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#0030
Water-Colours by D. Murray Smith, A.R.W.S.
It has been said of his compositions that they study. This drawing, like the one mentioned
show a certain formality in the arrangement which above, suggests a feeling of freshness and the open
reveals him as the master of his subject and not air which will appeal to every lover of the country,
subservient to it. As an example of Mr. Murray Smith's remark-
That he has a marked predilection for the flat able simplicity of method, Among the Hampshire
open landscape, where the eye is carried far away Hills, reproduced in colours, is particularly inter-
into the distance, may be gathered from the repro- esting. Here again the skilful treatment of light
ductions shown here. As an instance of this we and shade plays an important part in the com-
cannot take a better example than The Plain of position. Though not quite so freely handled as
Worcester from Great Malvern (p. 23), a spacious the two drawings just mentioned, this work attracts
composition in which the clever suggestion of by its subtle harmony of colour and quiet dignity,
distance is only surpassed by the fine atmospheric As a study of cloud-painting alone it is a notable
qualities and the masterly treatment of the sky. achievement. The solemnity of the scene, inten-
This drawing is executed in the artist's broadest sifted by the absence of any human element or
and most vigorous style, and as a direct transcript habitation, is rendered with strength and sim-
from Nature is both stimulating and refreshing. plicity together with commendable restraint. The
It reveals a power to visualise the original impres- second drawing reproduced in colours, Cardiff
sion of a scene so as to convey the effect of from the Wenallt, if hardly so characteristic
spontaneity. Equally successful is the drawing of the artist's work in water-colour, is interest-
JVear Christchitrch, Hampshire (p. 25), in which, ing on account of its somewhat unusual colour
with a liquid brush and a judicious treatment of scheme. It is an entirely satisfactory composition
light and shade, the artist expresses the charms of and one which cannot fail to arrest the attention,
a typical English landscape. The painting of the The city in the distance is deftly suggested ; while
sky and the effect of the heavy clouds upon the the beautiful tones of the landscape give distinction
foreground and distant hills are worthy of careful to the drawing and place it amongst the artist's
PENARTH HEAD. GLAMORGANSHIRE " BY D. MURRAY SMITH, A.R.W.S.
CThe property of W, R. Le Fanu, Esq.)
24
It has been said of his compositions that they study. This drawing, like the one mentioned
show a certain formality in the arrangement which above, suggests a feeling of freshness and the open
reveals him as the master of his subject and not air which will appeal to every lover of the country,
subservient to it. As an example of Mr. Murray Smith's remark-
That he has a marked predilection for the flat able simplicity of method, Among the Hampshire
open landscape, where the eye is carried far away Hills, reproduced in colours, is particularly inter-
into the distance, may be gathered from the repro- esting. Here again the skilful treatment of light
ductions shown here. As an instance of this we and shade plays an important part in the com-
cannot take a better example than The Plain of position. Though not quite so freely handled as
Worcester from Great Malvern (p. 23), a spacious the two drawings just mentioned, this work attracts
composition in which the clever suggestion of by its subtle harmony of colour and quiet dignity,
distance is only surpassed by the fine atmospheric As a study of cloud-painting alone it is a notable
qualities and the masterly treatment of the sky. achievement. The solemnity of the scene, inten-
This drawing is executed in the artist's broadest sifted by the absence of any human element or
and most vigorous style, and as a direct transcript habitation, is rendered with strength and sim-
from Nature is both stimulating and refreshing. plicity together with commendable restraint. The
It reveals a power to visualise the original impres- second drawing reproduced in colours, Cardiff
sion of a scene so as to convey the effect of from the Wenallt, if hardly so characteristic
spontaneity. Equally successful is the drawing of the artist's work in water-colour, is interest-
JVear Christchitrch, Hampshire (p. 25), in which, ing on account of its somewhat unusual colour
with a liquid brush and a judicious treatment of scheme. It is an entirely satisfactory composition
light and shade, the artist expresses the charms of and one which cannot fail to arrest the attention,
a typical English landscape. The painting of the The city in the distance is deftly suggested ; while
sky and the effect of the heavy clouds upon the the beautiful tones of the landscape give distinction
foreground and distant hills are worthy of careful to the drawing and place it amongst the artist's
PENARTH HEAD. GLAMORGANSHIRE " BY D. MURRAY SMITH, A.R.W.S.
CThe property of W, R. Le Fanu, Esq.)
24