DOI Heft:
No. 297 (December 1917)
DOI Artikel:Taylor, J.: The fifty-sixth annual exhibition of the Royal Glasgow Institute of Fine Arts
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21264#0134
Royal Glasgow Institute of the Fine Arts
“SPRING IN AYRSHIRE” OIL PAINTING BY GEORGE HOUSTON, A.R.S.A.
charming nymphs in leafy bower, or by seashore
with roses and butterflies, and he seldom
renders a seasonal subject when there is dearth
of colour in the land. His Gaggle o’ Geese is
a huge canvas, every inch covered with the
unique Homel texture, all interesting, but the
glorious summer colour was meant for Hornel,
and he is riotously happy when the flowers are
in bloom.
Alexander Roche, R.S.A., is doubly repre-
sented, by a delightful self-portrait, which has
become the property of the Scottish Modern
Arts Association, and by a sensitive rendering
of Spring. Than this latter, there is no more
interesting work in the exhibition ; it is the
triumph of an artist of indomitable courage and
resource in face of difficulties that would have
broken the heart and spirit of almost any
man. Spring exhales the rhythmic delight of
the early season, the atmosphere of the happy
time; it is full of delight and the joy of
rusticity.
George Houston, after an interval, is again
118
represented, and by a similar subject, but
whereas Roche has painted spring at the time
when it almost merges into summer, Houston’s
Spring in Ayrshire shows the last lingering
traces of winter. Houston paints in the open
air, and all the year round, but early spring is
his favourite sketching-time; and in a charm-
ing Iona sketch he reminds the art lover
that he has other sketching-grounds besides
Ayrshire.
E. A. Walton, P.R.S.W., shows a charac-
teristically interesting landscape with great
spreading tree and cerulean sky, all in the
master’s unmistakable technique.
W. A. Gibson has another French landscape,
unsurpassed in compositional charm and quality.
No artist paints with a surer purpose, no work
leaves his studio until all that matured idea
and proved technique can command has gone
into it. There are things in the exhibition
giving the impression of being well started
but stuck, and the show would not have suffered
if the selecting committee had returned them
“SPRING IN AYRSHIRE” OIL PAINTING BY GEORGE HOUSTON, A.R.S.A.
charming nymphs in leafy bower, or by seashore
with roses and butterflies, and he seldom
renders a seasonal subject when there is dearth
of colour in the land. His Gaggle o’ Geese is
a huge canvas, every inch covered with the
unique Homel texture, all interesting, but the
glorious summer colour was meant for Hornel,
and he is riotously happy when the flowers are
in bloom.
Alexander Roche, R.S.A., is doubly repre-
sented, by a delightful self-portrait, which has
become the property of the Scottish Modern
Arts Association, and by a sensitive rendering
of Spring. Than this latter, there is no more
interesting work in the exhibition ; it is the
triumph of an artist of indomitable courage and
resource in face of difficulties that would have
broken the heart and spirit of almost any
man. Spring exhales the rhythmic delight of
the early season, the atmosphere of the happy
time; it is full of delight and the joy of
rusticity.
George Houston, after an interval, is again
118
represented, and by a similar subject, but
whereas Roche has painted spring at the time
when it almost merges into summer, Houston’s
Spring in Ayrshire shows the last lingering
traces of winter. Houston paints in the open
air, and all the year round, but early spring is
his favourite sketching-time; and in a charm-
ing Iona sketch he reminds the art lover
that he has other sketching-grounds besides
Ayrshire.
E. A. Walton, P.R.S.W., shows a charac-
teristically interesting landscape with great
spreading tree and cerulean sky, all in the
master’s unmistakable technique.
W. A. Gibson has another French landscape,
unsurpassed in compositional charm and quality.
No artist paints with a surer purpose, no work
leaves his studio until all that matured idea
and proved technique can command has gone
into it. There are things in the exhibition
giving the impression of being well started
but stuck, and the show would not have suffered
if the selecting committee had returned them