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Metadaten

Studio: international art — 86.1923

DOI Heft:
No. 364 (July 1923)
DOI Artikel:
Dircks, Rudolf: Mr. Reginald Frampton's landscapes
DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.21398#0029

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MR. REGINALD FRAMPTON'S LANDSCAPES

“COTTAGE IN THE OUSE
VALLEY.’’ OIL PAINTING
BY E. REGINALD FRAMPTON

recent landscape work, surprising in its
character and the originality of its outlook.
Mr. Frampton has chosen the east corner
of the wide county of Sussex for his studies,
the southernmost downs, undulating
stretches of country, lightly wooded, with
roads winding in and out, up and down
dale, with churches and villages on the
slopes or in the hollows of the downs. Mr.
Frampton's pictorial statement only deals
with essentials, but it gives you everything.
To those who know and love this part of
the world his realisation suffices. His
Sussex and ThunderbarrowHill,near Bramber
are beautifully typical aspects of the county,
and remarkably fine landscapes ; and in
both there is the decorative realisation of
nature. In Sussex and The Sympathy of
Land and Sky we see the curling sweep, or
the mottled pattern, of cloud in the spacious
reaches of the sky, which are both true to
imagination and to fact. These pictures
show the artist's feeling for earth and sky.

for their colour, blues and greens and
yellows, with very often in the foreground,
a favourite introduction by the artist, a
patch of wild flowers. a . 0 0

In addition to these landscapes of Sussex
there is a reproduction in colour in the
present number of The Island of Brecqhou,
off Sark, one of the islets of the Channel
Islands, with the outline of Guernsey (or
is it Jersey <■) on the rim of the horizon.
Here again, as in his Sussex landscapes,
Mr. Frampton gets a largeness of view
from only depicting the essential and de-
corative elements — the striation of the
rocks,the line ofwhite surf around the base
of the cliffs : and then farther out a second
line of encircling surf marks a pleasant
pattern on the blue and tranquil sea. Mr.
Frampton's inspiration and seeing in these
pictures are his own, but the apparently
simple elements which exist in their com-
position are in the school of an art that
makes for permanence. 000

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