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Updated: June 14, 2025
Values have been diverted from their original mission, which was to build up une atmosphere de tableau, and now every value and colour finely observed seem to have for mission the abolition of chiaroscuro. Without atmosphere painting becomes a mosaic, and Mr. MacColl seems prepared to defend this return to archaic formulas.
Canon Malcolm MacColl is an abbé with a difference. No one eats his dinner more sociably or tells a story more aptly; no one enjoys good society more keenly or is more appreciated in it; but he does not make society a profession. He is conscientiously devoted to the duties of his canonry; he is an accomplished theologian; and he is perhaps the most expert and vigorous pamphleteer in England.
Memory pulls me up, and out of some moments of doubt, the suspicion emerges that all I am writing here was read by me somewhere: but it was not in our original declaration of faith, for I never saw it, not having attended the presentation of the testimonial. Where, then? In the newspapers that quoted from the original document? Written out by whom? By Witt or by MacColl, excellent writers both?
Some of us went for work, to "do" the Salons after we had "done" the Royal Academy and the New Gallery, then the Academy's only London rival: Bob Stevenson for the Pall Mall, D.S. MacColl for the Spectator, Charles Whibley for the National Observer.
MacColl in his "Nineteenth-Century Art" called Millet "the most religious figure in modern art after Rembrandt," and adds that "he discovered a patience of beauty, a reconciling, in the concert of landscape mystery with labor."
How the infinities of aerial perspective can be expressed by a symbol, I have no slightest notion; nor do I think that Mr. MacColl has. In striving to excuse deficiencies in a painter whose very real and loyal talent we both admire, he has allowed his pen to run into dangerous sophistries. "The matter of handling," he continues, "is then a moot point a question of temperament." Is this so?
This is certainly a difficulty for James, since he suggested John Breck MacColl, a tenant of Appin's at Coalisnacoan, for the intermediary between Allan and William Stewart, and Allan actually did employ this man to carry his letter. But Allan knew this tenant well, as did James, and there was nobody else at that desolate spot, Coalisnacoan, whom Allan could employ.
Like Turner, Monet forced the colour of his shadows, as MacColl points out, and like Monet, Sorolla forces the colour of his shadows but what a compeller of beautiful shadows forces the key to the very verge of the luminous abyss.
Carpenter, Therese Simpson, Rob't Buchanan, Alfred Tennyson, John Ruskin, C.G. Gates, E.T. Wilkinson, T.L. Warren, C.W. Reynell, W.B. Scott, A.G. Dew Smith, E.W. Gosse, T.W. Rolleston, Geo. Wallis, Rafe Leicester, Thos. Dixon, N. MacColl, Mrs. Matthews, R. Hannah, Geo. Saintsbury, R.S. Watson, Godfrey and Vernon Lushington, G.H. Lewes, G.H. Boughton, Geo. Fraser, W.T. Arnold, A. Ireland, Mrs.
D.S. MacColl, in his study of Nineteenth-Century Painting, gives discriminating praise: "Monticelli's own exquisite sense of grace in women and invention in grouping add the positive new part without which his art would be the mannerising of Rousseau," while Arthur Symons in his Studies in Seven Arts declares all Monticelli's art "tends toward the effect of music... his colour is mood ... his mood is colour."
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