DOI issue:
No. 310 (January 1919)
DOI article:Baldry, Alfred Lys: On the painting of interiors
DOI Page / Citation link:https://doi.org/10.11588/diglit.24600#0116
On the Painting of Interiors
this class will be apparent enough to any one ^he technical side, however, has to be taken
who compares the examples of interior painting into account. It has been already said that
which are reproduced here. As studie" in there are serious problems of draughtsmanship
degrees of rusticity—studies of the way in and composition, atmosphere and light and
which the simple life is interpreted by different shade, colour and tone, which must be solved
people—the paintings by Mr. Walter Donne, by the artist if he is to make a success of his
Mrs. Donne, Mr. Walter Farmer, and Mr. subjects, and it is obvious that the degree of
James Townshend are undeniably significant, his success depends largely upon the extent of
and as lights upon the manners and customs of his capacity as a craftsman. He must draw
people who demand more of existence the pic- well because he has to deal with exact forms
tures by Mr. Campbell Taylor, Mr. W. C. Gore, which would advertise his failure to realize
and Mrs. Ward are definitely instructive; them properly, and he must understand corn-
there is even a revelation of differences in position because, again, upon that depends the
artistic temperament in the studio studies by quality of his picture as a design. A feeling
Mr. Patrick Adam, Mr. Van Anrooy, and Mrs. for atmosphere is needed to put the parts of
Hall Neale. Each of these examples has a the painting into their right aerial perspective,
story to tell, and each one has its own inde- and a sense of light and shade relations is
pendent interest as a little piece of domestic indispensable to ensure the correct balance of
history, quite apart from its other interest as a the whole arrangement. Colour and tone
technical achievement. must be studied, for the manner in which the
ENTRANCE TO THE STUDIO " OIL PAINTING BY A. VAN ANROOY
{In the possession of Robert Gilmour, Esq.)
IO4
this class will be apparent enough to any one ^he technical side, however, has to be taken
who compares the examples of interior painting into account. It has been already said that
which are reproduced here. As studie" in there are serious problems of draughtsmanship
degrees of rusticity—studies of the way in and composition, atmosphere and light and
which the simple life is interpreted by different shade, colour and tone, which must be solved
people—the paintings by Mr. Walter Donne, by the artist if he is to make a success of his
Mrs. Donne, Mr. Walter Farmer, and Mr. subjects, and it is obvious that the degree of
James Townshend are undeniably significant, his success depends largely upon the extent of
and as lights upon the manners and customs of his capacity as a craftsman. He must draw
people who demand more of existence the pic- well because he has to deal with exact forms
tures by Mr. Campbell Taylor, Mr. W. C. Gore, which would advertise his failure to realize
and Mrs. Ward are definitely instructive; them properly, and he must understand corn-
there is even a revelation of differences in position because, again, upon that depends the
artistic temperament in the studio studies by quality of his picture as a design. A feeling
Mr. Patrick Adam, Mr. Van Anrooy, and Mrs. for atmosphere is needed to put the parts of
Hall Neale. Each of these examples has a the painting into their right aerial perspective,
story to tell, and each one has its own inde- and a sense of light and shade relations is
pendent interest as a little piece of domestic indispensable to ensure the correct balance of
history, quite apart from its other interest as a the whole arrangement. Colour and tone
technical achievement. must be studied, for the manner in which the
ENTRANCE TO THE STUDIO " OIL PAINTING BY A. VAN ANROOY
{In the possession of Robert Gilmour, Esq.)
IO4