ROYAL ACADEMY PICTURES. SPECIAL PRIVATE VIEW,

Evening Post, Volume LXXI, Issue 141, 15 June 1906, Page 2

ROYAL ACADEMY PICTURES. SPECIAL PRIVATE VIEW,

(FSOM OT7B OWN CnHBESFONDEfJT.J LONDON, 4th May. On Monday next the 138 th annual exhibition of the Royal Academy of Arts vnlj be opened to the public. The socalled "Private View" took place today, and, as usual, was mainly a 'Mr.ess show." But as in many previous years, I was favoured with the . privilege of a' special private view in advance two days ago, and therefore am able to give New Zealand readers some, idea of what the present show -is i\ke, and what therein is best worth seeing. First come my customary statistics The total number of exhibits is 1799, rather fewei than *he average. These comprise 828 oil paintings, 234 water colours, 211 miniatures, the remainder of the exhibits being made up of etchings, drawings, engravings, architectural sketches, and sculpture.. Three Royal Academicians — Messrs. Aittehison, Gregory, and Hook— do not exhibit at all this year. The Royal Academicians who do exhibit number 38, viz., Sir Lawrence Alma-Tadema (who again shows only one picture). Sir E. J. Poynter, president (3), Sir W. B-- Richmond, K.U.B. (1), SiT E. A. Waterlow (5), Sir A. Webb (3), Messrs. E. A. Abbey (1), G. F. Bodley (1), T. Brock (2), E. Crofts (1), H. W Davis (4), Frank Dicksee (2), Luke Fildes (1), G. F. Frampton (4), W. P. Frith (1), A. Gilbert, M.V.O. (2), A. 0. Gow (4), Peter Graham (2), H. yon Herkomer. C.V.O. (5), T. G. Jackson (3), B. WLeader (4), G. D.' Leslie (1), J. S. Lucas (6), R. W. Macbeth (6), J. M'Whirter (4), D. Murray (4), W. Q. OrchaTdson (1), W. W. Ouless (4), Brition Riviere (2), J. San.t (1), J. S. Sargent (5), R. N. Shaw (5) Marcue Stone (1), J. M. Swan (2), S J. Salomon (6), H. Thoraeyoroft (1), J. W. Waterhouse (1), H. Woods (2), W. F. Yeames (2). The associates who exhibit this year are: — Messrs. Bacon (4), Belcher (4), Blomfield (1), Bramley (4), Brftngwyn (2), Brown (3), Clausen (3), Cotlon (2), Cope (6), ' Crowe (1), Drury (1), East (4), D. FarquharsoD (2), J. Farquhar^on (4), ( Forbes (3), Hacker (4), Hemy (6), Johns (5), La Thangue (4), North (2), Parsons (4), Pegram (4), Pomeroy (3), Shannon (4), Shoitfl), Story (4), Stott (2), Sbrang (2), Tukfe (4), Wyllie (4). Direct New Zealand interest attaches to only two paintings, viz., a very charming and admirably-depicted garden scene in tlhe Italian island of Capri, by Miss Margaret O. Stoddart ; and a portrait of Mrs. Samuel Figgis, whose husband has done so much to further and promote the New Zealand kauri gum trade. It is excellently painted by Miss K. E. Figgis, who has a second picture "hung" — a clever figurative scene entitled "Devil" (Sorrow) in Gallery No. VII. Coming now to fhe exhibition itselt, I am disposed to class it as of average merit. Hardly more, for although there are many good and a few really fine pictures, there are scarcely any — if anj at all — which are likely to become historic as really "gieat. lam inclined to anticipate that the exhibits which will be popu;,lrly acclaimed as "the pictures of the yenr" are : (1) Mr. Abbey's "Columbus in the New World,' and (2) "The Ever-opsn Door," by Mr. Sigismund Goetze, whose other strange allegorical painHng, "Ho was cfcspised," was one of the sensations of a recent 6eason. The former represants Columbus and his party on board- the ship which is nearing the American coast. It is astriking scene, colour being" lavishly employed in the costumes and flag?. Many qf the latter are of a very queer shape and of a flamingo-pink colour, their number producing a distinctly eccentric effect. ; The j armour-clad kneeitqg figure of Hhe great discoverer, and the form of ' the robed • pii».t; who delivers the benediction, are very impressive. Still, T must confess that tJhe picture does not entirely please We, but thab may be my fault. The other painting seems to me still less satisfactory. It illustrates the text, "We brought notliiing into the world, and it is certain we can carry nothing out." It represents a number of people of all ages and classes leaving this world — including their clothes — behind them as they pass toward a sombre gateway in the. back^-' ground. A " sovereign has dropped his crown, a cardinal his robes — but nob his Ted cap ! — women their jewels and their clothing ; tihere is an overcome balletdancer who is being offered champagne by an odious-looking actor; a prisoner wearing Landcuffs ; a Salvation lassie, a soldier., and others. The door is being guarded by two angels and a rainbow tills the background. This huter feature is really beautiful and surmounts the whole scene, while "Iv number of pretty, but apparently irrelevant flowers consti tuteg the rather weak foreground. 