English Contemporary Art. Translated from the French of Robert de
la Sizeranne by H. M. Poynter. (Constable and Co. 12s.) —To see ourselves as others see us is proverbially interesting. In the present case the reader will not be disappointed, for M. de la Sizeranne is an accomplished critie and has a wide knowledge of English painting, about which he writes. This critic's inquiry results in the verdict that while there are painters in Germany, Austria, Italy, Spain, Belgium, Holland, and the United States, there is in England a distinctive school of painting. All the other countries are influenced by French art. England at the present time alone has an independent school. The author, of course, points out that of late years many young English painters have studied in France and have adopted French ways. But apart and uninfluenced, a separate style exists. M. de la Sizeranne traces to the pre-Raphaelite movement all that is most characteristic in contemporary art. And it is Madox Brown that he looks upon as the inspirer of this movement. Two forces are said to be at the bottom of English art,—mysticism and anecdotes ; Watts and Millais. What seems to strike the French critic so strongly is our intense desire to influence men's minds and morals by painting. It seems quite a surprise to the author to find painters like Mr. Watts devoting their lives, not to the creation of pure beauty, but to the representation by symbolic art of such themes as Love and Death. M. de la Sizeranne acknowledges that when he came to England he believed that abstract ideas were now impossible in painting, but admits that a visit to South Kensington changed his mind. The sight of "Love and Death "and "Love and Life" altered the opinion before firmly held. In this book, beside general studies, there are separate criticisms of Watts, Holman Hunt, Leighton, Millais, Burne-Jones, Tadema, and Herkomer. Why these two last are included is not very clear. In conclusion, M. de in Sizeranne strongly urges French artists to beware of English art, and especially of art with a purpose, which, he says, crushes [esthetic pleasure. He says : "By following other paths you may be lost in the demesne of sestheticism ; following this one you leave it entirely." Would he consider Millet and Puns de Cheyennes outside this demesne, we wonder P His last words are : "The English painters are great charmers ; let us admire them, but let us not follow them."
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