DOI issue:
No. 387 (September 1924)
DOI article:[Notes: one hundred and ninety-three illustrations]
DOI Page / Citation link:https://doi.org/10.11588/diglit.21400#0179
MANCHESTER
"BAMBOO TREES, UPPER
BURMA." WATER-COLOUR
BY WILLIAM CARTLEDGE
MANCHESTER—William Cartledge
received his art training at the Slade
School, gaining the University of London
Diploma in Fine Art, and prizes given by
the school for portrait painting. In India,
whilst on military service, he sketched
when off duty, and, electing to be demobil-
ised there, spent several months in study
of the country and its people, as well as
exhibiting at the Bombay Fine Art Society
and carrying off from there the prize for
the best landscape in any medium. Burma
also came under his investigation. 0
There is in his work, in oil and water-
colour, a quality found in many of the
younger men, of the Slade School espe-
cially—a quiet sincerity, owing something
to tradition, but utilising tradition in new
ways and adding to it a quality modern but
not modernistic. Mr. Cartledge admits the
influence upon his work and thought of
the Early English masters of water-colour
who loom so large in the present world of
art. These men are not only the idols of
connoisseurs ; they are moulding much of
the production of the present, and it would
be difficult to say how far (even in the
ultra-modern thought of to-day) their
influence, particularly that of Cotman,
reaches. Mr. Cartledge, whilst fully appre-
ciating the merits of these men, adopts, in
his own work, only those traits in their
work which give him assistance in the
interpretation of his own outlook and
temperament, feeling, quite properly, that
he, being of the present, should be a
reflector of his own period and of his own
personality. An art which, whilst pre-
serving its own personal kernel, allows
itself to be eclectic in the utilisation of all
that the past has gained in knowledge of
structure and of all the other powers
which help expression, is an art built on
strong foundations. 0000
Mr. Cartledge is by no means a land-
scapist only—his concern with portraiture
and the study of human character is
fervent, and is being shown in deep and
serious work. 00000
J. W. S.
159
"BAMBOO TREES, UPPER
BURMA." WATER-COLOUR
BY WILLIAM CARTLEDGE
MANCHESTER—William Cartledge
received his art training at the Slade
School, gaining the University of London
Diploma in Fine Art, and prizes given by
the school for portrait painting. In India,
whilst on military service, he sketched
when off duty, and, electing to be demobil-
ised there, spent several months in study
of the country and its people, as well as
exhibiting at the Bombay Fine Art Society
and carrying off from there the prize for
the best landscape in any medium. Burma
also came under his investigation. 0
There is in his work, in oil and water-
colour, a quality found in many of the
younger men, of the Slade School espe-
cially—a quiet sincerity, owing something
to tradition, but utilising tradition in new
ways and adding to it a quality modern but
not modernistic. Mr. Cartledge admits the
influence upon his work and thought of
the Early English masters of water-colour
who loom so large in the present world of
art. These men are not only the idols of
connoisseurs ; they are moulding much of
the production of the present, and it would
be difficult to say how far (even in the
ultra-modern thought of to-day) their
influence, particularly that of Cotman,
reaches. Mr. Cartledge, whilst fully appre-
ciating the merits of these men, adopts, in
his own work, only those traits in their
work which give him assistance in the
interpretation of his own outlook and
temperament, feeling, quite properly, that
he, being of the present, should be a
reflector of his own period and of his own
personality. An art which, whilst pre-
serving its own personal kernel, allows
itself to be eclectic in the utilisation of all
that the past has gained in knowledge of
structure and of all the other powers
which help expression, is an art built on
strong foundations. 0000
Mr. Cartledge is by no means a land-
scapist only—his concern with portraiture
and the study of human character is
fervent, and is being shown in deep and
serious work. 00000
J. W. S.
159