. Studio international . DER EARL OF HALSBURYBY SIR GEORGE REID Sir George Reids Pot-Traits galt für sich selbst. Der gleiche Standpunkt ist offensichtlich in Rev. Dr. Mitchell, in Dr. Walter Smith, und Thomas Graham Murray. In der Tat, in seiner Präsentation der Kirche Würdenträger er malte sie als Mitglieder einer Kirche militant, Beinhis schottischen divines steht die volle Trotz der Solemn League und Covenant und die Thirty-nineArticles. Wenn Sie in ihre Gesichter schauen, denken Sie an Drumclog und Airds Moss, an John Knoxund Andrew Melville. Sir George Reids Scotsmen könnte nie etwas anderes sein als Männer der

• Bildanbieter: Reading Room 2020 / Alamy Stock Foto
• Bild-ID: 2CDD5KH
• Dateigröße: 7,1 MB (320 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 1277 x 1957 px | 21,6 x 33,1 cm | 8,5 x 13 inches | 150dpi

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. Studio international . THE EARL OF HALSBURYBY SIR GEORGE REID Sir George Reids Pot-traits applied to himself. The same point of view isevident in The Rev. Dr. Mitchell, in Dr. Walter Smith, and Thomas Graham Murray. Indeed, in his presentation of Church dignitaries he paintsthem as members of a Church Militant, Behindhis Scottish divines stands the full defiance of theSolemn League and Covenant and the Thirty-nineArticles. When you look into their faces youthink of Drumclog and Airds Moss, of John Knoxand Andrew Melville. Sir George Reids Scotsmen could never be any-thing else than men of the Don and the Dee, the(lyde and the Forth. They carry their country ontheir shoulders, in the conscious independence ofthe eyes, in the ruggedness of the cheek. SirJames Guthries men of the north are not em-phatically Scottish. Always full of character, theydo not bear their sign-manual of nationality socharacteristically as do those of his predecessor.If Guthrie had painted Thomas Carlyle, he would. EARI. LORERCRN, LORD CHANCELLOR BY SIR GEORGE KMIi have seen him with the eyes of Whistler, upon whichvision he would have superimposed his own insightinto the spiritual significance of his sitter. If SirGeorge Reid had painted the Chelsea sage, hewould have presented him as the Thunderer fullarmed against the battalions of sham and humbug, and the Lowland Scot in him would have called toyou with the murmur of the Tweed and the war-cryof the Border riever. The decorative principles as practised by Whistlerand the members of the Glasgow and other modernschools are not to be sought for in a portrait byReid. He does not use his sitter merely as thecentre for a scheme of colour. At his worst—whichis never bad—the background is a negligiblequantity ; at his best—which is superlatively fine—it does not share with any sense of equality in theimportance of the general design. This design isnever complex. Its very simplicity has led someto belittle the artistic achievement. But we are

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