Studio: international art (2.1894)

An American Critic on English Art

under the influence of some English reflection of often equally unwelcome at the Institute and the
the regular Salon method "—is summed up with a New Gallery—excites their curiosity and sometimes
pungent sentence : "In its present company it is arouses their warm appreciation; but the school
conspicuous: in Paris it would pass unnoticed." which appears destined to recruit the ranks of
Curiously enough, one remembers reading much the the R.A. as time opens vacancies in Burlington
same words in an English verdict upon an exhibition House, is snubbed with less courtesy than even
of the younger American painters in New York. the most typical " Royal Academy " canvas. Passing
This judgment betrays the attitude of most non- on we find an apology for noticing any English
English critics—who first object to purely British work beyond the three whose names are in the

heading quoted at the beginning
of this chapter, because although
the others are " too characteristic
of the English school to be
ignored, they cannot expect to
detain the searcher after what is
best in so large an exhibition."
The portraits, however, the critic
considers " really distinguished,
and if untouched by the flame
of Genius, yet clearly emancipated
from the niggling, reluctant
method of handling which is
the bane of the Salon. Neither
Holl nor Ouless reveal a colour-
ist, not merely from the absence
of sensuous charm in their work,
but also in their barely adequate
colouration of hands and faces."
Even of the Millais portraits,
" the old shortcoming is again
noticed. The colour is too sweet
and it has no quality. Professor
Herkomers portraits are declared
to be " of the same class as
Holl's, only considerably less
able and personal : J. J. Shan-
non would have been classified
with the Salonists, but that his
cleverness lifts him above them.
.C. W. Furse is purely decora-
tive."

From the portraits we are
taken to the few other artists in
touch with new, independent
teaching. " Mrs. Swynnerton

portrait by j. guthrie. (from the illustrated salon supplement ^ w Q Symonds both dever

to l'independance belge.) See page 52 1

students of the nude; Edward

painting because it has the tradition of Britain, King and Wilson Steer, who are alive to the quality
and then go on to depreciate the later methods of of light in painting, are of this class. John M.
those painters who to our older critics appear peri- Swan, an animal painter, who is to Briton Riviere
lously French. Work which the average visitor what Barye was to Landseer ; and R. W. Macbeth,
to London Galleries thinks eccentric enough to who continues the rural type and feeling of the later
have its own special nickname, which is not con- George Mason, a greater and more individual de-
ventional enough to suit Burlington House—and signer, but an obscure modeller and poor colourist."
5°