18 JUNE 1898, Page 15

ART.

INTERNATIONAL ART AT KNIGHTSBRIDGE.

THE International Society of Sculptors, Painters, and Gravers have made their first exhibition a remarkable one. The fact that many of the pictures have been seen before, and that some are recognised masterpieces lent by their owners, is no drawback. Rather it is an advantage, for the air of the shop is removed and the collection becomes one of serious art. Even -should & visitor to this gallery not be in sympathy with the more advanced work, he must at any rate acknowledge that 'there is a refreshing vigour in the minds of the majority of the painters here represented. The desire to express some- thing, to try to put some individual conception in a fresh way, is everywhere evident. This is so infinitely better than the mere turning out of commonplace things in a common- place way,—the curse of the ordinary picture exhibition. A bad picture in which the artist has been keenly interested is much better than an equally bad one when the painter has 'merely worked mechanically.

One of the merits of this exhibition is that it gives Londoners an opportunity of seeing pictures by artists whose work they have rarely or never had a chance of seeing before. Amongst these must be placed Mr. Fritz Thaulow. To those who are unacquainted with this painter's wonderful gifts of colour and execution, the group of pictures, Nos. 49 to 52, will Joe a revelation of beauty. The Canal Scene (No. 51) is perhaps the loveliest. The rendering of the water is marvellous. The rippling surface of prismatic hue is the soul of the work, but grassy bank and overhanging chestnut are of equal though quieter beauty. The colour is of that perfectly balanced order which, although it is strong and Mull, has no predominating bright patches. The snow scene

Among the distinguished French artists whose work is represented here no name is to be hailed with greater respect than that of Pavia de Chavannes. Though this time repre- sented only by small studies and one beautiful picture, Man Beading (No. 273), it is sincerely to be hoped that at the next exhibition of this Society the prince of modern decorative painters will allow us to see some one of his important 'works before it is fixed to the wall to which it properly

belongs. Many people in England who know M. Puvis de Chavannea's work only by reproduction would gladly embrace an opportunity of acquiring a knowledge of his austere beauty of colour.

The Scotch painters show many pictures of great interest.. Among these Mr. Guthrie's portraits (Nos. 296 and 309) stand out for strength and solidity of work. The former, a portrait of Professor Jack, appeals to us by the sincerity and force of the modelling of a head full of character. Mr. James Paterson's landscape, Borderland (No. 15), is full of air and fleeting sun- shine. The prevailing silvery tone of this pictare is most beautiful, and the great clouds are treated with true sympathy. There is a broad and dignified air about the work, which gives it distinction. Mr. Macgregor's Upland Landscape (No. 18) is fine, but the forms are rather lumpy.

The one portrait here by M. Aman Jean (No. 185) is a delightful fancy,—a beautiful girlish face under a straw hat, with a background of Alps. It is one of those pictures which cannot be analysed ; it mast be seen. M. Degas almost makes the ballet an object—not of beauty, for that is beyond even his great powers—but of interest. The group of pictures (Nos. 114-117), which all deal with the same subject, reveal the astonishing power of this artist. The little picture Cafe Chantant (No. 119) is more pleasing in colour than the others, the contrast between the brilliant figures in the dis- tance and the sombre ones in front being indeed lovely. Manet is a painter whose works are rarely seen in England, and the two here are welcome, as it is from him that the inspiration of so much of modern work has been derived. The picture of the execution of Maximilian (No. 16) is a work of pure horror—and power. There is a brutality in the painting which fits the subject. The other pictare by the same painter, the Vagabond Musicians (No. 55), is done in the same forcible way. Beauty of the ordinary kind it has not, but unflinching sincerity and intelligent realism are present in a high degree. It is not likely, however, that the public will understand the influence and attraction this painter has for artists.

The majority of the work at this exhibition is what people are wont loosely to call " impressionistic," but not all. A portrait of an old lady, by Mr. F. Sandys, stands out finely, the difference of manner making a pleasant variety. Mr. Sandys's power of minute execution is extraordinary, but the the people who try to persuade us that we must make our choice between minute representation and breadth of treat- ment should learn by the lesson of this exhibition that both styles may exist on good terms with each other. The delicate detail of Mr. Sandys, and the fine abstraction of Mr. Alexander's dignified portrait (No. 276), can both be enjoyed by those who have eyes to see and hearts and heads to understand.

The number of good things is so great that it is diffi- cult to find space to speak of all of them, but Mr. Bartlett's fine and solemn piece of colour, Scandal Mongers (No. 323), and Signor Fragiacomo's lovely evening landscape, Alma Quies (No. 300), must not pass unnoticed.

The sculpture is worthy of close attention, for there are some remarkable things. The studies in plaster or stone by M. Rodin and the bronzes by M. Meunier are both most interesting. The strange illusive figure, only half detached from the stone, of the former has beauty of the highest kind. M. Rodin has penetrated deeply into the spirit of Michel- angelo, and learnt the secret of that Titanic beauty of which he was the master. M. Meunier also has been influenced by the Florentine, but through Millet. The little bronzes of labourers are deeply touching in their simplicity and grandeur. The workmanship is of that kind which has no littleness, although their size is small.

Besides painting and sculpture, the exhibition contains a large number of drawings. Among these are a collection of original drawings by the late Mr. Beardsley. One can only marvel at the perfection of the execution and the corruption of the inspiration. It is to be sincerely hoped that the pre- sent exhibition is but the first of many, and that a. Society of so many distinguished artists will continue and provide for us other exhibitions as interesting as the present one.

II. S.