ART.
THE ACADEMY.—III.
DOES the Academy desire to educate the taste of both artists and public ? If it does, it has a means at its dis- posal for this end which would prove convincing if applied with thoroughness and a sense of humour. This means, which could be employed with telling effect, is the judicious hanging of the pictures. By "judicious hanging" is meant the separation of the good and bad, instead of trying to make a dull wall interesting by spicing it with an occasional work of art. Imagine the educational effect of a whole row of official and presentation portraits; Would even a borough committee wish to have their Mayor painted in the terrible manner now prevalent ? We should have no more pictures like Mr. Arthur Hacker's Alderman, (No. 864). Admiring subscribers would hardly wish to have the object of their admiration depicted after the manner of Mr. John
Collier's Indian official (No. 259). The parade portraits of soldiers and sailors would receive a staggering blow if formed up in line, headed by the last-named artist's Duke of Cornwall (No. 151), in which smoothness has been carried to such a pitch that the hair seems to have received the same polish as the boots. It would, perhaps. be too much to hope that even these heroic measures would have much effect upon the painters of trivial sentiment and their public. The effect, however, of a room full of pictures of the sentimental incident class, in which Mr. Patry's Dead Bird (No. 100), Mr. Downing's The Ant and the Grasshopper (No. 142), would have an unenviable prominence, might have some result. Some attempt at reform in women's portraits is badly wanted. If a row of these were hung in which were found Mr. Herkomer's (No. 113), Mr. F. Howard Michael's (No. 64), and Mr. Luke Fildes's (No. 91), it is difficult to believe that people would not realise that a meretricious style does not of necessity lead to elegance. That grouping pictures for educational purposes is not without effect is proved by the following narrative. Some years ago it was fashionable for a group of young painters who lived in a certain village to paint children's funerals, young women making memorial wreaths, and other forms of domestic tragedy. On one occasion a number of such works were sent to one of the large provincial exhibitions. It so happened that the two artists who were responsible for the hanging of the gallery were people of sense and humour ; one of them was a world. famed painter. Their procedure was to hang all these dismal pictures together in a row in the best position in the gallery. The cumulative effect was striking, and this parade of tragedy was seen by its quantity and sameness to be only a fashion. The treatment produced the desired effect, and black-edged sentiment became for a time far less popular. There can be little doubt that if the Academy liked, they could exercise a great influence for good over the minds both of artists and the public. The proceeding, we admit, however, would not be popular. The present acceptance of good and bad rouses the least opposition, and it is the failing of all public bodies to move along the line of least resistance.
Taken as a whole, the level reached by the sculpture at the Academy is higher than that attained by the pictures. That is to say, there seem to be fewer things which make one wonder either why they were accepted or how their authors became Academicians or Associates. Mr. Frampton has made a statue of Edward Vi. which is not only charming in its simplicity of pose, but is full of feeling. The boy seems awed by the consciousness of the greatness of his orb and sceptre. The pathos of the invalid boy King has been appreciated by the sculptor and feelingly rendered. The bronze group of Dean, Colet (No. 1,708) and two boy scholars by Mr. Thornycroft is another thoroughly satisfactory work. There is no straining after effect ; all is quiet and natural. The sitting figure of Colet realises well the delightful character we know in the letters of Erasmus, and the two boys kneeling on each side have just the right treat- ment,—that which gives them the grace of young life, and yet preserves sculptural dignity. The Fishmongers' Company have been wise in choosing for their hall the graceful and natural Fisher Girl (No. 1,703) by Mr. A. Turner, and Lloyds have secured a fine piece of decoration in Mr. Lynn Jenkins's Metal and Ivory Frieze (No. 1,791). The mother-of-pearl sky behind the metal ships in relief is an admirable idea, the brilliancy and changing light of the shell making an excellent decorative sky. Mr. Sargent exhibits a large Crucifix (No. 1,792), which may be said to be the most imaginative piece of sculpture here. Although not stated in the catalogue, it