Murray's early work reflected the tonal influence of Corot and of French Barbizon painting. However, his later work was much more contrived in effect and composition, and had greater solidity and monumental grandeur in setting. The critic of  'The Connoisseur' described this  painting as  'perhaps the artist's best work' and as 'a delightful embodiment of luscious early summer atmosphere glowing with delicate colour'.

Murray was probably the most popular landscape artist of Edwardian England and a personal friend of Lever, with whom he spent sketching holidays. Murray spent two summer holidays as Lever's guest at Lews Castle on the Island of Lewis in the Hebrides, and consequently sent Hebridean subjects to the Royal Academy exhibitions of 1919, 1920 and 1921.

Golden Gorse | National Museums Liverpool

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Murray's early work reflected the tonal influence of Corot and of French Barbizon painting. However, his later work was much more contrived in effect and composition, and had greater solidity and monumental grandeur in setting. The critic of 'The Connoisseur' described this painting as 'perhaps the artist's best work' and as 'a delightful embodiment of luscious early summer atmosphere glowing with delicate colour'. Murray was probably the most popular landscape artist of Edwardian England and a personal friend of Lever, with whom he spent sketching holidays. Murray spent two summer holidays as Lever's guest at Lews Castle on the Island of Lewis in the Hebrides, and consequently sent Hebridean subjects to the Royal Academy exhibitions of 1919, 1920 and 1921.

Golden Gorse

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