colour he finds the most sympathetic
and adaptable medium for rendering them.
" ater-colour,” he says, “ has from my earliest
memory appealed to me, by reason of its delicate
quality, as being particularly suited to landscape
"°rk, and I think it is good for nothing else. The
actual labour should be in the acquiring of how to
use it. I feel there is no limit to the detail that
can be introduced into a picture, but it must all
be done without the evidence of toil, otherwise the
beauty of ease is lost.” Mr. Rich does not
ignore details, but he judges them only in relation
to the more absorbing elements of colour and tone.
Here we have impressionism logically developed.
He is more concerned with the spirit and romance
of a scene than with considerations of topographical
accuracy, believing that landscape painting is
something greater than mere copying of nature.
His unusual gift of selection, his power of realising
and understanding the varied aspects of nature,
unaffected by any consideration for the thoughts
of others, give to his art an independence and
distinction which are stimulating and refreshing.
The particular methods he employs are spon-
taneously governed by the qualities and nature of
the theme he has chosen, and it is this gift
of adaptation, together with a power to retain
and visualise the first freshness of an impression,
which gives to his work its artistic significance.
It is worthy of note that Mr. Rich but rarely
introduces the human element into his composition,
a fact of some interest when we consider his art in
its relation to that of the earlier men. In the
drawings of Constable and Cox, for instance, the
7
’
&
“THE OLD BRIDGE, LUDLOW”
BY ALFRED W. RICH
eye is carried from plane to plane towards the far
distance, while a great expanse of rolling clouds
dominates the composition. This preference for
the flat country may account for his admiration for
the old Dutch landscapists, and it is somewhat
surprising to find that he has not, as far as we
know, painted amidst the low-lying scenery of
Holland which inspired the masterpieces of Hob-
bema, and in more recent times of Maris and
Mauve. The reason, one would venture to think,
is to be found in the essentially English character
of his work, and, looking at his drawings, it is
not difficult to understand that so sincere and
sympathetic a student of his native countryside
should find all the inspiration he required in scenes
which lie near to hand.
His broad outlook enables Mr. Rich to note
at once the essential characteristics of a landscape,
and in water-colour he finds the most sympathetic
and adaptable medium for rendering them.
" ater-colour,” he says, “ has from my earliest
memory appealed to me, by reason of its delicate
quality, as being particularly suited to landscape
"°rk, and I think it is good for nothing else. The
actual labour should be in the acquiring of how to
use it. I feel there is no limit to the detail that
can be introduced into a picture, but it must all
be done without the evidence of toil, otherwise the
beauty of ease is lost.” Mr. Rich does not
ignore details, but he judges them only in relation
to the more absorbing elements of colour and tone.
Here we have impressionism logically developed.
He is more concerned with the spirit and romance
of a scene than with considerations of topographical
accuracy, believing that landscape painting is
something greater than mere copying of nature.
His unusual gift of selection, his power of realising
and understanding the varied aspects of nature,
unaffected by any consideration for the thoughts
of others, give to his art an independence and
distinction which are stimulating and refreshing.
The particular methods he employs are spon-
taneously governed by the qualities and nature of
the theme he has chosen, and it is this gift
of adaptation, together with a power to retain
and visualise the first freshness of an impression,
which gives to his work its artistic significance.
It is worthy of note that Mr. Rich but rarely
introduces the human element into his composition,
a fact of some interest when we consider his art in
its relation to that of the earlier men. In the
drawings of Constable and Cox, for instance, the
7