Studio: international art (7.1896)

The Work of E. J, Poynter, R.A'.

duccd from their inspection. When we consider that
in Mr. Poynter's easel-pictures the painting of the
nude is not of a decorative character, but is carried to
a high pitch of realism, it is evident that to do what
he has done, and not outstrip the bounds of good
taste, has been all the more difficult. That one of
his pictures should have been made the subject of
an attack of this kind only helps to prove that to

Gallery were Outward Bound, In Dreamland, A
Corner oj the Market-PIaee (18S7). In 1888,
amongst five portraits sent to the Academy Ex-
hibition by Mr. Poynter were those of Miss Burne-
Jones, Earl Harewood, and the artist's own portrait,
painted for the Royal Gallery of the Ufiizi, at
Florence, also a small subject picture, Under the
Sea-Wall. In 1889 and 1S90 were exhibited On

people of such professedly high moral views, any
picture of the nude, no matter how treated, offers a
sufficient text for their purpose. Other pictures by
Mr. Poynter exhibited in 1885, were a portrait, and
A Dream of the Arabian Nights, in water-colour;
and in 1886, portraits of the Marquis of Ripon,
painted for Government House, Calcutta, and
Lieut.-Gen. Sir Gerald Graham, V.C.: also a design
in water-colour for the Guardian Life Assurance
Co.'s advertisement placard. At the Grosvenor

the Terrace, A Corner in the Villa, Pea-Blossom,
and On the Temple Steps.

The year following the finished design of the
large picture, The Queen oj She/'a's Visit to Xing
Solomon, was shown at the Academy. The main
picture, exhibited privately at McLean's Gallery,
is the most important of Mr. Poynter's later
pictures; great care and research is visible in all
the details of architecture and other accessories,
and the reputed fabulous wealth of the great and

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