LondonAuthor(s): Keith RobertsSource: The Burlington Magazine, Vol. 115, No. 841 (Apr., 1973), pp. 259-260+262-263+265Published by: The Burlington Magazine Publications Ltd.Stable URL: http://www.jstor.org/stable/877344 .

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THE LITERATURE OF ART

I published with Gilberto Ferrez in 1960. The views in the Highcliffe Album are infinitely finer because of the atmospheric effects which Landseer created, showing great expanses of Rio and other Brazilian cities and towns as they looked in 1825 and 1826, the narrow streets of Rio with their one-storey houses, the white dwel- lings and church towers on shimmering beaches, the towering tropical trees and the inevitable black slaves at their labours. This almost vanished world of early Imperial Brazil is nowhere better sensed than in these handsome pages, which have established the reputation of Charles Landseer as one of the most distinguished members of the company of costumista painters in Brazil.

ROBERT C. SMITH

Current and Forthcoming Exhibitions General

Until I8th April, The Sabin Galleries in Cork Street has an exhibition entitled 'The Sublime and Beautiful', consisting of portrait drawings and caricatures by George and Nathaniel Dance. The ex- hibition is a little mirror of the London social scene from the late I780's onwards. Of considerable documentary interest are the portrait heads, invariably in profile to the left imitating low-relief cameos, of all the leading figures in the dramatic, diplo- matic and artistic world of the day - people most of us only recall from memoirs and letters but who are here brought to life by the curve of a nose or a forehead, by a beady disgruntled eye. The carica- tures are amusing in an Ardizzone kind of way but have not the same incisiveness. One misses the sharp satire of Gillray, but the Dances were evidently too amiable for savagery.

From I5th April to I5th July the Galerie du Luxembourg, 98 rue Saint- Denis, Paris is organising an exhibition of works by Jean Dunand (1877-1942) and his group. They are among the best avant garde decorative artists of the period of the ia920's, influenced by cubist sculp- ture, abstract and African art, and are oddly enough little known, although their counterparts in Germany, at the Bauhaus, have become household names. Among the exhibits are a curious polished silver and enamel clock by J. Goulden (Fig. I o6) which looks like an early Lipchzit; some beautiful copper vases of geometrical design by J. Dunand (Fig.Io8); and a semi-Cubist Divinite' noire by Dunand and Miklos. These artists were quite self- effacing and sometimes it is hard to sepa- rate their individual styles, a fact which justifies their exhibition as a group.

The West German Art Fair was held at Cologne this year from i7th to 25th

March, but news of it reached us after the March issue had been put to bed. Among the large number of interesting items were a walnut Apollo and Daphne of the German Baroque period lent by G. Pahl, Munich (Fig.Io5); an elegant eighteenth-century parcel-gilt goblet lent by Hebert M. Ritter, Munich (Fig.I107); and a maiolica dish of c.I540 lent by Albrecht Neuhaus, Wtirzburg (Fig.IO09).

The following exhibitions are on view until 2nd May at the Pierpont Morgan Library, New York: 'The Classics Revived'; 'The Life of St Edmund'; 'Major Acquisitions 1971-72'. The first on the Classical revival consists of some of the most unusual papyri, manuscripts, and printed editions in the collections devoted to the classical authors of Greece and Rome. The Exhibition includes ancient papyri from the first to the sixth centuries, early manuscripts from the sixth to the twelfth centuries, later fifteenth- century manuscripts, and printed editions from the fifteenth to eighteenth centuries. The greatest emphasis of the exhibition is on the early printed editions of the Classics which have been assembled from the Library's collection, the finest in this area in the United States. It includes first editions of Cicero, Euripides, Homer, Horace, Ovid, Propertius, and Juvenal, as well as other important first editions. A number of these editions can be found only in this or one other copy in the United States. In addition, there is a selection of fine eighteenth-century editions by such famous printers as Baskerville, Bodoni, Didot, and Ibarra. Also on exhibition is The Life and Miracles of St Edmund, one of the most important of the Romanesque manuscripts in the collection of the Library. This English manuscript, one of the earliest preserved biographies of an English saint with illustrations, was pro- bably made for the Abbey of Bury St Edmunds in the second quarter of the twelfth century. It is a landmark for both the history of hagiography (the narration of the lives of the saints) and art. The thirty-two full-page miniatures at the beginning of the manuscript form the longest extant Edmund cycle ante- dating the fifteenth century. The third exhibition dealing with major acquisitions from 1971 to 1972 includes music manu- scripts, autograph manuscripts, printed books, prints and drawings, and a very important illuminated manuscript. The early sixteenth-century French illuminated manuscript Roman de la Rose is on show. This fine manuscript was originally dedi- cated to Francois I. Superb examples of Italian, English, French, Flemish, German, Dutch, and Swiss drawings of the six- teenth through the nineteenth century are presented. Especially significant are To- bias Stimmer's The Crucifixion, Goltzius's Mountainous Coastal Landscape, a superb example of sixteenth-century Netherland- ish landscape draughtsmanship, and Jacques Bellange's The Hunter Orion Carry- ing Diana on His Shoulders, a brilliant

rendering of Bellange's pen-and-wash style.

