Studio: international art (38.1906)

The New Gallery

literal, so matter-of-fact, that it scarcely takes the
position which it could have reached securely if it
had been treated with more sympathy.

In Sir J. D. Linton’s The Earl of Leicester and
Amy Robsart at Cumnor Place there is an agreeable
combination of exact precision of method and right
breadth of effect. Although the artist has aimed
at more than ordinary minuteness he has lost none
of the qualities of tone and atmospheric relation
which were needed to make his picture properly
effective, and he has kept all his details in abso-
lutely correct harmony one with the other. His
colour is notably sumptuous and powerful. Mr.
George Henry shows a very successful study, The
Hour Glass, which has his best qualities of
execution and colour management; Mr. W.
Llewellyn an admirably treated group, Bedtime, a
young mother with a baby in her arms, which is
particularly to be praised as a clever record of an
effect of artificial light; and Mr. Lavery a pleasant
sketch of a girl, Mary, Reading, which needed
only a little less insistence upon dull tones of grey
and brown to be counted among his happiest
efforts. Mr. F. Markham Skipvvorth’s sense of
dainty arrangement is well displayed in La Sortie,
and in his smaller sketch of a child, Daune ; and
Mr. S. Melton Fisher’s characteristically fresh and
charming manner of handling is seen absolutely at
its best in his exquisite colour note The Flowered
Gown. Mr. Halle’s Fortuna is one of the best of
his imaginative canvases; Mr. Arthur Hacker’s
Francesca has strength and dignity ; and the modern
life subject, Music and Moonlight, by Mr. Talbot
Hughes, is specially notable as a shrewdly studied
and soundly managed painting of contrasting lights.

The most remarkable of the illustrations of
rustic life which have a right to marked considera-
tion is Mr. W. Lee Hankey’s very ably painted
picture of a young peasant girl, a technical achieve-
ment of quite exceptional beauty, and as dainty in
sentiment as it is sound in execution. Mr. E. A.
Hornel’s Burning Leaves is a good example of his
customary mannerism, restless, inconsequent, and
wanting in cohesion, and yet not unpleasing as an
arrangement of colour. Mr. Austen Brown’s
Haymaker is a finely imagined subject, with a
certain impressive dignity of general effect, but
spoiled by uncouthness of drawing and want of
refinement in form; his other picture, Meadow
Flowers, is in many ways more successful, but it
has a curious uncertainty of touch that diminishes
its interest. Two examples of what used to be the
most favoured school at the New Gallery, Mr
Strudwick’s composition symbolical of autumn, and
t6

Mr. J. E. Southall’s Daughter of Herodias, remain
to be noted; they are quaintly archaic, but they
have a sincerity which deserves respect.

Among the landscapes Mr. Hughes Stanton’s
large Sand Dunes; Dannes Camiers, broadly
atmospheric and tenderly delicate in tone, Mr. J.
Coutts Michie’s strong, serious, and impressive
On a Lonely Moor,and. Mr. J. L. Pickering’s romantic
and dramatic composition, 2he Dryad’s Offering,
largely treated and excellent in its richness of
colour, deserve places of particular prominence;

PROCESSIONAL CROSS

BY W. REYNOLDS-STEPHENS