As the global art market flourishes into an industry turning over an estimated $25 billion or more a year in sales, a subsidiary business has grown alongside, training those who hope to make a living from the commerce of art. The programs are intensive + highly priced.
Useful links:
www.christies.com/services/education
www.fitnyc.edu (Art Market Principles and Practice)
www.sothebysinstitute.com
www.courtauld.ac.uk
http://www.iht.com/articles/2007/10/15/europe/rieart.php
Saturday, May 10, 2008
U.S. Court Subpoenas GIA ‘Certifigate’ Records
Chaim Even Zohar writes about the ongoing GIA 'Certifigate' investigation + other viewpoints @
http://www.idexonline.com/portal_FullEditorial.asp
It will be interesging to see the outcome + impact, if any. Thanks to Chaim for updating the info.
http://www.idexonline.com/portal_FullEditorial.asp
It will be interesging to see the outcome + impact, if any. Thanks to Chaim for updating the info.
Random Thoughts
All paper money returns to its intrinsic value—zero.
- François-Marie Arouet, better known by the pen name, Voltaire.
Gold is money and nothing else.
- J.P. Morgan
- François-Marie Arouet, better known by the pen name, Voltaire.
Gold is money and nothing else.
- J.P. Morgan
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
4
No two institutions in the United Kingdom have produced a more remarkable sequence of illustrious artists than the New English Art Club and the Slade School of Art, and since, though separate in their origin, the two have come to be closely related to each other, it is convenient to consider them together. The New English Art Club was founded in the ‘eighties by a number of young artists whose bond of union was a Paris training. Among the founders were the painters P Wilson Steer and Frederick Brown and the sculptors J Harvard Thomas and T Stirling Lee; while other early members included John S Sargent, H H La Thangue, Mark Fisher, and George Clausen. For more than twenty years the New English Art Club has supplied the Royal Academy with nearly all its most distinguished members. At the present moment fifty percent of the Academicians and Associates are or have been exhibitors at the New English Art Club, while almost all the most important official art positions in London have been gradually captured by members of this Club. Sir Charles J Holmes and C J Collins Baker, respectively Director and Keeper of the National Gallery, Mr D S MacColl, Keeper of the Wallace Collection, Mr William Rothenstein, Principal of the Royal College of Art at South Kensington, are all former members of the New English Art Club.
Since its foundation the New English Art Club has largely recruited its strength from students of the Slade School, and the close alliance between the School and the Club is easily understood when we remember that the bond of union between the original clubmen was a Paris training, and when we discover that French influence has been paramount at the Slade School. This school of drawing and painting, situated in Gower Street and connected with University College, was named after Felix Slade (1790-1868), a famous art collector, who left money for the endowment of (Slade) professorships of fine arts in Oxford, Cambridge, and University College, London.
The first Slade Professor at University College was Sir E J Poynter (1871-5), under whose direction the teaching was much the same as that given in the Royal Academy Schools, but in 1876 he was succeeded by a distinguished French artist, M Alphonse Legros, who more than any other one man perhaps, may be said to have changed the character of British painting. Born at Dijon in 1837 and afterwards studying in Paris under the famous teacher of drawing, Lecoq de Boisbaudran, Alphonse Legros came to England in 1863. He was befriended by Whistler, Rossetti, Watts, and other English artists, and made his living principally by etching and by teaching. For a time he taught at the South Kensington School of Art, but in 1876 he was appointed Slade Professor at University College, a position he held till 1892. His picture of French peasant women at prayer, painted at University College in 1888, is a characteristic example of the seriousness and shows that Legros was a a lineal descendant of Ingres. To a generation absorbed in problems of color, lighting, and atmosphere, this broadminded exponent of the French classical school came as a prophet in his insistence on impeccable drawing as the sure foundation of all good painting.
