The early work of Raphael . ntal about him. He has known his own mind from the begin-ning, and, just as before he puts a touch upon a canvas he sees in hisminds eye the finished work, so he may well, when he first emerged fromthe Trustees Academy, have already built up a clear mental picture ofthe whole course of his future activity. The pictures he painted in Edinburgh are not all, however, so decisivein accent as the portrait of Mr. Hutchison. They are often tentative,as if feeling their way towards bolder schemes of design, chiaroscuro, andcolour. The young mans hand was never put out farth
The early work of Raphael . ntal about him. He has known his own mind from the begin-ning, and, just as before he puts a touch upon a canvas he sees in hisminds eye the finished work, so he may well, when he first emerged fromthe Trustees Academy, have already built up a clear mental picture ofthe whole course of his future activity. The pictures he painted in Edinburgh are not all, however, so decisivein accent as the portrait of Mr. Hutchison. They are often tentative,as if feeling their way towards bolder schemes of design, chiaroscuro, andcolour. The young mans hand was never put out farther than he coulddraw it back. He was content to work within his powers, to restrict hispalette and the latitude of his brush, to realize such conceptions as hecould create in his comparatively inexperienced mind, rather than to flinghimself into deep water and trust to luck. Even after he ventured south,it was long before he quitted the reserved, almost secretive style of hisyouth, and gave free play to his native J. Hutchison, permission of J. Hutchison, E<q. IV Orchardson came to London in 1862. He was followed twelvemonths later by his friend John Pettie, who was four years his pair chummed together at No. 37, Fitzroy Square, in the housewhich was afterwards the home of Madox Brown. For reasons not difficultto explain, the younger man was the first to catch the eye of the conceptions were more ambitious, and his art more voyant: heplayed, in fact, a trumpet to his companions flageolet. Hence it wasthat, to the amusement of those they had left behind in Edinburgh, theLondon critics talked of Orchardson as if he had moulded himself onPettie. Their fellow-workers at home knew well enough that, after theteaching of Lauder, the moulding influence over the whole clique hadbeen the example and the square mind of the older man. It was tohim that his friends turned—and have turned ever since—when theyfell into difficulties with their wor
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
