Studio: international art (89.1925)

CANADIAN ART AT WEMBLEY

A sense of aloofness and quietude per-
vades the picture by Frank H. Johnston,
A.R.CA. The height of the slender trees
contrasting with the pygmy figures on the
left and the absence of any unnecessary
subject matter contribute towards this
result. An effective pattern, with a view
to economy in the number of well-studied
brush strokes on the wall, and which also
helps in assisting the structural form of the
wall is shown by Frank Hennessy. The
distant hill is not so successful when
painted under this serene brush discipline,
although it has some good passages of
colourful painting. 0000

Albert H. Robinson, R.C.A. (whose
picture is reproduced with this article) gives

his brush full play in directing the smiling
movement of water, the modelling of hills
and the constructional shape of buildings.
His colour is of a high order. a a
Lawren Harris's picture of Pines, Kem-
penfelt Bay is the antithesis of the Pre-
Raphaelite movement in art. To compare
this picture with Millais' picture of
Ophelia in the Tate Gallery is an interesting
test. Both aesthetically speaking are very
good, but Lawren Harris has had the
greater problem to handle—the cutting
away of nearly everything that is visible to
the ordinary eye in nature, so as to reveal
that form of architectural growth that
underlies the outer clothing of natural
forms. 000000