DOI issue:
No. 303 (June 1925)
DOI article:Victor Burnand
DOI Page / Citation link:https://doi.org/10.11588/diglit.21402#0324
VICTOR BURNAND
pictures are always well drawn and well
placed, without being introduced merely
" to make the picture." But Mr. Burn-
and's work varies, as does that of all true
artists whose work is dependent on the
discipline and use of their own emotions
and who do not merely turn out pictures
of stereotyped mediocrity. Perhaps the
labours of teaching have not always left
time for the ceaseless study and observa-
tion of nature which is so essential to the
landscape artist, and this may account
for an atmosphere in some of his paintings
which is more reminiscent of coloured
reproductions than of nature's daylight,
and for skies which sometimes lack the
warm luminous breadth of light opposed
to the solid mass of the merely reflective
earth, a a 0 a a a
At the moment, landscape painting
seems at an indeterminate stage of its evo-
lution. Since the passing of " The Old
Brown School" of the eighteenth century,
which was founded on the study of chiaros-
curo, and on which even the naturalism
of Constable and David Cox is based,
we have had many reactions, but little
originality. Mr. George Clausen has won-
derfully incorporated the discoveries of
the Impressionists with the old tradition,
but with lesser artists this is hardly
done without leaving a sense of compro-
mise,—a weakness to which the teacher-
must be particularly exposed. 0 0
Mr. Burnand was trained at the Royal
College of Art with a subsequent period.
of study in Paris. For some years he was
a member of the Royal Society of British
Artists and has some excellent miniatures,,
some of which he has exhibited at the
Royal Miniature Society, of which he:
was formerly an associate. He has also
shown pictures at the Royal Academy,,
at the Salon, Paris, and with the Inter-
national Society of Sculptors, Painters
and Gravers. Such a list is a testimony
that Mr. Burnand has not failed to find
appreciation among his fellow artists. 0
318
" EVENING STILLNESS." WATER-
COLOUR BY VICTOR W. BURNAND-
pictures are always well drawn and well
placed, without being introduced merely
" to make the picture." But Mr. Burn-
and's work varies, as does that of all true
artists whose work is dependent on the
discipline and use of their own emotions
and who do not merely turn out pictures
of stereotyped mediocrity. Perhaps the
labours of teaching have not always left
time for the ceaseless study and observa-
tion of nature which is so essential to the
landscape artist, and this may account
for an atmosphere in some of his paintings
which is more reminiscent of coloured
reproductions than of nature's daylight,
and for skies which sometimes lack the
warm luminous breadth of light opposed
to the solid mass of the merely reflective
earth, a a 0 a a a
At the moment, landscape painting
seems at an indeterminate stage of its evo-
lution. Since the passing of " The Old
Brown School" of the eighteenth century,
which was founded on the study of chiaros-
curo, and on which even the naturalism
of Constable and David Cox is based,
we have had many reactions, but little
originality. Mr. George Clausen has won-
derfully incorporated the discoveries of
the Impressionists with the old tradition,
but with lesser artists this is hardly
done without leaving a sense of compro-
mise,—a weakness to which the teacher-
must be particularly exposed. 0 0
Mr. Burnand was trained at the Royal
College of Art with a subsequent period.
of study in Paris. For some years he was
a member of the Royal Society of British
Artists and has some excellent miniatures,,
some of which he has exhibited at the
Royal Miniature Society, of which he:
was formerly an associate. He has also
shown pictures at the Royal Academy,,
at the Salon, Paris, and with the Inter-
national Society of Sculptors, Painters
and Gravers. Such a list is a testimony
that Mr. Burnand has not failed to find
appreciation among his fellow artists. 0
318
" EVENING STILLNESS." WATER-
COLOUR BY VICTOR W. BURNAND-