File:Frederick Walker and his works (1897) (14774365561).jpg

Identifier: frederickwalkerh00phil (find matches)
Title: Frederick Walker and his works
Year: 1897 (1890s)
Authors: Phillips, Claude, Sir, 1848-1924
Subjects:
Publisher: London : Seeley and Co. New York : Macmillan
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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collection of the Right Honourable Joseph Cham-berlain, M.P.). Nothing is more instructive than an examination of thisdrawing, nothing more completely proves by negative evidence whereWalkers talent really lay, and how entirely national it was in essence. 1 A drawing Fisherman and Boy, the outcome of his fishing experiences on thebanks of the Spcan, was exhibited in 1867. A Lady i?i a Garde?:, Perthshire, appearedin 1869-70. •- • . FREDERICK WALKER 47 Away from the embrace of his own mother earth he lost his warmth andstrength, he remained but coldly observant of what had often stirred inothers a romantic passion. Here the peculiar swing and tread of thegondolier are accurately noted, the black and gold gondola itself isunexceptioiiably drawn and coloured, the carefully curled signoraseen in the cool half-light of the little covered chamber is evidently aportrait-study. Yet how cold, how narrow and formal, how trulyun-Venetian is the picture put together out of these elements, how
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Mushrooms and Funzi little it recalls the sweet South or gives back, that indefinable somethingwhich stirs the blood of the true Venice-lover ! The most important achievement of this year (1868) is the large oilpicture, The Vagrants, which was exhibited at the Royal Academy, andnow hangs in the National Gallery, for which it was purchased at theWilliam Graham sale. The reproduction here given renders a detaileddescription unnecessary. In a marshy landscape, sad in its loneliness, butbeautified by its yellov/ing autumn tints—such a one as shelters but hardly 48 FREDERICK JFALKER comforts the wanderer—these vagrants, gipsies by their picturesque type,.but not the true dark-skinned Egyptians, have halted for rest and re-freshment. Though the figures are here more happily married to thelandscape, more inevitably a part of it, both pictorially and in mood, thanis the case with many of the important compositions of Walkers lastperiod, the faults as well as the qualities of this last per

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