At the Slade, Legros worked wonders in two ways. His great reputation as a teacher attracted the most promising art students of the time; and his influence on these students has far reaching effects. Legros, it has been well said, ‘brought English art again into closer touch with the main European tradition, and contributed largely to the noticeable revival of draughtsmanship in England at the close of the nineteenth century.’ Among the most gifted of his pupils were Charles Wellington Furse, William Strang, and William Rothenstein, all of whom laid the foundations of their reputationsas painters by sterling drawing. After Legros left the Slade in 1892, the great tradition he bequeathed to the School was ably maintained by Professor Frederick Brown, among whose pupils were Sir William Orpen and Augustus John, and since Mr Brown’s retirement, Mr Henry Tonks, also of the New English Art Club, has successfully conducted the Slade School along the lines laid down by Legros.
The Art Of Today (continued)
4
No two institutions in the United Kingdom have produced a more remarkable sequence of illustrious artists than the New English Art Club and the Slade School of Art, and since, though separate in their origin, the two have come to be closely related to each other, it is convenient to consider them together. The New English Art Club was founded in the ‘eighties by a number of young artists whose bond of union was a Paris training. Among the founders were the painters P Wilson Steer and Frederick Brown and the sculptors J Harvard Thomas and T Stirling Lee; while other early members included John S Sargent, H H La Thangue, Mark Fisher, and George Clausen. For more than twenty years the New English Art Club has supplied the Royal Academy with nearly all its most distinguished members. At the present moment fifty percent of the Academicians and Associates are or have been exhibitors at the New English Art Club, while almost all the most important official art positions in London have been gradually captured by members of this Club. Sir Charles J Holmes and C J Collins Baker, respectively Director and Keeper of the National Gallery, Mr D S MacColl, Keeper of the Wallace Collection, Mr William Rothenstein, Principal of the Royal College of Art at South Kensington, are all former members of the New English Art Club.
Since its foundation the New English Art Club has largely recruited its strength from students of the Slade School, and the close alliance between the School and the Club is easily understood when we remember that the bond of union between the original clubmen was a Paris training, and when we discover that French influence has been paramount at the Slade School. This school of drawing and painting, situated in Gower Street and connected with University College, was named after Felix Slade (1790-1868), a famous art collector, who left money for the endowment of (Slade) professorships of fine arts in Oxford, Cambridge, and University College, London.
The first Slade Professor at University College was Sir E J Poynter (1871-5), under whose direction the teaching was much the same as that given in the Royal Academy Schools, but in 1876 he was succeeded by a distinguished French artist, M Alphonse Legros, who more than any other one man perhaps, may be said to have changed the character of British painting. Born at Dijon in 1837 and afterwards studying in Paris under the famous teacher of drawing, Lecoq de Boisbaudran, Alphonse Legros came to England in 1863. He was befriended by Whistler, Rossetti, Watts, and other English artists, and made his living principally by etching and by teaching. For a time he taught at the South Kensington School of Art, but in 1876 he was appointed Slade Professor at University College, a position he held till 1892. His picture of French peasant women at prayer, painted at University College in 1888, is a characteristic example of the seriousness and shows that Legros was a a lineal descendant of Ingres. To a generation absorbed in problems of color, lighting, and atmosphere, this broadminded exponent of the French classical school came as a prophet in his insistence on impeccable drawing as the sure foundation of all good painting.
At the Slade, Legros worked wonders in two ways. His great reputation as a teacher attracted the most promising art students of the time; and his influence on these students has far reaching effects. Legros, it has been well said, ‘brought English art again into closer touch with the main European tradition, and contributed largely to the noticeable revival of draughtsmanship in England at the close of the nineteenth century.’ Among the most gifted of his pupils were Charles Wellington Furse, William Strang, and William Rothenstein, all of whom laid the foundations of their reputationsas painters by sterling drawing. After Legros left the Slade in 1892, the great tradition he bequeathed to the School was ably maintained by Professor Frederick Brown, among whose pupils were Sir William Orpen and Augustus John, and since Mr Brown’s retirement, Mr Henry Tonks, also of the New English Art Club, has successfully conducted the Slade School along the lines laid down by Legros.
