. Frank Brangwyn and his work. 1911 . eel, this one being a study in pastel. It was hopedin Venice that these decorations would remain per-manently there, in the Municipal Gallery, but thanksto an English patron of art, Mr. S. Wilson, they werepurchased for the City Art Gallery of Leeds, and a fifthpanel— Weavers —was commissioned to bear themcompany in the Brangwyn room. Many sketches weremade for these works, some in pastel, and others incontd; two of the most important passed into theprivate collection of M. A. G. Migeon of the Louvre. It may be taken as an axiom in art that those whomake t
. Frank Brangwyn and his work. 1911 . eel, this one being a study in pastel. It was hopedin Venice that these decorations would remain per-manently there, in the Municipal Gallery, but thanksto an English patron of art, Mr. S. Wilson, they werepurchased for the City Art Gallery of Leeds, and a fifthpanel— Weavers —was commissioned to bear themcompany in the Brangwyn room. Many sketches weremade for these works, some in pastel, and others incontd; two of the most important passed into theprivate collection of M. A. G. Migeon of the Louvre. It may be taken as an axiom in art that those whomake the largest number of preparatory studies areeither careful and elaborate artists like Leighton andIngres, or impetuous and very virile painters, likeDelacroix and Brangwyn. Extremes meet. People oftenforget this fact and stumble into mistakes. It was longbelieved that Brangwyn made no sketches at all, andcriticisms were written from that standpoint. Thishappened particularly in the case of such pictures as172 ^ -J I& t-c :; I. Sketches and Studies The Scoffers, though beautiful studies of expressionhad been made in crayon for each figure. It was , I believe, who first published a series ofdrawings for the Moorish figures in The Scoffers, andcalled attention also to the life-studies that Brangwynmade in 1895 when working for M. Bing in Paris. I dwellupon this matter because I am constantly being toldthat Brangwyn is one of those lucky fellows who paintrapidly without rehearsing their intentions and effects. For the purpose in hand, let me here make anothergeneral remark, not, I think, irrelevant: it is the factthat Brang\\-yn gives examples of the two methods ofdrawing that appeal to us from pictures. The firstmethod sets us thinking about natures delight in circularor in rotund forms, while the other avoids as manyround shapes as it can by the use of suggestive angulartouches. I happen to be very sensitive on this point,because my masters at the Brussels Academy to
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