ROYAL ACADEMY

Evening Post, Volume CXXV, Issue 116, 19 May 1938, Page 23

ROYAL ACADEMY

THE YEAR'S DISPLAY

REJECTION CONTROVERSY

A LOOK AROUND

(From "The Post's" Representative.)

LONDON, April 30.

There is almost invariably a controversy of some kind ' over rejections from the Royal Academy, but this year's dispute has been more important and seems-likely to have more far-reaching consequences than most.

' Mr. Wyndham Lewis, whose portrait of the poet and dramatist, Mr. T. S. Eliot, was rejected by the hanging committee, is known both as a writer of satirical and philosophical works arid as a leader of the more advanced section of the contemporary' British school of painting. His "Red Scene" is the most recent work by a living British artist to be purchased "for the Tate Gallery, and he was referred to recently by Mr. Richard Sickert as the "best living or other draughtsman and the best portrait painter ever." He had not previously submitted a work to the Academy.

Much of the criticism of the rejection was on the rather unintelligent basis that Mr. Lewis had sufficient standing!to have any painting he submitted accepted. The resignation of Mr. Augustus John from the Academy in protest, however, made the matter an event of major importance; Mr. John is probably the best-knoWn artist of the day to the ordinary man, and few contemporary painters are held it such general regard by the various sections of the art world.

if \ PRESTIGE IN SOME DOUBT. The Academy has now lost three of its leading members in as many years. Mr. Stanley. Spencer resigned his associateship, through being asked to withdraw twp of his pictures, and Mr. Richard Sickert, like Mr. John a full Academician, resigned because of the Academy's refusal to protest against the, demolition of Mr.. Epstein's statues on Rhodeiia House.

The question is now being asked, whether the Academy can maintain the prestige it has held in the past with the withdrawal of leading members and the increasing number of other artists x of the higheit reputation who never submit, a work. It is being suggested that the Academy should be looked to rather for its educative functions and as a national record. The latter purpose is certainly well carried out on this occasion, as the ceremonial events of last year occupy the attention of many contributors. In general interest the exhibition is perhaps proportionately lacking, .and thefre are still few works in the more advanced styles. There are, however, portraits quite as unconventional in treatment as Mr. Lewis's rejected picture. which is in comparatively traditional style. THE "PICTURE OF THE YEAR." The picture of the year is undoubtedly Mr. F. O. Salisbury's painting ,of : the Coronation scene in Westminster Abbey, presented recently to the King by the Dominions. ( It dominates the, chief gallery in a most striking way. SeveraL other Coronation paintings .by prominent artists in varying' styles suffer rather noticeably by comparison with Mr. Salisbury's work. None of them captures, the atmosphere- of the occasion nearly so well. An interesting, point about the year's Royal portraits is the further proof they provide of the difficulty of catching the, Queen's expression. The artists who have ,painted her this year have almost all failed in some respect, and the same peculiarity is noticeable in the sculpted heads. /On the other hand, there are one or two very successful heads of the King in the sculpture section. Apart from the ceremonial pictures, that which is attracting most public attention is Mr/ W. Russell Flint's "In Their Own Home: Spain's Agony of Civil War, 1936-38." Two armed men and ja woman threaten four women linea against a wall inside their house, .while another woman' with arms outstretched shields them from the intruders. It is a most arresting work and certainly qualifies as the> problem picture of the year. It is not made clear just, what the situation is, but it brings the menace and. suspense of the Spanish tragedy very near. Of the portraits, Mr., Meredith Fr&mpton's tempera painting of ; Sir Frederick G. Hopkins, 0.M., the noted scientist, takes front rank. It is an uncannily impressive modern version of the alchemist, and. though a clearcut portrait of convincing characterisation, the mariner in which scientific apparatus is woven into the design and the light blue and cream tones which predominate, give is a distinctly novel air. There is some excellent work in the ' sculpture section in several mediums. A .noticeable trend is the increasing use of wood, in which there are some most attractive works, chiefly of ani- , mal subjects. Mo?t attention seems likiely to be drawn by an amusing bronze head of Mr. L. Hore-Belisha, which is-almost a caricature. The sculptor, Mr. Z. Ben-Zvi, has achieved in bronze what the artist who secures a likeness in half a dozen lines does on paper. /•- MR. LAMORNA BIRCH'S WORK. • There are several paintings of special New Zealand interest this year. Mr. S. J. Lamorna Birch, the noted ' Academician, who visited New Zealand last year, has a full quota of six pictures on exhibition, of which one is a Dominion subject—a scene on the Kyburn River, Otago. The artist has been interested in reproducing the bright, dazzling sunlight of New Zealand, and he shows it reflected from the broken water of the river, from the brown cliffs on one side, and from a clump of equally brown trees on the opposite bank. In the background there is a glimpse of a snow-covered mountain range. Mr. Cecil F. Kelly, formerly of Christchurch, shows a landscape, "Witch Hill, Rapaki, New Zealand," which exhibits a fine sense of composition. His wife, Mrs. A. E. Kelly, has a portrait, "Maire StevensonSmith," shown. It is an effective picture, the contrasting blue tones of the sitter's dress and coat setting off the expressive face. Both Mr, and Mrs, Kelly have had previous work accepted by the Academy. Mrs, R. S. Hellaby, wife of the wellknown New Zealand artist, and herself a former exhibitor as Ruth Hollingsworth, shows "A House at Dedham." The house, an inviting country mansion, is smothered in red . and green ivy. In the foreground are two fine trees, touched with the golden tints of autumn. The rural atmosphere has, been captured admirably. The colouring is warm and the house comfortable and friendly. BUST OF BISHOP POMPALLIER. New Zealand is represented in the water colours by Mrs. Eleanor Hughes, formerly of Christchurch, who came to England nearly 30 years ago. She has had work accepted by the Academy for a number of years. Her picture this year is entitled "A Group of Trees." Three giant, ivy-clad boles dominate ft jyiotry v .countryside scene. The work