ROYAL ACADEMY, 1924.

Otago Daily Times, Issue 19197, 13 June 1924, Page 5

ROYAL ACADEMY, 1924.

NOTABLE PIC TUBES. MUCH CRITICISED PORTRAIT OF KING. NEW ZEALANDER'S WORK. PRIVATE VIEW DAY. (From Oua Own Corb^rpondent.i LONDON, May 6. Now Zealand artists arc not so numerously represented at the Koval Academy this year as they have been in the past. Lookingdown the list of exhibitors one finds only Mrs E. Hughes, Miss R. Hollingsworth, Mr Raymond AlTntyre, and Mr A. R. Eraser, who are upholding the artistic: reputation of the dominion. Mrs E. Hughes has twb of her excellent water colours hung. It is evident that: this artist is concentrating on a special feature of English landscape, for the stylo of her pictures is very much the same as all those which have been exhibited at previous Academies. She has made herself an expert in reproducing the, beauty of English tress in their winter .aspect, and every one of her paintings has these as the principal feature. Her particular skill seems to bo in the use of the pen, and oy this means she produces the wonderfully realistic effects seen in the moss, the creepers, and the markings on the trunks of the trees. “'lhe VVych Elm” is a scene showing a picturesque cottage framed between a couple of elms. Here, as always, the principal work has gone to producing the effects of the tree trunks. In the other picture trees again form the principal feature, but the artist has included a country road, a streain, and a bridge. Miss Kuril Hollingsworth (Mrs R. S. Hellaby) has not been very ambitious. Her single contribution is a small painting of still life, in this case a compact group of flowers set in a blue and white vase. Mr MTntyre is represented by a portrait of Mr Haraldur Hamar. This is a small canvas showing an extraordinarily pensive study of a man with intensely black hair and small penetrating blue eyes. The sallow flesh tone is well presented, and an unusual effect is obtained from the high arching of the right brow. Obviously, it represents the sitter ip tense thought. His dress is quite frankly Bohemian —soft shirt, spotted tie, and loose coal. It is a picture that arrests attention. Mr A. K. Fraser, the New Zealand •sculptor, whose panels on the Dominion Pavilion at Wembley have received favourable notice in the principal architectural journal of this countrv, Ihe Builder, is represented in the Academy by two pieces of work. One is a two-fcot bronze of a New Zoaalnd bomber. The soldier is leaning back in the approved style with the bomb in the right hand behind the back, and the left arm held upward and in front —the attitude adopted just before the actual throw. It is a very realistic little bronze, and well worthy of its place in the Academy. The other exhibit is the bust of a modern young girl with bobbed hair. New Zealanders who visit, the Academy will also be interested to see a statuette of the young Countess of Seaiield, by Mrs Ottilie Wallace. HIGH AVERAGE, STANDARD. Tlte Academy this year must be admitted to be a good one, though there are not many outstanding pictures. On the other hand, there are not very many of poor standard. The modernist has been allowed to take his place, if there is obvious merit in his work and not merely a pose, and thus this year, though the modern school has put its stamp upon quite a number of the exhibits, there are none of those pictures which have a meaning only to the artist and sometimes not to him. In fact, tne only work for which an explanation has been sought is one by Mr W. R. Flint, called “The Lomnians.” It appears that the women of Lemnos murdered their husbands for ill-treating them, and when (he Argonauts reached Leimios they found the island inhabited only by women. It is suggested that the rather strange scene depicts the women murdering their husbands, but this is not very obvious. Problem paintings are not numerous in these modern times, but they are not altogether unrepresented this year. For instance, there is “The Devil’s Chess-board,” by Mr Otway M‘Can noli. The chess players are two eminently fat and respectable city magnates. On a table in the foreground are syphon and decanters, and a copy of the Financial Times. A young lad is playing with a revolver in the front of the chess table. The pieces of the chessboard are in the form of British and rluropean soldiers. A young, fresh-look-ing girl sits watching the game on the other side of the table. Beyond her is the burlesque of an Anglican parson drinking tea, while the bony hand of a draped skeleton stretches out towards the chessboard. English and French nurses in their uniforms are in the background serioudy