. Frank Brangwyn and his work. 1911 . mightrepresent British art anywhere and win admiration. ButFurse, despite his great talent, despite his keen observa-tion, despite his subtleness of handling, had accomplishedmuch less than Brangwyn, though Brangwyn had workedat a heat without pausing to consider whether this orthat detail might be considered unintelligible. For onething, Furse had missed truth of impression in the mostessential part of his subject. The wheels of his wagonwere wrong in weight and strength; they could notpossibly bear the immense strain put upon them by fourpowerful horses
. Frank Brangwyn and his work. 1911 . mightrepresent British art anywhere and win admiration. ButFurse, despite his great talent, despite his keen observa-tion, despite his subtleness of handling, had accomplishedmuch less than Brangwyn, though Brangwyn had workedat a heat without pausing to consider whether this orthat detail might be considered unintelligible. For onething, Furse had missed truth of impression in the mostessential part of his subject. The wheels of his wagonwere wrong in weight and strength; they could notpossibly bear the immense strain put upon them by fourpowerful horses hauling a dead weight of timber along agully of sand. And no sooner did this mistake becomeevident, than the whole picture became unsteady on thoseill-felt wheels. On the other hand, Brangwyns impres-sionism was balanced and complete. It had the rightproportion of action and quietness; and there was nobreak in the nervous energy of its handling, though someparts are more felicitous than < QIH P3 I—1 < WXh =: la 1 M. ■^ Characteris tics Although I have spoken of A Rajahs Birthday asimpressionism, I do not mean any such impressionismas the French experimentalists would have given. Farfrom that. Brangwyns colour and technique are notoutside a direct descent from the boldest painters of theRenaissance.^ Their originality continues a tradition ofvirile and direct skill ; and it does not try to make realall the effects of full sunlight. For instance, when raysof sunshine are intensely ardent, the objects aroundwhich they play seem to lose much of their solidity,becoming variously unsubstantial ; and Monet is praisedby Camille Mauclair because his midday scenes showhow all material silhouettes—in trees, in rocks, in hay-ricks—are annihilated, volatilised by the fiery vibrationof the dust of sunlight, so that a beholder gets reallyblinded, just as he would in actual sunlight. Some-times even there are no more shadows at all, nothingthat could ser\e to indicate t
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