The sun. [volume] (New York [N.Y.]) 1833-1916, 1908-08-02
VII LONDON SAXON.
An Experiment IN the Way OF an Art Show
without the Aid OF Q Jury.

without the Aid OF . Jury.
LONDON. July 2s.-Another new art
society has sprung up here. 1t is called
the London Salon and 1t embodies a new
idea. that Of exhibiting works without
first submitting them to a Jury.
In reality the idea Ia new only in England.
In France 1t was put into practice many
years ago The ~originators Of the London
society were aware Of this and in the fore
word to their catalogue mention is made OF
the Sooiets des Artistes Independents.
and the fact that this body has for a quar-
ter Of a century successfully arranged its
exhibitions on the same principle is used as
an argument in favor Of the present London
Salon
The foreword GOES on to explain the
reason for eliminating the jury. 1t says:
sThe Jury 10 invariably chosen not from
n~eophytea but from men of some reputa-
ton and standing in their art; that is to say.
In most cases from men Of an earlier genera
ton than that Of the youngest artists who
may wish TO exhibit, 1t Is at least to be
hoped that these young men have other
ideals than those Of their fathers. . : .
Work that IL inherently bad may be refused
by q jury Ut often Is not). but work that is
inherently new runs q similar risk. It is a
question whether 1t is not worth while.to
admit b bad In order to have also a chance
Of examining the new
The Allied Artists Association. Limited.
10 responsible for the London Salon. which
10 being held In the Albert Hall. Kensington.
and will remain open until August 8. the
private view being on July 10. The associa-
ton has accorded the same treatment to
all artists. irrespective Of their position
and reputation. No artist who made his
application to exhibit before June / was
refused.
Each exhibitor on the payment Of one
guinea had the right to exhibit works
not exceeding five In number. without
submitting them 10 n selecting jury.
Tho members elected forty Of themselves
to act as a hanging committee, and to
obviate any possible chance Of favoritism
or the reverse the committee decided that
lots should BE drawn to settle the order
In which the works should be hung or
placed.
All exhibitors accordingly have had equal
opportunities and the position Of their
works Is the result OF fortune and not Of
personal preference or influence. All OF
which IL most excellent and the result is
extremely interesting.
There are 1901 works exhibited. Most
OF them are oil paintings. but there are a
fair number Of w~atercolors. etchings and
architectural drawings and pieces Of jew
elry and craftwork. There Is q section
devoted to modern Russian art, organized
by Princess Marie Tenichef. who has done
much to develop the distinctive arts and
crafts OF her own country.
To accommodate so large a number Of
works the Albert Hall was chosen as being
the only available place Of sufficient size.
As the hall Is used for concerts and is not
designed for a picture gallery. the effect Of
the present exhibition Ia rather like a hugo
ba zaar.
Albert Hall is larger than most theatres.
1t Is circular with a fiat space, the arena,
In the centre. which slopes up to the boxes,
OF which there are several tiers, the top
tier being a promenade. One side of the
circle is out Oh by the organ and seats for
the orchestra. ,,... - 80, ..-.
IT fat part OF the arena is now cleared
OF seats and filed with sculpture and cases
OF applied art. Around the lower tier OF
boxes Ia ranged a line OF oil paintings which
1t il impossible to get close to without
climbing over the chairs on the sloping
part Of the arena. The orchestra seats
have,been removed and screens have been
erected on which the watercolors have
been hung. The rest Of the oil paintings
are placed in the promenade. which has TO
be reached by means Of the lift.
The Russian art must be sought for in
another part Of the building. Under these
conditions the finest exhibition would be
something Of a muddle. and for a show
/ lika tho nrocanf nna e,rh an pnap,aot
would do much to initiate against its
| chances Of success.
However, as has been said before, the
exhibition is extremely interesting, and
| this for several reasons. In the first place
one sees all styles and schools Of painting
side by side without prejudice. 1t is posi-
| BILE to compare the academic with i'm.
pressionist, Preraphaelite with suggestive,
| primitive with the latest ~deoadence, violent
| primary with the most refined.
Then again the hall is big enough to
! allow one to see large canvases from a
| sufficient distance. From the opposite side
| Of the arena Byam Shaw's Love the Con-
| queror' gains breadth and conference. and
| Richard Jacks "A Family Group looks
startling in it's reality. Also. there is suf-
fcient space in the arena to give proper
dignity to the sculpture. There are several
| life size statues and equestrian groups, all
| OF which can be we'll seen from a distance
as we'll as near and from every point OF view.
1t seems a pity that there is not more sculpt-
ure. as 1t can be seen here to such ad-
vantage. The most noteworthy things are
a portrait of the late Sir Redvers Butler
TO be erected in bronze at Exeter, and
THE Joy Of Living a youth training a
frisky horse. by Capt. Adrian Jones. NJ. V. O.,
who Is chairman Of the committee.
1t is impossible among so many works
to do more than mention a few OF them.
The painting Of such men as Walter Crane,
John Lavery, Philip Laszlo. Antonio Man.
cini and James Pryde needs no comment.
Besides. all that is exhibited here has been
seen before. 1t is the work OF the younger
men that will attract most attention.
Guy Lipscombe's picture OF 'Nazzaro on
Winning Fiat Leading in the Grand Prix
Race, 1907 is the first attempt to treat
motors ~pictorially. and very we'll he has
managed to give the effect Of the speed at
which the two cars are travelling. with the
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