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By Percy Groom, M.. Painted by George M. For more than half a century after his death in Raeburn had only a local reputation. His talent, which the Royal Academy had rewarded by electing him to its membership in 18 r 2, had been completely forgotten south of the Border, and it was only towards the close of the century that the wider art world recognised his true position.
Such belated appreciation is no new thing in the annals of art and literature, and the generation which awakens to the merits of a long- neglected writer or painter is prone to tak' credit for superior discernment. So it is being asked in Raeburn 's case, How was it that both artists and art critics — for many such had seen his works during the middle decades of last century — were blind to qualities which so excite our admiration?
And the answer which comes uppermost is not flattering to the reputation of those who either ignored him altogether or damned him with faint praise. But is there not another and more natural explana- tion of the changed attitude of the art world to the Scottish painter's work, viz. The greater talents were absorbed by branches in which, it was thought, the artistic faculty had freer scope. What wonder that Raeburn, who had never associated himself with the wider field of art, as so many portrait painters have done, was left severely alone, as a somewhat pro- saic exponent of a prosaic department of the art.
And, what bears specially on our subject, his methods were not those which commended them- selves to early and mid- Victorian art. There is infinite variety in the means painters have chosen to express themselves, but, roughly "the hoy and rabbit" i;y sir h. Royal Academy, Diploma Gallery 90S. Till quite recently the technique of painting in these islands had been mainly derived from the practice of Italian and of Flemish masters.
These influences, nationalised, as one might say, in the triumphs of Reynolds and Gainsborough, alike favoured the less direct methods which dominated British art till about As this manner of seeing and painting gained ground, the long- neglected painters who had, in a greater or less degree, anticipated the modem movement were recognised as masters. Various conjectures have been hazarded as to how the young Scotsman came by a style so unlike that of the painters with whose works he must have been most familiar.
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The study of the Doria Velasquez during his stay in Rome, , has been suggested as a contributing cause. Such a theory hardly squares wi: But why puzzle over such a ciuestion? Is it not simpler to suppose that it came to him, as to the other precursors, because his tempera- ment disposed him to see things so?
Raebimis Technique art, would favour the growth of his own. However that may be, there is apparent in the Chalmers portrait, and in various others of the preRoman period, a manner quite distinct from that of his Scottish predecessors and contemporaries. In place of Ramsay's soft and well-rounded surfaces and the feebler brushing of Martin, Raeburn secures his modelling by means of a simplification of surfaces to which he has the faculty of reducing the infinite complexities of nature's appearances.
This power of generalising is common to all great artists: He deals with surfaces much as what used to be called drawing "on the s iuare" does with contour. The advantage of that manner is that through all the subsequent curvatures by which completion is sought, something of the simplicity and bigness of the first enclosing lines remains. In his early works the fundamental squareness of Raeb urn's modelling has little of the fusion which corresponds to the added curves in the treatment of contour re- ferred to.
The painter is feeling his way ; the new method is applied timidly and with inadequate results in more ways than one. The pigment is thin and. It is not unlikely that by adopting the manner then in vogue success would have come sooner, but the method described above had this advantage: For in place of being conremed with 6 roundings and softenings and the superficial charms of a borrowed style, he sought the true character of his sitter through the manner of seeing congenial to his temperament, and which his brush summarised with increasing success as the years went on.
The process was slow, for the method did not lend itself readily to the con- ventions of portraiture with wiiich he had to comply. It cannot be said that the Roman visit had any immediate or very marked effect, but in 1 he took a long step forward in the full length of the archer, Nallianid Spens. From the close of the eighties, indeed, progress seems quickened, and from that date it is continuous. Comparing the portraits of the nineties with those of the eighties one notes that the shadows and markings by which the modelling is rendered are less narrow, the pigment fuller, and the broad surfaces of lights and darks which make up the scheme of the picture less map-like in their C.
