File:Man in Red Shirt, by Randall Davey.jpg

Identifier: internationalstu75newy (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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loving work. The high achievements in these water colorsmay be noted in such pictures as Cattle in theRiver, Hillside and Stream and The Reser-voir. The green tree in the first named workshows iust those points of constructed form andcare in laying on the color that makes for such dis-tinction in these paintings. And the cattle in thestream and the growths on the sloping hillsideshow plainly the reflection of habit rather thanof the artist consciously sitting down to paint apicture. Nothing but familiar observation couldbe so convincing in its representation of nativegrass form and color as is shown here. And noth-ing but daily familiarity with cattle and their wayscould make their forms so knowing. The moun-tain habit of long distance seeing is felt in theremote vistas of The Reservoir, in which the farheights are seen bathed in shining light. Although Mr. Davey has shown one or two ofhis etchings here before he has never carried hiswork in this held so far nor to so complete a point
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MAN IN RED SHIRTBY RANDALL DAVEY ot expression as in hisset of ten plates ofscenes in New Mexico that were completed atSanta Fe in 1921. Here is an etcher who hasnever followed the familiar paths of Venice, Parisand London in his progress as a worker with theburin but has been content to work in what HenryJames might have called the adoptive scene.It is a rare experience to find an American etcherwithout such backgrounds. And yet it does notappear to have cramped either his line or his feel-ing for what constitutes an etched plate. Probable-it is responsible for some of the spontaneity. What this artist has attempted to do with hisburin is to express form through line instead ofthrough the mass. He employs a great variety ofline, uses it as what he calls an inventional lineto create on his plate, out of something he saw andnoted down in memory, a tree or a horse, or ahuman figure. Usually the line is bold and solidbut, now and again, as in the wall back of the sofain the lovely Nude,

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