New-York tribune., 1884-11-16
THE WATTS EXHIBITION
SECOND NOTICE.

changed at The Chrismas-card competitions OF
few years ago, later similar and unsuccessful expert
ment and the average OF work In our local exhib
ons. have all shown two characteristics, no little
technical ability in various ways, and discouragfng
paGcy Of ideas No who carefully studes our cx-
hibons fail to note the lack Of thought poverty Of
conceptions and mere perilism shown in the majority
of the subjects This has become far taken for granted
that execution is usually the only feature which DO
commented upon IN these exhibitions In speaking Of
American students IN foreign schools. artist Mr.
Miet has said: is worth while to remember that
with the speedy requirement OF mechanical dextcrty,
tho superiority Of the American generally
ends Aud again "This faculty OF illustrating
an idea is the the least developed in ne schools.
~ the work oi the student shows" ADd II is necessary
first for the artist to have ideas illustrate The testi-
nony OF facts backed by such pianpokon evidence
tha, given by Mr. Mille in his article upon Art Com
petitions" furnishes ample food for reflection.
NOW, we have among Ms the paintings OF an artist with
deas His thought Is not always clearly expressed. but
he thought IL always present. His Imagination is
Zines overstraned and involved, but invariably makes
self respected The presence OF such lofty conceptions
Is something to us. The atmosphere OF the Watts
gallery at the Museum very different from the atmos
hcie of the Academy OF Design. And we believe that
our artists will appreciate this difference however quick
ey may he to detect the shortcomings of their English
iSitor. This collection adds another many influences
all pointing in the direction. II emphasizes tho
aue ia art OF thought-honght founded upon intellect
nal rpeness and broad culture and dguted by lofty
Dition Mrwatts may be called intellectual painter but
should surely be eclectic enough to proht by every
good phase Of Inspiration" il but weak reliance,
aud the "divine aGatus with too frequently turns
out stunning" studio effect. II the Watts exhibition
shall persuade any to take art more seriously and TO
produce more earnest work, We can well forego our
custom; OF dcriding" storytelling" English art Con.
lcr the absorption OF the artist In rendering the sad
rcvocabe destiny expressed by the chief hgure In tho
Love and Death" The head moumfnlly bowed and
The rcsslcss onward gesture Of the arm have a mean
ing universal In human experience. Love- with face
cloudcd by passionate grief and with broken
wings. struggles yanly to stay the destroyer
the threshold. No will say that the impress
vc meaning Of these figures s lost because the folds OF
Deaths robes heavy to suggest sculpture, be-
the color at first unpcasany prominent or
the figure OF Love is still unfinished. and awaits
correction by the artist Mr. wa,ts's training in
sculpors studio has affected his OF working.
OF his figures ike that Of Death fairly statuesgue,
nd where he chooses. lie shows soliy IN modelling
which would seem To come from close observance OF
culpue in the round. In the Love and Ie," paint
nc almost luminous pastel drawing, the grace
md tenderness shown in the attitudes Of tho
wo figures have n charm enhanced perhaps by Mr..
Watss lapse into decorative c'ct. The jarrng note In
The picture the realism with which the artist
has rendered the rocky pathway and Loves radiant
wings. Curousy opposed TO this are the vapo.ous bright
M Watts is excellent dragltsman of the nude, for
hesc days. is shown in the figure OF Orphc,s drawn IN
most liifcut almost impossible attitude and modelled
with remarkable lirmness and precision This picture
illustrates the painters habit of sacrificing air minor con.