is probably intended for a part of his decoration of the Boston Library. The treatment of the subject, which is a bas-relief, is symbolical. Beneath the arms of the Cross on either side are Adam and Eve, each holding out a chalice to catch the blood from the hands. These figures are united to the Christ by banik of drapery which enfold all three. The conception of the whole is dignified and severe as well as original, and of striking effect. From Mr. Sargent the imaginative sculptor to the fashionable portrait-painter is a curious transition. The portrait of the Daughters of A. Wertheimer, Esq. (No. 178) is the picture which is the most obviously clever of the seven sent by Mr. Sargent. It is a marvellous tour de force of execution. The artist seems to
have felt that it was expected of him that he should astonish, and he has done so. There is a suspicion of humorous appreciation in the picture, and the skill is extraordinary. Much more delightful is the portrait of C. S. Loch, Esq. (No. 576). The picture • is low in tone, and has n3 sharp contrasts, but the characterisation is supreme. There is just the right amount of movement in this half. length figure with crossed arms to make it alive ; .but not enough to make one feel annoyed that the arrested action is not continued. Another portrait by Mr. Sargent in this quiet and most artistic, manner is the Mrs. C. Russell (No. 219). The subtle way in which the hair disappears into the background is most beautiful, and so entirely convinces us of the roundness and solidity of the head. It is one of those pieces of painting which to the uninitiated look so easy, and which are really so infinitely more difficult to do than so-called "finish." The large picture of Mrs. Cazalett and Children (No. 103) shows this artist in his bravura style once more. It is very wonderful, and perhaps no one else could have done it, but at the same time it leaves one cold. The other portrait group by Mr. Sargent, of Sir Charles Sitwell and Family (No. 811), is much less conventional in treatment. Had the figures been as satisfactory as the cabinet and the tapestry behind them, the picture would have been a very fine one. Unfortunately the figures standing in curious isolation have an odd appearance difficult to describe, but suggestive of marionettes. The eye does not seem to be able to take in the whole canvas as one group, but wanders from the very small children on the floor to their very tall mother, and then on again. Sir C. Sitwell's head is a fine piece of painting, and worthy of the painter, which can hardly be said of the other figures. Mr. Sargent is said to have desired to make this picture a pendant to an existing family group of the eighteenth century. The sacrifice of absolute freedom by the artist may, perhaps, account for the unsatisfactory qualities of the work. Mr. Sargent has given proof this year of his imagination in sculpture; will he not do so in painting, and net limit his great powers to portraiture'?
One portrait picture, In the Highlands (No. 156), is all that Mr. Watts exhibits. At the bottom of an upright canvas a beautiful figure of a girl is seated filling her lap with mountain flowers. The background is composed of lake and cloud capped mountains. The deep blue of the water and the sombre hills accord perfectly with the light-brown dress. The beauty and quality of the paint surface, and the general harmony, give this restful picture that distinction which is .never absent from the painter's work.
There is a picture by Mr. Walter Osborne, Summertime (No. 599), which from its rich harmony of colour, combined with strong, robust modelling and painting, produces a feeling of satisfying beauty. The picture is without- story or incident, and makes itself felt entirely by its artistic qualities. Had
Mr. Osborne preserved rather more freshness of painting in the face of the girl, which is a little overworked, the picture would have been still better. Mr. Furse has had his portraits
hung so high that it is difficult to see them sufficiently to be able to write about them. One, however, General Sir C.
Nairne (No. 222), is large enough to be well seen. The style of the work is broad and imposing and has great dignity, and the colour. is distinguished, and we can only regret that the figure re of the General, especially his head, has not quite sufficient vitality to dominate the splendidly painted horse on which he sits.
COnsiderations of space make it impossible to discuss fully all the pictures worth seeing, so the reader's attention can only be called to the following works, with the advice that they should not be overlooked :—Nos. 22, 44, 57, 184, 256, 371,
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