THE ROYAL INSTITUTE OF PAINTERS IN WATER. COLOURS, 195 PICCADILLY.]
AMID the numerous water-colour exhibitions which are now open, the Royal Institute's show at 195 Piccadilly is the largest in point of numbers. There are nearly five hundred ps.intire,ss, and more if the miniaturists are included. There is nothing to distinguish this year's exhibition from previous ones, except that much of what is good is smaller and more retiring, and therefore takes more finding. There is the usual quantity of pictures which " tell a story," and the similarity of method and choice of subject of some artists is more apparent than in other exhibitions. Mr. Norman Wilkinson shows originality in painting Bethlehem and Jerusalem from an air-liner at the height of 2,000 feet. Though the picture does not possess much sesthetic interest, it is a good example of what must have been very rapid note-taking. Miss Anna Airy in her Siesta tries to cover too large a subject, but it is skilfully drawn, although it misses its effect through insufficient contrast in light and shade. Miss Hawksley's The Holy Family, more of a design than a picture, is very successful. Good colour contrast distinguishes Mr. Gordon Forsyth's The Yellow Café, Caen, and there is rather more kick in it than in his other paintings. Mr. Gerald Ackermann's September Morning, Blythburgh, is breezy and pleasant. In The Thaw Mr. Hoggatt has kept his tone well throughout, and there is a truthful feeling about it. Other pictures which deserve searching for are Mr. Imes Littlehampton, Mr. Martin Hardie's The Churchyard, Wangford, Suffolk, Mr. Nelson 1VkCleary's The Temple Door, Dalmatia, and Mr. Van Jones' Morning. Among the miniatures is a set of five by Jacques Bouis which should not be missed. The cleverness of their painting is enhanced by originality in mounting and framing.
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