This simple manner of seeing, and the advice given him by his countryman Byres, when in Rome, " Always to paint with the object before him,'' is teaching him that relief is attained by true relation of tones, and how nature works by har- monies rather than by contrasts in her arrangements. For Raeburn, like other young painters, sees, at first, more the contrasts which divide than the harmony which unifies. A comparison of Lady Baeburn, , o"" Mrs. Gregory, , with Mrs. But if maturity in technique was long delayed, his manner brought immediate success in another direction.
For, in Scotland at least, Raeburn's may be called the beginning of true portraiture. One looks in vain in the works of Jamesone and Scougal for characteristic Scottish types. Those gentlemen with flowing wigs, in steel cuirass or voluminous draperies, and their wives of the sloping shoulder and well-arched brows, are as like their English or Continental contemporaries as may be.
One might suppose that a new type had arisen amongst usabout the last quarter of the eigh- teenth century, so much do Raeburn's presentments of the men and women of that period differ from those of his predecessors. That his personal method brought this more intimate render- ing, and that from the com- mencement, is evident from many works of his earlier practice, where, notwith- standing the thinner mate- rial and more precise modelling, the character is strongly rendered.
Stevenson's "Velasquez,' the author has described the method of painting a head taught in the studio of Carolus-Duran — "a great painter whose only recognised master was Velasquez. Indeed, the mosaic-like placing side by side of the few simple planes, in accordance with " the relative value of light that their various inclinations ] ro- duce," the "sharp edged unsoftened facets," and the dispensing with preliminary contour, better describe the methods of the northern than of the southern master.
By pcnniiswH nf Messrs. And though in the later twenties direct painting was at a discount and " true lighting " little thought of, it can hardly be doubted that both had to do with Wilkie's well-known com- parison of the two painters. During what may be called his middle period, ,jg6 — iSii, Raeburn continued to develop on his own lines.
His material becomes fuller, the shadows and deeper half-tones occupy a larger space, the tints are better fused, and his handling is at once freer and has more descriptive power: Hay of Spot, and Miss Ross. Certain defects persist, with a modification. His flesh colour, rarely of the finest, remained till the close of this period commonplace in the quality of its component tints.
The juxtaposition of yellowish high lights, which in the nineties partake of a lemon tinge, giving, in their combination with the carnations, a hectic cast to such portraits as Mrs. Campbell of Ballimore and Prof. Dalzel, is hardly more satisfactory in those of Dr. Adam and Lord Nnvlon, two of the masterpieces of the artist's prime. The lemon has given place to the more earthy Naples ellow, and, viewed closely, its com- "uination with halftones which incline to red verges on the crude.
But one forgets the defects in presence of the qualities of those great [Kirtraits ; indeed, by some. The manner of seeing, which early emancipated him from irritating contrasts and irrelevant detail, and which had been gradually massing and broadening his chiaroscuro, has, in Dr. Adam, reached its climax. In landscape Corot has been called " Le Irand Simplificateur. The kindly countenance and simple yet expressive gesture required an appropriate treatment, and a better cannot be conceived than the scheme of black and olive, with its few gradations and in- cidences of light which, under the artist!
Everyone knows how such abrupt and vivid accents served Hals ; how, under the elan of his handling, hues, in themselves gross and earthy, become instinct with life. Even so, in this typical Raeburn, the play and interplay of the skilfully accented lights and shadows with the broader and more fused surfaces of the flesh bring out tones which, though hardly existing on the canvas, complete the modelling, and, from the proper standpoint, convert the summary and seemingly inadequate brushings into a living, breathing reality.
This vivacity of accent in the flesh, though it culminates in Lord Newton and in Mrs. James Carnpbell, characterises much of the painter's best work, and is generally felt in proportion as his subject admits of the treat- ment. And the Scotsman thereby as- sociates himself with a phase of recent as well as of earlier direct painting. From , when Rae- burn removed to York Place, his portraits indicate the use of a higher side light, the oblique shadows cast by brows and nose being more pronounced, and all horizontal markings having their under-surfaces shadowed.
