BRITISH ART EXHIBIT.

Evening Post, Volume LXXII, Issue 111, 7 November 1906, Page 2

BRITISH ART EXHIBIT.

The pictures. 111. (Special to the Post.) In the second room devoted to oil painting, ar« some very strong pieces of work, ft, yy. Allan, whose work strongly appeals to those interested in tho modern movement in art, i« a type of the go-ahead, unmitigated artist, the very reverse of an "everybody's painter." He has no regard for aught save his own artistic vision, and goes j on his way, silent and reserved. In the play of light and vibration of colour as exemplified 6trongly in, his "Return of tho Herring Boats" he allies himself with the most modern tendencies. One feels the salt air, the wet breezy atmosphere, i,a beautifully but simply rendered. The colour is fresh and the tones finely balanced. John Fulleylove is represented by one of his typical eastern subjects, "The Holy Rock Beneath the Dome of the Mosque of Omar," which is interesting as an historic record. Tlie Rock is said to be the site of the Great Altar of Burnt offerings in the Temple. In Christian times the Altar of the Crusaders stood upon the upper levul to the left. Tho small domed tower at the south-west corner within the pale encloses a depression in the rock called the footprint of Mohammed, The Gothic arch near the pier to the left spans the doorway leading down to the cave below the Holy rock. "The Three Witches," by Mary P. Raphael, a well placed subject, is spoilt by the poor colour scheme. "A Sussex Farm," by Ethel Walker, is a strong piece of work. Mr. Fred. Hall's frankly painted canvas, "Tho Result of High Living," has charm of subject combined with clevei treatment. His work is always characterised by the squareness in handlingthat gives such strength. Illustrators often in their paintings 6et themselves to attain rich decorative schemes of colour little regarding the influence of atmosphere. The wellknown illustrator, Mr. John Bacon, in his picture, "The Homage Giving in Westminstor Abbey at the Coronation of King Edward V 11.," has overcome a difficult task, that of composing a picture with numerous figures, all of which are portraits. The picture by Edward Davis, "Summer Time," is a quiet, beautiful rendering of landscape. Mr. Mouat Loudan, always a reserved colourist, is represented by a beautifully painted figure subject, "Elaine." Elaine, the fair and loveable, Elaine, the maid of Astolat, High in the chamber up a tower to the East, Guarded the sacred shield of Lancelot. One of the most beautiful works of the small group o/ impressionists represented in the Exhibition is the canvas of Tom Robertson, "Dewy Eve." One feels the touch of Nature in this little work, the dew lifting, the light filtering through the atmosphere, the whole subject quivering; as it were. Such a painter may well be termed a colour poet. Mr. David Farquharson's large landscape, "Sunrise on the Perthshire Moors," gives a good idea of the brilliant colour of the sky, contrasted with the cold damp ground as seen in the early morning. "The Painters and the Connoisseurs," by G. A. Story, A.R.A., has a decide.! "old master" touch about it. It exhibits the blackness of tone and heaviness of colour of the Dutch school. Mr, Henry S. Tuke's picture' Rj of two boya fishing from an open boat"; is not as fine ns some of his Inter work. There is not the sparkle of the breeziness he usually ge,ts. Mr. Tuke is one, of the finest painters of the nude in the Open air. His' "Bathers" in the Corporation Gallery in Leeds is a fine example of his best mood. "After the Storm," by Frank Bramley, is undoubtedly the work of the master hand. The Interior with the poor stormbeaten lamb, the girl holding the eager dog, the old woman and daughter nt the table, arc finely designed, and the effect of tho fire* rays on each occupant of the simple room is admir-< ably painted. "Evening on Loch Duich," by Joseph Farquharson, is a fine subject Vith a warm glow of the setting sun on the distant hills and loch. In the foreground are cattle grazing in purple, light. The firelight" subject, "Left in Charge," by At Michaelson, with a cold wintry atmosphere seen through the window, is a, well-balanced picture. The warmth of the fire ia intensified by the introduction of cold greys. "The Courtyard at Compton Beauchamp," by G. D. Leslie, R.A., like his "Wizard's Garden," is a decora* tively composed picture with predominating vertical and horizontal masses, which give a - Jine reposeful effect. "The Foam-Sprite," a small canvas, by Herbert Draper, ia full of interest, and fine movement, the female figure, riding on & dolphin, in coming towards you at full speed. There is graceful pose and splendid expression in this figure. It is a charming picture, finely painted, and ia a splendid, though small example, of the man's work. Number 28 illustrates another procession, this time a mournful subject, "The End of a Glorious Reign," Queen Victoria's funeral passing St. James's Palace. "An Aristocrat Answering to the Summons to Execution," by Frank 0, Cowper, i» a forced piece oi painting, hard and out of tone. A beautiful example ot rendering cool grey atmosphere is to be seen in Leslie Thomson's "On the Welsh Coaot." There ia a decided smack of salt air in J. R. Reid's "Rival Boat Builders." The work of Mr. Swan, always calls for special attention, for, whether 1 in oil water-colour, pnatel, or clay, it is full of spirit. "Adrift," showing two Polar bears adrift on an iceberg, i 3 a fine piece of work, full of colour, and subtle modelling. "Early Morning," by A. D. Peppercorn, ia a colour symphony in grey and gold. Mr. Peppercorn is essentially a painter of Nature's grey moods, and in *hi« canvas he has given us some j fine poetical vibrations. j Mr. Byron Cooper's "The HarbourBar, St. Ives, Cornwall" — "Though moonlight aid, or,, darkness whelm, Still dhinea man's altruistic light, Athwart the lonely harbour-bar"— is a clever rendering of a difficult subject, that of moonlight over the water. The blue-green sky and water in which the silver moon is reflected is well rendered. Mr. Archibald Kay'* "Spring in the Paas of Leny, Perthshire," i» a clever rendering of fre«h spring greena and greys, refined in tone und simple in handling. Edgar Bundy haa always some interesting etory to tell, and his Gipsy Fortuno-Teller." m ampnget hi* boat achievements. "The Weeping Ash, by Fronoii Bate, is a fine, spirited little picture. The light feeling of the foliage and clover placing of the figures appeal at once to tho lover of landscape art. "The Bather," by M'Evoy A. Ambrose,' ia v vice little reserved piece of colour. Hung just below » a email jtu&L -flf Js- Jtt, frewg* ft^-Au, s>i-J

titled "Greeting," in v.-hjeh there is some fine quality of colour. "Flora and Zephyr," by Robert Christie, ia not a success. There seems no motive to the composition. The figures are spotted about and the flowers are weak and confusing. Compare for a minute the beautiful "Circe," by Solomon J. Solomon, in the other room. What v difference between the fine and dignified composition, the living flesh tones, the grace and beauty of the latter nnd this other naked, weak piece of work. Again, look at Mouat Loudans "Elaine," hung to the right and see what refinement in colour it contains. On analysing the qualities of the finest pictures in the collection one is struck by their simplicity, their subordination of everything to the motif. There is none of that wandering, confusing feeling that is felt in so many works. Striving after., numerous interests and thus forgetting the main motif, invambly results in confusion. Knowledge of what to leave out of a picture is perhaps the greatest problem with which the artist has to deal. Simplicity is truly the beginning and end of Art.