Studio: international art (83.1922)

THE ROYAL ACADEMY EXHIBITION, 1922

Figure pictures of the best type are
unusually scarce this year; the adverse
conditions of the moment seem to have
checked ambitious effort. But Mr. Glyn
Philpot in his Apres-midi Tunisien has
aimed high, and has handled a difficult
problem of colour and illumination with
notable power; and Mr. James Clark,
in his Biblical subject, The Manger, has
dealt most successfully with an incident
which needed to be treated with tender-
ness and restraint—he has painted a
picture which charms by its quiet dramatic
strength and its delicacy of sentiment.
Mr. Anning Bell's monumental composi-
tion, The Watchers at the Sepulchre;
Mr. Tom Mostyn's effective decoration.
The Princess; Mr. W. E. Webster's
dainty Dawn ; Miss Anna Airy's animated

June Morning : Mr. Fred Roe's night
effect, The Coffee Stall; Mr. Campbell
Taylor's skilful little picture, The Blue
Dress ; Mr. F. W. Elwell's clever interior,
An Old Inn Kitchen; and Mr. Moira's
gay and sparkling Cornish Flora Dance,
have definite claims to consideration, and
Mr. Jack's large picture of the wedding
of Princess Mary is an achievement of
some importance. a 0 a a
Mr. Arnesby Brown's right to the
position he won some years ago as one of
the soundest and most able of our land-
scape painters still remains indisputable.
He shows only three canvases this year, but
each of them can be most sincerely wel-
comed—The Yacht Race for its wonderful
subtlety of atmospheric effect, The High
Road for its dignity of design and its

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“ SUMMER.” BY PHILIP CONNARD, A.R.A.

(Purchased under the terms of the Chantrey
Bequest.—-Copyright reserved)