It is to be re- gretted that the exigencies of a constant practice per- mitted him to vary his treat- ment so little in this respect. For what avails truth of relative tones in face and figure if these are falsely related to their setting? His very attainments in tonality make the adjuncts of curtain and pillar, or decorative landscape, much more in- jurious to Raeburn's portraits than to those of his English predecessors and contemporaries, which lent themselves readily to such treatment.
For as true lighting implies a unity, a portrait treated so brooks no such conventional environment. What the Scottish painter might have attained in this di- rection is best seen in the full-length of Col. Alastair Macdonell of Glengarry, where, from some un- known circumstance, the usual treatment has been departed from. The convention which dic- tated the shadowy battlefield, war ships under full sail, or undulating park for the soldier, the admiral, or the country squire, would naturally suggest for Mengarry some abstract of rugged peak and barren moor.
But no ; by some happy chance Raeburn has realised the appropriateness of the actual back- ground as his subject posed — the shadowed wail of the apartment broken only by a pilaster in low relief and a few emblems of war and of the chase. The result is delightful. That his usual treatment was no mannerism is shown by the ease with which his brush adapts itself to the unwonted lighting. Nor is this " keeping,'' or enveloppc, attained by any degrada- tion of colour or sacrifice of character, as is apt to be the case when it is reached through the too conscious use of a theory. The now formulated science of values enables the merest tyro to get his enveloppe, but often the enclosure scarcely justifies the skill ex ended thereon.
S i o, moved by some thoughts of settling there, he aid a third visit to the Metropolis. He was dissuaded fn. But the few weeks he s] ent in London were not without tangible result, and from this date his works show certain qualiiieswhich relate him moreclosely to his southern compeers.
Already in the three-quarter-length of ATrs. There is, with the fuller brush, a softer handling, and the sur- face generally has more of the pulpy consistency of flesh. Not infrequently this is gained at the expense of that finer rendering of the structure which char- acterised the best work of the period immediately preceding. Kennedy, for example, the difference of the firmer and more mobile parts is insufficiently expressed, whilst in various male pcr- IlV SIR Raeburns Technique traits of those years the more luscious brushing tends to grossness.
But ever ' now and again, when the subject interests him, Raeburn recovers himself, or even, in modern parlance, breaks his record. And there is evidence in some of those masterpieces that they have cost more than the usual half-dozen sit- tings. His own portrait , and still more that of Wardrop of Torbanehill, show traces of repeated workings, the painting in both having much of the quality of the masters of the less direct methods. In these and many others which could be named, both of male and female sitters, there are passages rich and creamy as Gandy himself could have desired, combined with a surety of modelling which he has never surpassed.
Sometimes, as in Mrs. Janus Campbell, the character seems achieved in a white heat, but oftener the Hals-like brushing is reserved for the costume, as if the painter, after the strain of grappling with the main interest, had let himself go on some bit of frilled cambric or buflf vest. Has the Dutchman himself ever excelled that frill of the Hon.
The latest phase of his brushwork, " the smear with the blurred edge," which during this period gradually replaces the firmer modelling associated with his prime, is not always successfully used. In the blurring of contours and the fusion of the more pulpy flesh, something of his personal manner is lost, and when the oversoftness is accompanied, as in John IVauchope, with an in- sufficient observation of the cooler transition tones, a certain commonness results.
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This portrait, which has been spoken of as the Philip IV. James Campbell, nor the glamour and mystery of the less directly painted Wardrop. It is a something between the two which is less satisfactory than either. All is too rounded, too obvious. But if the phase has its partial failures, in such works as the last named where it is associated with all his finest qualities, in Mrs. Irvitu Boswell, , his Diploma picture, , Mrs. Sinvart of Physgill, and others of his last year, it shows the master of the direct method invading, with no small suc -ess, the sphere of the process painter.
From causes already indicated Raeburn had not the influence on Scottish painting one might have expected from so strong a personality. Even the 16 portraitists bear only partially the impress of his technique. To him they owe the masculine breadth of treatment which distinguishes the stronger amongst ihem, and which saves even the less virile from triviality.
