. Frank Brangwyn and his work. 1911 . not the one where the Sultanswomenfolk resided, but—what made our intrusion asoffensive as if we had disturbed the sanctity of the harem—where the treasure-house was. There were other travel adventures, but the painter de-clines to relate them, arguing that the only proper eventsto be told are those that directly influenced his work. Helearned, then, very soon, what sunlight and colours meantin searching climates. In comparison with so muchbrilliance and so much heat, London seemed a town ofperpetual twilight. But impression followed impressiontoo rapidly,
. Frank Brangwyn and his work. 1911 . not the one where the Sultanswomenfolk resided, but—what made our intrusion asoffensive as if we had disturbed the sanctity of the harem—where the treasure-house was. There were other travel adventures, but the painter de-clines to relate them, arguing that the only proper eventsto be told are those that directly influenced his work. Helearned, then, very soon, what sunlight and colours meantin searching climates. In comparison with so muchbrilliance and so much heat, London seemed a town ofperpetual twilight. But impression followed impressiontoo rapidly, and the wish to work was sated before thestruggle between handicraft and sunlight began. It is notoften that a real painter does any finished work out ofdoors. Careful outlines, with a few touches of water-colour,were enough for Turner; and Brangwyn also, in his earlytravels, usually followed the same method, having confi-dence in that inward vision that dwells unimpaired in the20 Piw>^<: wh < cu <^ m V yS f Vv. i-i:. hater Studies memor) of those who are greatly fascinated by colour andsunlight. On his return to London, his sketches were ex-hibited at the Royal Arcade Gallery, Bond Street, in March1891, under the title From the Scheldt to the a few critics noticed their freshness and choose a notice from the Star, which says thatBrangwyn w\as seen to the best advantage. It is his ownfault if he led one to suppose that he could paint only greyseas and stormy skies. At most exhibitions of late yearshe has been represented by pictures of a ship in a storm, orrough weather, until one thought there were but greys andpale browns on his palette. But in the Bond Street collec-tion almost all the studies were made about Constantinopleand in the South or East, and they glow with colour. Thereare waters of the most brilliant blue, glittering white roadsunder intense blue skies, bazaars and quays filled withgaily dressed crowds. Pink and white towns
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