. Frank Brangwyn and his work. 1911 . m old William Hunt, whose technique in the water-medium was always learned and suggestive. When hewished to get a degree of brilliance that his paper wouldnot give, as in ripe fruits, he made a good ground withChinese white and let it dry hard ; then, in swift and fluenttouches with transparent colour, he painted over it, takingcare never to disturb the white. Brangwyn has not yetemployed this method, but he has used tinted papers, asdid Miiller and George Cattermole. The danger here isthat in seeking for depth of tone by this means some otherloveliness pe
. Frank Brangwyn and his work. 1911 . m old William Hunt, whose technique in the water-medium was always learned and suggestive. When hewished to get a degree of brilliance that his paper wouldnot give, as in ripe fruits, he made a good ground withChinese white and let it dry hard ; then, in swift and fluenttouches with transparent colour, he painted over it, takingcare never to disturb the white. Brangwyn has not yetemployed this method, but he has used tinted papers, asdid Miiller and George Cattermole. The danger here isthat in seeking for depth of tone by this means some otherloveliness peculiar to the medium may be lost. De Wintwas faithful all his life to cream-faced Whatman paper with abiting grain, and Girtin was loyal to a peculiar kind of strong,wire-laid cartridge paper that he bought in folded quiresfrom a stationer at Charing Cross. Its colour is not white,and the effects it produces under the free and bold washesare seldom equal to the luminous strength of a De z t—4 D Si (^ O 2O -< 5 o ^ 5 w 4. y. 3- 5 •r. ,t: X. = 5 e IVater- Colour I mention here with particular interest these finepainters, De Wint and Girtin, not only because Brangwynloves their work, but because he and they have a certainkinship in sentiment of handling. This fact may not beapparent to you at a first glance, because Brangwyn appealsto us very often as an orientalist, like Miiller, while Girtinnever travelled farther than Paris, and De Wint was sod£voted to flat country scenes in England that he refusedto try foreign landscape. But if these men had gone to theEast their swift, full brushes would have recorded theintense sunlight in ways having much in common withBrangwyns nervous washes, accented with a crisp touchhere and there. Brangwyn, too, like De Wint, is at hisbest in water-colour when he does not go beyond thesketch, leaving his work for some fool to finish. He isvery well represented at the Luxembourg by a glowingaquarelle—Uti Putts an Maroc, intense wit
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