Studio: international art (80.1920)

THE LANDSCAPE PAINTINGS OF C. M. GERE AND H. A. PAYNE

His longest travels were made to study-
stained glass and not to paint landscapes ;
and, indeed, his landscape painting has
mostly been done within easy reach of his
own house and garden, if not actually
within the latter. And there is a rather
striking difference observable between his
two ways of work. His decorative work,
such as stained glass and mural painting,
is truly in the Morris manner, and almost
hieratically designed, deeply imbued with
the traditions : while his landscapes—per-
46

haps the more recent ones especially—are
done in a holiday spirit, are pure in their
enjoyment of Nature, so that their com-
position seems to be almost entirely un-
conscious. It happens that two of the
present illustrations—Owlpen and the
Ruined House (p. 47)—do not support this
statement very well, for they are still rather
decorative in spirit; but Evening (p. 48)
and Morning Light (p. 49) are much more
typical of the sort of water-colours that
Mr. Payne paints about Amberley when-