The photographic news

• Bandzählung: 35.1891
• Erscheinungsdatum: 1891
• Sprache: Englisch
• Signatur: F 135
• Vorlage: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: SLUB Dresden
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-189100009
• PURL: http://digital.slub-dresden.de/id1780948042-18910000
• OAI: oai:de:slub-dresden:db:id-1780948042-18910000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

28 THE PHOTOGRAPHIC NEWS. [January 9, 1891. “ OLD MASTERS ” AT THE ACADEMY. BY REV. F. C. LAMBERT, M.A. The twenty-second winter exhibition (now open) contains rather fewer “ oils ” tban usual, but by way of compensation is offered an unusually interesting collection of water colour work, which illustrates fairly well the history of art in that medium from about the middle of the last century up to recent times. The first fifty-nine water-colours will be found in the little “ black-and-white room,” commencing with seven works by Paul Sandby, R.A. (1725-1809), lent by H.M. the Queen, representing various views in and about Windsor and Hyde Park—all characteristic of the artist. Then come two architectural works by Michael Angelo Rooker, A.R.A. Nos. 16-29 form an interesting series of works by J. R. Cozens ; Nos. 16 and 17 are both good examples; Nos. 18 and 19 are severely formal in composition ; No. 25 is very cold in tone, but of skilful form ; No. 23 being, per haps, the most attractive, by reason of the able rendering of distance and atmosphere. Two pictures (Nos. 30 and 31), the latter signed and dated 1813, by Francois L. T. Francia, are well wortli notice for their broad and simple treatment. The “Pool of London,” by J. C. Barrow, representing the great frostof 1789, which was of European fame, comes before us just at a time when the old-fashioned winters are better in art than in fact. Close by is another old Thames view, under more agreeable climatic conditions, from the brush of Thomas Girtin. Nine other works by this master are shown, none of which present him at his best; perhaps Durham (No. 38) and Lichfield Cathedral (No. 44) are the most note worthy ; while the rainbow in No. 42 is a failure ; and No. 40 (Peterborough Cathedral) certainly gives one the feeling of a wide-angle lens used “ not wisely . . . &c." Two of Henry Edridge’s (Nos. 48 and 49) are of his average quality. The remaining ten works in this room are by John Varley, of which Nos. 54 and 55 will well repay examination. Passing now into the Water Colour Room, we find ten examples of J. S. Cotman. Note the flow of the water in No. 60. In No. 62 we have a splendid piece of cloud drawing, and at once say, “this man would have appreciated a good cloud photograph.” [Cotman is also known by his two-volume work on the “ Architectural Antiquities of Normandy,” and also for a volume on “ Sepulchral Brasses of Norfolk. ”] The “ Sea Piece ” (No. 66) indicates possibly some influence of Turner, to whom Cotman was junior (1780-1820). Next, we have no less than twelve examples of David Cox ; of these Nos. 70, 71 are very fine ; No. 74 will delight the advocates of rough paper; No. 76 is interestingas showing the masters’method of treating water. For two years in succession the authorities have shown us some Turners, and once again we have a baker’s dozen. The first example (No. 82, sea piece) is interesting as showing his method of working with body colour on tinted paper, with indications of the lead pencil being used with fine effect. No. 85 is very sweet and tender, painted in one of his brightest moods. No. 87, York, is more after his early method, and No. 91 again shows his power of dealing with bright sunlight; the sun in his lens, as we should say. It is here well worth noting that Nos. 82, 83,86, 93, 94, show Turner’s mastery in depicting rough water, while Nos. 84, 87, 91, 92 give his other method in dealing with a placid, calm surface. Peter de Wint (1783-1849), practically a contemporary with Turner, is represented by nine pictures. He also appears to have had two modes, which are represented by Nos. 96,98, and by 99,102. No. 103 is exceedingly interest ing, as showing his highly successful rendering of a primary and secondary rainbow, an effect seldom seen, and, perhaps, never before attempted in painting. Next come twelve frames containing fairly representative work of William Hunt (1790-1864). Of these, No. 108, “The Cricketer,” is a splendid example of vigour and “go,” giving one an idea of what an ideal snap-shot with the camera might be. In No. 112 the boys’ faces are not sufficiently typical in form or colour; otherwise the picture is very fine in artistic quality. George Barret is represented by seven works, Nos. 116-122. Of these Nos. 117, 121, and especially 122, may be taken as representing his power in depicting scenes bathed in warm light. Prout is only represented by two very un-Prout-like works, while G. F. Robson is well seen in No. 131, "Durham." R. P. Bonnington also is well represented by Nos. 135 and 136. Samuel Palmer’s vivid colouring is adequately presented in Nos. 139 and 140. Of the six pictures by J. F. Lewis, No. 142 is conspicuous, and, in a truly wonderful manner, indicates the outside bright sun light by showing its effect diffused in and through out the interior of a harem, with here and there patches of stronger light finding their way through the lattice. The lesson this picture conveys to interior photo graphers as regards transparency and luminosity of shadow is most valuable. The water-colour section closes with fourteen examples, Nos. 147-160, by a modern master whose life was cut short in his prime. If F. Walker (1840-1875) had only painted these fourteen pictures, they would entitle him to rank as a painter of the first order. Space does not permit notes upon each picture at length; but No. 150, “The Old Farm Garden,” No. 152, “ Girl driving Geese,” No. 154, “Vale of Rest,” No. 158, “ The Ferry,” No. 156, “Philip in Church ”—in fact, every one of these splendid works, must be seen. Note how, in nearly every one, he catches a figure at a point of graceful rest, and yet with all the swing and go of full motion. Note, too, how the light bathes the whole scene, especially in Nos. 154 and 158. Here was a man who, we are told, only would put brush to paper when the fit was on him, but “ a little and good ” was perhaps his motto. Of the oils of those painters whom we more generally designate as old masters, the first room contains many good examples by Gainsborough, Reynolds, &c. In No. 1 we see Gainsborough as a landscapist, followed by several of his portraits. In Nos. 9 and 39 John Crome shows his regular “ crome-esque ” trees, &c. George Romney gives a lady’s portrait, nor does the pigment seem to have been as much affected by time as most of the other paintings in this room; the colouring of this (No. 10) is very fine; the shadows are grandly luminous. A scene from “ Comus” by Etty (No. 13) is in his usual grace ful form. Turner is seen to disadvantage in No. 18, and to advantage in a sea piece, No. 21. Two snow pieces by Sir E. Landseer seem to throw the whole room out of harmony. When it is remembered that this room contains seven Gainsboroughs, five Sir Joshuas, five Romneys, two Hogarths, three Zoffanys, two Turners, two Hoppners, and many others, it will be seen at once that any incon gruous element is a matter for regret. On taking a last look, it will be noticed that all the ladies are presented in