"THE NEGLECTED INVITATION."

Evening Post, Volume LXXI, Issue 136, 9 June 1906, Page 10

"THE NEGLECTED INVITATION."

Mr. Byam Shaw (says the Daily Mail) is one of tho few living artists who can paint an ideological picture, an allegory fraught with meaning in every minute detail, without losing sight of the fact that the painter's chief concern is colour and form; he is one of the few who can preach an impressivt sinnon in paint, and yet subordinate his moral to his artistic instinct. 'He will make us speculate upon the literary significance- of all the crowded detail — every touch has some significance — and yet ho does not offend one's artistic sensibilities. '"The Neglected Invitation," which js> the centre of this artist's delightful exhibition of paintings at the Dowdeswell Galleries, is a bold challenge not only to advocates of the "art for art's sake dictum, but also to the purist who loves to -prattle about legitimate methods n£ painting and who makes • a dead ERfc against any bold departure from the narrow road prescribed by tho " limitations of the medium." Mr. Shaw's introduction of raised gilt gesso studded with jewels on the flat surface of the painted panel, needs no apology or defence. He has only followed the example of tho early quattrocentists, and his complete success is his best justification. Christ, with sad and wistful face, is seated in the centre of a formal composition, presiding at the banquet which He has spread for those who have not heeded His invitation. Through two openings in the wall of the refectory can bo seen the ant-like activity of the worldly crowd; on ths leffc is a fight on a bridgo with horsemen and troopers; the pomp and worldly extravagance of tho church is shown in a group of high ecclesiastics at the entrance of a church, while opposite a popular preachfir or orator is addressing an excited group. In the far background a procession is winding up a hill crowned by a gibbet. Tha opening on the right shows an inn bedecked with flags, a wedding procession entering the bride's house, a group of gaily-caparisoned knights, and tho barter of the market. Both scenes are full of brilliant colour and sunlight, the brightness of which is raised by the Neutral greynesa and flqtness of the refectory wall. The Saviour's stole and halo, the chalices and plates on the table, the border of the tablecloth, and the back of the deep red canopy rising behind the figure of Christ are partly raised in gesso and jewelled. The effect is amazingly rich and sumptuous, and much enhanced by the magnificent architectural frame in which tho whole thing is e-et. There are eight other paintings, some treated in similar fashion, others simply painted in oils, all intensely decorative in colour and arrangement, and all the work of a deep and original thinker, but "The Neglected Invitation" surpasses them all in interest, beauty, and importance. It is one of the most remarkableproductions of modern British* art.