Studio: international art (29.1903)

Studio- Talk

shall be expelled, and if there be found a majority
for expulsion, he shall be expelled, provided his
Majesty's permission be first obtained for that
purpose.

" XXV. No Student shall be admitted into the
Schools, till he hath satisfied the Keeper of the
Academy, the Visitor, and Council for the time
being, of his abilities ; which being done, he shall
receive his Letter of Admission, signed by the
Secretary of the Academy, certifying that he is
admitted a Student in the Royal Schools.

" XXVI. If any Student be guilty of improper
behaviour in the Schools, or doth not quietly
submit to the Rules and Orders established for
their regulation, it shall be in the power of the
Council, upon complaint being first made by the
Keeper of the Academy, to expel, reprimand, or
rusticate him for a certain time; but if he be once
expelled, he shall never be re-admitted in the
Royal Schools.

"XXVII. All modes of elections shall be regu-
lated by the bye-laws of the Society, hereafter to
be made for that purpose.

"I approve of this plan; let it be put into
execution.

"GEORGE, R,
" St. James's, December 10th, 1768."

STUDIO-TALK.

(From our own Correspondents.)

LONDON.—Although the space allotted to
works of art at the Earl's Court Exhibition
is comparatively limited, the artistic
exhibits are by no means the least in-
teresting things in the show. They consist for the
most part of pictures and drawings of great con-
flagrations, and of episodes of a dramatic type con-
nected with fires. The collection is more or less
historical, for it includes many works by old
painters who have recorded stirring scenes which
have become famous in the records of London and
other cities; but there are also a few modern
paintings by artists of note. One of the chief
things in this latter class is The Rescue, by Millais,
and of the highest interest are also the sketch by
Mr. Stanhope Forbes for his Royal Exchange wall
painting of the Fire of London, a picture by Mr.
Charles Vigor of a fireman saving a young girl frorn
a burning house, and a pathetic scene, the death
of a fire-brigade officer, by a French artist,
M. Renard. As an adjunct to the remarkable
gathering of ancient engines and other appliances
for fire extinction the picture gallery is a feature
206

of much importance, and it has certainly many
reasons for attracting popular attention.

There have been lately several one-man shows
of more than ordinary value which have come as
pleasant exceptions in the crowd of minor exhibi-
tions opened during the spring season. Mr.
Mortimer Menpes, perhaps, provided at Messrs.
DowdeswelPs gallery the most generally attractive
collection in his series of sketches and studies of
scenes at the Durbar. In this he turned to good
account the many opportunities he has had of
studying effects of tropical sunlight and the
gorgeous combinations of Eastern colour. The
show, indeed, was one of the best for which he
has ever been responsible; it was full of variety
both of subject and treatment, and exceptionally
happy in its suggestion of the splendour of the
great Indian function. The works included gave
an excellent impression of his skill as an oil-painter
and water-colourist, and of his unfailing ingenuity
in choice of appropriate material.

Another noteworthy exhibition, of pictures and
drawings by Mr. R. Macaulay Stevenson, was to
be seen at the Bruton Gallery during July. It
gave a very good impression of the powers of an
artist who holds a high place among the younger
Scottish romanticists. He is obviously a follower
of Corot, in the sense that he has studied closely
the methods and artistic principles of that master;
but he has turned his study to excellent account
and has used it as a foundation for methods of his
own which are strongly individual and full of
personal quality. The great charm of his work
comes from the manner in which he adapts land-
scape details to the purposes of well considered
design without losing the charm and subtlety of
nature's effects. He is a delicate colourist and
plays daintily with quiet modulations of grey and
green; and he arranges his canvases with a very
just appreciation of refinements of line composition.

Mr. Herbert Marshall's water-colours of London,
France, and Holland, exhibited in the galleries of
the Fine Art Society, claim mention as characteristic
performances by an artist who occupies a very
definite place in our modern school. Part of the
collection consisted of those admirable drawings
of London streets which have gained for Mr.
Marshall his wide reputation as an intelligent
student of the picturesque aspects of a great city ;
but there were besides some fascinating landscapes
treated with delightful delicacy of draughtsmanship