1 should characterise fhe woik as allegorj done to death, but assuredly most people will stare at it and many puzzle over it. For my own part, I should be disposed once more to regard as "the picture of the year" one by the Hon John Collier, whose "Plague" and "Confession" and "Cheat" excited such extreme interest in. previous years. It may be remembered that lost year I predicted that bis remarkable, if slightly enigmatical, picture, "The £!heat," representing a game at bridge,! would be at least the popular success of that year. And most assuredly it was so. Mr. Collier's present piece de resistance has for its subject "Repentance" — or, to give it tho full title, "Indeed, indeed, repentance oft I swore."* A very beautiful and graceful blonde girl is seen half sitting, half reclining, upon a handsome couch, gazing intently into an invisible fire, whose glow ig powerfully reflected upon her face and rich evening dr«s6. Of her beauty there can be | no question whatever, but she cannot be desoribed as lovable. There is a certain expression of sternness and a total lack of softness in her countenance, which was undoubtedly intended by the artist, and designed to pique curiosity as to' the nature of her -leverie and thfci character and reason of her vowed repentance. A mass of vivid reddish-pink azaleas forms a very effective background, and these and the marble pattern of the fireplace are depicted with a precision and truth that rivals AlmaTadema himself, while the firelight effect is brought out with raro skill and splendid result. A second picture by Mr. Collier will also command much attention, although only a portrait of two young girls, apparently in their earliest teens, Misses Dulcie and Joy Hooper They ore rema:kably pretty young girls, seen hand in band in full front performing a dance-step. The dresses are simple, but tasteful, of white muslin, with pale blue sashes. The graceful lower limbs are rather displayed than covered by the thinnest of flack silk stockings, everything being delineated with that extreme care nnd skill which is one of Mr. Collier's notable characteristics, and painted with quite loving pains and exquisite finish, even to the dninty little patent-leather sandal shoes, which show off tho girls' pretty feet so charmingly. It is a quite delightful picture. Another portrait by Mr. Collier is clever, but less interesting, •' There are three Royal portraits this j

year, all, it must be confessed, a shade disappointing. Those of Kipg Edward and Queen Alexandra, painted by Mr. Colin Forbes, for the Canadian Houses of Parliament, Ottawa, and "exhibited by command of H.M. the King," while displaying remarkable skill in respect of the drapery and accessories, do not give al all a good idea of the subjects in the rather important respect of their faces. The likenesses are by no means too good, and the heads are essentially wooden. The third royalty shown is Princess Margaret of Connaught, painted by_ Mr. Shannon. This needs to have its viewpoint carefully chosen, -else there appears, an excqss of white on the cheeks, giying an unattractive effect of pastiness. As usual, the portraits are very numerous, and many of theft subjects unlovely. In these dull times for the nrtUtic profession, portrait-painting pays best, and "nouve.iux riches" are Art's most liberal patrons, but personally they too often aro either frumpish or fogeyish. Rome of the artists, however^ have had the good fortune- to have girls of exceeding loveliness to ppurtray, and a 6 a rule they have taken full advantage of their chances. For instance, Mrs. Henry Reiss and the Duchess of Westminster, painted by Frank Dicksee, "Mary" by Ralph Peacock, Mabel Love (Richard Jack), the late Mrs. Fox (Arnold Mountfort), "Winifred and Cushla-" (W. Llewellyn), and, above all, "Eveleen" (W. R. Symonds), are absolute visions of feminine loveliness. Somo dear, but' plain, ' old girls" are also shown, and a number of more or less manly men, one of the best being Sir John Pound, the ex-Lord Mayor of London ; there is an excellent portrait of the Bishop of Ripon, also a good one of the Bishop of Salisbury, and a speaking likeness, admirably painted, of Lord Roberts. A miniature of Princess Ena is entirely charming. There are many other more or less striking portrait§ by Messrs. Ouless, Cope, Solomon, Sargent, Yon Herkomer, Briton Riviere, Carolus, Duran, Luke Fildes, Shannon, Onslow Ford, Orchardson, Peacock, Hacker, Bacon, La Thangue, Clausen, Bramley, and Herbert Horwitz. Among the fairly abundant sea-pictures there is one which personally