DOI issue:
No. 385 (April 1925)
DOI article:Taylor, Ernest Archibald: D. Forrester Wilson, A.R.S.A.
DOI Page / Citation link:https://doi.org/10.11588/diglit.21402#0190
D. FORRESTER WILSON, A.R.S.A.
"THE LAST LOAD." BY D.
FORRESTER WILSON, A.R.S.A.
section in which life painting, landscape into his work, by a sympathetic study of
and figure composition are dealt with, is a the spacing and the intervals of light and
position which one may not control through dark patterns throughout his composition,
life without being often brought into The great achievements in this kind are
touch with the history of art and work and attained by the study of design and
methods of the old masters and amongst structure, imaginatively or before nature,
them the art of Botticelli and Mantegna without which all the sketcher's gathered
have perhaps made to him the greatest facts are of little avail when he comes to
appeal. Though in his The Valley of make use of them, other than their being
Melting Snow when shown in the Royal aids to uninspired documentary truths or
Glasgow Institute of the Fine Arts in enlarged picture post-cards. Design, form
1920, one felt, though not technically, and colour are the main factors which the
he had a certain affinity of outlook with great of the past as well as those of the
the Swiss artist Giovanni Segantini, present rely on as being the most vital
Mr. Wilson's picture, recalling in its in- forces to wrestle with in their art attain-
tensity that remarkable artist's half-finished ments, and it is surprising how certain
study of Morning Hours, in which graceful aspects of nature when united in their
lithe figures of maidens with out-stretched simplest, majestic and constructional
bare arms and fluttering drapery are arrangement, be it merely in silhouette, will
represented hovering amidst the morning make a universal appeal and awaken some
mists against a background of snow-clad latent sense of beauty and impulsive
mountains; decoratively combining as appreciation; just as certain simply
it did, idealism and concrete symbolism, arranged musical sounds will, even in
Wilson's greatest aim and, as he also ad- those who assert that they know nothing
mits, his greatest difficulty, is to get as whatever about either of the arts. 0 0
much of the decorative character as possible Books on design and composition one
184
"THE LAST LOAD." BY D.
FORRESTER WILSON, A.R.S.A.
section in which life painting, landscape into his work, by a sympathetic study of
and figure composition are dealt with, is a the spacing and the intervals of light and
position which one may not control through dark patterns throughout his composition,
life without being often brought into The great achievements in this kind are
touch with the history of art and work and attained by the study of design and
methods of the old masters and amongst structure, imaginatively or before nature,
them the art of Botticelli and Mantegna without which all the sketcher's gathered
have perhaps made to him the greatest facts are of little avail when he comes to
appeal. Though in his The Valley of make use of them, other than their being
Melting Snow when shown in the Royal aids to uninspired documentary truths or
Glasgow Institute of the Fine Arts in enlarged picture post-cards. Design, form
1920, one felt, though not technically, and colour are the main factors which the
he had a certain affinity of outlook with great of the past as well as those of the
the Swiss artist Giovanni Segantini, present rely on as being the most vital
Mr. Wilson's picture, recalling in its in- forces to wrestle with in their art attain-
tensity that remarkable artist's half-finished ments, and it is surprising how certain
study of Morning Hours, in which graceful aspects of nature when united in their
lithe figures of maidens with out-stretched simplest, majestic and constructional
bare arms and fluttering drapery are arrangement, be it merely in silhouette, will
represented hovering amidst the morning make a universal appeal and awaken some
mists against a background of snow-clad latent sense of beauty and impulsive
mountains; decoratively combining as appreciation; just as certain simply
it did, idealism and concrete symbolism, arranged musical sounds will, even in
Wilson's greatest aim and, as he also ad- those who assert that they know nothing
mits, his greatest difficulty, is to get as whatever about either of the arts. 0 0
much of the decorative character as possible Books on design and composition one
184