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Excerpt from The Studio, Vol. 43: February 5, 1908 The latest phase of his brushwork, the smear with the blurred edge, which during this period gradually replaces the firmer modelling associated with his prime, is not always successfully used. In the blurring of contours and the fusion of the more pulpy flesh, something of his personal manner is lost, and when the oversoftness is accompanied, as in jo/m Wauc/wpe, with an ih sufficient observation of the cooler transition tones, a certain commonness results. This portrait, which has been spoken of as the Philip IV. Of Raeburn's practice, has neither the vividly accented lights and shadows, with the complementary tones they induce, of Lord ton and Mrs. James Campbell, nor the glamour and mystery of the less directly painted Wardrop. It is a something between the two which is less satisfactory than either. All is too rounded, too obvious. But if the phase has its partial failures, in such works as the last named where it is associated with all his finest qualities, in Mrs. Irvine Boswell, 1820, his Diploma picture, 182 1, Mrs. Stewart of Pfiysgz'll, and others of his last year, it shows the master of the direct method invading, with no small success, the sphere of the process painter. Indeed, there was no falling away in the Scottish painter's work, and, if his portraits could be accurately tabulated, his last seven years those by which he exceeded the three-score - would be found not the least prolific in notable achievement. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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