The Art Journal 1891

Artists In Their Studios

Last year we presented to our readers a selection of the principal pictures from the various galleries that open in London and abroad during the month of May. This year a different plan has been adopted. Mr Raven Hill has paid a visit to the principal studios, and there made sketches of the painters at work on their canvases. These beginning with the half dozen in the present number, will be continued from month to month, interspersed occasionally with reproductions

Of the pictures themselves. As the Academy will not open till some weeks after the time of writing, any criticism of the pictures is out of the question: that will follow in its appointed place next month.

Sir Frederic Leighton R.A. painting "Perseus and Andromeda"

Sir Frederic Leighton as the result of this year’s labour is able to show three pictures and one piece of sculpture. Of the pictures the largest and most important is a rendering of the Perseus and Andromeda legend, a well-worn theme, which the President has succeeded in investing with remarkable originality.

Perseus, who appears overhead on a winged horse in an aureole of light, is in the act of shooting an arrow at the monster. One arrow, indeed, has already found its way into the beast’s hide, and we can only hope that the second will finish the business, for a more terrible or loathsome creature it would be difficult to imagine. Something between a serpent and a dragon, it sprawls across the rock angrily lashing the water with its tail, and prepared in another moment to turn upon Andromeda, who has swooned before the horrid sight.

A classical subject has also inspired Sir Fredric to the painting of another important picture, “The Return of Persephone.” She was the daughter of Demeter, the Goddess of Harvest, and she had the misfortune to be loved by Pluto, who caught her one day and carried her down to the dark land where he reigns. Because of her mother’s grief, it was

Ordained that Persephone return to earth for six months every year; and Sir Frederic has depicted Persephone in the act of being borne back to earth by Hermes, the messenger of the gods, to Demeter, who waits to receiver her. The figures are remarkable in both form and colour, the latter especially being remarkable.

A portrait and a marble reproduction of the “Athlete” completes the President’s contributions.

Luke Fildes R.A. painting "The Doctor

Mr Luke Fildes has devoted his energies to the production of one large picture which will appear on the walls of the Academy, probably under the title of “The Doctor.” It is a return to a class of of work for which Mr Fildes first earned his spurs-pictures of domestic genre and of that section of life where the failures just exist by the philanthropy of others. Since these days Mr Fildes has produced many brilliant pictures of Venetian life; in fact so long have these vivid transcripts of colour been with us that it seemed as if the painter had forsaken subjects of “The Casuals” and “The Widower” types. “The Doctor” shows to us the poor room of a poor cottage, wherein a child lies in an almost hopeless state, on a bed roughly put together with a couple of chairs and some pillows. It is no passing childish ailment but a very serious illness which has kept these people watching the long night till dawn, which, now stealing through a small window at the back of the cottage, affords the ray of hope without which the scene would be too sad. The interest of the picture centres not on the sick child, but on the doctor, who is evidently sorely puzzled as to the means he shall adopt at this supreme moment. We are glad to hear that “The Doctor” is a commission of Mr Henry Tate’s, and will be included in his gift to the nation.

Marcus Stone R.A. painting "Love at first Sight

Mr Marcus Stone may here be seen engaged upon one of those subjects with which he has identified for so many years. The scene is the garden of a country house belonging to a man who is able to indulge himself with various luxuries. To hem has been given a daughter, of course beautiful, and of an age when to love and be loved are as natural as eating and drinking. The season is summer, the epoch somewhere in old times. The exact date is not important, but it is a time when dress was picturesque. A visitor has called, a youth, who now sees the daughter of the house for the first time; she keeps her eyes carefully fixed on her book, and sees him or not as the spectator fancies. The father, garrulous over his possessions is pointing out to the youth their many beauties and uses to the youth, but he has eyes for nobody save the young lady so intently occupied with her book. There was only one title for this picture, and that title Mr Stone has upon, to wit, “Love at First Sight.”

David Murray A.R.A. painting "Furze"

This year for the first time Mr David Murray has the pleasing privilege of exhibiting pictures at the Royal Academy without the ordeal of submission to a jury. He will be represented by three large landscapes that have been painted during the last year in Sussex. With landscape painters the titling of their pictures represents difficulties which are frequently not overcome till the approach of sending-in day compels an immediate decision. A line from a poet has its advantages and disadvantages, on of the latter being that the painter himself is apt to forget it after awhile. Mr Murray has this year adopted the plan of calling two of his landscapes by a single word. Thus the picture the painter is engaged upon in our sketch will go down to posterity under the simple appellation of “Furze,” that shrub forming a chief feature of the landscape.

J.J.Shannon

It is an old story that men who have achieved fame in one branch of their profession, are generally anxious to test their skill in another branch Mr Shannon has long intended to pain a subject picture, but the charming portraits that have appeared in the last few years from his brush have left him no time. Some half a dozen portraits or so represent his work for the last year, and in this sketch he may be seen stepping back for a moment to study an effect.

Chevalier Tayler painting "La Vie Boulonnais"

While painters in London have to bemoan thirty days of fog when work was impossible, Mr Chevallier Tayler can look at his picture and say : “ I have not been prevented from working for a single day since last summer.” It was at that time that he betook himself to Boulogne, where he felt sure he would find a subject “La Vie Boulonnaise.” His anticipations proved correct, and for seven months he was engaged upon the picture shown in our sketch, from the vantage ground of a glass house he built on the Boulogne quay. This sketch was not taken in Boulogne, but in London, whither he brought the picture to add some finishing touches before sending-in day.