DOI Artikel:
Taylor, J.: The fifty-fourth exhibition of the royal Glasgow institute of the fine arts
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21214#0111
The Royal Glasgow Institute
“FAGGOTS” BY D. FORRESTER WILSON
Winter Morning in the Highlands, by Mr. A. K.
Brown, R.S.A., is one of those transcriptions of
highland grandeur and solitude this artist renders
so poetically. Not alone by literature has the
world discovered the character of the north countrie;
art—and of course Scottish art especially—has laid
bare its charms. This is a big canvas, in low
tones, instinct with the spirit of the highlands,
almost oppressive in its loneliness and austerity.
When an artist changes his outlook his art
ofttimes undergoes a complete transition. It has
been so in the case of Mr. David Gauld, whose
subjects are mainly bovine in character. It may
be that association with the most idealistic of
painters, in the atmospheric mysticalness of Picardy*
has greatly influenced his new manner and method,
of which Early Summer, Picardy, is a charming
example. But the ravages of war have banished
the artist from this lovely corner of France, and he
remains disconsolate.
Three charming expressions in oil by Mr. W. H.
Clarke are in no danger of being overlooked;
they stand out both in freshness and promise.
His sketching ground, Kirkcudbright, is a modern
Mecca to the artist; it abounds in subject and
interest; it fascinates, it holds few distractions to
the whole-hearted pursuit of art, and even weans
the artist from the bondage of convention. Sun-
lit Meadows, is a direct, natural, exhilarating
transcription of the charm that lurks in outdoor
colour to an artist with a clear outlook.
The Green, Richmond, is a sympathetic, well-
phrased, scholarly expression by a thoughtful
artist, Mr. J. Whitelaw Hamilton, A.R.S.A. Be-
ginning to paint when the Glasgow School had
become firmly established, happy coincidences
threw him into close association with the charmed
group. But with all the benefit that comes from
consorting with genius, our young artist struck out
an independent course, travelled along individual-
's
“FAGGOTS” BY D. FORRESTER WILSON
Winter Morning in the Highlands, by Mr. A. K.
Brown, R.S.A., is one of those transcriptions of
highland grandeur and solitude this artist renders
so poetically. Not alone by literature has the
world discovered the character of the north countrie;
art—and of course Scottish art especially—has laid
bare its charms. This is a big canvas, in low
tones, instinct with the spirit of the highlands,
almost oppressive in its loneliness and austerity.
When an artist changes his outlook his art
ofttimes undergoes a complete transition. It has
been so in the case of Mr. David Gauld, whose
subjects are mainly bovine in character. It may
be that association with the most idealistic of
painters, in the atmospheric mysticalness of Picardy*
has greatly influenced his new manner and method,
of which Early Summer, Picardy, is a charming
example. But the ravages of war have banished
the artist from this lovely corner of France, and he
remains disconsolate.
Three charming expressions in oil by Mr. W. H.
Clarke are in no danger of being overlooked;
they stand out both in freshness and promise.
His sketching ground, Kirkcudbright, is a modern
Mecca to the artist; it abounds in subject and
interest; it fascinates, it holds few distractions to
the whole-hearted pursuit of art, and even weans
the artist from the bondage of convention. Sun-
lit Meadows, is a direct, natural, exhilarating
transcription of the charm that lurks in outdoor
colour to an artist with a clear outlook.
The Green, Richmond, is a sympathetic, well-
phrased, scholarly expression by a thoughtful
artist, Mr. J. Whitelaw Hamilton, A.R.S.A. Be-
ginning to paint when the Glasgow School had
become firmly established, happy coincidences
threw him into close association with the charmed
group. But with all the benefit that comes from
consorting with genius, our young artist struck out
an independent course, travelled along individual-
's