The Royal Academy Exhibition, 1875
This, I suppose, we must assume to be the principal historical piece of the
year; a work showing artistic skill and classic learning, both in high degree.
But both parallel in their method of selection. The artistic skill has
succeeded with all its objects in the degree of their unimportance. The piece
of silver plate is painted best; the griffin bas-relief it stands on, second best;
the statue of the empress worse than the griffins, and the living personages
worse than the statue. I do not know what feathers the fan with the frightful
mask in the handle, held by the nearest lady, is supposed to be made of; to a
simple spectator they look like peacock's, without the eyes.2 And, indeed, the
feathers, under which the motto "I serve" of French art seems to be
written in these days, are, I think, very literally, all feather and no eyes―the
raven's feather, to wit, of Sycorax.3The selection of the subject is
similarly―one might say, filamentous―of the extremity, instead of the centre.
The old French Republicans, reading of Rome, chose such events to illustrate
her history, as the battle of Romulus with the Sabines, the vow of the Horatii,
or the self-martyrdom of Lucretia. The modern Republican sees in the Rome he studies
so profoundly, only a central establishment for the manufacture and sale of
imitation-Greek articles of virtu
(1)[In the Art of England, §61,
Sir Lawrence Alma-Tadema is named by Ruskin as representatively
"classic," as "a careful and learned interpreter of certain
phases of Greek and Roman life, and as himself a most accomplished painter, on
long-established principles." In the same lecture (§77) Ruskin mentions
Alma-Tadema as "differing from all the artists I have ever known, except
John Lewis, in the gradual increase of technical accuracy, which attends and
enhances together the expanding range of his dramatic invention." Tadema
was elected A.R.A. in 187(5, and R.A. in 1879.]
(2)[Compare the letter in Hortus
Inclusus, cited in a note in Stones
of Venice, vol. i.(Vol. IX. p. 288).]
(3)[The Tempest, i.2:―
Caliban. As
wicked dew as e'er my mother brushed
With raven's feather from
unwholesome fen
Drop on you both ! . . .
This island's mine, by Sycorax
my mother.
The passage is quoted and commented upon in Munera Pulveris, §134.]
The execution is dexterous, but more with mechanical steadiness of
practice than innate fineness of nerve. It is impossible, however, to say how
much the personal nervous faculty of an artist of this calibre is paralyzed by
his education in schools which I could not characterize in my Oxford inaugural
lectures otherwise than as the "schools of clay,"1 in
which he is never shown what Venetians or Florentines meant by "painting,"
and allowed to draw his flesh steadily and systematically with shadows of
charcoal and lights of cream-soap, without ever considering whether there would
be any reflections in the one, or any flush of life in the other. The head on
the extreme left is exceptionally good; but who ever saw a woman's neck and
hand blue-black under reflection from white drapery, as they are in the nearer
figure? It is well worth while to go straight from this picture to the two small
studies by Mr. Albert Moore,2 356 and 357,3 which are
consummately artistic and scientific work. Examine them closely and with
patience ; the sofa and basket especially, in 357, with a lens of moderate power;
and, by way of a lesson in composition, hide in this picture the little
honeysuckle ornament above the head, and the riband hanging over the basket,
and see what becomes of everything! Or try the effect of concealing the yellow
flower in the hair, in the "Flower Walk." And for comparison with the
elementary method of M. Tadema, look at the blue reflection on the chin in this
figure; at the reflection of the warm brick wall on its right arm; and at the
general modes of unaffected relief by which the extended left arm in "Pansies"
detaches itself from the background. And you ought afterwards, if you have an eye
for colour, never more to mistake a tinted drawing for a painting.
(1)[See Lectures on Art, chs.
v. and vii. 139, 173, 185, etc.]
(2)[Albert Moore (1841-1893), brother of Henry Moore. There is a
characteristic example of his work in the Tate Gallery (No. 1549, " Blossoms").]
(3)[356."A Flower Walk." 357. "Pansies."]