DOI Heft:
No. 377 (August 1924)
DOI Artikel:[Notes: one hundred and ninety-three illustrations]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21400#0120
BILLESLEY
' MILKING TIME. BY
JAMES WILKIE
BILLESLEY (Worcestershire).—One of did things, action being largely the outcome
the peculiarities of the artist's life is the of feeling. a 0 0 a a
necessity for him to do, publicly and con- Mr. James Wilkie is an obvious example
stantly, what other men spend much care in of this. Born at Billesley, Worcestershire,
avoiding—he must talk about himself. He in 1890, he became a student at the Slade
simply cannot avoid this. If his work does School, where he is now a master, and was,
not demonstrate what he feels, and is, it in student days, a prizeman in drawing,
tells us what he does not feel and is not: painting and figure composition. His sub-
a notification of negation. He is a merchant jects are figure, animal and landscape
of the most precious commodity in the painting, and his mediums oil and water-
world ; a commodity which modern science colour. He is nothing if not a draughtsman,
in the course of its own evolution from the He is also a member of the New English
materialistic view, is approaching tenta- Art Club—that home of the sensitive in
tively—almost fearfully—the intuitional expression. 00000
and imaginative reality inside man's mind. His is no slashful " carry it off by
There is no real contradiction involved bravura " method, but a tender observation
in the discovery that a man with a Military and a strongly gentle faithfulness, almost
Cross fighting record has, when he ex- belonging to the old world, but with a
presses himself in art, a very delicate, difference. Mr. Wilkie has much to express
thoughtful, and sensitive self to express, and full means wherewith to express it.
Our best fighters felt—and consequently J. W. S.
100
' MILKING TIME. BY
JAMES WILKIE
BILLESLEY (Worcestershire).—One of did things, action being largely the outcome
the peculiarities of the artist's life is the of feeling. a 0 0 a a
necessity for him to do, publicly and con- Mr. James Wilkie is an obvious example
stantly, what other men spend much care in of this. Born at Billesley, Worcestershire,
avoiding—he must talk about himself. He in 1890, he became a student at the Slade
simply cannot avoid this. If his work does School, where he is now a master, and was,
not demonstrate what he feels, and is, it in student days, a prizeman in drawing,
tells us what he does not feel and is not: painting and figure composition. His sub-
a notification of negation. He is a merchant jects are figure, animal and landscape
of the most precious commodity in the painting, and his mediums oil and water-
world ; a commodity which modern science colour. He is nothing if not a draughtsman,
in the course of its own evolution from the He is also a member of the New English
materialistic view, is approaching tenta- Art Club—that home of the sensitive in
tively—almost fearfully—the intuitional expression. 00000
and imaginative reality inside man's mind. His is no slashful " carry it off by
There is no real contradiction involved bravura " method, but a tender observation
in the discovery that a man with a Military and a strongly gentle faithfulness, almost
Cross fighting record has, when he ex- belonging to the old world, but with a
presses himself in art, a very delicate, difference. Mr. Wilkie has much to express
thoughtful, and sensitive self to express, and full means wherewith to express it.
Our best fighters felt—and consequently J. W. S.
100