International studio . .IJEKT PIK1-; LCtAS great proficiency, but rather to touch ujjon thatside of him which to the writer, at least, seemshis most fascinating direction. The thrall of the quiet hours, of the day offduty, as it were, Lucas loves to depict—earlymorning, anon the crepuscular hour and, es-pecially, bewitching moods of moonhght, thetender, redeeming shadows of the night. Garishday, and garish colour have no place in his pic-torial esteem. The mood must be expressedwhen mass opposes mass, large planes of colouralmost devoid of detail with rich shadows andvibratory lights, the sky
International studio . .IJEKT PIK1-; LCtAS great proficiency, but rather to touch ujjon thatside of him which to the writer, at least, seemshis most fascinating direction. The thrall of the quiet hours, of the day offduty, as it were, Lucas loves to depict—earlymorning, anon the crepuscular hour and, es-pecially, bewitching moods of moonhght, thetender, redeeming shadows of the night. Garishday, and garish colour have no place in his pic-torial esteem. The mood must be expressedwhen mass opposes mass, large planes of colouralmost devoid of detail with rich shadows andvibratory lights, the sky like a human eye everrevealing depth below depth in mysterious layersof pigment. In all his subjects one detects thesimple rule of three: As the figure is to the fore-ground so is yonder shepherd or hayrick to theanswer; or, as the sky is to that row of poplarsso is that tired wayfarer to the answer; there isno conflict of emotions; a few elemental objectsstripped to their final analysis are presented in •.-»#79l^. WAITING BY ALBERT PIKE LUCAS
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
