DOI Heft:
No. 327 (June 1920)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21360#0159
STUDIO-TALK
DUBLIN.—The Royal Zoological So-
ciety of Ireland has set an example
which might well be followed by similar
bodies elsewhere, in taking steps to en-
courage the artistic studies of animals. The
Society has instituted an annual competi-
tion under the rules of which certificates
are awarded by the Council to the work
adjudged to be the most meritorious in each
of five classes, and a small money premium
is given in addition. The works submitted
must be studies of any kind of animal from
life, and subject to this condition they need
not be made at the Society's gardens in
Dublin. The classes into which the com-
petition is divided comprise sculpture,
drawing and painting, and decorative de-
signs embodying animal motives, and twTo
classes are reserved for competitors under
eighteen. The competition is open to all,
without entrance fee, and the works sent
in will be returned to competitors in due
course at their own expense. Works en-
tered for the competition must reach the
Zoological Gardens, Dublin, by September
28 next, and in October there will be an
exhibition there with a view to bringing
artists and students into touch with pos-
sible purchasers.
BRIGHTON.—The two pictures we
reproduce of Richard Wilson's are
from the recent exhibition of his works,
lent by Captain Richard Ford to the
Brighton Corporation Art Gallery. It was
most noticeable in this collection that the
pictures were all of a very high standard,
and the two chosen for reproduction are
typical of the whole exhibition and not
necessarily finer than many of the others.
Richard Wilson's claim to be one of the
great masters of landscape painting is
undeniable. Flis colour was his strongest
point, yet his palette was astonishingly
limited ; he never seemed to tire of draw-
ing fresh subtleties from the same series of
colour-chords ; indeed he never seems to
have departed from this one palette with
which he painted all through his life,
showing no sign of staleness or loss of
interest. 0 0 0 0 0
His sense of composition can hardly be
ranked as high as his tone and colour
sense ; but though his work was mannered
and at times even stilted—to modern eyes
—it must be remembered that it is the
imitators rather than the master who have
wearied us of these “ classical " landscape
compositions. The imitator hardly ever
“landscape,” by
RICHARD WILSON, R.A.
(Ford Collection)
153
DUBLIN.—The Royal Zoological So-
ciety of Ireland has set an example
which might well be followed by similar
bodies elsewhere, in taking steps to en-
courage the artistic studies of animals. The
Society has instituted an annual competi-
tion under the rules of which certificates
are awarded by the Council to the work
adjudged to be the most meritorious in each
of five classes, and a small money premium
is given in addition. The works submitted
must be studies of any kind of animal from
life, and subject to this condition they need
not be made at the Society's gardens in
Dublin. The classes into which the com-
petition is divided comprise sculpture,
drawing and painting, and decorative de-
signs embodying animal motives, and twTo
classes are reserved for competitors under
eighteen. The competition is open to all,
without entrance fee, and the works sent
in will be returned to competitors in due
course at their own expense. Works en-
tered for the competition must reach the
Zoological Gardens, Dublin, by September
28 next, and in October there will be an
exhibition there with a view to bringing
artists and students into touch with pos-
sible purchasers.
BRIGHTON.—The two pictures we
reproduce of Richard Wilson's are
from the recent exhibition of his works,
lent by Captain Richard Ford to the
Brighton Corporation Art Gallery. It was
most noticeable in this collection that the
pictures were all of a very high standard,
and the two chosen for reproduction are
typical of the whole exhibition and not
necessarily finer than many of the others.
Richard Wilson's claim to be one of the
great masters of landscape painting is
undeniable. Flis colour was his strongest
point, yet his palette was astonishingly
limited ; he never seemed to tire of draw-
ing fresh subtleties from the same series of
colour-chords ; indeed he never seems to
have departed from this one palette with
which he painted all through his life,
showing no sign of staleness or loss of
interest. 0 0 0 0 0
His sense of composition can hardly be
ranked as high as his tone and colour
sense ; but though his work was mannered
and at times even stilted—to modern eyes
—it must be remembered that it is the
imitators rather than the master who have
wearied us of these “ classical " landscape
compositions. The imitator hardly ever
“landscape,” by
RICHARD WILSON, R.A.
(Ford Collection)
153