. Studio international . indeed, iscounted by some criticsas a handicap to the spon-taneous expression of his vv,i .n as an artist. Eut such criticism is lault\Cadenhead remains the artist he is because of thisculture, not in despite of it. In fact, it is as an artistthat he approaches art. This may seem a state-ment of supererogation. Hut it is hardly so in anage when the word art is very loosely use the word art as it would be used in thecase of such men as Charles Lamb, Walter Pater,and Robert Louis Stevenson in literature. Tothem the mode of expression was the principalthing
. Studio international . indeed, iscounted by some criticsas a handicap to the spon-taneous expression of his vv,i .n as an artist. Eut such criticism is lault\Cadenhead remains the artist he is because of thisculture, not in despite of it. In fact, it is as an artistthat he approaches art. This may seem a state-ment of supererogation. Hut it is hardly so in anage when the word art is very loosely use the word art as it would be used in thecase of such men as Charles Lamb, Walter Pater,and Robert Louis Stevenson in literature. Tothem the mode of expression was the principalthing, a more serious concern indeed than thething expressed. So it is with James is as fastidious in his choice of paint and designas a painter as these men were in their choice otwords and sentences as men of letters, and unlesshe can make his scholarship and culture readyservants of his brush, painting can mean little tohim. If the word scholarly can be applied with-out contradiction to the work ot any modern. M AN Oil. SKETI H Vi I 1MB i James Cadenhead, craftsman, it can be applied to the painting ofJames Cadenhead. It is the distinction anddignity of the design that arc the prominent notesof his work, as is shown markedly in those twonoteworthy water-colours, the property of theScottish Modern Arts Association, The Gun//.S/(7,-^ {Shetland) and Moorland. But though,more than most men, Cadenhead is scholarly in the expression of his talent, though the mostcasual observer cannot fail to be impressed by theerudition that lies at the back of the artists brush-work, there is no sign of what Matthew Arnoldwould have called a merely laborious deliverance,a studied transcription of the facts of nature. Noone has written more against such a fallaciousinterpretation of the ideal of the artist than He has long recognised the function ofart as the transmission of experience on the higheremotional plane, and has emphatically refused toconsider nature as a
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