DOI Heft:
No. 283 (October 1916)
DOI Artikel:Halton, Ernest G.: Water-colours by D. Murray Smith, A.R.W.S.
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.24575#0029
Water-Colours by D. Murray Smith, A.R.W.S.
WATER-COLOURS BY We have only to glance at the drawings repro-
D MURRAY SMITH duced in these pages to realise that here we have
A R W S an art^st not on^ possesses a strong feeling
for the beauties of the English countryside, but
In a previous issue of The Studio (Vol. LXIII.) one who is also equipped in a high degree with
a number of landscapes executed in oils by Mr. D. those gifts necessary for the successful rendering
Murray Smith were reproduced. In the present of them. Essentially an individual artist, he is
article we shall consider briefly some landscapes in content to interpret Nature in his own way, thus
water-colour by the same artist. And let us say giving to his work a personal note which adds
at once that, while fully appreciating the fine quali- considerably to its interest and appeal. His
ties that give distinction to his work in oil, we landscapes are something more than mere copies
venture to think that it is in his water-colours that of scenery. They are the manifestations of a
Mr. Murray Smith's art finds its happiest expression. mind imbued with poetic feeling expressing itself
That the medium is particularly well suited for through the many phases of Nature. At the same
the rendering of English scenery is a fact which time he realises the various aspects of a composi-
is generally accepted, and in that fact lies the tion with a simplicity of means which is entirely
secret of the undisputed position of the English agreeable and satisfying. His broad outlook
school of water-colour painting, from Paul Sandby enables him to note at once the essential features
down to the present day. The peculiar atmo- of a landscape ; yet he does not hesitate to modify
spheric effects and subtle contrasts of light and such details as would be likely to interfere with
shade form the principal charms of the English the spirit and romance of the scene, nor, on the
landscape, and these are more readily suggested in other hand, to accentuate those which thereby add
water-colour than in oil. to the general harmony and balance of the drawing.
'THE PLAIN OF WORCESTER FROM GREAT MALVERN " BY D. MURRAY SMITH, A.R.W.S.
(The property of Rowland Houghton, Esq.)
23
WATER-COLOURS BY We have only to glance at the drawings repro-
D MURRAY SMITH duced in these pages to realise that here we have
A R W S an art^st not on^ possesses a strong feeling
for the beauties of the English countryside, but
In a previous issue of The Studio (Vol. LXIII.) one who is also equipped in a high degree with
a number of landscapes executed in oils by Mr. D. those gifts necessary for the successful rendering
Murray Smith were reproduced. In the present of them. Essentially an individual artist, he is
article we shall consider briefly some landscapes in content to interpret Nature in his own way, thus
water-colour by the same artist. And let us say giving to his work a personal note which adds
at once that, while fully appreciating the fine quali- considerably to its interest and appeal. His
ties that give distinction to his work in oil, we landscapes are something more than mere copies
venture to think that it is in his water-colours that of scenery. They are the manifestations of a
Mr. Murray Smith's art finds its happiest expression. mind imbued with poetic feeling expressing itself
That the medium is particularly well suited for through the many phases of Nature. At the same
the rendering of English scenery is a fact which time he realises the various aspects of a composi-
is generally accepted, and in that fact lies the tion with a simplicity of means which is entirely
secret of the undisputed position of the English agreeable and satisfying. His broad outlook
school of water-colour painting, from Paul Sandby enables him to note at once the essential features
down to the present day. The peculiar atmo- of a landscape ; yet he does not hesitate to modify
spheric effects and subtle contrasts of light and such details as would be likely to interfere with
shade form the principal charms of the English the spirit and romance of the scene, nor, on the
landscape, and these are more readily suggested in other hand, to accentuate those which thereby add
water-colour than in oil. to the general harmony and balance of the drawing.
'THE PLAIN OF WORCESTER FROM GREAT MALVERN " BY D. MURRAY SMITH, A.R.W.S.
(The property of Rowland Houghton, Esq.)
23