But of his technique in its more restricted sense of handling, there is little trace, and to none of them would Stevenson's description of the methods followed in Carolus- Duran's studio be at all applicable. In this respect Raeburn's affinities are with a more recent school: Carolus-Duran's most gifted pupil has shown us what a brush stroke can accomplish when the searching analysis of the brain is hacked by a hand responsive to its every perception and impulse. Something of the same spontaneity, with an analysis less subtle — as became his time — but with more of reticence, of quiet dignity, and what one may call geniality of outlook, characterises Raeburn's best work.
It is mainly on this executant side that his technique associates him with the forerunners of direct painting and with its ablest modern exponents. On the other hand, with that counterfeit of true handling, with paint-slinging and its endless eccentricities of clotting and loading, so captivating to the half-educated, there is no affinity whatever.
Raeburn cannot be ranked amongst the great colourists ; indeed, it would almost seem as if direct painting were incapable of attaining, in its fullest measure, that most fascinating quality of the painter's art — for even Vclascjuez can only in a restricted sense be called a colourist. Its merits lie in a different direction. The triumphs of the respective methods are api raised difierently by the different temperaments, and this will probably con- tinue to be the case.
In the meantime, the exponents of the agile hand, the science of values, and true lighting are in the ascendant ; but there are those who perceive in the works of the great dreamer of the Y, Of Rubens and Reynolds and Gainsborough, and in the impassioned realism of the painter of iVr Isumbras and Aiiiumn Leaves, charms not to be captured so. In the Collection of fohn A. In the Citlle, tien ff Lionel Muirhtad, Esq. Ill the Collection of R.
By permiision of Messrs. By permission of Norman Forbes- Robertson, Esq. Two well-defined tendencies may be noted in the present progress of the Belgian Landscape School. On the one hand we find a striving towards novelty in the observation of the phe- nomena of light, and in the study of the processes of representation. The artists forming this group are akin to the French painters ; their experiments are sometimes extravagant.
Their chief is Eniile Claus. On the other hand one may observe a respect for definite pictorial traditions, and the employment of processes which have been well tried, and, in their certainty, lead at times to commercialism. The artists of this group are allied to the Dutch School, and their head is Franz Courtens. Gabriel Mourey, who devoted a very interesting article to the subject ; thus it is the more fitting that the readers of this magazine should now be made acquainted with the work of Franz Courtens, who has lately been feted w'iih extraordinary enthusiasm in his native town.
Francois Edouard Marie known as Franz Courtens was born on the 4lh of February, , at Termonde, a little town in Eastern Flanders, situated on the right bank of the Scheldt, at the mouth of the Dendre, nearly equidistant from Ghent and Antwerp. The town, once so flourishing, but now without any trade of importance, is very picturesque. The country is flat, but the river, in changing its course, has formed vast " polders " extending to the east and to the west ; thus the atmosphere is saturated with moisture.
Here is a spectacle of nature eminently calculated to develop the instincts of a colourist such as the Master in questioned brilliant painter, disposed to see the sumptuous side of everything. His pointed beard gives him a sort of sly appearance, accentuated by hisglance, which is keen and sparkling, restless and inquisitive. In paint- ing, of course. But he is not much inclined to long dissertations. Very curtly he emits his ideas by displaying his canvases one by one before his interlocutor.
His works, even the most important, are hurriedly inspected ; the artist and his factotum, " Jef, " throw them aside in one direction or another, giving one the barest time to see them: Then, as though quite worn out — as he might well be with less exercise — when peradventure his visitor chances to be agreeable, which is always the case, seeing that the master is careful to exclude the bore, will come the command: From his childhood he was attracted by the pleasure of drawing and painting. His father was somewhat uneasy about this distraction, which the mother, on the other hand, quietly en- couraged.
About this period the two excellent landscape painters, Jacques Rosseels and Isidore Meyers, were acting as professors at the Academy of F'ine Arts at Termonde, and young Courtens obtained permis- sion to attend the Sunday class only. In a very short time his 24 parents found themselves unable to repress him further, and they decided to let him go entirely in the direction of his favourite study.
