DOI Heft:
No. 296 (November 1917)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21264#0090
Studio-Talk
view, and he has recently carried out an experi-
ment on these lines in the McCaul Hospital for
Wounded Soldiers in the West End of London,
where one of the rooms, destined for officers
suffering from “ shell-shock,” was placed at his
disposal for decoration. The walls of the room
have been distempered in a pale yellow tint
with a frieze of a greyish blue tint above,
a picture-rail of an apple-green separating one
from the other. This colour is also used for part
of the woodwork, while the rest, with the bed-
steads and other furniture, is painted in a tone
approximating to that of the walls, and one set
of curtains is of the same shade and another of
purple. The artist’s idea has apparently been
to produce a scheme that is neutral or negative—
that is, does not thrust itself on the consciousness
of the occupant; its effect is certainly restful,
and while the predominant tones are cool, they
impart no sense of frigidity. The experiment
points the way to others, and it will be interesting
to watch future developments in the same
direction, and to have the verdict of the
medical profession on them.
Miss Vera Poole’s decoratively treated land-
scape The River, which we illustrate below,
was on view at the New English Art Club’s
summer exhibition of the present year, and the
water-colour, A Renaissance Doorway, Venice,
by the late Mr. Reginald Barratt, R.W.S., which
we reproduce in colour on the opposite page,
admirably represented that talented artist
at the last spring exhibition of the Royal
Society of Painters in Water-Colours. Mr.
Barratt, whose death took place last February,
had before adopting painting as a profession
studied architecture under Mr. Norman Shaw,
and it was in the treatment of architectural
themes that he excelled as a painter. He
travelled much and has left behind him many
reminiscences of his visits to the East and to
the Continent of Europe, which bear witness
to his gifts.
The autumn exhibition season in London
opened early in October with the twenty-seventh
annual exhibition of the Royal Society of
Portrait Painters at the Grafton Galleries.
“the river”
74
OIL PAINTING BY VERA E. POOLE
view, and he has recently carried out an experi-
ment on these lines in the McCaul Hospital for
Wounded Soldiers in the West End of London,
where one of the rooms, destined for officers
suffering from “ shell-shock,” was placed at his
disposal for decoration. The walls of the room
have been distempered in a pale yellow tint
with a frieze of a greyish blue tint above,
a picture-rail of an apple-green separating one
from the other. This colour is also used for part
of the woodwork, while the rest, with the bed-
steads and other furniture, is painted in a tone
approximating to that of the walls, and one set
of curtains is of the same shade and another of
purple. The artist’s idea has apparently been
to produce a scheme that is neutral or negative—
that is, does not thrust itself on the consciousness
of the occupant; its effect is certainly restful,
and while the predominant tones are cool, they
impart no sense of frigidity. The experiment
points the way to others, and it will be interesting
to watch future developments in the same
direction, and to have the verdict of the
medical profession on them.
Miss Vera Poole’s decoratively treated land-
scape The River, which we illustrate below,
was on view at the New English Art Club’s
summer exhibition of the present year, and the
water-colour, A Renaissance Doorway, Venice,
by the late Mr. Reginald Barratt, R.W.S., which
we reproduce in colour on the opposite page,
admirably represented that talented artist
at the last spring exhibition of the Royal
Society of Painters in Water-Colours. Mr.
Barratt, whose death took place last February,
had before adopting painting as a profession
studied architecture under Mr. Norman Shaw,
and it was in the treatment of architectural
themes that he excelled as a painter. He
travelled much and has left behind him many
reminiscences of his visits to the East and to
the Continent of Europe, which bear witness
to his gifts.
The autumn exhibition season in London
opened early in October with the twenty-seventh
annual exhibition of the Royal Society of
Portrait Painters at the Grafton Galleries.
“the river”
74
OIL PAINTING BY VERA E. POOLE