New-York tribune., 1920-05-30
Royal Academy Art
Exhibition Provides
Pair of Sensations
One, a Portrait of Falstaffian
Figure, Puzzles Connois-
seurs Until 1t Is Found
Model Was Lowly Actor
From Tire T,founo's European Bureau

From TIE T,fbuno's European Bureau
LONDON, May 21.-For the 1920
time the annual exhibition Of the Royal
Academy ushered in London's social
season with large collection of pic
Again, although perhaps not for the
152d time, the visitor realizes that
painting, for the purposes Of Royal
Academy exhibitions, was standardized
long before clothes, shoes and bread.
But there are undoubtedly two good
sensations this year; tho first por-
trait, the second a-surprise. "Mr. Min
of remarkable looking character, re-
markably we'll done by Walter w. Rus
sell, a newly elected A. r. X. OF fall
staffian figure, with a wonderfully dig
nified get-up in the once fashionable
"Prince Albert" coat and an old
fashioned gold watch chain spanning an
enormous breadth of white waistcoat, the
portrait looks out Of the canvas with
carefully mixed expression of pride,
pompos.ty and geniality.
Many were the imaginary romances
woven around the unknown "Mr. Min
Hcy uulil Vie wv SH|Cl PAAoSiib 'ouiNhS
newspapers discovered the truth: That
he had been a provincial actor, n show
man on a small scale, "crler" at an
amusement park. temporary inhabi-
tant of workhouse and that he died in
1915 Mr.. Russell the artist, kindly
gives u friendly American artist the
credit Of suggesting such an admirable
model.
Mirror to Movie Fans
The surprise" Of the exhibition
and. incidentally, about the only mod
ern" piece among those admitted. is q
huge canvas depicting the darkened,
crowd filled interior of movie theater.
His painting of the light-beam against
darkness, striking across the circle and
boxes to the screen, where the figure of
the film can be seen, is an interesting
mirror to movie fans and q delight to
students of painting.
Among the war pictures there are five
great historical paintings. Sir William
Orpen did, first, the peace conference at
Versailles, and then, more interestingly,
the signing Of the German treaty in
the Hall Of Mirrors. In the latter par
ticularly he has given vent to the little
touches of caricRture he so delights in
He brings out wonderfully the decora-
tions of the great room 80 that it is
moment or two before you notice, low
down in the picture, the little black fig
! ures Of the statesmen--like marionettes
on stage too big for them-Clemen-
ceau, Lloyd George, Bonar Law, Balfour,
Wilson and many others. Nor does he
spare the Germans, especially the lean
figure Of Hermann Muller leaning over
Or. Bell as the latter signs.
Then there is II. A. divers painting
of the Supreme War Council at Yer
cp;1loc Civ Iobn I
Admiral Realty reading the armistice
terms to the German officers aboard his
flagship, and Frank o. Salisbury's can
vas of the King and Queen on the steps
of st. Paul's during the Thanks giving
service for peace.
"Problem" Pictures Shown
To Americans the most interesting
piece Of the sculptures Is Courtenay Pol
locks vigorously lifelike head Of Lord
Northclitfe, and another newspaper
owner is represented by Sir William
Orpen's portrait Of Lord Riddell, pro-
prietor Of a Sunday newspaper and
press ally of Lloyd George.
Although the socalled "advanced"
painters are virtually unrepresented at
tho exhibition, there are several "prob-
lem" pictures of interest to those who
like something deeper than pure art in
painting. Biamire Young has water
color showing "a vast palace of white
stone, reminiscent in design Of the
houses Of Parliament, across whcih arc
flung three gigantic shadows, supposed
to signify poverty and starvation. 1t
is entitled "The Shadow of Hunger" and
produces a good shudder from tho i'm
pressionable. In the same class is Ed
gar Bundy's Scandal" Of two models
/ gossiping over their wine.
There are also, Of course. religious
pictures: Spencer Watson's elaboration
Of the Mag." Charles Shannon's "Wise
and Foolish Nirgins,' and William
! Strang's "Jairus's Daughter"