Studio: international art (10.1897)

Studio-Talk

ful Paganism, by the
loss of which so much
that is beautiful has
been taken out of life;
and he is so persuaded
of the charm of the
creed to which he sub-
scribes by every stroke
of his brush that he
can scarcely fail to
make, among the
people who incline to
his view, hosts of
sincere converts.
Hk. It is interesting to be

j» able to show in juxta-

position with the com-
pleted work some of
the preliminary studies
by the aid of which the
painting was fashioned.
In this case such reve-
lations of the methods
of the studio do not
serve to disillusion.
They are so emphati-
f cally consistent, so

evidently contributions
to a series which was
controlled from first to

study for the painting " hylas and the nymphs " l^St by the idea of the

by j. w. waterhouse, r.a. picture, that they help

us to understand the
motives of the artist

nymphs is relieved, are in happiest relation, and and to appreciate his success. They are evidences
combine to produce an effect of subdued and mys- of the spirit in which he has laboured; and they tell
terious reserve which aids delightfully in telling the us how devotedly and thoughtfully he built up bit by
story as Mr. Waterhouse has understood it. With bit the great canvas which marks the highest point
less depth of suggestion in colour, with less large- to which he has, in the maturing of his powers, as
ness of accessory forms, the group of figures would yet attained. From them we gather how securely
have lost something of its exquisite refinement, he has based his performance upon Nature; but we
There is an absolutely artistic contrast between the also learn how skilful he is to select, even in tentative
dainty delicacy and almost childish purity of the study, just those salient facts which when woven
nymphs and the ruggedness of the wild surrounding together will complete and round off the perfect
in which they are placed ; and yet this contrast is, if whole,
it is possible to use such a paradox, entirely har-
monious. Nothing makes the picture more credible STUDIO-TALK,
and more acceptable, without possibility of question,
than the manner in which it is carried out. We are

(From our own Correspondents.)

made to feel that in such a place, if we could find it ONDON.—The exhibition of the Royal

actually before us, we could still commune with the I Society of Painter Etchers would have

classic deities who have fled affrighted before the | been justifiable had it contained nothing

cynical unbelief of modern men. Mr. Waterhouse . worthy of notice beside the contributions

becomes in this work an apostle of the delight- of M. Paul Helleu. These charming

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