DOI issue:
No. 345 (December 1921)
DOI article:Manson, James Bolivar: The Aberdeen Art Gallery
DOI Page / Citation link:https://doi.org/10.11588/diglit.21393#0271
THE ABERDEEN ART GALLERY
"MARIAGE DE CONVENANCE—AFTER
BY SIR W. Q. ORCHARDSON, R.A.
it must be confessed, the painting of the period) painted, in the majority of cases,
face is inferior to the rest of the canvas, by themselves. 0000
There are several portraits by Robert At present the collection is not very
Brough which, being very derivative, strong in modern foreign pictures. There
challenge comparison,to their disadvantage, is, however, a very attractive painting of
with Mr. Sargent's work. He did, however, A Factory in Norway, by Fritz Thaulow,
excel himself in the elegant portrait of Sir bought in 1913. Thaulow's special gift is
James Murray (1903), notwithstanding that shown to advantage in the painting of the
it is by no means complete as a psychologi- half-frozen water which moves rather
cal study. Mr. Sargent's portrait of Mr. sluggishly between snow-covered banks.
John Fyfe has his remarkable freedom of The variety of tones of white is very beauti-
handling, but it is not one of his happiest ful. The picture was formerly in the
productions. 0000a McCulloch Collection. 000
One must mention, in passing, a delight- More attractive than the work of this
ful portrait of a child by William Dyce painter often is, is The Gleaner, by Jules
(bought in 1914), which shows this painter Breton (1875), but the dreadful pseudo-
in an unusually warm and sympathetic classic painting of La Jeunesse, by Jean
mood, and Mr. McEvoy's Sir James Aubert (1869), is an instance of what to
Taggart, which is technically interesting avoid. There are some charming paintings
but lacks solidity. A remarkable produc- by G. A. Mollinger, who was the master of
tion is a portrait of Josef Israels, the joint Sir George Reid, and whose work is not
work of himself, Sir George Reid, G. P. often seen. 00000
Chalmers and Hugh Cameron. There is, The Gallery has a strong collection of
also, a unique collection of ninety-two drawings and etchings which might well
portraits of artists (mostly of the Victorian form the subject of a separate article. 0
255
"MARIAGE DE CONVENANCE—AFTER
BY SIR W. Q. ORCHARDSON, R.A.
it must be confessed, the painting of the period) painted, in the majority of cases,
face is inferior to the rest of the canvas, by themselves. 0000
There are several portraits by Robert At present the collection is not very
Brough which, being very derivative, strong in modern foreign pictures. There
challenge comparison,to their disadvantage, is, however, a very attractive painting of
with Mr. Sargent's work. He did, however, A Factory in Norway, by Fritz Thaulow,
excel himself in the elegant portrait of Sir bought in 1913. Thaulow's special gift is
James Murray (1903), notwithstanding that shown to advantage in the painting of the
it is by no means complete as a psychologi- half-frozen water which moves rather
cal study. Mr. Sargent's portrait of Mr. sluggishly between snow-covered banks.
John Fyfe has his remarkable freedom of The variety of tones of white is very beauti-
handling, but it is not one of his happiest ful. The picture was formerly in the
productions. 0000a McCulloch Collection. 000
One must mention, in passing, a delight- More attractive than the work of this
ful portrait of a child by William Dyce painter often is, is The Gleaner, by Jules
(bought in 1914), which shows this painter Breton (1875), but the dreadful pseudo-
in an unusually warm and sympathetic classic painting of La Jeunesse, by Jean
mood, and Mr. McEvoy's Sir James Aubert (1869), is an instance of what to
Taggart, which is technically interesting avoid. There are some charming paintings
but lacks solidity. A remarkable produc- by G. A. Mollinger, who was the master of
tion is a portrait of Josef Israels, the joint Sir George Reid, and whose work is not
work of himself, Sir George Reid, G. P. often seen. 00000
Chalmers and Hugh Cameron. There is, The Gallery has a strong collection of
also, a unique collection of ninety-two drawings and etchings which might well
portraits of artists (mostly of the Victorian form the subject of a separate article. 0
255