But there came a day when the father, on the death of one of his sons who had been his chief help in the business, found it necessary to replace him. There- upon he summoned young Franz, and told him it was time he devoted himself to serious things and gave up "the pleasures of the chase. Franz made no reply, but his mind was made up on the spot. Packing his bag immediately, he borrowed twenty francs from a friend, and I.
Then began the hard, almost desperate, struggle for existence. A garret in some sort of house at the end of an avenue in the outskirts was his first abode, where he cooked his own humble meals. But he set to work bravely, and, by a lucky chance, made the acquaintance of Stacquet, the water-colourist, who bought his first picture. Soon after another was sold at the Cercle Artistique for twelve hundred francs, which meant a fortune! Thereupon Courtens left his hovel, and set up in a real atelier in Brussels.
But he was not long in making himself known. At the Ghent Salon of he exhibited a canvas, described in the catalogue as Bords de Canal, which gave him some encouragement. His fine virtuosity and his brilliant colouring were gladly recognised. Nevertheless it was not till the Brussels Salon of , where he e. A few years later, at the Paris Universal Exhibition of , he won his apotheosis in the shape of a premiire medailk, this honour being confirmed soon after by other similar distinctions at other important artistic tourneys, notably that of the Brussels Universal Exhibition of Complete grasp of the great decorative harmonies, suppleness of technique — now vigorous, as in the handling of the tree trunks, now delicate as possible in the bluish transparency of the bare branches — perfect exactitude in the difficult matter of harmonising the relative parts in a white sym- ' LRS VIKILI.
Some of them were quite re- markable people, the best being MM. But how far behind Franz Courtens leaves them all! While a few among them succeeded in acquiring, under his direction, certain technical qualities and some ability in the mise-en-page — the presentment of their efforts — not one can be really compared with him. Not one of them in the conception of his works suggests that feeling of power and grandeur which characterises the author of the Pluie d'Or ; not one of them con- trives to master the manipulation of his material with the ease and vigour of him who painted the Barques d mottles.
See next article BV P. Born in 1 85 1, in the small town of Stavanger, he came to Denmark as a child, and the latter country boasts few truer sons than the subject of this sketch — the Danish painter, undoubtedly, whose name is most widely known, and who has done most towards making known to the world at large the art of his country. Kroyer was born under a lucky star and the gods have always dealt kindly with him.
The French saying, "L'art c'est la guerre," which presumably is meant to be taken in more senses than one, and the truth of which, gener- ally speaking, will be readily admitted, has little application to this painter, both as regards the outer circumstances of his career and his inner life as an artist. His eminent gifts soon found not only ade- quate and convenient methods of expression, but also met with due and early appreciation, and both his liking and his talent for drawing demonstrated themselves at such an early age that even at nine he was able to do things good enough to be engraved in a scientific monograph on certain species of crayfish, published by his adopted father, the zoologist, Pro- fessor H.
His doings there did not altogether foreshadow his subse uent brilliant career ; in fact he had some trouble in hold- ing his own against one or two fellow-students. When barely twenty years old he exhibited his first picture at the Royal Academy, Copenhagen, a portrait, as were most of his early efforts, several of which attracted much attention.
In Kroyer went abroad, staying away for about four years. First visiting Belgium and Hol- land, he proceeded from there to Paris, during the winter working in Bonnat's studio. From Paris Kroyer went to Spain, where he became greatly impressed by the art of Velasquez. The fol- lowing winter he again sought Bonnat's guidance, spent the summer in France and the winter in Italy, eventually returning to Denmark in Like his famous Swedish confrere, Anders Zorn, however, he is somewhat cosmopolitan in his tastes, often visiting foreign countries, more especially France and Italy, a certain restlessness at times seeming to take possession of him.
Two things at once strike one in connection with this painter: Imaginative subjects have never much appealed to Kroyer, less and less as time went on, and the natural limitations to the scope of his work are more temperamental than technical, more mental than manual.