Studio: international art (82.1921)

LORD LEVERHULME'S PICTURES

" LE EUISSEAD." BY
EUG. LAERMANS

subject after his heart, the ancient May
Day practice of the choristers in their
surplices, followed by the dons, mounting
at dawn to the roof of Magdalen Tower to
sing their Eucharistic hymn facing the
sun. 0 0 a a a 0
All the traditional prescriptions for
picture-making seem to be explicit here
in the old familiar pictures. Leighton's
The Garden of the Hesperides offers its old
lure of suavity and sumptuousness, yet
the tender loveliness of a little Mother
and Child, painted in 1865, appeals more
persuasively for reproduction. For the
rest, sufficient to bring them to memory
must be the bare naming of such popular
favourites as E. J. Gregory's Boulter's
Lock, Frank Dicksee's The Symbol, Solomon
J. Solomon's The Judgment of Paris, E.
A. Storey's A Young Prodigal and his
friends, Alma Tadema's The Favourite
Poet, Vicat Cole's Abingdon, David Murray's
Golden Gorse, Luke Fildes's An Al Fresco

Toilet, reminiscent of his happy Venetian
interlude between The Casual Ward and
The Doctor, But memory is here assisted
by reproduction of Topaz, exquisitely
representing Albert Moore's gracious art;
J. W. Waterhouse's piece of mediaeval
romanticism, The Story of the Decameron ;
Tissot's Explaining the Chart ; and Byam
Shaw's beautiful and poetically suggestive
Love Strong as Death is Dead, painted in
his richest days of promise. Instead of
Fred Walker's delightful canvas The
Bathers, we have reproduced The Fish-
monger's Shop, the drawing which, in
1872, established Walker's position in the
English water-colour school. Our illus-
trations include also Alfred East's spacious
and placid Rivington Water, William
Strang's simply and finely painted Wife of
a Spanish Picador, Miss Ruth Hollings-
worth's Breconshire Landscape, and a
typical landscape, Le Ruisseau, by that
austere Belgian artist, Eugene Laermans.

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