DOI issue:
No. 304 (July 1918)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21265#0067
Studio-Talk
"summer hours" [Royal Scottish Academy) by Alexander roche, r.s.a.
Watt's two portraits strongly emphasize cha-
racter. Mr. Henry Kerr in his portrait of the
Rev. Principal McCulloch realizes the ascetic
strain in Free Church theology. Mr. David
Alison follows the Orpen vein with much success
in a portrait of a lady. Mr. Charles Mackie,
in addition to excellent landscape work, shows
his capacity as a draughtsman in the Interlude,
the leading features of which, however, are
essentially the action and interaction of light
and colour, and Mr. Robert Hope has never
been more successful than in The White
Cockatoo. Other figure-subjects of note are
contributed by Mr. Robert Burns, Mr. Dudding-
stone Herdman, Mr. F. C. B. Cadell, Miss
Eleanor Moore, an Ayrshire lady whose picture
of a Red Cross nurse is a remarkably strong
piece of work, and Mr. Gemmell Hutchison,
whose Mother's Care adds one more to
a now considerable s series of domestic sub-
jects, always treated simply and with a fine
sympathy.
Recent elections to the Academy resulted in
Mr. D. Y. Cameron attaining full membership,
and though his contributions are less important
than usual there is in his Arisaig scene, with its
fine spaciousness, a restfulness and aspect that
contrasts strongly with the massive features of
his Morar mountain landscape. Of the three
new Associates, Mr. Gould is seen to least
advantage. Mr. Peploe's Gipsy Girl and his
still-life pictures evidence originality of thought,
and Mr. A. G. Sinclair in a large autumnal
landscape shows his adhesion to the blottesque
school, which Ruskin anathematized. Mr. E. A.
Walton's The Ford is one of the fine things of
the exhibition, in its combination of strength
and delicacy in colour and form. A remarkably
fine work also is Mr. Alexander Roche's Summer
Hours, joyous in spirit and finely co-ordinated
throughout. It is a remarkable achievement
for one who for years has been deprived of
the use of his right hand. Mr. Lorimer's The
Golden Hour, a garden picture, conveys no sense
61
"summer hours" [Royal Scottish Academy) by Alexander roche, r.s.a.
Watt's two portraits strongly emphasize cha-
racter. Mr. Henry Kerr in his portrait of the
Rev. Principal McCulloch realizes the ascetic
strain in Free Church theology. Mr. David
Alison follows the Orpen vein with much success
in a portrait of a lady. Mr. Charles Mackie,
in addition to excellent landscape work, shows
his capacity as a draughtsman in the Interlude,
the leading features of which, however, are
essentially the action and interaction of light
and colour, and Mr. Robert Hope has never
been more successful than in The White
Cockatoo. Other figure-subjects of note are
contributed by Mr. Robert Burns, Mr. Dudding-
stone Herdman, Mr. F. C. B. Cadell, Miss
Eleanor Moore, an Ayrshire lady whose picture
of a Red Cross nurse is a remarkably strong
piece of work, and Mr. Gemmell Hutchison,
whose Mother's Care adds one more to
a now considerable s series of domestic sub-
jects, always treated simply and with a fine
sympathy.
Recent elections to the Academy resulted in
Mr. D. Y. Cameron attaining full membership,
and though his contributions are less important
than usual there is in his Arisaig scene, with its
fine spaciousness, a restfulness and aspect that
contrasts strongly with the massive features of
his Morar mountain landscape. Of the three
new Associates, Mr. Gould is seen to least
advantage. Mr. Peploe's Gipsy Girl and his
still-life pictures evidence originality of thought,
and Mr. A. G. Sinclair in a large autumnal
landscape shows his adhesion to the blottesque
school, which Ruskin anathematized. Mr. E. A.
Walton's The Ford is one of the fine things of
the exhibition, in its combination of strength
and delicacy in colour and form. A remarkably
fine work also is Mr. Alexander Roche's Summer
Hours, joyous in spirit and finely co-ordinated
throughout. It is a remarkable achievement
for one who for years has been deprived of
the use of his right hand. Mr. Lorimer's The
Golden Hour, a garden picture, conveys no sense
61