International studio . is pictureswith beautiful colour-sshemes, the artist, likeWilliam Morris, has feastedon the Orientals, espe-cially the Persian colour-mastcrs, probing beyondthe Venetians, and find-ing out the secrets theyembodied so successfullyin their work. It is espe-cially observable in tin-leopards aslant the dis-gruntled passer-by in TheDaughter of Herodias ; inthe patterning of her coat;and in the deep rich bluesand golds of the peacocksweeping the foregroundwith its ablv delineated the nut-brown maid 48 tail in his grand composition New Lamps forOld. In the panel picture of The
International studio . is pictureswith beautiful colour-sshemes, the artist, likeWilliam Morris, has feastedon the Orientals, espe-cially the Persian colour-mastcrs, probing beyondthe Venetians, and find-ing out the secrets theyembodied so successfullyin their work. It is espe-cially observable in tin-leopards aslant the dis-gruntled passer-by in TheDaughter of Herodias ; inthe patterning of her coat;and in the deep rich bluesand golds of the peacocksweeping the foregroundwith its ablv delineated the nut-brown maid 48 tail in his grand composition New Lamps forOld. In the panel picture of The Sleeping Beauty,now in the Birmingham Art Gallery, his success-ful employment of large masses of pure colouras contrasting forces is noticeable. The whiteof her robe heightens the flesh tints of the the powerful rendering of the eyes,observable, too, in the delightful Xut-BrownMaid, exhibited in the New Gallery in 1904,and, subsequently, in the Salon. The softgreen background, with the light effects in gold. BY JOSEPH E. SOUTHALL
Size: 1276px × 1958px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