interested in the game. The moral seems to be that the world tragedies are constructed in the Stock Exchange. THE ICING’S PORTRAIT. Very few people will look with approval at Mr Charles Sims's portrait of the King in his robes of State. The work is one of the largest in the Academy, and it takes the place of honour in the long gallery. It is said that, his Majesty is an impatient model, that ho will look out of windows, and that a substitute had to be found to sit while such (inessentials as the legs and arms were being painted. Apart from this, however, the artist has managed to present the King with an expression which may be accurate, but which, nevertheless. is unpleasant, and not what the general public is used to. The brilliantly coloured robes slope like the roof of a house from the nock, so that the sitter's head is jierched at the apex of a triangle. ' here is something rather amusing in the pose of the feet, which are shod in the ornate Court shoes, for they appear to be pointed to the ground in the attitude of a ballet dancer. However, there are critics who find the work a remarkable one. Possibly, they may bo right. As it will be the portrait, most criticised and spoken of and possibly the prints from it will become familiar throughout the Empire, other views may be interesting. “The King, in State robes, is seated in a chair raised by a few steps above the floor in a white-walled room, with crimson curtains and carpet. His head and shoulders are well ami solidly painted, with a trace of Sims’s fancy in (he treatment of the board. The cloak, which covers not only his shoulders, but the chair, is also solidly painted; but the artist lias not been able to keep his preference for the ethereal m abeyance any longer, and the whitestockinged legs, elegant and graceful, are, tue body above them, almost transparent, and certainly lacking in substance. One is reminded of the hero in ‘Oelantho,’ who was a man to the waist and a fairy below. Yet it has undeniable distinction, and one lias to go bark a long time to find anything of its class in Royal State portraiture. Lavory’s Royal group of a few years ago was rather that of a high personage at homo with his family.” “The portrait will not meet with general praise,” says another critic, “either as a likeness of his Majesty or an outslanding work of ail. It is not distinguished in design. the legs are awkwardly crossed, and the King's countenance is too severe, even for a ceremonial portrait. These will doubtless be the chief objections. Yet ihe picture arrests, and. by some subconscious influence —sel in action, perhaps, by a desire to like it—(he painting grows in attractiveness. In any ease, the portrait is of extraordinary* interest, ami a splendid example of the artist’s technical accomplishment,” MOST HUMAN ROYAL PORTRAIT. Anofher writes: ‘‘Exception may be taken t.o the picture on the score of its unconventionality—what, indeed, may bo called its levity—but there can ho no question that in it -ur Sims ha s produced not only Ihe most human Royal portrait within living memory, but also the one which host combines humanity with decoration. In the words of Reynolds, (he picture ‘strikes the imagination.’ and for the -first time we are persuaded in modern art that it must be rather jolly to be a king. We arc convinced that confidence was established at the first sitting, and that the King enjoyed the nerformance not loss than the painter. For once natural dignity completely carries off official dignity; (be robes of State are worn with an air, and the sceptre is lightly held; and in tho treatment of the head, with the (ale of years frankly accepted, sympathy has succeeded where flattery would have failed in disengaging a genial personality, so that expression dominates the design. No praise can be too high for tho decorative arrangement,” “The impression made is not so much that of a great permanent work as of a dazzling improvisation that shines out upon ns in its swift, course.” This from another well-known critic : “Perhaps the cast of the superb robes, the general splendour of the picture, is somewhat in excess of yvhat is desirable in so serious a portrait. There is excess, more particularly in the mannered elegance of the pose—in the dexterous arrangement of the limbs.” Possibly the portrait may grow ora one, but one suspects that the critics have bitten

