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Studio: international art — 2.1894

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The Royal Institute of Painters in Oil Colours.

Another novelty was the pin-hole photograph, Not one photograph, it may be mentioned, was
Toccata, of Mr. Maskell. The Silver Shore of from a picture, but all were from Nature, excepting
Mr. Karl Greger reproduced the beautiful ridges only that by Mr. Hollyer from Mr. Bates' bas-relief,
and wrinkles of a sandy shore at ebb-tide with Endymion. With such an impetus as has been
minuteness and fidelity. His Bury Holms, the given to photography by recent exhibitions, it ought
photograph of a black cliff running out into a to be that the next few years will see a further ad-
moonlit sea, was also excellent. The sea appears vance in an art which presents so many charms
to be a favourite subject for expert photographers, and affords such pleasure to those who, born with
its difficulty doubtless presenting much attraction artistic sense, are unable to create pictures in oil
to sincere artists. The Breaker, of Mr. Marsh, or water-colour, or in line and wash,
was again a clever achievement in instantaneous The photograph of to-day is something more
photography, representing a great wave at the than a mechanical reproduction. The individuality
moment when it hangs in air before crashing of the photographer is being expressed in his work
downwards. Possibly, if in this case the artist had almost as much as that of the painter : and while
been a quarter of a second later, the effect would critics are discussing if there be Art in Photography,
have been better, but breakers are obviously rather photographers are settling the question by them-
uncertain things to deal with. Mr. Mendelssohn's selves. T. W.

"ON THE TOP OF THE TIDE," BY BERNARD L1NTOTT. EXHIBITED AT THE PHOTOGRAPHIC SALON.

Portrait of Miss Wilson is worthy of the artist,
and some of Count von Gloeden's well-known
figure studies again appeared. Among other sub-
jects in hand from this gallery is an exquisite study
of landscape, The White Robe of Winter, by Row-
land Briant, one of the most noticeable pictures
in the exhibition. Two classes of photographs to
which an objection can be supported, are those
from a human model which is not in itself beautiful,
such as one by Mr. Bergheim, and those which are
produced from several negatives, as, for instance,
the Wild Weather of Mr. H. P. Robinson. With
these exceptions the Photographic Salon must be
pronounced to have been a very decided success,
and its influence on future photography very great.


HE ROYAL INSTITUTE OF
PAINTERS IN OIL COLOURS.
BY A. L. BALDRY.

The present Exhibition at the Picca-

dilly Galleries is, perhaps, the best which the
Institute of Painters in Oil Colours has held for
some years. It is fresher, more up to date, and
less stereotyped than usual, and the average of
technical performance which it has to show is
distinctly high. Its two most evident faults are
the excess of canvases hung, and the almost
entire absence of any figure work which could
fairly claim a place in the front rank. The first
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