DOI Heft:
No. 340 (July 1921)
DOI Artikel:Baldry, Alfred Lys: Captain J. Audley Harvey's collection, [1]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21393#0025
CAPTAIN J. AUDLEY HARVEY'S COLLECTION
"AVIGNON." BY
OLIVER HALL, A.R.A.
presentation and its conventionalised de-
corative manner saves it from the danger of
becoming theatrical or cheaply sensational.
But, as if to prove that primitive emotion
can be expressed just as sincerely and just
as cogently without primitivity of treatment
Captain Harvey has Mr. Brangwyn's com-
position, The Crucifixion, a picture as
directly dramatic and certainly no more
theatrical than Mr. Gardiner's, and yet in
its technical qualities unhampered by re-
servations and in the attainment of its
decorative purpose not limited by con-
ventionalities of colour, tone, and drawing.
Both pictures succeed because in each of
them the artist has done seriously in his
own way what he conceived to be right, a
So, too, has Edward Stott in his Hagar
and Ishmael, the work of a man wholly in
earnest, entirely convinced that thus only
could he convey the sentiment by which he
felt his subject to be inspired, a man too
independent and sure of himself to be in-
fluenced by the tricks and fashions in paint
about which his contemporaries were
arguing and quarrelling. As primitive in
his sincerity as any early Italian, Stott
laboured as faithfully and with as much
love of his craft, but he belonged to modern
times and had a technical equipment which
enabled him to avoid the angularities and
the formalities of the pioneers in Italian art.
The Hagar and Ishmael is a canvas which
represents him admirably; it marks the
full maturity of his practice and it
counts among the best things he ever
produced. a a a 0 a
The same kind of pre-eminence can be
given to Mr. Sargent's wonderful Hospital
at Granada. Among his many studies of
similar effects none surpasses this brilliant
painting in certainty of vision, confident
"AVIGNON." BY
OLIVER HALL, A.R.A.
presentation and its conventionalised de-
corative manner saves it from the danger of
becoming theatrical or cheaply sensational.
But, as if to prove that primitive emotion
can be expressed just as sincerely and just
as cogently without primitivity of treatment
Captain Harvey has Mr. Brangwyn's com-
position, The Crucifixion, a picture as
directly dramatic and certainly no more
theatrical than Mr. Gardiner's, and yet in
its technical qualities unhampered by re-
servations and in the attainment of its
decorative purpose not limited by con-
ventionalities of colour, tone, and drawing.
Both pictures succeed because in each of
them the artist has done seriously in his
own way what he conceived to be right, a
So, too, has Edward Stott in his Hagar
and Ishmael, the work of a man wholly in
earnest, entirely convinced that thus only
could he convey the sentiment by which he
felt his subject to be inspired, a man too
independent and sure of himself to be in-
fluenced by the tricks and fashions in paint
about which his contemporaries were
arguing and quarrelling. As primitive in
his sincerity as any early Italian, Stott
laboured as faithfully and with as much
love of his craft, but he belonged to modern
times and had a technical equipment which
enabled him to avoid the angularities and
the formalities of the pioneers in Italian art.
The Hagar and Ishmael is a canvas which
represents him admirably; it marks the
full maturity of his practice and it
counts among the best things he ever
produced. a a a 0 a
The same kind of pre-eminence can be
given to Mr. Sargent's wonderful Hospital
at Granada. Among his many studies of
similar effects none surpasses this brilliant
painting in certainty of vision, confident