International studio (16.1902)

Studio-Talk

ably would with more room—thoroughly represen-
tative of Scottish art; but this is no excuse for the
extraordinary jumble of water-colours, black-and-
whites, architectural drawings and models which
disfigures two rooms.
For the first time in the Academy’s history (the
S.S.A. had a fine selection of Belgium sculpture a
few years ago) Continental sculpture is shown,
and, if the pieces are few, the sculptors represented
are amongst the most distinguished in Europe.
There are two characteristic figures by Rodin;
F)alou and Dillens have each a bronze eminently
typical of his ideals; and Prince Troubetzskoi
sends his wonderfully vital equestrian statuette of
Tolstoi and two other pieces. In addition, Mr.
Goscombe John, A.R.A., Mr. Mackennal, and Mr.
Frampton, R. A., have contributed. The presence of

these renders the rows of busts shown by the Scottish
sculptors rather inanimate, although here and
there a work emerges well from the trying ordeal.
Associated with this welcome departure is another
of even greater significance, for jewellery, enamels,
and such-like have never before been recognised
in Edinburgh. Mr. IT. Wilson and Mr. Nelson
Dawson have lent assistance here, and work by
Mrs. Traquair and Mr. Watt, of Aberdeen, repre-
sent the Scottish movement in this direction.

Two Watts, two Sargents, one of the most
beautiful of Whistlers—the White Girl of many
years ago,—a Dagnan-Bouveret, and a Boutet de
Monvel give variety to the pictures ; but, while all
these are interesting, and most of them educative,
one turns more eagerly perhaps to new work by
Scotsmen, for in it lies not only the present, but
the future of Scottish paint-
ing. Amongst the men
already in the Academy, as
is ever the case, one is
stronger, another weaker
than usual. This year Sir
George Reid is not quite
at his best, and neither are
Mr. W. D. Mackay, Mr.
Lavery, and Mr. George
Henry; Mr. Wingate and
Mr. Walton are equal to
their own high standards;
Mr. James Guthrie is rather
over his; Mr. Roche’s Betty
ranks among his finest
things; Mr. G. O. Reid’s
picture from “Kidnapped”
is the best he has yet
painted in his later style ;
and a series of Dutch river
scenes represent Mr. J. C.
Noble more favourably than
for a number of years past.
Of the outsiders Mr. Edwin
Alexander is easily first,
his two large water-colours
being perhaps the most
perfect things on view.
Mr. Robert Burns’s big
picture from the “ Ballad
of Sir Patrick Spens ” is
also a notable work, and
an able essay of a semi-
decorative character. In
landscape Mr. Cadenhead,
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