over a good deal. It is an unpleasant portrait, whatever else may be said of it.” FAMOUS PORTRAIT PAINTERS. Air John S. Sargent has gone rather out of his way to paint a straightforward portrait of Sir Philip Sassoon. He has produced the .dark -features of tho young politician with remarkable faithfulness and with the utmost reticence. ' Tho effect on the scribes is rather amusing. One says that Mr Sargent is not well represented by the Sassoon portrait, and there dismisses it. Another sees in it the most singular picture in the exhibition. “The young sitter, - ’ he says, “looks out of-tho picture, wit.ii what appears to be tho very spirit of negation, the utmost scorn of mankind.” Air bargent evidently made up his mind not to play fast and loose with his subject, and the result is certainly very fine, but it takes a vivid imagination to see tho “spirit of negation” dr the “scorn of mankind.” . This is Mr Sargent’s sole contribution to the exhibition. Sir William Open is jvell represented by six portraits, all of which are up to His usual high standard. “His Grace, the Archbishop of York,” is perhaps tho most striking of the group, but “Viscount Milner,” a figure more familiar to the public, will interest a larger number of people. Lord Milner is seen in full face looking up from a book. The lines of the face are perhajis unnecessarily severe, but it is a remarkably true portrait. It is strange to find Sir William Orpen painting animals, but this he has done in “ ‘ Sergeant Murphy ’ and Things,” a group in the saddling paddock, which makes one wonder if Mr A. J. Muitnmgs is the only great animal painter. Out of the six by Mr Mannings this year there is no one of outstanding merit. Four at least of these are merely of wellknown hunting people mounted, on their best horses. One, however, “The Grey Horse,” is evidently not done to the order of a wealthy client, but is a whim of tne artist, and for that reason probably his best. It represents a very ordinary grey horse being ridden bare-back across the stable yard. This year there seem to be few ceremonial paintings, if one may apply such a name to scenes relating to State occasions. Sit John Lavery has reproduced a scene 'in the House of Commons. It is evidently a full debate. The Labour Prime Minister is on his feet, and one can recognise a number of. the Labour Ministers. Some half a dozen otiier prominent front bench- . ers may be recognised. It is a comparatively small canvas for such a subject, but it is in the nature of an impression rather than a galaxy of portraits. Another ceremonial painting which is splendidly done by Hr F. O. Salisbury deplete an incident after the Duchess of York had laid her wedding bouquet on the Grave of the L’nknown Warrior in Westmintser Abbey. Indian princes in their resplendent costumes have gathered round the grave to do honour to the dead, and the artist lias reconstructed the scene, making the most of the colours. Mr Augustus John does not do himself full justice on this occasion. His principal work is a portrait of Mrs Asquith's daughter, Princess Antoine Bibesco. When every conceivable allowance is made for the genius cf the painter and the freedom of expression that is allowed him, one is bound to admit that the portrait bears little resemblance to the Princess in real life. Perhaps it is not meant to. However, the colour scheme is exquisite, and the mantle of Spanish lace is beautifully done. OUTSTANDING EXHIBITS. After a morning spent at the Academy one is naturally rather overwhelmed with the multiplicity of jiupressions, but for various reasons a limited number of the exhibits leave a more permanent mark on tile memory. There is the unpleasantly vigorous work, “The Wine Pressers,” by Mr Maurice Greiffenhagen. This depicts three heavy uncouth and nude women stamping heavily round the grape vats. Another nude study. Air W. G. de Glehn s “ Leda and the Swan,” has a decorative elegance of the style of half a century ago. “ The Red Cushion,” a nude of a very modern type, shows two young women taking tneir, ease in the vicinity of a very dominating red cushion — a solid piece of sturdy realism. “Venus and Capri,” by Air Colin Gill, is still another type of a nude study, arad is largely based on archaic art. In this instance, a w’ingless Cupid is falling from the skies and both figures are either green themselves or suffused in a green light. A picture which has a melancholy interest is that entitled “This for Remembrance,” by Mr Frank Dicksee. It shows an artist, sad and hollow-eyed, making a painting of a dead woman, evidently his wife. The subject seems an unnecessary harrowing of feelings. One of the best of Air S. J. Solomon’s portraits ’is “Airs Burrowes of Stradone, and her son, Bobby.” In this the artist has thoroughly enjoyed the work connected with the drapings of the frock which is caught up by an ornate buckle at the waist. Just