The Art Of Today (continued)
Friday, May 09, 2008
Great Advice
(via Fortune) The best advice I ever got came from my mother, Estée Lauder: She believed that if you had something good to say, you should put it in writing. But if you had something bad to say, you should tell the person to his or her face. I learned this lesson the hard way. I'm chairman of the Whitney Museum of American Art in New York, and several years ago, I was angry with one of my trustees. I wrote a letter and signed it. But then I decided not to send the letter, and left it on my desk over the weekend. The following Monday I was out of the office, when a temp saw the letter and mailed it. The trustee got very angry and resigned from the board. To this day, writing that letter is something that I regret.
- Leonard Lauder
Chairman, The Estée Lauder Companies
Brilliant!
- Leonard Lauder
Chairman, The Estée Lauder Companies
Brilliant!
Random Thoughts
The market is smarter than ever. It's an environment. You either adapt to it or you don't. In the market a few thrive, most muddle along, and many succumb. Sort of like life really — full of interesting creatures and characters.
- George Parkanyi
I agree.
- George Parkanyi
I agree.
Wine Update
James Meikle has an interesting update on wine producing countries + the emerging markets + what I found intriguing was The Future of Wine report by Berry Brothers and Rudd + the effects of climate change @ http://www.guardian.co.uk/environment/2008/may/09/food.fooddrinks
It looks like China will become the biggest player in the coming years.
Useful link:
www.bbr.com
It looks like China will become the biggest player in the coming years.
Useful link:
www.bbr.com
Kerala's Art Scene
I found the article on Kerala's art scene @ http://economictimes.indiatimes.com/Kochi_the_Queen_of_Keralas_art_scene/articleshow/3023460.cms interesting + I hope the new trend benefits local artists.
Useful links:
www.openeyeddreams.com
www.kashiartgallery.com
Useful links:
www.openeyeddreams.com
www.kashiartgallery.com
EFuel Micro Fueler
(via Wired) E-Fuel Corporation has unveiled its EFuel 100 MicroFueler, a device about the size of a stacking washer-dryer that uses sugar, yeast and water to make 100 percent ethanol at the push of a button. According to the company founder, Tom Quinn, it is easy.
Brilliant!
Useful links:
www.efuel100.com
http://blog.wired.com/cars/2008/05/make-your-own-e.html
Brilliant!
Useful links:
www.efuel100.com
http://blog.wired.com/cars/2008/05/make-your-own-e.html
Modern Masters Of Form
Roderick Conway Morris has written an interesting article on goldsmiths of Padua @ http://www.iht.com/articles/2008/05/02/arts/rcajpad.php + their unique techniques.
21: The Movie
(via Wiki) 21 is a 2008 drama film from Columbia Pictures. It is directed by Australian director Robert Luketic (Legally Blonde) and stars Jim Sturgess, Kevin Spacey, Kate Bosworth, and Laurence Fishburne. The film is inspired by the true story of the MIT Blackjack Team. The film draws from Bringing Down the House, the best-selling book by Ben Mezrich.
Useful links:
http://www.sonypictures.com/movies/21
http://news.bbc.co.uk/2/hi/business/7374111.stm
http://www.imdb.com/title/tt0478087
Useful links:
http://www.sonypictures.com/movies/21
http://news.bbc.co.uk/2/hi/business/7374111.stm
http://www.imdb.com/title/tt0478087
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
Since he gave up poster designing, Mr Pryde has never made any attempt to obtain popularity. A fastidious and self exacting painter, his output has been comparatively small, and the pictures he has shown at the old Grosvenor Gallery, at the New Gallery, and at the exhibitions of the International Society, of which he is distinguished member, have appealed more to the collector and connoisseur than to the general public. As a painter he is difficult to place, for he is neither a realist not an out-and-out romanticist. His subjects are a little mysterious, and though his pictures often have an eighteenth-century look we hesitate to assign them to any definite period. What is happening in the picture is rarely clear, yet the artist contrives to hold our interest by a suggestion that something is about to happen. There is a strong feeling of latent drama in his work, because he excels in Dramatic Design.
