Studio: international art (2.1894)

The Royal Society of British Artists

fault seems in process of amendment, as the study of Mrs. J. J. Shannon and her daughter
Galleries contain some fifty less contributions than Kitty is arranged with a certain amount of inven-
they did a couple of years ago, but it will not tiveness, is well drawn and painted, and has
entirely disappear till the hanging committee generally a quaintness which is distinctly attractive,
realises that a limit of, say 450, pictures is liberal Another portrait, that of Isaac Wilson, Esq., by the
enough to fix for any show. The second one is, Hon. John Collier, is a fair example of the
perhaps, less susceptible of amendment, as the average convention, but has the bad fault of being
causes which have produced it are more complex; on too large a scale. To suggest that a sitter is of
but its effect on the character and nature of the a size that would qualify him for a place in a
Exhibition is very apparent. museum of Nature's freaks is an error of taste of
Chief among the landscapes, Mr. Alfred East's which no artist should be guilty, and yet it is one
three canvases tell out as excellent interpretations often enough committed. Mr. James Clark's
of Nature, influenced, however, by the evident The Tempter is a brilliant version of a rustic open-
decorative tendency both in colour and handling air subject, which is doubly interesting as it marks
which is always characteristic of this artist's work, a definite change in the artist's manner, and a con-
The Morning at Hayle is well composed, and is spicuous substitution of a very high key for the
exceedingly fresh and dainty in colour; and the lower scale of tones in which he used to work.
Trethevor, Lelant, is painted with breadth and Mr. Kennington's Bacchante is a strong piece of
simplicity. Excellence of technique as well as of handling, but is less happy than his Sorrow in the
observation is equally notable in Mr. Peppercorn's first room ; and Mr. Kennedy's Fountain of Youth
Evening, a happy effect of twilight suffused with a is a curious mixture of wild imagination and
golden glow. The luminosity of the sky is re- academic expression with originality enough to
markable, and the colour is distinctly good as a make the whole attractive. Mr. Skipworth's Ep/ee
harmony of low tones. Early Autumn, by Mr. and Jeanie Deans is noticeable for its dramatic
Adrian Stokes, is more subtle and, in a sense, quality and for the careful painting of details
more really effective. It is a study of gentle colour throughout; and M. Fantin Latour's flower subject
and misty atmosphere, and has without, any imi- in the centre gallery deserves, as his work always
tation of Corot's work a good deal of his delicacy does, more than merely casual attention,
of tone and tint. Mr. Thome Waite's New-mown A. L. B.
Hay is a breezy sketch, suggestive enough of
Nature in a simple way, and bright and full of _

daylight. This certainly cannot be said of Mr. * I ROYAL SOCIETY OF

Brangwyn's A Sketch, Spain, which is black BRITISH ARTISTS. BY FRAN-

enough for midnight and yet shows the sharp Cjg BATE
shadows of midday. It is an instance of the

length to which a preconceived idea will carry a JL The Royal Society of British Artists

painter who seeks for novelty rather than simple is now holding, in the Galleries at Suffolk

truth. Something of the same warp in the direc- Street, its one hundredth exhibition of paintings

tion of sensational effect mars Mr. Yeend King's and drawings. It can hardly be described as

well-chosen and cleverly handled canvas, The Lynn, better or worse in average quality of merit than

North Devon; there is in it too much straining most of the preceding ones. Notwithstanding

after the effectiveness that comes from the contrast that the show as a whole is not devoid of interest,

of brilliant high lights with the darkest of shadows, it is marked by all the faults incidental to large

The result is that the landscape has strongly the exhibitions. It is too large an exhibition to. be

suggestion of photographic influence and loses the enjoyed at one visit, there are too many pictures

sense of luminosity and light diffusion. The same in each room, and the pictures are not hung with

thing shows in Mr. Ernest Parton's Meadow Pool, that judicious taste which, while it strives after an

which is much too heavy and dark for the open harmonious general effect, secures for each indi-

air, and which is in addition painted coarsely and vidual picture isolation sufficient to leave its parti-

mechanically. Hay-making in Chertsey Meads, cular qualities undisturbed by its surroundings and

by Mr. Claude Hayes, has far more quality of at- unspoiled by unhappy contrasts. But these faults

mosphere and far more suggestion of light; but are not peculiar to Suffolk Street. Although it is

for a certain lack of decision in the drawing of the difficult to conceive a wholly successful arrange-

sky, it would deserve almost the first place among ment of modern pictures upon any other lines than

the landscapes in the Exhibition. Mr. G. C. those suggested, one can only express one's want

Haite's Mill at Dordrecht is a commendable in- of sympathy and one's astonishment that artists

stance of judicious choice of subject, and displays continue to bestow less care and consideration in

a fine sense of design. ... tne display of their productions than is usually

Of the figure subjects, the most original is Mr. evident in exhibitions of far less exigent merchan-

Brangwyn's Dolce far niente, a group of Eastern dise, and pass over to the consideration of these

girls lying round a fountain, a typical example pictures as we find them.

of his quieter and less demonstrative manner. The north-east and north-west galleries con-

The composition is happy enough, and the colour tain about 250 water-colours, of which the most

is agreeably gentle and refined, while the brush- prominent and pleasant memory is Interior of

work is not too audacious. Mr. J. J. Shannon's Grand Cafe, by Hans Hansen; a brown mono-

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