It is one of the characteristics of Mr. Marcus Stone that, be his subject humorous or tender, he never fails to create exactly the impression on the general pubic that he intended when he first intended when he conceived his composition. . . . Mr. Stone’s little dramas are always delicately imagined. High comedy is in them, but never tragedy; emotion but never passion. Refined and graceful — as becomes the pretty costume-period which the painter most affects (in theatrical language, the “powder-period”) — their story gently forces itself on the mind of the spectator without, on the one hand, impelling him to sudden laughter, or, on the other, with any approach to violence. . . . Mr. Stone has now for some years painted practically the same key, and the same tone of amiable sentiment has prevailed. But it must be remembered that, in truth, he is an artist of wide range, whose prolific pencil had dome much admirable work, before the black-and-white illustrator of Dickens and the painter of many a vigorous historical piece executed in strong colour, sought in the Empire period, and in pleasantly amorous strain, the medium of his artistic message to the people. — 1893 Magazine oif Art
Works
- Picking waterlillies
- Old Letters "I looked for which is not, nor can be" (Christina Rossetti)
- A Young Painter’s First Works
- Bad News: A Study
- Married for Love
- On the Road from Waterloo to Paris
- Claudio, Deceived by Don John, Accuses Hero
- The Return
- Lost in Thought
Bibliography
“The Return.” The Magazine of Art 16 (1893): 19. Internet Archive online version of a copy in the library of University of Toronto. 23 January 2018.
Last modified 23 November 2019