‘The Venstibule’, in the Earl of Crawford’s Collection, is a characteristic example of the peculiar qualities in Mr Pryde’s work. Here,as in all his pictures, we find a stage beautifully set, a scene which so bewitches us by the nobility of its design, by the monumental splendor of its masses, by rich glows of color from a whole of harmonious sombreness, thta we catch our breath with delight at the spectable, just as we might do in a theatre as the curtain goes up and before we have any knowledge of what action will take place on the scene.
Mr William Nicholson, who was born at Neward-on-Trent in 1872, served a lengthy apprenticeship before he developed into the popular painter of portraits and still-life that he is today. After the success of the posters which he designed jointly with his brother-in-law, he laid the foundations of his individual reputation by a remarkable series of woodcuts in color. Three of his books, an Alphabet, an Almanac of Twelve Sports, and London Types—all published in 1898—widened the base of his popularity and made the name of William Nicholson known to thousands who rarely visit picture exhibitions.
More definitely realistic, less imaginative, and less mysterious than Mr Pryde, Mr William Nicholson has this much in common with him, that he, too, is pre-eminently a designer. This much we may see in a work so remarkable for its fidelity to nature as his ‘Portrait of Miss Jekyll’. In its suave rendering of character and atmosphere this portrait is descended from Velazquez through Whistler, but in its arresting simplicity, the effective placing of the chair-back, head, and hands as the accented notes of a diagonal composition, the picture is also related to the posters of the Beggarstaff Brothers and to the masterly designs of the Far East.
A younger generation of Scottish artists, of whom the best known are S J Peploe, J D Fergusson, and Joseph Simpson, are connected with Edinburgh, not Glasgow, and form another distinct group. All of them were at first influenced by Whistler and subsequently by Manet and later French artists; and while each painter has his own personality, strong drawing, bright clean color, and emphatic design are common to all three.
The once much talked of Newyln School was never a local development, like that of Glasgow, but consisted of a group of artists drawn from various places who found this Cornish fishing village, near Penzance, a pleasant place in which to settle and practice open air painting. Stanhope Forbes, the late Napier Hemy, the sea painter, and Frank Bramley have been considered the leaders and founders of this school. Other artists have founded colonies at St Ives and elsewhere along the Cornish coast, some of the best known of the younger generation being the marine painter Mr Julius Olsson, the landscape painter Mr Lamorna Birch, and that particuarly brilliant pair, alike in portraiture, landscape, and figure subjects, Harold and Laura Knight.
The Art Of Today (continued)
Since he gave up poster designing, Mr Pryde has never made any attempt to obtain popularity. A fastidious and self exacting painter, his output has been comparatively small, and the pictures he has shown at the old Grosvenor Gallery, at the New Gallery, and at the exhibitions of the International Society, of which he is distinguished member, have appealed more to the collector and connoisseur than to the general public. As a painter he is difficult to place, for he is neither a realist not an out-and-out romanticist. His subjects are a little mysterious, and though his pictures often have an eighteenth-century look we hesitate to assign them to any definite period. What is happening in the picture is rarely clear, yet the artist contrives to hold our interest by a suggestion that something is about to happen. There is a strong feeling of latent drama in his work, because he excels in Dramatic Design.
‘The Venstibule’, in the Earl of Crawford’s Collection, is a characteristic example of the peculiar qualities in Mr Pryde’s work. Here,as in all his pictures, we find a stage beautifully set, a scene which so bewitches us by the nobility of its design, by the monumental splendor of its masses, by rich glows of color from a whole of harmonious sombreness, thta we catch our breath with delight at the spectable, just as we might do in a theatre as the curtain goes up and before we have any knowledge of what action will take place on the scene.
