New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-11-09
ENGLISH ART.
AUTUMN OBSERVATION-DISCLOSURES POR-
TRAITS

TRAlTS.
London. October 30
There are few evidences Of creative power. dis
t,nction OF style and keenness Of observation in
the autumn art exhibitions. The largest shows
are those Of the Royal Society Of British Artists
In Suffolk-st and Of the Institute of Painters In
on Co!ors in Pccadily The aggregate number
~ new works exhibited is $50 as shown by the
entries Of the two illustrated catalogues This
computation furnishes prima face evidence that
the art industry is conducted on a large scale
with steadily increasing product; and when the
galleries are explored this mechanical method Of
estimating process Of art manufacture is justi-
fed in detail. Every artist seems to he working
urss In accordance with prevailing styles. The
titles are varied, but the common stock Of old
time themes remains: and there is neither orig
inaty in treatment nor freshness of thought.
There is nothing on the walls to enable any one
10 determine whether the art of the future is to
be essentially unlike the art of the present
The British Artists Exhibition is the more de-
pressing of the two shows. With the exception
Of Mr. Cayley Robinsons ''Foundling" which
has q remarkably effective color scheme, and
four five landscapes. there is hardly picture
above the level of medocrity in design and exc
cution The method implies that the artists are
painting feebly with the wrist instead of boldly
with the full arm and the themes suggest that
they are unconscious Of and out of touch with
the world vitalized with human interests lying
outside Oh their own little studios. A painstak-
Ing search may reveal half dozen pictures that
are eccentric: but Of the inspiration Of originality
there is no trace. Indeed. there is little evidence
that the younger artists of the day are either
thinking deeply or working earnestly. that their
is m ~
color is becoming more sensitive and refined.
There are many ambitious landscapes and ma.
r,nes but the most difficult details are not mas
tered such as the painting of clouds which have
the appearance Of floating instead Of being dec
crative bits of sky frescoinr filing in back
ground with luminous effects of distance; or eff
fecve water painting with waves moving and
tones Of color deepening one into another
The Institute Of Painters in Oil Colors is dis
tincty better than the rival show both in tech
nique and range of work. Mr.. f. NJ. Wimperis
has two spirited landscapes illustrating the wild
scenery of Devon One represents furious
food on the Lyd. and the other the lifting OF the
mists off Da-tmoor-a Wordsworthan glimpse
Of austere beauty. broad in treatment. expansive
in atmospheric effects harmonious in the con-
trasted coloring OF purple heather and rloorland
grass. and fairly wind-swept from end to end.
Less breezy hut more beautiful in coloring are
Mr.. Leslie Thomsons "Axmouth' and After
noon on the Breads" with cloud painting singu-
larly true and with fine contrasts Of greens grays
and blues. Equally strong in execution and ten
der in feeling Mr. James Orrocks 'Solway
Marshes and "Od Lock on the River Soar"
There is good water painting in Mr. Edwin
Eayes's Irish Trawle,s in Dublin Bay" in which
the wind is blowing ard the boats merrily
before
ed in Mr. Alexander Harrison's Rising Moon"
Restful is Mr.. Aumonier's Full Summer
fined In coloring and feeling is Mr.. Brewtnals
"Hammersmith Mall" and painstakng in detail
and elaborate in finish is Mr.. Golfers Devon
shire Orchard" Remarkable also for strength
Of execution and clearness OF coloring Mr..
Fulleylove's South Porch OF an English Church"
and other architectural pictures.
The figure pieces and genre work are not per-
haps equally Interesting excellent. one of the
best color schemes is shown in "A Labor Of
Love-" by Mr.. W. Llewellyn. in which yellow
haired girl in light dress il arranging flower.
a table. 1t is a luminous picture. delicate In
tone and refined in feeling. There is a good
study Of freight in Mr.. James Clark's "Shad-
ows." with sick child in bed. but there is the
atrical management OF light well as failure
TO idealze heroic action in Mr. Taylers 'Enoch
Arden" with the returned wanderer standing
before the window of the home where another
has taken his place. Equally unsuccessful
Mr.. Brewtnalls "Crusoe's Joyful Return" and
Mr.. Bundys "Barnaby Rudge at the Country
Justices" the figures in each being unnecessarily
fantastic and the details not thoroughly worked
out. More artistic. but distinctly in the manner
Of Mr.. Alma Tadema is the well-painted interior.
Chez Romney," by Mr.. Breakspeare. Nine.
Henriette Ronner has two of her inimitable cat
pictures. well drawn and full Of the spirit Of
frolicsome mischief.
When a Of pictures has been singled out
for commentator or dsapproval little remains
to be said about the 400 which remain. They are
commonplace works. without freshness OF obser
walton, depth of thought artistic distinction.
Many OF them repetitions OF cid themes with
new titles fancful names only serving 20 conceal
poverty of invention Sir James D. Unions
Meditation" is simply handsome brunette with
a delicatey painted frock Mr.. kennington's
Memories" is a scantily clad girl weeping in the
woods, with purple iris her feet Mr.. Almonds
Artist in Hair" shows well-painted petticoat;
and there is the usual assortment OF Pandoras.
Circes. fairy queens. dryads. old cavaliers and
village BARRIERS. OF that vitality Of energy. which
IL the best quality of the modern English school.
there are few signs There are no imaginative
flights; nobody is dreaming dreams trying
hazardous experiments; everybodv is wide
awake but conventional. prosaic and dull.
More interesting and instructive than either OF
these conventional exhibitions is the Goupil Gal
lery collection of forty-four portraits and other
works. by Mr. J. Mcclure Hamilton. This Is an
American artist who has learned TO paint por
traits in a way OF his own way so
true that leading English journal has al
ready recommended the purchase OF several
OF the most important works for the Ma
tiona Portrait Gallery These are not studio
works. His subjects do not pose before him