. Studio international . that of allh painters he gave the impres-sion of handling the surest There never was anything experimental or tenta-tive in the canvases of Sir George Reid. Whatevertheir limitations, they were always authoritative,definite, full of a sense of power. The preferencewhich the younger men showed for low tone,though given to fullness of pitch and truth invalues, and their tendencies to greyish, oftenapparently colourless harmonies, made the oldermen. with their strong colour and richness of sur-face, appear, by contrast, rather crude and sometimesgarish: but when
. Studio international . that of allh painters he gave the impres-sion of handling the surest There never was anything experimental or tenta-tive in the canvases of Sir George Reid. Whatevertheir limitations, they were always authoritative,definite, full of a sense of power. The preferencewhich the younger men showed for low tone,though given to fullness of pitch and truth invalues, and their tendencies to greyish, oftenapparently colourless harmonies, made the oldermen. with their strong colour and richness of sur-face, appear, by contrast, rather crude and sometimesgarish: but when the eye had become accustomedto the contrast, and when the future of the paintwas considered as well as the present, there werethose—there are still those—who put their moneyon the older men, and these latter, though they maynot paint poetry, yet know full well the value ofinspired prose, and who is to say which is on thehigher plane of art ? Two such men as Sir JamesGuthrie and Sir George Reid are great in different. -1 1 AIM BLACKIB (National Portrait Gallery, Edinburgh) I:V GEORGE REID
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