Mr William Nicholson, who was born at Neward-on-Trent in 1872, served a lengthy apprenticeship before he developed into the popular painter of portraits and still-life that he is today. After the success of the posters which he designed jointly with his brother-in-law, he laid the foundations of his individual reputation by a remarkable series of woodcuts in color. Three of his books, an Alphabet, an Almanac of Twelve Sports, and London Types—all published in 1898—widened the base of his popularity and made the name of William Nicholson known to thousands who rarely visit picture exhibitions.
More definitely realistic, less imaginative, and less mysterious than Mr Pryde, Mr William Nicholson has this much in common with him, that he, too, is pre-eminently a designer. This much we may see in a work so remarkable for its fidelity to nature as his ‘Portrait of Miss Jekyll’. In its suave rendering of character and atmosphere this portrait is descended from Velazquez through Whistler, but in its arresting simplicity, the effective placing of the chair-back, head, and hands as the accented notes of a diagonal composition, the picture is also related to the posters of the Beggarstaff Brothers and to the masterly designs of the Far East.
A younger generation of Scottish artists, of whom the best known are S J Peploe, J D Fergusson, and Joseph Simpson, are connected with Edinburgh, not Glasgow, and form another distinct group. All of them were at first influenced by Whistler and subsequently by Manet and later French artists; and while each painter has his own personality, strong drawing, bright clean color, and emphatic design are common to all three.
The once much talked of Newyln School was never a local development, like that of Glasgow, but consisted of a group of artists drawn from various places who found this Cornish fishing village, near Penzance, a pleasant place in which to settle and practice open air painting. Stanhope Forbes, the late Napier Hemy, the sea painter, and Frank Bramley have been considered the leaders and founders of this school. Other artists have founded colonies at St Ives and elsewhere along the Cornish coast, some of the best known of the younger generation being the marine painter Mr Julius Olsson, the landscape painter Mr Lamorna Birch, and that particuarly brilliant pair, alike in portraiture, landscape, and figure subjects, Harold and Laura Knight.
The Art Of Today (continued)
Thursday, May 08, 2008
Akshaya Tritiya
(via Wiki) Akshaya Tritiya, falling on the third day of the bright half of the lunar month of Vaisakha of the traditional Hindu calendar, is one of the four most auspicious days of the year for Hindus. The word Akshaya, a Sanskrit word, literally means one that never diminishes, and the day is believed to bring good luck and success. It is widely celebrated in all parts of India by different sections of the society irrespective of their religious faith and social grouping. The day is particularly considered auspicious for buying long term assets like gold and silver, including ornaments made of the same; diamond and other precious stones; and the real estate. The legend states that any venture initiated on the auspicious day of Akshaya Tritiya shall continue to grow and bring prosperity. Hence, it is normal to see many of the new ventures, like starting a business, ground breaking for construction etc on the Akshaya Tritiya Day. In 2008, Akshaya Tritiya falls on 8th May.
Useful links:
www.marketing.gold.org
www.kotakcommodities.com
http://riddhisiddhicommodity.com
Useful links:
www.marketing.gold.org
www.kotakcommodities.com
http://riddhisiddhicommodity.com
Pascal Dangin
Pascal Dangin is arguably one of the most powerful men in fashion + behind-the-scenes premier retoucher of fashion photographs.
Useful links:
www.boxstudios.com
http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_collins
Useful links:
www.boxstudios.com
http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_collins
Santa Fe Symposium
The 22nd annual symposium on jewelry manufacturing technology will be held in Albuquerque, New Mexico, May 18 - 20, 2008.
Useful link:
www.santafesymposium.org
Useful link:
www.santafesymposium.org
Portugal Gemas
A quarterly gemological newsletter in Portuguese has been launched by LABGEM gemological laboratory in PDF format.
