DOI Heft:
No. 372 (March 1924)
DOI Artikel:[Notes: two hundred and twenty-one illustrations]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21399#0181
GLASGOW—EDINBURGH
“ LES PETITS BATEAUX ”
BY JOHN R. BARCLAY
GLASGOW.—Scotland is perhaps not
so prolific in the production of
symbolistic painters as one might imagine
it £ to be by its historical host of songs,
legends and spiritualistic superstitions;
nor would one associate the visionary out-
look with the early work of Mr. D.
Forrester Wilson, A.R.S.A., in his land-
scapes, interiors, figure subjects and por-
traits. 0 0 0 0 0 0
But within recent years his most
notable successes have been of a decidedly
more allegorical nature. In them he may
not follow closely any classical legend,
though the story he has to tell may be
based on it; his symbols are drawn from
his own imagination, or some purely
abstract idea ; this thought being perhaps
most vivid in recalling his Valley of Melting
Snow, shown in the Royal Glasgow Insti-
tute in 1920, or his Vanity, exhibited in the
same galleries in 1918. His Passing Day,
here illustrated, is a typical example of
his present-day outlook when away from
his energetic hours spent as an assistant
professor in the drawing and painting
section of the Glasgow School of Art. a
E. A. T.
EDINBURGH.—The realms of variety
of technique seem to call Mr. John
R. Barclay in much of his recent work,
all of which shows him to possess a
remarkable ability for fixing on the one
most suitable to express fully the spirit
of the subject which charmed him. As
one of the original members of the Edin-
burgh group of younger artists, his water-
colurs were amongst the most outstanding
in their memorable exhibition some few
years ago. It is a medium, too, which
he further exploited with a piquant
simplicity that was easily recognisable in
a fairly large collection of his work shown
later in Edinburgh after a sketching
sojourn in France, and it was at that time
that the accompanying illustration of his
oil painting, Les Petits Bateaux, was com-
pleted in scintillating colours, reminiscent
of the flickering sunlight and attractive
joys which surround the little fountain
in the Luxembourg Gardens. Lately he
has been devoting much of his time to
etching. All of his prints bear a charac-
teristic searching for simplicity of line
qualities, spontaneous elimination and
technical adaptability. E. A. T.
163
“ LES PETITS BATEAUX ”
BY JOHN R. BARCLAY
GLASGOW.—Scotland is perhaps not
so prolific in the production of
symbolistic painters as one might imagine
it £ to be by its historical host of songs,
legends and spiritualistic superstitions;
nor would one associate the visionary out-
look with the early work of Mr. D.
Forrester Wilson, A.R.S.A., in his land-
scapes, interiors, figure subjects and por-
traits. 0 0 0 0 0 0
But within recent years his most
notable successes have been of a decidedly
more allegorical nature. In them he may
not follow closely any classical legend,
though the story he has to tell may be
based on it; his symbols are drawn from
his own imagination, or some purely
abstract idea ; this thought being perhaps
most vivid in recalling his Valley of Melting
Snow, shown in the Royal Glasgow Insti-
tute in 1920, or his Vanity, exhibited in the
same galleries in 1918. His Passing Day,
here illustrated, is a typical example of
his present-day outlook when away from
his energetic hours spent as an assistant
professor in the drawing and painting
section of the Glasgow School of Art. a
E. A. T.
EDINBURGH.—The realms of variety
of technique seem to call Mr. John
R. Barclay in much of his recent work,
all of which shows him to possess a
remarkable ability for fixing on the one
most suitable to express fully the spirit
of the subject which charmed him. As
one of the original members of the Edin-
burgh group of younger artists, his water-
colurs were amongst the most outstanding
in their memorable exhibition some few
years ago. It is a medium, too, which
he further exploited with a piquant
simplicity that was easily recognisable in
a fairly large collection of his work shown
later in Edinburgh after a sketching
sojourn in France, and it was at that time
that the accompanying illustration of his
oil painting, Les Petits Bateaux, was com-
pleted in scintillating colours, reminiscent
of the flickering sunlight and attractive
joys which surround the little fountain
in the Luxembourg Gardens. Lately he
has been devoting much of his time to
etching. All of his prints bear a charac-
teristic searching for simplicity of line
qualities, spontaneous elimination and
technical adaptability. E. A. T.
163