This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
Agratifyingly large number of good studies have been sent in for this competition, and, in regard to the best of them, the level of excellence is so uniformly high that it has been no easy task to decide their order of merit. Unfortunately some of the best have photographed so very badly that even the judgment of the reader, which might have been invoked in support of our decisions, would be of no avail. Three prizes are offered by the terms of the competition; but we have concluded to give an additional prize to the fourth selection on our list, which is of such excellence that it should in some way be distinguished above the group of works immediately below it in the order of merit. It happens, though, that this - a study of trees and bracken - proved to be one of the most refractory subjects of all before the camera, and it cannot be shown. Nor was the subject of the third prize more amenable. The composition is very simple, being little more than a stretch of clouds and a meadow bordered with tender saplings throwing out feathery shoots of foliage; but this charming study, almost Monet-like in its prismatic delicacy, photographed like an Irish peat field after an inundation.
Our readers, therefore, must be satisfied with the glimpse we are able to give them of the subjects of the water-colours that have gained, respectively, the first and the second prizes. Even these lose immensely by reproduction in black and white, for our awards are made less for pictorial quality than for refinement of colour, correct rendering of values, and technical distinction.
The awards are as follows: -
First Prize (Arts & Crafts' Silver Medal). - "Coast near Aberdeen," by "Trumph" ([. Muir Mathieson, 20, Rupert Street, Glasgow, W.).
"Low Tide, Bude, Cornwall," by "Exchange" (Dr. R. F. Chance, Athol House, Brook's Bar, Manchester).
"Landscape," by "Mary Lilian" (Miss Lilian Orr Rowallan, Woodford Green, Essex).
Fourth Prize (Extra Prize - A Subscription to Arts & Crafts). - "Woods in Autumn," by "Bramwell" (Miss Bertha Smith, 24, Rectory Road, Stoke Newington, N.).
"Raw Sienna " (Miss G. M. Winter, Hull).
"Hopper "(Miss I. Margaret Dickinson, London).
"Amateur" (Miss Ethel Chance, Godalming).
"Festina Lente" (Miss Geraldine Midgley, Guildford).
"Gibbie" (Miss Vera Gibson, London).
"Grouse" (Miss Florence Hakey, London).
"Noelle" (Miss Maria Noel, Jersey, Channel Isles).
"Oof " (Miss Brenda Burness, Buckhurst Hill).
"Yelere " (Henry Exley Edwards, Northumberland).
Awards for "Landscape in Pen-and-Injk." We wish that we could speak in anything like the terms of satisfaction concerning the contributions sent in for this competition that were called forth in the case of the awards for the "Landscape in Water-colours" competition. The result is simply deplorable. Out of nearly a hundred drawings received, there is not one to which, in conscience, we could award a first or even a second prize. The third prize we give for the artistic freedom of the sketch and clever handling. The texture of the stone is well indicated; so, too, is that of the wood. Had the drawing been less slight in composition and more interesting, a higher award would probably have been given. After the award had been made and the envelope was opened containing the key to the pseudonym, it appeared that "Ascog" was identical with "Trumph," winner of the first prize in the "Landscape in Water-colours" Competition.
(Half-a-guinea) "Ascog" (J. Muir Mathieson, 20, Rupert Street, Glasgow).
" Toll es Tinta " (Miss Fanny M. Minns, Suffolk House, Newport, I. of W ).
The best way to study foliage is to begin by drawing simple sprays and branches. This will teach the construction of the leaves and give some lessons in foreshortening and perspective, the value of which you will discover when you undertake to represent the entire tree. You will not learn to draw a tree by copying other drawings. All you learn from them is to imitate the manner of the man who makes them. The character of a tree is provided by its stem, branches and leaves. When you have studied these in sections, you will have little difficulty in putting them together. Your first lessons in drawing the human figure are the hands, feel and head. The hands, feet and head of a tree are equally important if you wish to draw the tree correctly.
With long practice a painter acquires a certain habit of hand which sometimes betrays the most conscientious. A friend once entered the studio of George Inness, the American landscapist, while he was at work, and remarked that the picture on the easel seemed to him much better than certain former works of the artist. " Right ! " said Inness. "This is going to be one of my best things; and the reason is that I have had the good luck to break my right arm, and am obliged to paint with my lefl hand. You see," he added, showing his right hand in a sling, which the visitor, intent on the picture, had not before noticed, "this hand had become so darned clever that I could not catch up with it, and it painted away without me; while this hand," showing the left, with which he held his brush, "is awkward, and can do nothing without me. This picture is going to be mine, you see, and, as you say, one of my best." The moral is obvious: paint with intention, and do not be led into contentment with mere cleverness or facile and easily acquired surface qualities.
Arts & Crafts "Landscape In Water-Colours" Competition.
"Coast near Aberdeen."
First Prize (Silver Medal). Awarded to "Trumph" (J. Muir Mathieson).
"Low Tide, Bude."
Second Prize (Two Guineas). Awarded to "Exchange" (DR. R. F. Chance).
Sketching in Oil = colours,
A Landscape Painter's Hints For Beginners.