File:Among the Hampshire Hills, by David Murray Smith.jpg

Identifier: internationalstu60newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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nt! During his stay of about three months at Parisin the year 1887 Crawhall attended daily at one ofthe ateliers, but the methods practised there hadlittle interest for him, and his studies from the nudewere totally different in treatment from those of theother students. His independent outlook was inno way affected by the minutely modelled drawingsaround him. An interesting collection of sketchesmade during the Paris sojourn was unfortunatelylost or stolen prior to his leaving the city. Thesedrawings consisted of a curious variety : horses anddogs seen in the streets and many wild animals,foreign birds and reptiles seen at the Jardin desPlantes. Along with Mr. Whitelaw Hamilton hefreejuently spent the afternoon at the Louvre,where he was keenly attracted by the collection ofEgyptian antiquities. The direct simplicity of thehawks, falcons, dogs, and figures deftly outlined onthe great granite sarcophagi and other objectsof those long-past times had a peculiar fascinationfor him. -I (E
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m 5 Q: IVater-Coloiir^ bv D. Murray Smith, .^l.R.lirS. W A r E R - C O L O U R S W Y1). M U R RAY SMITH.A.RAV.S. In a previous issue of The Stukio (\iil. LXIII.).1 number of landscapes executed in oils by Mr. I).Murray Smith were reproduced. In the present.irticle we shall consider briefly some landscapes inwater-colour by the same artist. And let us sayat once that, while fully appreciating the fine quali-ties that give distinction to his work in oil, weventure to think that it is in his water-colours thatMr. Murray Smiths art finds its happiest expression.That the medium is (wrticularly well suited forthe rendering of Knglish scenery is a fact whichis generally accepted, and in that fact lies thesecret of the undisputed position of the Englishschool of water-colour painting, from Paul Sandbydo«-n to the present day. The peculiar atmo■■pheric effects and subtle contrasts of light andshade form the principal charms of the Englishlandscape, and these are more readily suggested inw

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