Useful link:
www.labgem.org
Useful link:
www.labgem.org
Goldheart
Goldheart is an interesting jewelry store: the metamorphosis from a traditional store selling gold to a large branded jewelry operation with innovative designs and good customer service should be a good business model for aspiring jewelers.
Useful link:
www.goldheart.com.sg
Useful link:
www.goldheart.com.sg
Art Market Update
Souren Melikian has an interesting update on Christie's sale of Impressionist and Modern art @ http://www.iht.com/articles/2008/05/07/arts/w-melik8.php + what's amazing to me is the state of the art market: it is still active despite economic uncertainities worldwide.
Useful link:
www.christies.com
Useful link:
www.christies.com
Wind Power
I found the article on wind power @ http://www.economist.com/science/tq/displaystory.cfm?story_id=11323401 very interesting + insightful + it's really exciting to see innovative entrepreneurs venturing with technocrats to create alternative energy sources.
Useful links:
http://sway.no
www.bluehgroup.com
www.nrel.gov/wind
www.capewind.org
Useful links:
http://sway.no
www.bluehgroup.com
www.nrel.gov/wind
www.capewind.org
The Art Of Today
(via The Outline of Art) Frank Rutter writes:
3
Since Pettie and Orchardson Scotland has always been strongly represented in the Royal Academy. The younger Scottish school originated in Glasgow, whither about fifty years ago a very large number of fine pictures by the French romanticists found their way into public and private collections. In the appreciation of Corot and his contemporaries, Scotland was far ahead of England, and since Whistler also found favor more quickly in the north than in the south, the Scottish painters were, generally speaking, more advanced than their English confrères during the latter part of the nineteenth century. Of the group of painters known as the Glasgow School, it may be broadly said that the figure painters were chiefly influenced by Whistler, the landscapists by Corot and the French romanticists. Among the most distinguished of the figure painters are Sir James Guthrie, born in 1859 and elected President of Royal Scottish Academy in 1902, who adds much of the robustness of Raeburn to a Whistlerian elegance and color harmony; Sir John Lavery, born at Belfast in 1857, who has developed in his own way the graceful style and dainty coloring of Whistler, whether in portraying manly dignity, feminine loveliness, or in painting landscapes; Mr E A Walton, equally at home in portrait and landscape, Mr Harrington Mann, Mr George Henry, and Mr Edward Hornel, who with thick, enamel-like paint, has invented a new style in which children are usually seen decoratively disposed amid flowery gardens of a semi-tropical luxuriance. In this school a place apart was held by the late Joseph Crawhall, whose animal paintings, and particularly his watercolors on brown holland, had an inevitability of line and simple grandeur of design which related his work to that of the greatest oriental artists.
Among the Glasgow landscape painters, most of whom, like W Y Macgregor and David Gauld, followed either the Barbizon or Modern Dutch Schools, the premier place has now been won by Mr D Y Cameron, R.A. Born at Glasgow in 1865, Mr Cameron has made a foremost place for himself as an etcher, rivaling Mr Muirhead Bone in his masterly interpretation of architectural and landscape subjects, while he has also developed a most personal style as a painter, depicting the hills and lakes of Scotland and the picturesque houses in her cities with a fine simplicity of design and clear, translucent color. While in his use of delicate hues, harmonised with subtelty, Mr Cameron shows more than a passing acquaintance with Impressionism, in his emphasis of line and tendency towards simplication he exhibits in a mild and restrained form that reaction from Impressionism which ran to excess in Paris.
