International studio . a painting. Ruskins influence wasalready strong, and he went to Italy tosee the works of the early painters, withthe writings of Ruskin as his guide, and onhis return painted a very satisfactory panelin tempera, dated 1884. Soon after thishe came under Ruskins personal influence,which encouraged him, and establishedhim in his principles. 000 Because of the technical difficulties oftempera it was set aside for awhile, butthanks to help from Sir William Richmond,and the encouragement of a few friends, itwas again taken up in 1892, and has neversince been abandoned. 000 The
International studio . a painting. Ruskins influence wasalready strong, and he went to Italy tosee the works of the early painters, withthe writings of Ruskin as his guide, and onhis return painted a very satisfactory panelin tempera, dated 1884. Soon after thishe came under Ruskins personal influence,which encouraged him, and establishedhim in his principles. 000 Because of the technical difficulties oftempera it was set aside for awhile, butthanks to help from Sir William Richmond,and the encouragement of a few friends, itwas again taken up in 1892, and has neversince been abandoned. 000 The Italian primitives, Ruskin, and tem-pera were the chief formative influences inSouthalls art, but his own very strongpersonality absorbed these influences, andproduced an artistic point of view whichis unique and very interesting. Southallbelongs to no school and is nobodysimitator. Seeing his work in Paris, it isdifficult to place it, or to be sure of itscountry, century, or school, unless some 7 THE BIRMINGHAM GROUP. TSTV ^, r^r miff PONT NEUF, PARIS. WATEP-COLOUR BY JOSEPH SOUTHALL ultra-modern pair of boots gives the showaway, a a a a a a A second visit to Italy with Gaskin in1897 served to confirm him in his sym-pathies and to extend his knowledge. a Southall is essentially a designer incolour, and, as mere colour pattern, a collec-tion of his pictures has a character whichstands alone in modern art. One of histypical pictures depends hardly at all onshading or blending of one colour intoanother, but on the juxtaposition of piecesof pure colour, each with a definite quality,each occupying its allotted space, and mak-ing its contribution to the harmony of thewhole. 0 a £)£)£) £) General unfamiliarity with the particularquality of tempera colour, and an ignoranceof its special merits of purity and brilliance,have prevented Southalls pictures beingpopular, and have often subjected him tothe most pathetic appeals to abandon quali-ties for which he had striven, as for pear
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