'dcratons to his central idea. Upon Orpheus
splendid embodiment OF manhood flushed with
health and vitality the artist has lavished all
mis- care Eurydcc is foil bat the artist has EN-
phaszcd the contrast unduy in The boaeess iabbincss
body and it, painful chaaness Not only the of
'cct tive composition and beautiful lines OF the Endyin-
ION and sclcne to be noted, but the cunning por.
raya the complete muscular relaxation Of the sleep
ing shepherd No could have painted that supine
trunk as it il painted here without aborous study OF
he nude. The figures OF Paola ani Francesca united,
etetcrnally hopeless. drifting on in the windy void,
show exasgeraton in colorng which we haze notcei
before artist has taken this too obvious way OF en-
ancing the meaning Of the figures Their ghastlincss
rather rcpcs than attracts sympathy. This
has rcpainted quite recently ald the Blanca and
"Fata Morgana" show that the cOloring of Mr. Watss
pictures improves with age Possibly time may soften
The giaYingly discorant coOrs OF Time Death and tho
Judgment" and THE Rider the White Horse" The
face of Tine" splendid pcrsOndcation OF youthful
yigor, is suggestive OF Bune,Jones Ia both pictures
the treatment of the orc-shortcned arm shows tho
of working large scale. He fire.
qucntly seeks an indication muse rather than lit
cral description Some OF the wOr. shown us il like q
,cuptor's first model IN clay, for example the "Eyo
masses with broad free lines than drawn In careful detail
The picture Is still unfnishe but it wond appear that
the artist prefers depend upon the general effect
rather than the risk Of dsraciing attention 10
ovcr-ncc minor parts Another peculiarly Is excnpl
lied in the" Ariadne and Rider on the Black Horse
those who lten their against the glass ever tho
pictures are sure to be cd at the size OF the cx
tended arms OF the figure beside Aradne and Of tho
Rider" At proper distance these arms remain con-
spicIous. Ii Is fair - ask reason, and
it il not hard ind one In Ariadne" tho
painter has chosen the moment Of Arlnncs summons
to the reves OF Bacchus and the messengers gesture IN
,icates this she points away from the sea toward
Bacchus's banquet hail. Extended before him tho
Rider carries the scales which dfrcatiate him from
any other rider Here again the painter has been led
into exaggeraon by his desire to make his central idea
most prominent He il too obvious Fronch artist
would never have shown such lack OF snbtety and
npesse oven il he were willing expose himself to tho
charge of bad drawing
Two unfavorabe conditions Of this exhibition are the
small size of the gallery and the glass the paintings
We cannot think that the gas, is needed here whatever
may be the III London. These
pjctures should have been shown IN very
ar-e gallery. but that we suppose was impossible inc
MIDDAY Rest criousy out of place here. From the
adjoining gallery tbs possible to secure "a larry soo!
view but the picture would he better ha ] az 'i hi e.t ar.
tention % ennobling feature OF the nc aDoIa a. n
These noble gray dray horses and their master pccpo
fairly heroic under his treatment surely no grinier
cuc OF small beer was ever composed III tnc pceu.o
ycre more favor,by hung the curious errors IN perspec
rive in the lines OF the hsrses aud shaft ana III tic pro-
portions of different parts would not produce 20 son3
an imnresson That shaft must pass through the DOdy Ok
The drayman II indeed there be body beneath thvse
Inthcs II is strange find so direct a portrayal or
Uond's Bridge Of sigls" side by side with sucm
sre.ches 81 "Chaos" "Cain." "Thc Creation of Eve"
nd ,hc painting of subjects from the Apocalypse. Not
only in the choice OF subjects bnt IN the spirit of his
work Mr. Watts has evidently been strongly innueneea
he Crock art and he is his best here in his treat
nent of subjects taken from ry-daN NE lie SHOWS
but two laniscapcs-one dark view OF Tey sons Far
rngfnd I'm the Isle of Wight rather view ol trees
near by. and the other Rain Passing Away,
MAGNIFICENT study of mountain of clouds "fcrhangn8
a Green rolling plain. The portraits show mai Mr watn
has he rare faculty of interpreting the Individual chsr
acter m his sitters while presenting them as qu,c uu-
conscious as beauty and sotnss oi Color 20, tn9
unr lamn.L.Al stluA " wen