The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-08-05
IAN 1~NDEPrNDENr ARTIST.


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A. n. 4.
LONDON. July 2o.-If art IL proverbially
long, II has q saving way Of being locally
Intermittent. In London the incubus 10
slowly relaxing It's dire summon grip. and
even In the heart OF the West End you may
chance upon shops wherein ia sold nothing
more aesthetic than mutton-good, honest,
personally inspected, certified mutton from
New Zealand, with Photographic record OF
the bleat. ,
The supply Of fresh art shows has. In
fact, dwindled to a bare hundred or so, and
inside Of them you may observe not only
people, but pictures. 1t ia now,possible for
the critics actually to see quite a number OF
the works about which they write.
This being 90, II was amazing to find,
or v~enturing into the Fine Art Sooety's
to-day, William Strans. A. r. A., laughing
oonsumedly over his own newspaper notices.
Az no was all alone-sooiety being out at
tea, the one thing society never negleots-
It seemed safe to listen to what q mere artist
had to say.
II was funny; be thought. that II q man
based hin art Upon the work Of some maSter
the critics always complained that he was
a oopyist, lacking originality, and that II,
on the other hand, he struck out a line OF
his own, they accused him Of ~disregarding
the established canon Of art, sanctioned by
the best usage Of centuries.
Upon some artists this had q Encouraging
effect, making 1t difficult for them to strike
out at ali. He did not mind what anybody
said, but simply worked as his nature di-
reoted, to please and satisfy himself.
Funny It was, too, that the public never
noticed the kinds Of people that did things,
nor just how they were done. Concerning
his etchings, hanging on the walls, the
public was disappointed because his quarry
men, hauling a huge block Of stone, were
not such elegant individuals as could not
possibly do the work; because his fishwives
had not tapering fingers; because a woman
carrying her baby must b. represented In
such a position as would enable the weight
to be supported.
In such matters artists we're too ready
to make concessions to the public. Even
Millet's peasants often had a hint OF ele-
gance, at least the selection of a pose that
anne nearest to elegance. Daumier, how
ever, stood aloof from that. Daumier saw
the essential character of action.
The only concession Mr.. Strang appears
to make to the public Is to show his work.
He has studied good models and taken
from them good things. but these do not
dominate his strong n serious individu-
atty. He has made his way in the face
OF much adverse criticism, which assumed
his deliberate avoidance Of the pretty as
indicating a preference for the ugly.
One quality he has in common with the
masters is the portrayal OF types. What
he shows you OF an individual Is often true
Of the whole class to which that individual
belongs. A superficial artist, OF course,
sees merely the superficial differences.
Mr.. Strang's perception of the underlying
unity Is best expressed in his etohings Of
groups Of figures. but portraits OF Ripling,
r. L. Stevenson, Bernard Shaw n others
show that he can also study individual
character for it's own sake.
Some OF the etchings, such as a ADanse
Macabre' OF skeletons on stills, are the
outcome Of a grim sense of humor, which
is perhaps rarely far from the surface.
Versatility is shown by several pictures In
oils, one Of the best representing two girls
bathing, seated at the edge of a pool shaded
by trees; by drawings in colored chalks
after the manner of Holbein, by figures
and landsca pes in water color, and work
in other mediums.
Altogether Mr.. Strang Is showing 10
works. This is his first one man show
since his recent election to the Royal
Academy, and it is noteworthy that he Is
the first associate engraver who has been
chosen for the sake Of original work In
this branch.
This honor has its disadvantages. Hav-
ing got over his surprise at being elected
at all, Mr.. Strang naturally proceeded to
suppose that like the other associates be
was entitled to have some pictures hung
at this years Royal Academy exhibition,
He sent in two, and had them politely re-
fused. He was not expected to be able
to do pictures in oil. That is how it comes
about that this new associate is represented
only by two works in the Black and White
room at the Royal Academy.