I should bracket with Mr. Collier's "Repentence" for the honour of being the "picture of the year." It is a magnificent painting by Mr. W. L. WylHe, entitled "L'Entente Cordial©," representing^the arrival of the French Fleet in Cowts Roads on the occasion of its recent historic visit which did so much to foster the present happy friendship between England and France. Alike in its sea effects, in it« indication of the mighty power of the great ironclads, and in its atmosphere with the masses of smoke and steam it is a work of amazing power and impressivenes? Mr. Wyllie has three other delightful LSiscapes whose character may be deduced from their respective titles, viz., "England's Frontier," "A Medway Fleet," and "Low Water." His gieat rival in seascapes, Mr. Napier Hemy, has no fewer 'than six exhibits this year, but nothing ot all comparable to those two tremendous battleship and destroyer scenes, which" were among the chief features of last year's show. "In Sight of Home" — a noble ship in full sail, in a sunset-tinted sea — and "Lower Away" are his best, and very good at that. The third great seascape painter, ' Mr. Somerscaleis, shows only one this year, but it is a very line seene — the rescue of the crew of n sinking vessel. Messrs. E G Fuller arid W. A. Ingram both show very fi£e seascapes, one each. Coming next to the landscapes, I .must u^ihesit-.tingly adjvdga the palm to Joseph Farquharson, yll of whose four are veritable ' and splendid ~gems^ . His fenemes of evening light and , show and streams nnd sheep and trees tempt one to linger long in admjnttiqp. /His titles, "Fast Fades the Lingering Light," "Evening's Sweetett Hour," ''To Winter C^uaiters," and "The Silent Snow Pos-.•"essic-d the Earth," Veil convey the ideas illustrated, and the exhibition has nothing ■finer or more enjoyable than thesu scenes. Mr. David F.irquliurson shows two admirable works "Birnam Wood" and "Eventide." Mr. M'WhuttT is at his best — a glorious one, too — in "A Highland River and "May," but is less happy in "Conio and "December," which lack his full force. Mr. B. W. Leader shows four landscapes, one of which "Evening Glow," is among the bes v of all his efforts, the sunset light on the mottled clouds being quite marvellous in its truth and beauty. Mr, Peter Graham exhibits two of the finest works in the genre which he has made his own, "Morning," and "Asking the Way." • The same may be said of Mr. Albert Goodwin, whose "Tropic Night" and "Venice," while so strongly contrasting one with the other, are both excellent spfcimeiu of his fanciful nnd impressive method. Mom-s. Davis, Murray, Brown, Cole, Liddell, Stqkfß, Whnrlo, 11. Rivieie, Spcnlovc, Ford, B> rlow, Donne, and ofliers shoi\ attractive views of scenery. As ro(fiii'ds the representations of fanciful or allegorical subjects, apart from those already mentioned, much need not be hide!. Some are fine and suggestive, tiome incomprehensible or absurd. 'ibe latter class call for no ( further notice Among the former 1 nwy note Mr. Marcus Stone's "Same Old Girl" — though by no means really "old," and decidedly pretty, if miM ; "Elijah," by Mr, Gow; '•l'h« Deserted Mill 1 (Leslie) ; "The Burning of „ Luther's Works" (Luaasj ; "Ask Me No -More , . for at a' Touch I Yield," nri illustration of a soene in Tennyson's "Princees" ; Sir Alma Tadema's single contribution, showing a young man and a girl amid his customary marble and blue sky ; "The Heretic" (Frank Craig) noteworthy for ita extraordinary costumes and for the singular skill with which the flame-light of the taper carried by the doomed girl is shown against her breast, also the glare of horror in her eyes. Of flower and animal pictures there are exceptionally few, but what there are possess high merit. A group of Zinnias by Princess Patricia of (Jonnaught is among the best of tho former. Miss Lucy Kemp-Welch's horses aro quite the most convincing of the" animals. There nre but few dogs-i-thdse by J. W. Handland are excellent — and, for a wonder, there are no cats at all ; Mdlle. Henriette Ronner is much missed In this department. Want of judgment has in several cases been displayed in the "hanging," pictures being placed in, juxtapositions which had the inevitable eifect of "killing" one another. In the title of some pictures a siraiige confusion of nautical terms \v;is notiroablo : "An Old Barque" being in reality a full-rigged ship. The nude is not so prominent as in some formpr yeurs, but there are several figures which make one shiver in this cold weather. And here 1 must pause for the presont. Limitations of space forbid my touching the sculpture this time, but there may be another oppoitunity.