DOI issue:
No. 306 (September 1918)
DOI article:Wedmore, Frederick: The water-colours of Horace Mann Livens
DOI Page / Citation link:https://doi.org/10.11588/diglit.21265#0115
The Water-Colours of Horace Mann Livens
position. That that is the case with Mr. E. V. significant, the elimination of the superfluous.
Lucas's water-colour of The Bridge, near Hampton Accident and detail are forgotten except when
Court, our monochrome illustration will, I think, they can usefully be summoned, and then they
well imply. The vigour and decisiveness which must be the bearers of a message, the con-
characterize the artist are affirmed by the water- tributors to an ensemble, the qualified aids to the
colour of Holland House under Snow. That attainment of the larger purpose. And what
does not give much opportunity of showing is, with Mr. Livens, the larger purpose ? It
Mr. Livens as a severe and competent draughts- might be, though it is not, the special charm
man of architecture. Euston affords that, and of colour. It could hardly be a merely ob-
Bow Street affords it—the former perhaps even vious correctness of line in the presentation of
more than the latter. The water-colour of this or that given object of portrayal. The
Aylesbury, with its almost entire concentration larger purpose of Mr. Livens is, I take it, the
of interest upon objects in the far background, always dignified attainment of a design that is
has at least some affinity of artistic purpose decorative. But his design, can never be deco-
with the drawing that is here reproduced in rative through sought-for elegance, or through
colour—The River, Richmond. mere prettiness. His water-colours are never
Summing up as far as may be, in a word or pretty, and they are never cramped. They con-
two, the characteristics of these notable water- tain nothing that belittles them : not a touch
colours, one has to reckon upon, and to do credit that minimizes their aim. In most of Mr. Livens'
to, the essential largeness, the massiveness, the drawings—over and above their skilled, large,
learned, and ever-efficient boldness of style comprehensive portraiture of facts that occupy
Then, as to each individual performance, one him—there is woven a web of restful, because
must remember the sure and rapid seizure of the noble, Line, which cannot tire or pall.
"THE BRIDGE, NEAR HAMPTON COURT" BY H. MANN LIVENS
(/« the possession or E. V. Lucas, Esq.)
IO9
position. That that is the case with Mr. E. V. significant, the elimination of the superfluous.
Lucas's water-colour of The Bridge, near Hampton Accident and detail are forgotten except when
Court, our monochrome illustration will, I think, they can usefully be summoned, and then they
well imply. The vigour and decisiveness which must be the bearers of a message, the con-
characterize the artist are affirmed by the water- tributors to an ensemble, the qualified aids to the
colour of Holland House under Snow. That attainment of the larger purpose. And what
does not give much opportunity of showing is, with Mr. Livens, the larger purpose ? It
Mr. Livens as a severe and competent draughts- might be, though it is not, the special charm
man of architecture. Euston affords that, and of colour. It could hardly be a merely ob-
Bow Street affords it—the former perhaps even vious correctness of line in the presentation of
more than the latter. The water-colour of this or that given object of portrayal. The
Aylesbury, with its almost entire concentration larger purpose of Mr. Livens is, I take it, the
of interest upon objects in the far background, always dignified attainment of a design that is
has at least some affinity of artistic purpose decorative. But his design, can never be deco-
with the drawing that is here reproduced in rative through sought-for elegance, or through
colour—The River, Richmond. mere prettiness. His water-colours are never
Summing up as far as may be, in a word or pretty, and they are never cramped. They con-
two, the characteristics of these notable water- tain nothing that belittles them : not a touch
colours, one has to reckon upon, and to do credit that minimizes their aim. In most of Mr. Livens'
to, the essential largeness, the massiveness, the drawings—over and above their skilled, large,
learned, and ever-efficient boldness of style comprehensive portraiture of facts that occupy
Then, as to each individual performance, one him—there is woven a web of restful, because
must remember the sure and rapid seizure of the noble, Line, which cannot tire or pall.
"THE BRIDGE, NEAR HAMPTON COURT" BY H. MANN LIVENS
(/« the possession or E. V. Lucas, Esq.)
IO9