New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-05-17
LONDON ART.
AN AMERICAN sHOw-MR. SARGENT AND
MR.. ABBEY AT THE ROYAL ACADEMY.

MR. ARBEY AT THE ROYAL ACADEMY.
London, May 4.
Tho Roval Academy has been thronged from
warming until evening with a fashionable assem-
blage more intent upon recognizing acquaintance
than upon studying the artistic tendencies or the
new exhibition. The new pictures fill the pauses
Of conversation In every drawing the ex-
hibItion. for one thing. Is remarkable for strong
color The passion for grays and other SOFT coiors
has passed There Is glare OF color all along the
line and some Of the worst pictures above IL haunt
their defects OF composition or drawing IN the
loudest tones Quiet, inoffensive painting mas
gone out of fashion There must be color or the
work will be old-fashoned and will lack the sense
Of modern style and freshness which Is CONSIDERED
indispensable as a selling quality.
The exhibition Is a good one with high average
Of work. a manifest Improvement In the art OF
portraiture. and higher standards OF technique;
but nearly the whole collection Is made up OF con-
ventlonal prose. Every one'is working deftly or
boldly with his fingers, but nobody Is dreaming
The present exhibition will hardly be remem-
bered for any single work of marked originality
and pre-eminent ability asked an Academician
what was the distinctive feature OF this collection
Of over 900 works Of art. IT'S an American
show" he responded promptly; Sargent and Abb
talnly the largest groups gather around them, and
by common consent Of the TT critics these are the
works which deserve the closest attention
Mr.. Sargents portrait Of Mr. Chamberlain IS
piece of bold straightforward brushwork There
are no subtleties of method. II is characterized by
drectness and simplicity; out power and technical
knowledge are behind every touch. In its broad
effect this portrait presents Mr.. Chamberlain In
cha rstic aleTtnesc, reveals
practical common sense; and this Is done not by
any theatrical device but by imparting vitality TO
the finely modelled face and stately figure. II is
free from over-elaboration. Yet the technique Is
marveously fine In matters OF detail. The orchid
In the buttonhole is painted with exquisite deli
cacy; the reflected light cast by the eyeglass be-
low the eyebrow Is reproduced with amazing skill
The comment Is heard that the picture presents
Mr.. Chamberlain at his best rather than Mr..
Sargent; but that is superficial criticism. Mr. Sar-
gents own personality is Of no account In work
like this. His art is at its best II he has pre-
scented Mr.. Chamberlain at his best and impaired
to face hands and figure the magnetic effect Of
living presence. This he has done
Mr. Sargent has four other portraits in the ex
hibltIon one Of which fascnates the spectator
with the precision of the modelling Of face and
arms and the brilliancy OF the coloring II is the
portrait OF a lady in white standing against
dark screen embroidered with flowers and birds
she carries on her left shoulder bright red cape.
which Is wound around her and Is seen again at
the hip. II is not perhaps more mastery por-
trait than that OF the Countess in the New Gal
lery: but II is a splendid study Of the effects OF
light other portraits there are in these rooms by
the score-portra,o by Sir John Millas. Mr.. Watts.
Mr. Orchardson. Mr. Shannon and many more ar
!, M Co. ar.' u.n-
is unrlvaIled in vitality. power and technique His
associates look at his work and wonder how 1t is
done. 1t secms to he dashed off with reckless
stroke and without method: but every touch has
the precision Of perfect skill and is absolutely
right In quality and tone.
The most brilliant and interesting subject-pict-
ure OF the exhibition Is Mr. Abbey's Shake
spearian study. II is at once dramatic and pcto-
rial and Is excellent alike for composition. drawing
and color II represents the funeral procession OF
Henry VI with n crowd OF spectators behind II.
The canvas is filled with the sombre gloom Of the
marching mcurners and the ca tafalque The faces
are pale and mournful; the dresses and trappings
arc black: nd the only CLEAN Of color comes from
the red slaves Of the reversed halberds This Is
the background for the two central figures: Lady
Anne. with intense. passionate face, walking be-
side the bier and Richard with his crimson robe
and limplng figure. ring In one hand and In the
other the sword with which he has Invited her to
stab him. There Is so much action in this picture
that 1t is natural to speak OF II as theatrical but II
is work OF great learning in archaeology heraldry
and costume: and II has many artistic merits The
color scheme Is black and red excellently bal
anced and there is d great richness in the deco
rative effect
II these two artists. Mr. Sargent and Mr. Abbey,
,t-t,A 81 . Ito
years Academy, their English associates. while
not surprising themselves. have reached high
level OF artistic work. Sir John Millais in The
Forerunner" has strong and even powerfulstudy
Of John the Baptist-an almost nude figure stand
ing in the centre Of forest and fashionng a rude
cross with two pieces of wood. The rich mists OF
sunset are streaming through the woods. and the
picture IL ingenious and harmonious in Its color
scheme. Mr. Alma Tadema has two ma stery pict-
ures. Coliseum and whispering Noon." with
minute glimpse OF a Roman crowd in one and
splendid painting of marble surfaces In the other.
Lord Leghtons last picture "Cytie." Is excellent
In design and rich in color Mr.. Watts Is less sue
cessful than usual In the Infancy OF Jupiter"
which Is inferior to his work In the New Gallery.
Mr. Stanhope A. Forbes has one OF the best pict-
ures in the Academy II Is farm scene. THE
New Calf" with a family group OF six watching
and admirng the latest addition to the stock. In
drawing and color this picture is a fine example Of
realism. Mr.. Peter Graham has a characteristic
coast scene with beetling crags and futtering
gannets with beautiful water painting. Mr.. Mac
Whirter has at least two autumnal landscapes
which are as good as anything that he has ever
done
These are the notable pictures of an exhibition
In which every branch of English art Ia repre-
sented There is evidence OF improvement In
technique rather than OF enlargement OF magma
tive power. 1t is IN portraiture. figure painting
and pure landscape that the best art work is now
done II any strong note has been struck this year
1t is by Mr.. Abbey. who has shown how much In