Studio: international art (33.1905)

Frederick Sandys

not sufficient refutation of my artist friend's state- Her white robe has a border of blue, and in its

ment, surely his theory can be traversed on other folds she carries flowers; around her crown of

grounds. Is not—-or, at any rate, ought not—a auburn hair copper butterflies hover and flutter,

painter's technique to be the outcome of his own and beside her spring poppies, gorgeous in colour

ideas and requirements, and not the result of the and exquisitely painted. The whole composition

fashion of the moment, the fad of the day ? And is peaceful and serene, and its motif is in strong

this method of Frederick Sandys, this fine and contrast to the power shown in Oriana and the

Memlinc-like touch, was part of the man himself. sombre tragedy that characterises Medea.
He once said to me that he never was a Pre- It is in the last-named that this phase of his art

raphaelite, and strictly speaking this was so, for may be said to culminate; indeed, in this picture we

he was not a member of the Brotherhood ; but his find to the full the artist's perfect manual equipment

spiritual kinship with them was undeniable, his in- fitly employed to render a mighty theme of poetry

spiration was identical, and he evolved for himself and passion. The canvas shows at half-length the

the fashion of painting that he always adhered to, unfortunate wife of Jason, distraught with grief,

the method of Millais in his early days, the method at work with spells and enchantments, the instru-

for which we have no word but Preraphaelism. ments for which lie on a marble slab before her.

Thus was he inspired, thus he saw things, and thus In a gleaming shell lies clotted human blood, from

he rendered them, and it is possible that his reward a strangely shaped vessel of glass she feeds the flame
will not be lacking, and that
pictures so painted will outlast
hundreds of the perfunctory and

monumental in ^their^ intens|ty|

are Vivien and Gentle Spring. \'~
Sandys was always attracted by the
beauty of a scornful face, and in
Vivien he renders the proud
beauty of Merlin's temptress with
great power, emphasising and ac-
centuating the loveliness of the
statuesque head and shoulders by a
background of charmingly painted
peacock's feathers; in the Mag-
dalen he painted with equal skill
the simple pathos of grief; and
in Gentle Spring he strikes a note
that is purely idyllic. In this beau-
tifully decorative panel the stately
and gracious woman chosen by
the artist as symbolic of spring is
seen advancing to the spectator,
while behind her a rainbow gleams

against grey clouds and an orchard '„ the red cAp „ by frederick sandys

glows with a wealth of blossom. (By permission of W. Connal, Esq.)

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