Studio: international art — 82.1921

Page: 266
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Thomas Bodkin.

ENAMEL PLAQUE " THE MERMAID."
BY KATHLEEN BRIDLE, UNDER
P. O. REEVES, METROPOLITAN
SCHOOL OF ART, DUBLIN

266

THE NATIONAL PORTRAIT
SOCIETY, 0 0 0 0 0

THE eleventh exhibition of this Society,
now being held at the Grafton
Galleries, contains a distinguished as-
semblage of oil paintings by some of the
leading portrait painters of the day,
supplemented by an interesting assort-
ment of works in other media—water-
colours, pastels, chalk, and pencil draw-
ings, etchings, woodcuts and sculpture.

The most notable exhibit is a painting
lent for the occasion by Admiral Sir
Hedworth Meux—a full-length portrait of
Mrs. (afterwards Lady) Meux, which
occupies the place of honour in the large
gallery facing a row of present-day male
celebrities from the brush of Sir William
Orpen. Painted in the eighteen-eighties,
it was called by Whistler an Arrangement
in White and Black, the title under which
it is now exhibited, and with its superb
tonality, to which time has so far been
kind, this " beautiful Black Lady " ranks
as one of its greatest masterpieces. 0
Sir William Orpen's Marchioness of
Crewe hangs by the side of Whistler's
" Arrangement," and on the opposite
wall are six portraits by this brilliant
painter of men of eminence—Mr. Hughes
(the Australian statesman), Lord Derby,
Lord Robert Cecil, Mr. Lloyd George,
Brig.-Gen. Horwood and Sefior Da Costa,
the first and last being especially notable.
And then right in their very midst, and
looking down upon them, is a large
painting which as a personification of
democracy might almost be called an
omen—it is a group entitled The Plumber's
Family, by Mons. Jacques Emile Blanche,
who with Mons. J. G. Domergue, Degas,
Corot, Fornerod and Toulouse-Lautrec,
represents the French school at this ex-
hibition. 00000
On the same wall near the Orpen
group is a striking portrait by Sir John
Lavery of His Eminence Cardinal Bourne,
in scarlet robes, against a textile back-
ground in crimson—a daring conjunction
which in less able hands might easily
have proved disastrous. In so far as
backgrounds are concerned, the works
in this collection do not yield much of
particular interest. The black back-
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