The National tribune. [volume] (Washington, D.C.) 1877-1917, 1883-06-14
ART and ARTISTS.
The Royal Academy Exhibition.
Painting for the Pocket.
Special correspondents National Tribune

LONDON, May Is, 1S53.-London IS radiant
with pictures. The English artists might be
hkened to plants in some vast forcing house.
inactive, as far as the unenlightened can see
until there comes great burst of blossoms in
the spring, to be followed by another year of
apparent inactivity. Between Easter and
Whltsuntide there is a quick succession of
opening days and private views until, at
present. there is as much truth as exaggeration
IN the testing statement that FIVE hundred
exhibitions have some claim to attention.
First in Importance of course comes the
Royal Academy exhibition, then follows the
Old Water Colors Institute, the New Water
Colors Institute, and long list, including a col
lection of pictures of children and a collection
of pictures of animals. The Royal Academy
exhibition is large and fine, but its interest is
not wholly centered in the pictures hung upon
the walls there is almost rs great an interest in
Observing what pictures are absent This ex-
hibition is a sort of annual examination of the
state of art in Great Britain Every artist
wishes to have at least one example of his
work entered, every lover of art wishes to study
the exhibition, and large sales follow it every
year. The exhibition is thus market whittier
artists bring samples of their wares even
when the particular pictures hung are not for
sale. In this respect the Academy differs from
the National Gallery, and is a much surer
index OF the state of English art. The Ma
tional Gallery is governmental possession,
controlled by the authorities, with view 70
the artistic education of the people. 1t con-
tains the works of painters whose fame is es-
tablished; whose life is ended; who have no
need to seek popularity with the passing gene
ration. The single test of the works of the
National Gallery may, therefore, be assumed
to be the test of excellence. Not so with the
Royal Academy. Here the pictures must pos
sess the excellence OF technique required for
admission; but the conspicuous quality which.
consciously or unconSciOusly, their creators
impart to them, is an appeal to the purchasing
public. The taste Of the public is everywhere
reflected in the present exhibition, and from
this point of view, study Of it is eminently en-
tertaining.
First, as to what does not appeal to the pur-
chasing public. Religious - pictures evidently
belong TO this list There is one sentimental z
ure of Christ leading flock of sheep; there is one
figure of the ViTgin-a very poor imitation of
Tasso Ferrato,-and there is an uninteresting
painting of the Foolish Virgins, and here the list
ofpictures from religious subjects ends. These
three paintings more than supply the demand,
and they suggest that English artists could not
work in this field if there were need that they
should.
HISTORICAL PAINTINGS.
Paintings from historical subjects are not
called for and this also is fortunate, per
hap5; for in the few which have been attempt
ed there is evidence that the English artists
are weak IN work which demands grouping and
dramatic life. A single exception is 1.-THE
Death of Thomas a Beckett" thoroughly
Strong and admirable picture. Besides this,
there are, perhaps, dozen paintings from his
tofic subjects, including "The Ides of
March" by Mr.. Poynter, L. A., in which Cesar
and Calphurnia are less important than the
portico IN which they stand, and the court at
which they look without deep interest Some
OF the subjects give room for good work, bat the
treatment is chiefly commonplace, and the his
torical paintings OF this year viii probably be
SO only III name.
There are very few pictures e1nbodying an
abstract idea, and these are usually merely pleas
ing and not in any degree great or strong. Per-
haps the finest is Mrs. Merritts. = WA" embodied
III group of women welcoming victoFs return
ing, point of view from which war can be
freed from most Of its distressing attributes,
and one which makes it possible to suggest
without violence the grief OF the bereaved.
Another, and a very charming embodiment is
little maiden, who irradiates somber room,
and is true sunbeam. There seems, however,
TO be as little power TO do wholly imaginative
work as to paint from historical subjects;
neither the strong point of the English artists
nor the taste of the purchasing public can be
found in the field of pure Imagination.
So much for the pictures which are not In
are of four classes, and the appeal of each class
to the public taste is amusingly direct. First,
there are portraits portraits of distinguished
men and of commonplace men of women,
beautiful and not beautiful, renowned and un-
renowned, and portraits OF children, of dogs
and of country places. The Academy exhibit
ton not only holds mirror up to nature,-it re-
fleets the years history of the English people
so far as that can be painted in pictures likely
70 sell HHrp arc of General 81
Wolseiey, q. Z. B. e. Q. AI. g., and the Duke
OF Cambridge, with numerous scenes from
Egyptian campaigns, not valuable artistieaIly
or historically, but understandable rs q sort of
portrait memento. Here are Mr. Gladstone
and Mr.. Bright from the government, DR.. Eli
colt, Bishop of Gloucester and Bristol, with
various other bishops from tine Established
Church Here are Mr.. Huxley, Sir Frederick
Leighton, and Hans Richter, representing
science, art, and music; here are mobiles IN tire
some quantity, and the Queen has cO1amanded
the exhibition OF the portrait of Cesewayo.
THE CRAVING FOR PORTRAITS.
Local self government is embodied in the pres
ence of Mr. Poulson, mayor of RoOtle, and the
industries of Great Britain are here in the per-
son OF Mr.. John Collins, senior postmaster and
father of the Worshipful Company of Butch
ers. In every room and on every wall there
are portraits in varying degrees of strength
and dignity, and the exhibition of the ROYAL
Academy serves incidentally, the useful pur-
pose OF enabling foreigners 20 become mOder-
ately familiar with the features of the men held
high in the public esteem in the current year.
The purchasing public Graves portraits, and the
English artists strive to satisfy the craving,
and the result is collection of portraits of
strong temporary interest. Nevertheless, it is
an open question whether there is one really
great portrait in the exhibition. In the Ma
tional Gallery there hangs portrait of an old
man by Rembrandt. Thepicture is not especially
well hung, the old man is not eenspieuOusly
nothing of his story is told, and
there are no accessories to lend interest. There
is simply the head of an old man, but the
painter has created such vital expression, such
dignity of manhood, and such pathos of age,
he has brought the beholder SO closely face
to face with living human soul that to stand
before this painting is to feel a new reverence,
not for art only, but for humanity. The por-
traits in the Academy could not DO hung beside
this picture they could not bear measurement /
by its standard. Many of them ara strong
MillaiS and Mr.. Hubert Herkomer have no fee
BILE work, but / think there is not portrait Of
this year which Will ever speak to human
soul rs RembraRdt's picture of sn old man
speaks. 1t is not unfair to try modern painters
by the standard of the old masters, when mod /
ern painters enter the masters field. There is |
only one standard by which portrait painting |
can be judged, and by this standard the work |
Of the present year, though vigorous, abundant,
and truthful, is not great.
CHILD AND ANIMAL LIFE