next to this picture is the first of a charming series by Sir David Murray. For this Academy Sir David Alurray has specialised on Wells Cathedral, the first, “The Vicar's Close,” with its gorgeous array of flowers and ancient houses overshadowed ‘May the Cathedral itself, being perhaps the best. “Wells Cathedral,” “A Corner of the Cloisters.” and “Crumbling Cloisters.” are the other charming ean- ' vasses in the series. Air Charles Shannon has a canvas entitled “The Birth of Venus,” showing the goddess floating in tho waves from which she emerged, ■ and heralded by a galaxy of cherubs. Mr Sydney Lee.' the landscape painter, has six large canvasses exhibited. “Tho Top of the Pass,” a perfectly straightforward work with Welsh cr Scottish scenery as the subject, is as good as any. hut “Amongst the Dolomites,” a majestic and rugged mountain scene, will perhajis challenge more attention. This is an addition to the collection bought under the terms of the Chantry Bequest. “Daphnis and Cliloe” is an imaginative work by Air Harold Speed, showing two young lovers beside the bluest of lakes. Air Henry S. Tuke the master of scenes of sunlight and sea and boy bathers has four exhibits this year, but none of the.se are so outstanding as some of the greater works he has had in tho Academy in previous years. “Comrades,” showing two bathers on the beach playing with a dog, is perhaps the best. Among Australians exhibiting is Mr George J. Coates, whose “Spanish Dancer” has called for favourable comment. Aliss Alarion Jones has made a very fine study of Viscount Novar, and Air G. W. Lambert has painted himself clothed in dressing gown and smoking a formidable pijie Sir 11. Hughes-Stanlon has a scene of Mount Fiji at sunrise, which is interesting as ■ a comparison between the mountain scenery of, Japan and that of New Zealand. Air Toni Mostyn can generally be depended upon to give the public something startlingly brilliant *• in the shape of a neglected garden. This year he has chosen as his subject “The Old Watergate,” and has produced the most, delightful extravaganza of colour. The overgrown pond, the old stonework, the luxuriant creepers, and the trees in the background, with flowers motmting up lo the lower branches, all form a poem of lavish colouring in which the artist delights. Air Arthur Bourchier has posed for the picture of “John Silver,” by Air Gerald Kelly, but the work is in no wav extraordinary. DUCHESS OF YORK, Aliss Flora Lion has made rather a timid portrait of the Duchess of York with her two sisters, tho Lady Elphinstone and Lady Rose Lcvenson-Govver. It is a large canvas. Two of the ladies are seated on a settee and one is kneeling at tho side. The background seen through the broad, open windows is , a wooded park. The whole picture is very pleasing, but very few will agree with the treatment the artist has meted out to the Duchess, who is made more buxon than she is in reality. But one wonders if any artist can really depict her special dainty charm. Air W. L. Wyllic has carried on his reputation for vast panoramas and has two magnificent. pictures of London as seen from above. Tho one is a view from well down th« Thames, , with the Tower Bridge as tho last discernible object. A companion picture, equally, effective, is entitled “Tho. Towers, Spires, and Bridges of Our City.” “Circe AICMXXIV,” by Mr George C. Drinkwnter, is an amusing but slightly unpleasant study. It shows a modern young woman standing beside a table laden with gin, vermuth, and other such liquors. The artist has deftly produced the tired eyes from late nights and the devil-may-care expression of tho fashionable young woman to whom wild dissipation is the aim and end of life. Two war pictures make their appearance—the one an excellent representation of the Surrender of the German Floot, by Air James Paterson,' and tho other a more subtle work hv Air Algernon Talinagc, showing wounded horses leaving tho front in 1918. Air A. E. Cooper has a, very modern Eve with bobbed hair, and contemplating a green apple. A companion picture is called “The Sorrowing Woman.” In this latter the Eve of the first picture is bowed to the ground. The modern Eve is a very fine young person, but one is tempted to be facetious, and suggest- that the sorrow is mainly physical as the result of eqting tho green apple. Air Arthur L. Ward, the eminent artist in stained glass, who, at the present time, is engaged on an important commission for Now Zealand, shows “The To Uouni.” This is the design that has been prepared, in association with Mr Hughes, for the war memorial east window for All Saints’ Church, Palmerston North.

