Brangwyn's canvases are a veritable riot of color, full of animation and
life. They are almost dynamic. There seems to be something going on in
all of them, all the time, and one hardly knows whether it is the
composition, the color, or the subject, or all three, which gives them
this very pronounced feeling of animation. He knows how to approach the
extreme possibilities in pictorial decoration without losing sight of
certain elements of repose. Seen from a distance, their effect at first
is somewhat startling, owing to their new note, not reminiscent in the
very least of the work of any other living - or past - painter. On
closer examination they disclose a great wealth of form, very skillfully
treated. There is every indication that it gave the artist the utmost
pleasure to paint them. This spirit of personal enjoyment, which all of
them convey in a remarkably sustained fashion, is contagious, and
disarms all criticism. They are primarily great paintings in a technical
sense. Added to that quality is a passionate love of pure color,
juxtaposed with fine feeling for complementary colors of great
intensity.

Brangwyn's glass window technique, of separation into many primary and
secondary colors by many broad contrasts of neutral browns and grays, is
very effective in bringing a feeling of harmony in all of his paintings,
no matter how intense their individual color notes may be.

His pictures are not intellectual in the least, and all of the people in
his pictures are animals, more or less, and merely interested in having
a square meal and being permitted to enjoy life in general, to the
fullest extent.

The quality of enjoyment that runs through all of Brangwyn's work is
extremely useful in the general atmosphere of Mullgardt's court. In the