The canadian magazine of politics, science, art and literature, November 1910-April 1911 . BRIDGE 0^EK THE SEIXE Undoubtedly Mr. Eussells suc-cees as a painter is due in laige meas-ure to his naturally artistic tempera-ment, with the rare combination ofard work, sincerity, and just to keep up entliusiasmo the point of accomplishment. ForMr. Eussell is anything but a slug-gard, and he works with a dexteritythat is seldom acquired even by mucholder painters. His rapidity is due inpart, at least to the fact that he hasmastered his subject before he begins Paris, where he took
The canadian magazine of politics, science, art and literature, November 1910-April 1911 . BRIDGE 0^EK THE SEIXE Undoubtedly Mr. Eussells suc-cees as a painter is due in laige meas-ure to his naturally artistic tempera-ment, with the rare combination ofard work, sincerity, and just to keep up entliusiasmo the point of accomplishment. ForMr. Eussell is anything but a slug-gard, and he works with a dexteritythat is seldom acquired even by mucholder painters. His rapidity is due inpart, at least to the fact that he hasmastered his subject before he begins Paris, where he took a studio and be-gan the practice of his art. Thefirst years were devoted to hard studyand voyages of discovery, until in timethe painter found himself. He likesto occasionally paint landscape andthe sea, and his eesays in these out-of-doors subjects have no smack ofthe studio. His beach scene atDieppe is a fine symphony of colours,while the inrush of the sea and thefigures on the sand are suggestive oflife and movement. The Bridee. BERNEVAL ,DIEPPE—THE PLAGE across the Seine is cairied out inyello\\-B and browns, and is a nicestudj in composition. In no respectcan his work be regarded as mechani-cal, for he does not even when be-ginning a picture outline the subjecton the canvas with either crayon orcharcoal. He relies entirely on hiseye. making no measurements other-wise, using uotliing but paint, andconcluding the proportions as the pic-ture develops. The feeling of life inhis pictures is perhaps due to thecheerful spirit in which he works, forlie is usually wbiistling or einginir as he mixes .his paints or studies the ef-fect of an application. His work isfree from stilt, and there is no evi-dence of hesitation or difl&culty. Histechnique is tbe natural outcome ofbis method of expression: it is notbuilt up or studied. He paintsmerely as he is impressed by the sub-ject, and bis coloum are at times al-most prismatic without being his strokes are full of certain
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectcanadia, bookyear1893
