PINE ARTS IN 1900. 



229 



devant 1'Auberge, 5,700. Ziem Le Grand Canal 

 a Venise, 49,500; La Flotte dans le Grand Canal, 

 29,700. 



An equestrian statue of Washington, the gift of 

 the women of America to the women of France, 

 was unveiled in Paris on the 3d of July. It is 

 the work of Daniel C. French and E. C. Potter, 

 'and is the first bronze statue cast in the United 

 States and sent to Europe. The total height, with 

 the pedestal of Tennessee marble, is 22 feet. 



A statue of Rosa Bonheur, representing her in the 

 costume she was accustomed to wear when at work, 

 has been erected in one of the principal squares of 

 Fontainebleau. She is clad in a peasant's blouse 

 which partially covers velveteen trousers, the dress 

 well known to the farm hands of By, a little place 

 a few miles from the forest of Fontainebleau. The 

 head, covered with a mass of bushy hair, as she 

 used to wear it, is a fine one. 



London: Royal Academy. The thirty-first 

 annual winter exhibition was devoted to the works 

 of Van Dyck, and, though coming so soon after 

 the tercentenary exhibition at Antwerp last year, 

 possessed some features which made it of especial 

 interest. While it contained more of the best 

 English examples of the master than were shown 

 at Antwerp, it exhibited also some of the best 

 foreign examples which made that display memo- 

 rable. Among these latter was the famous portrait 

 of Philip, Lord W'harton, belonging to the Emperor 

 of Russia, sold in 1779 with the Walpole collection. 

 Other notable exhibits were" the Madonna and 

 Child with the Abbe Scaglia as Donor, lent by 

 Lady de Rothschild; The Betrayal of Christ, by 

 Sir Francis Cook; Marchese di Spinola, by the 

 Earl of Hopetoun; portrait of Paola Adorno, by 

 the Duke of Abercorn; and portraits of Thomas 

 Killigrew and Thomas Carew, portrait of Beatrice 

 de Cusance (Princesse de Cante-Croix), and Three 

 Children of Charles I, from the collection at Wind- 

 sor Castle. 



The one hundred and thirty-second summer ex- 

 hibition, with more than 2,000 numbers, equaled 

 in artistic importance most of those of past years 

 notwithstanding the absence of some of the great 

 names removed by death in the past decade. 

 Among the recognized best pictures of the year 

 is Mr. Sargent's life-size portrait of the three sisters 

 of George Wyndham, M. P. Lady Elcho, Mrs. 

 Tennant, and Mrs. Adeane which some of the 

 critics account one of the noteworthy products 

 of the last quarter of the century. Besides this 

 masterpiece, Mr. Sargent contributed portraits of 

 Lord Russell of Killowen and of Lord Dalhousie, 

 both of which attracted attention. 



Briton Riviere contributed a notable St. George, 

 representing the hero stretched at full length on 

 the ground, exhausted by his encounter with the 

 d rayon, with his head upheld by the succored 

 Princess Sabra. The dragon, which forms the cen- 

 tral motive of the picture, stretches his immense 

 body in a sinuous line from the foreground, where 

 it incloses St. George's horse, to the edge of a 

 cliff, where its head lies. Beyond the cliff are the 

 deep blue waters of the sea, their color reflected in 

 the blue scales of the dragon, which are emphasized 

 by the chestnut of the crushed horse. 



Sir Alma-Tadema's exhibit, entitled Gold Fish, 

 represents a pillared and tessellated court with a 

 gold-fish pool in the center. Beside this, lying 

 at full length, with a cushion under her arms, is 

 a red-haired girl in a pale green robe, and in the 

 distance an almost imperceptible figure crossing a 

 bridge is watched by a girl on the terrace without. 



Sir Edward Poynter, the president of the Acad- 

 emy, was represented by a life-size portrait of 

 Mrs. Murray Guthrie, in an evening dress of white 



satin, seated in an empire chair. He sent also a 

 classical study in oils two Greek girls at a foun- 

 tain- and a water-color drawing of a scene beside 

 the Lake of Orta. 



E. Blair Leighton's picture, entitled God Speed, 

 represents a lady standing on a stairway beside 

 a castle gate, binding a scarf on the arm of her 

 knight about to go forth, one may suppose, to 

 combat for her sake. Through the gateway, under 

 the raised portcullis, are seen the spears of his 

 troop riding out of the castle. 



Edwin Abbey was represented by two Shake- 

 spearean themes, one, entitled The Trial of Queen 

 Katherine, depicting a poignant moment in the 

 history of Katherine of Aragon, the other The 

 Penance of the Duchess of Gloucester. The latter, 

 wrapped in only a white sheet and barefooted, is 

 walking over rough stones carrying a lighted 

 taper, followed by her conductor to the Isle of 

 Man, Sir John Stanley. 



A. S. Cope contributed a full-length portrait of 

 Lord Kitchener of Khartoum, in khaki, standing 

 in his tent, and Prof. Herkomer sent a three-length 

 life-size portrait, in uniform, of the Duke of Con- 

 naught. 



Mr. Orchardson's picture, the largest in the ex- 

 hibition, being some 14 feet long, a commission 

 from the Royal Agricultural Society, commemo- 

 rates the Prince of Wales's presidency of the soci- 

 ety. It represents the corridor at Windsor Castle, 

 with the Queen, the prince, and other members 

 of the royal family carefully and successfully 

 grouped. 



Among many landscapes and sea views, note- 

 worthy are Colin Hunter's London from the Tower 

 Bridge, David Murray's In View of Windsor, Ed- 

 ward Stott's Saturday Night, J. McWhirter's Over 

 the Sea from Skye, and C. E. Johnson's Autumn 

 on the Wye. 



English artists are disappointed at the decrease 

 of the amount of sales of pictures at the Royal 

 Academy, the total being 16,084, as against 

 21,670 received in 1899. The falling off is gen- 

 erally attributed to the war in Africa. Frank 

 Dicksee's Two Crowns was purchased by the 

 Chantry fund trustees for 2,000. Miss Kemp- 

 Welch's Horses Bathing brought 1,000. The 

 highest price paid for a water color was 150 for 

 a work by Alfred East. 



London: New Gallery. The winter exhibition 

 was devoted to examples of early Flemish and 

 Netherland art. Most of the famous masters of 

 these schools were represented either by well- 

 known originals or by attributed pictures. Among 

 the interesting examples was The Holy Women 

 at the Sepulchre, attributed to Jan van Eyck, 

 from the collection of Sir Francis Cook. Of many 

 pictures attributed to Hans Memling, the Virgin 

 and Child with Saints, owned by Mr. Bodley, was 

 most admired. The north room was devoted al- 

 most entirely to Rubens, among the exhibits being 

 his large Daniel in the Lion's Den ana Diana and 

 her Nymphs. 



The fourteenth summer exhibition contained 498 

 numbers of about the average merit. Among the 

 best pictures was Edward Stott's Little Apple 

 Gatherer, a blue-eyed peasant girl standing full- 

 faced, plucking with her left hand fruit from a 

 limb above to put into her pinafore gathered up 

 with her other hand. The same artist sent also 

 two other pictures The Widow's Acre and Sun- 

 down. 



Mr. Watts contributed portraits, as did also 

 Sir George Reid and Mr. Sargent. Mr. Sargent's 

 picture, the Hon. Victoria Stanley, represents a 

 little girl of six years, standing with a whip in 

 her hand. 