THE PRIVATE VIEW DAY. As usual, the approaches to Burlington House were congested on the occasion of that important annual social fixture known as “Private View Day.” In the vast courtyard motor cars were closely parked, and inside the galleries were very full all day. Many people are there during the morning, and 'they come back in the afternoon. It is a great day for the meeting ot friends and of celebrities, and usually it is notable as a dross function, but this year from the latter phase it was very uninteresting, considering the great numbers of eminent people who were there. Earlier than most was the Prime Minister, accompanied by his pleasant-looking daughter—iust an unspoiled girl, with healthy complexion, wearing dress of the plainest kind. Mrs Asquith, who arrived in good time with Lady Bon-ham-Uartcr, wore a skin-tight wrap-coat of pea green cloth and a black hat with full ribbon trimming. Perhaps the most remarkable dress was that worn in the afternoon by Lady Alexander, the petite widow of Sir George Alexander—the once-favounte actor —who is often referred to as the bostdressed woman in London. Her crepe-de-chino dress had a three-tier skirt, the lowest tier of black, the middle one of emerald green, the lop one of royal blue; the sheathlike bodice, long and severe in line, was. beautifully embroidered with flowers of bright colours, blue and green predominating. The loose wide culls of the half-length sleeves were of royal blue. Over all was a black satin full-length capo wrap; the black .hat, small and smart, had a splendid paradise plume. The tri-colour dress suggests many possibe variations for future use, but it Will always need to be carried out by an artist-designer. Sir Lees and Lady Nina Knowles were present in the morning. Lately back from ihe south of France, the latter was perfectly dressed in black satin-beaute, and black hat with osprey. Sir Thomas Mackenzie was thefe with Mrs A. V. Macdonald, and he seemed to be meeting a number of old friends, including Canon W . H. Carnegie, who had with him Mrs Carnegie (always to be remembered as the affectionate second wife of Mr Josep.i Chamberlain). Sir George and Lady Fenwick spent some time in the galleries, and so did Mr and Mrs E. G. Kerr (Timaru). One who never misses this annual gathering is Mr Wolt Harris, and he never misses the annual banquet either —a function, of the greatest possible interest. At the age of 91, he is wonderfully alert and keen. He knows many eminent people, and for a long while was talking to Laav Alexander and Mr Frank Dicksee. Mrs Wolf Harris was with him. Lord Levorhulme was one of the early arrivals and one of the keenest and most active of the interested visitors. FAMOUS R.A.’S IN A MOTOR ACCIDENT. About 1 o’clock on Sunday morning, after leaving Burlington House, subsequent to the annual banquet. Sir Aston Vt ebb (president of the Royal Academy), Sir LuKe Fildes, R.A., Sir William Llewellyn, R-A., and Mr S. Melton Fisher. BA., all eminent British artists, were victims of a serious motor-car accident. They were in Sir Aston’s oar, and were discussing the year’s pictures, when passing Prinoe of Wales Gate, Kensington, there came a sudden bang, the car stopped, dead, and amid a smashing of glass and a ripping of wood work the travellers were thrown on top of each other. Sir Aston and Sir Luke were rendered unconscious. It seems that Ihe car was hit by a motor-lorry, which, striking at a sharp angle, had stripped away the door and the rear part of the car. The chauffeur waa uninjured and the engine of the car was still running.. The police were ■on the spot in remarkably quick time and an ambulance was soon summoned. Sir Aston and Sir Luke were placed on stretchers and earned to the ambulance car; Sir William Llewellyn and Mr Fisher were able to go home after an hour’s treatment at St. George’s Hospital. Sir Aston Webb, who is 75 years of age, and Sir Luke Fildes (81) were admitted hi the accident ward, both seriously injured. The other two are much less hurt Mr Llewellyn suffering from shock and Mr Fisher from a cut ever the left eye and injured ribs.