New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-29
LOndon's Great Annual
Exhibition of New PiCt-
ureS Forecast.
JOHN S. SARGENT
PICTURES DOMINATE
Suggestion of Vanity and Pom.
posity In Portrait Of Lord
CurzOn of Kedleston.

London. April 2s.-The 147th exhi-
bition Of the Royal Academy OF Arts,
which opens publicly on Saturday, will
probably take rank as one OF the most
interesting shows of recent years. It's
landscapes and its genre pictures are
both we'll balanced and we'll repre-
scented, while there is number OF ex-
cellent portraits. The element OF fan
tasy previously lacking is also to the
fore.
Modern influences are scarcely APP
parent, post-impressionism futurism
and cubism being practically non-ex-
istent. The war plays not nearly so
great a part az might have been ex-
pected. A number OF pictures deal
with side phases Of the conflict, but
only bare half dozen deal with actual
fighting.
From the individual viewpoint, John
s. Sargent dominates the entire exhibit
ton. He has two portraits, the one OF
Lord Curzon Of Kedleston being among
among his finest efforts. The intellect
and forcefuness of character of the
subject are plainly apparent, but there
is a suggestion of vanity and pomposlty
which IL positively cruel. Then "A
Mountain Graveyard" is a marvellous
Tyrolese scene with a small patch OF
vivid green grass in the foreground
covered with fantastic headstones,
while in the background is an over
whelming mass of blue mountains, but
the gem of the six Sargent pictures is
"A Tyrolese Interior" a small canvas
showing five peasants seated around a
table wonderfully lit from side win
dow. The critics to-day couldn't tear
themselves away from this work.
In a London Hospital.
The picture which will probably at
tract the most public attention is an
enormous canvas by John Lavery, r. A.
THE Wounded in London Hospital
1t depicts long blue ward crowded
| with wounded soldiers, some hOpelessly
sick, others convalescent, some sitting
up and chatting. In the foreground is
the figure OF young Highlander
with a barred arm and shoulder having
his wound redressed by a nurse. Al
though almost Photographic in detail
! there is haunting atmosphere about
/ the picture which will make it one OF
| the most remarkable in the exhibition
Other war pictures include THE In
terror of Ypres Cathedral After the
! Bombardment," wherein the artist
Horace Van Ruth, powerfully shows
scene of hideous desolation, yet with
/ the figure of the Crucifxion remain
ing untouched among the ruins around
John Lavery has an impressionistic
study, entitled AN Armoured Can
/ Squadron Starting for the Front; Miss
| Dorothy Hawkesley has powerful pict.
ure, called "Germany's Battle Front,
| showing a line of Belgian women and
/ children in all attitudes of detection
and misery, while the sufferings of the
refugees are also depicted by Tom
Mostyn in Flight"
/ The finest picture of actual fighting
is w. b. Wollen's "Landrecies, August
%, 1914" wherein English and Ger
mans are seen in the bloodiest kind OF
hand-to hand combat.
Triumph by Stanhope Forbes.
One of the finest pieces of work in
/ the whole exhibition is "The Steel
workers" by Stanhope Forbes, r. A
John Charlton gets life and movement
in his study French Artillery Crossing
the Flooded Aisne" Probably the
work which will excite the most human
interest and pity is Ha:herell's Mass
for Wounded Soldiers in an English
Country House." while William Titcomt
has a similar scene on the battlefield
entitled "Conservet Corpus Tuum et
Animum Tuam."
Gerald MORA exhibits piece of dec
orative work depicting seaside bathing
entitled "A July Day." while Frank o
Salisbury's Queen Philippe Pleading
for the Lives of the Burghers of Ca
las" is a piece of vivid coloring anc
beautiful draperies.
Among the landscapes Joseph Far
quarson's when Snow the Pasture:
Sheets" George Clausen's "The Val
ley" and George Henry's Spring Morn
ing" will attract the most attention
/ W. l.. Wylie has several pictures deal
/ ing with naval engagements, but
/ neither these nor the similar effort:
I OF other artists are any too convincing
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