While there has never been a definite Edinburgh school, several modern painters of distinction have been associated with the Scottish capital, among them being Mr James Pryde, one of the most original and gifted artists of our time. Born in 1869, Mr Pryde is the son of the late Dr David Pryde of St Andrews and subsequently of Edinburgh. Though nominally he received his training, like so many others, at the Atelier Julien in Paris, very little French influence appears in his work. He learnt the decorative value of the silhouette from Whistler, something about the effective disposal of masses, perhaps, from the brilliant French poster-designer Toulouse-Lautrec (1864-1901), and a good deal about dramatic composition from Hogarth. In other words, Mr Pryde made his own choice among the masters and built up his own art by affinities and observation. It was by poster work that Mr Pryde first roused the attention of the public. He had a sister, Mabel Pryde, who married another artist, William Nicholson, and the brothers-in-law, working under the pseudonym of ‘Beggar staff Brothers’, produced a series of posters in the ‘nintees which electrified London by their outstanding artistic qualities.
The Art Of Today (continued)
3
Since Pettie and Orchardson Scotland has always been strongly represented in the Royal Academy. The younger Scottish school originated in Glasgow, whither about fifty years ago a very large number of fine pictures by the French romanticists found their way into public and private collections. In the appreciation of Corot and his contemporaries, Scotland was far ahead of England, and since Whistler also found favor more quickly in the north than in the south, the Scottish painters were, generally speaking, more advanced than their English confrères during the latter part of the nineteenth century. Of the group of painters known as the Glasgow School, it may be broadly said that the figure painters were chiefly influenced by Whistler, the landscapists by Corot and the French romanticists. Among the most distinguished of the figure painters are Sir James Guthrie, born in 1859 and elected President of Royal Scottish Academy in 1902, who adds much of the robustness of Raeburn to a Whistlerian elegance and color harmony; Sir John Lavery, born at Belfast in 1857, who has developed in his own way the graceful style and dainty coloring of Whistler, whether in portraying manly dignity, feminine loveliness, or in painting landscapes; Mr E A Walton, equally at home in portrait and landscape, Mr Harrington Mann, Mr George Henry, and Mr Edward Hornel, who with thick, enamel-like paint, has invented a new style in which children are usually seen decoratively disposed amid flowery gardens of a semi-tropical luxuriance. In this school a place apart was held by the late Joseph Crawhall, whose animal paintings, and particularly his watercolors on brown holland, had an inevitability of line and simple grandeur of design which related his work to that of the greatest oriental artists.
Among the Glasgow landscape painters, most of whom, like W Y Macgregor and David Gauld, followed either the Barbizon or Modern Dutch Schools, the premier place has now been won by Mr D Y Cameron, R.A. Born at Glasgow in 1865, Mr Cameron has made a foremost place for himself as an etcher, rivaling Mr Muirhead Bone in his masterly interpretation of architectural and landscape subjects, while he has also developed a most personal style as a painter, depicting the hills and lakes of Scotland and the picturesque houses in her cities with a fine simplicity of design and clear, translucent color. While in his use of delicate hues, harmonised with subtelty, Mr Cameron shows more than a passing acquaintance with Impressionism, in his emphasis of line and tendency towards simplication he exhibits in a mild and restrained form that reaction from Impressionism which ran to excess in Paris.
While there has never been a definite Edinburgh school, several modern painters of distinction have been associated with the Scottish capital, among them being Mr James Pryde, one of the most original and gifted artists of our time. Born in 1869, Mr Pryde is the son of the late Dr David Pryde of St Andrews and subsequently of Edinburgh. Though nominally he received his training, like so many others, at the Atelier Julien in Paris, very little French influence appears in his work. He learnt the decorative value of the silhouette from Whistler, something about the effective disposal of masses, perhaps, from the brilliant French poster-designer Toulouse-Lautrec (1864-1901), and a good deal about dramatic composition from Hogarth. In other words, Mr Pryde made his own choice among the masters and built up his own art by affinities and observation. It was by poster work that Mr Pryde first roused the attention of the public. He had a sister, Mabel Pryde, who married another artist, William Nicholson, and the brothers-in-law, working under the pseudonym of ‘Beggar staff Brothers’, produced a series of posters in the ‘nintees which electrified London by their outstanding artistic qualities.
The Art Of Today (continued)
Subscribe to:
Posts (Atom)