Studio: international art (17.1899)

The Art of i8gg

jewel-case (open) (International) BY ALEXANDER fisher

Eugene Carriere. Clever, too, especially in the
drawing and movement of the hands, Mr. Sauter’s
Sonata (The Hambourgs) is juxtaposed with an
interesting study of Edward and Nina Greig by
Mr. G. S. Kroyer. Mr. James Guthrie is a painter
of parts. His portrait of Airs. T. A. Brown is,
perhaps, scarcely so strong in painterlike qualities
as his sensitive picture of a gentlewoman, Mrs.
Watson, whose comeliness has gained as much as
it has lost with the advance of years. Quite admir-
able, too, especially in quality, colour, and arrange-
ment, Mr. Maurice Greiffenbagen’s Miss Sybil
Waller is distinctly one of the best portraits in the
exhibition. Mr. Richard Jack cannot complain
that his light is hidden under a bushel. Samples
of his art have been seen in sufficient numbers this
year to enable one to form a fairly accurate judg-
ment as to his powers and limitations. Mr. Jack

is a portraitist of de-
cided promise, and in
the Coimtess of Stam-
ford he has been happy
in securing a sitter of
grace and distinction,
an advantage denied
to him in some of his
recent subjects. The
exhibition is rich in
portraits ; rich in num-
bers, and in the quality
of the work. Almost
without exception they
justify themselves as
works of art. They
are by no means of
the order we are ac-
customed to hurry past,
with what despatch we
may, at the older ex-
hibitions. Antonio de
la Gandara paints an in-
tense-looking lady pos-
sessing remarkably fine
eyes—eyes which have
the knack of following
one round the North
Gallery, where the pic-
ture hangs. Mr. William
Nicholson shows a por-
trait of Mrs. Nicholson,
and a woodcut, printed
in colour, of the Prince
of Wales, which in all
essentials is worthy
to rank with that marvellous picture of the Queen
which brought Mr. Nicholson fame. Possibly, for
downright cleverness, Robert Brough’s loosely-
painted and boldly-conceived portraits take the first
place, though no doubt they are ranked with the ten-
tative and immature work by the “ bigots of an iron
time.” Mr. T. Graham’s An Italian Girl might
have been painted by a pre-Raphaelite Brother; in
any case it was not painted yesterday. Mr. McLure
Hamilton’s Henri Rochefort is marked by the
strongly individual accent discernible in everything
Mr. Hamilton paints. Mr. John La very’s portrait
of a majestic-looking lady seated on a Louis-Seize
sofa, her beautiful shoulders becomingly revealed
in an elegant decolletage, is not only a magnificent
piece of painting, it has a certain nobility—not
merely the nobility inherent in the subject, that if
it should exist Mr. Lavery is generally happy in

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