New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-05-11
LONDON PICTURES.
x.rv cALLERY-THREE EXHIBITIONS
~ or WATER CoLoRs.
London. April %.

London. April %.
a peeent-st are not far apart, but
P'csa'", from the ROYAL Academy to the New
% pass"o ross ordinarily from conventional
caller! o 80, another where there Is greater
r! WORN orsative force. 1t Is not so this year.
tisll'y co. &, the New Gallery lack originality.
I p., " low exceptions the artists appear 10 De
WIN ro.e ana intensely practical They are
tos ming dreams. They are not trying ex-
sa H. zoo hazardous to be submitted TO the
rsf~e ~ the Academy. but are working on
r's. .,,,s, lines. The range Of artistic energy Is
s aveD. than it was last year. There Is notn-
'af'v" ,,s walls which will enable any one 10 de-
rs Oh '"e the art Of the future is to be un-
w" ~. art OF the present.
r.srrord Burne-Jones. with two romances
- ns On canvas in place OF five last year
80 The exhibition again as he has done
pn"' put his work. while imaginative in con-
NV,r and unique In harmonieS OF color, has no
italy new qualities when compared with
Ssn ,'.'. examples of his art. One Of his pict-
80, study Of luminous blues and grays' Inc
w .,reaked with a steel glimmer of radiance
=. the promise of dawn. yet 1t Is 80 soft and
WV. &C 10 seem like memory OF moonlight.
tau'' -, ,ac. and flowing draperies illumiped
w" -. .,,very sheen stands on tiptoee, or Else
'H Aurora. swinging her cymbals. 1t Is the
'' ,ons-limbed. slender woman with the sad,
~"..,,ul face whom this master OF poetic art
W" s,,s, psinted before. although her melancholy
..,,r more noticeable. since 1t does not COM
In the Greek Idea Of joyousness which Is
ps.,sd with the rosy-fngered morning. The
',.,,nsnt of blues and grays now deepening.
.... aiding. but always luminous. Is the same
." ,,,ch this aracteristic figure has often be-
Nv s..hed into view. 1t Is not a classical crea-
~, ,n.,inct with Homeric spirit, any more than
49,, vsars gray Lucifer was Miltonic. 1t is
.,,.,,v one Of the visions which Sir Edward sees
a. me arearland where he works.
~. o,nsr pic,ure Is Launcelot at the Chapel Of
40, Ca, crasl-a mastery composition In which
ewing and contrasting tones Of green are har-
.,,,I,sd II Is not the Arthurian romance which
r.,,y.,u has embalmed in Immortal verse. 1t is
era naiu,er's own poem of wonderland. The
y,rbt has discounted from his horse laid aside
h,s shield and fallen asleep in thicket: and an
angel also tall and slim like Aurora. and with an
.opsly pensive expression. motions to him to
withdraw from the holy place Everything Is
Realized, the dreaming warrior with his effemi-
nate face. the wan and weary angel, and even the
enchanted wood with its strange growths and
s,ckerlng shadows. On the adjoining wall not
,,r away IL the portrait Of soldier-an honest
downright conventional picture. That Is the
tlsin prose OF the art. Sir Edwards Launcelot Is
romance Of his own inspired by poetic magma
ton and provided with a matches scheme Of
coor as scenic setting
A PORTRAIT BY Mr.. SARGENT
The best portrait in the gallery Is Mr.. Sar-
rents painting Of Countess Clary Aldringen, for
which Mr.. Llewellyn's Mrs. Cosmo Bevan serves
O. foil. The two portraits are OF the same size
and are close together on the same wall. and
each presents lady in a white gown; but one
has vitality, whereas the other is cold and con-
vsatonal The Countess has risen suddenly from
atovecolored settee and stands with the pink
6ngn Of one hand turned outward, with lips
urAind with her face lighted up with smile.
Thss nothing theatrical in the pose. The
Contests about to speak, and 1t will be some
nlyhght and pleasant to hear. The pose sug-
Ess Suddenly arrested movement; the warm
esa unts in face and hands denote intensity OF
ndhy: and the smile reveals Joy in life. Briefly.
esportrait is a spontaneous simple revelation OF
I bvable nature. The costume. the settee and
" accessories are painted with that boldness Of
tnke for which Mr.. Sargent is conspicuous
halities Of texture. beauty Of satin lustre and
arious delicate shades Of white in ribbons ant
ne are produced with great freedom OF handling
10 other portrait-painter seems to work with less
cancellation and with greater recklessness o
troke None other has more iecision OF method
nd technique.
Mr. Shannon has two fine portraits, one Of {
lady and the other OF Lady Mappin
md Mr.. Richmond has another Of a tall, grace
81 figure with a pale face, with a singular bu
fective background Of green tones. These arr
he best portraits after Mr. Sargent's mastery
'xample OF the art; but there are many mor
which are distinctly inferior. Mr.. Dampier Ma!
has faithfully reproduced Cardinal Manning
lace without revealing the character OF the grea
'selate, or even suggesting the distinction anC
statsliness Of his manner. The Duke OF Argyll
NJ. Arthur Balfour Mr. Thomas Hardy and othe
celebrities are hardly more fortunate.
There are four pictures by Mr.. Watts. CHAR
tcterized by his Venetian wealth Of color ant
peculiar atmospheric effects. which tend to pro
duce an impression OF unreality. The best
these Is mystical allegory. Time. Death ant
Judgment" with finely contrasted effects OF blue
nd and orange Time is an athlete, Judgmen
sars sword. and Death is a sad-faced ange
Nth withered flowers in her lap Another plctur
a strong composition in darl; reds. 1t Is Eartn
awoman Of clay apparently without a SOUL Thel
mere are two studies Of Adam and Eve IN In
nocence and conscious guilt There are six pict
ures BY Mr.. Philip Burne-Jores. the most am
ououe one being THE Game of Life and Death
imaginative without being poetic and crudeiy ex
.Oa'eu withal. Mr. c. z. Halle also has five p.ct
c'.. Inc best being Cinderella. the Fairy
o"'s' lovely bit Of work The most DARN
rpe''ment IL Mr.. Walter Cranes Rainbow an
I've mwhich the nymph Of the iridescent lish
'oops 10 KISS the hnger-tips of her sister rising
..,, "er OUT OF the sea. The figures are grace
.S.s arawn. and there Is splendor OF light, bu
~" al inc disturbance In the eea there Is lac
'oointy In the water. 1t IL vivid. over
,ousnt Dit OF sensationaliem in art. rich 1
.eina'ive power. but poor In that poetical splr
.. ''a imparts to Sir Edward Burne-Joness wor
unique distinction Of genius.
NOT STRONG IN GENRE WORK.
Gt.