THE ROYAL ACADEMY.

Auckland Star, Volume LXI, Issue 133, 7 June 1930, Page 11 (Supplement)

THE ROYAL ACADEMY.

ART AT BURLINGTON HOUSE.

(By HORACE WYNDHAM.)

• As an institution, the Royal Academy, which opens its doors to the public for the " Summer Exhibition" on the first Monday in May of each year, is a longlived one, since it "was founded in 1768. Its establishment was due in great measure to George HL, who was always a liberal supporter of art. Thus,- he allotted the Academy a set of rooms in Somerset House, and subscribed out of his privy purse a sum of £5000 for their upke'ep. But, in return for his patronage, his Majesty insisted on nominating the thirty-six original members. During its long career the Royal Academy has had" several homes. It began in modest fashion in St. Martin's Lane, and then transferred itself to the eastern end of Pall Mall. The next change was to the Strand, where it was installed at Somerset House. It stopped there until 1837, when, the inland revenue officials requiring the whole of the building, the exhibition was shifted to the National Gallery. After a stay of thirty-two years in these quarters, it •received "notice to quit." Thereupon it moved from Trafalgar Square to Piccadilly, and erected the imposing premises at Burlington House it has ever singe occupied. It will probably be there for some time to come, since, on condition that " the premises shall be exclusively devoted to the cultivation of the fine arts," the Crown granted a 999 years' lease at a "peppercorn rent." President and Members. The first president of the Royal Academy was Sir Joshua Reynolds, and lie held the position until his death in 1792. He was a great artist, but he had his prejudices. One of them was Romney, to whom he always referred • in contemptuous fashion. Another of his dislikes was Henry Fueeli. When this painter was elected a Royal Academician, Reynolds was eo annoyed that he sent in his resignation. On second thoughts, however, he withdrew it. The affairs of the Royal Academy arc administered by a president ("P.R.A.") and three trustees, one of whom is the keeper and the other is the treasurer. At one time the occupants of these positions were appointed by the SoVtereign, hut they are now elected by the academicians. There is also a staff of professors of painting, sculpture, and anatomy, as a veil as one- —for reasons not very clear to the lay mind-—of chemistry. As for the members, they arc either academicians (" R.A.'s ") or " Associates" (" A.R.A.'s"), the respective totals being forty and thirty. Although artists who have not been admitted to

these lists often affect to sneer at the "R.A.'s" and "A.R.A.'s," plenty of candidates are always forthcoming when there happens to be a vacancy. The way of the world! Choosing Academy Pictures. On being elected an associate, the successful candidate attends a council meeting, and submits a "diploma" picture, as a specimen of his quality. These works are kept in separate galleries, where they form a permanent exhibition, and serve to show would-be A.R.A.'s the standard that is required of them. Among the more interesting of these canvases is one that was painted by Charles Cope in 1875, and which depicts the " Selection Committee" at work. The portraits in the group include Sir Frederick Leighton and Sir John Millaia. A second representation of the same subject inspired the brush of Professor Herkomer, and is now in the Tate Gallery. The labours of the "Selection Committee" are responsible and heavy, as they have to d.ecide which of the thousands of works offered them shall be accepted and which shall be rejected. Every picture is examined, but the majority of them cannot get more than a swift glance, for pictures are many and time is short. The system adopted is always the same. The president and members, of the committee have each offering in turn set up on an easel in front of them. There is a hurried consultation, and, according to the decision that is given, the canvas is marked on the back with the letters "A," "D," or "X," meaning "Accepted," "Doubtful," or "Rejected." The number of pictures which an artist may send in is limited (with certain exceptions) to three, and it is further laid down that these must have been painted within the preceding ten years. Copies, as well as works which have already been exhibited in public, arei inadmissible, and there are also restrictions as to size.

When the "Selection Committee" have done their work (or "their worst," as disappointed artists are apt to declare) the "Hanging Committee" come on the scene and settle where the accepted pictures shall be hung. This is another difficult task, since certain works must be given a place of honour "on the line," and all the others must be fitted in, so as to present harmony, and not discord. Arranging a jig-saw puzzle is nothing to filling the available wall space in the best possible manner. Even then the council may step in at the last moment and insist on drastic alterations.

When all the accepted pictures have been hung to the satisfaction of the committee (but seldom to that of the painters concerned) the senders are invited to como'and varnish them. This gives them an opportunity of seeing the position allotted their canvases. The knowledge is not always received with gratitude. On one occasion, it is said, an artist was so annoyed to find he had been "skied" that he cut his offering into strips. Not to be outdone by this gesture, a second daubed his picture all over with black paint. But artists are apt to be touchy. The "Private View." Three days before the Royal Academy opens its :>ors to the expectant public there is held the "Private View." This ranks as a social function of the first

magnitude, and attracts a tremendous gathering. Admission is by invitation from the president and council, and there is much anxiety and scheming to secure a ticket. The throng that assembles on such occasions in the galleries is always an interesting one, but the majority of its members come to be seen, rather than to see the pictures. All sorts and conditions, drawn from the worlds of art, diplomacy, literature, politics, science, finance and fashion, famous men and women,, and others not quite so famous, attend the "Private View." By the way, an interesting representation of the scene at an oldtime "Private View Day" is to be observed in the collection at the National Portrait Gallery. After the "Private View" there is yet another function. This is the ".Royal Academy Banquet," which is held on the following evening, with the president and council as hosts, and a distinguished gathering as guests. Royalty always attends, and there is much speechmaking from Cabinet Ministers. It .is not until the last of these functions has been concluded that Burlington House and its contents are once more thrown open to the inspection of the general public. Pictures and Prices. So far as effecting a sale is concerned, exhibiting a picture at the Royal Academy is rather a lottery. In an average year less than 10 per cent find a purchaser, and the sums they fetch are apt to be distinctly moderate. Often, indeed, they are not enough to meet the cost of the studio rent and model, not to mention the framer's charge. Gone are the days when wealthy patrons swarmed into Burlington House, cheque book in hand, and acquired canvases by the dozen. Of course, some of the unsold may be bought afterwards by the dealers; but the prices are then almost certain to be very small. Competent works often go for a pound or two, and pictures that have been hung "on the line" and drawn admiring crowds have even found their way into pawnshops. Artists are required to remove their works within ten days of the closing of the Exhibition. A number are. always unclaimed, and languish for months in the cellars. Perhaps, however, there is method in this, as the regulations declare that "works that have been left for a year are liable to be sold." Nothing would please the owners, better. Unfortunately,. experience proves that there is a considerable difference between being "liable to be 6old" and actually being sold. Still, "Hope springs eternal" —m the artistic breast as elsewhere.