B.N.

London At the Tate Gallery (until 23rd April),

Mr Robyn Denny's retrospective exhi- bition, dominated by a series of highly controlled visual studies in geometry and colour relationships (Fig.ii6). After a spell at the Victoria and Albert Mu- seum, and now travelling,1 a series of photographs of the Dustbowl and its victims (Figs.i 14,115), from the files as- sembled between 1935 and 1941 by the Farm Security Administration, an agency within the U.S. Department of Agricul- ture.

There could hardly be a greater con- trast; and at first sight a comparison might seem to be irrelevant, even unfair. For the Dustbowl photographs are infinitely more exciting, more moving and more thought- provoking than Mr Denny's excellent canvases, for all their intriguing geo- metrical patterns and subtle, often beauti- ful, arrangements of colour. The artist's supporters might also claim that such a comparison is bound to be unbalanced, given the nature of the photographs in question, with their obvious appeal to our human sympathies and social conscience. But such a contrast does seem to me to be useful in underlining one of the major problems posed by abstract painting.

The tyranny of the subject in art has long given way to the deepest suspicions about any theme that exerts too much extra-pictorial pressure. At the same time, defenders of abstract art have taken over the critical criteria, formerly applied to art of more varied character, and tried to use it in the same kind of way, as- suming the same range and scope, the same potential depth of feeling and effect. This has led, among much else, to many a long and tortuous essay in the front of an exhibition catalogue. In his highbrow introduction to the beautifully produced Tate catalogue, Robert Kudielka makes rather grand claims for Mr Denny's canvases, which he feels should create in the spectator a new sense of space and encourage him to think about concepts of time.

But does it then follow that an abstract painting - say Wardrop I (Fig.ii6) - can never be as good as a work with a recog- nizeable subject? No it does not: but what does follow, I believe, is what I have often alluded to before in this column, that it is much harder to succeed to achieve the same emotional level, in abstract art. It is sometimes argued that 'strong' sub- ject-matter gives the artist a head start- we are so moved by the theme that we scarcely bother to notice how it has been treated - but aesthetic experience actually suggests the opposite. A Crucifixion, a Massacre of the Innocents, or a First World

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CURRENT AND FORTHCOMING EXHIBITIONS

War scene, shows up the artist unmerci- fully. A single false step, the slightest weakening of creative insight, and we are back in the world of unseemly rhetoric. What makes the Dustbowl photographs so moving and so powerful is not just the subject-matter but skill with which the material is enhanced, but not distorted, by the photographer's art so that we see neither an aspect of the raw truth nor facts consciously distorted, but images. Technique has fused; art conceals art.

The reverse situation is equally untrue. Absence of conventional subject-matter does not make things easier; it makes them twice as hard. Any lowering of imaginative pressure, the merest suggestion of banality, in either the design or the colouring and we are right back in the world of pattern and ornament. There is nothing wrong with pattern and ornament, but the im- plications of Mr Kudielka's essay imply a good deal more, in particular a capacity to construct out of shapes and colours a vision that actually belies its simple, ever-

present constituents. Can mauve next to a

particular shade of dark green create a major emotional experience? Can a

triangle be so placed that it achieves a

significance quite beyond its geometrical character? Occasionally, yes: the finest

paintings of a Mondrian or a Rothko do show that it is possible.

From the beginning, Mr Denny would seem to have been a master of confident, large-scale abstract compositions, in the late 1950's often collages with random colour added, in the spirit of Schwitters and Pollock, but since the early I960's confined to hard-edged patterns in which the play between shape and colour is the dominant point. Sometimes the effect is

inviting, soothing, like the picture re-

produced in Fig.i16, with its contrasted blues, browns, greyish sage greens and dull mauves; and sometimes it is in-

tentionally repellent, especially when very strong greens and blues or mauves and scarlets are juxtaposed.

Mr Denny's best pictures are certainly not trivial. Less strident and less tinny than the work of, say, Frank Stella, they are thoughtful, often serene, occasionally very beautiful, and they justify their often very large scale. But I still do not believe that the artist has scaled the treacherous ice-wall of abstraction; he nearly reaches the top, but in the end does not quite make it. The pictures never float quite free of the appalling restrictions of the idiom; they relapse into pattern, serious, sometimes inspired, but pattern all the same. You might say that they are beauti- ful because of the skill and taste that has gone into their making, rather than miraculous in spite of their purely formal limitations. The pleasures they afford are civilised, pleasing, but also thin. There is after all a limit to what pattern can do. Whereas the best of the Dustbowl photo- graphs (Figs.114,i5), being aesthetically secure, celebrate moral feeling as well as art.

The acquisitions by the National Por- trait Gallery of the three Hill/Adamson albums of early photographs from the Royal Academy was surrounded by a good deal of publicity, which must have en- sured a good attendance for the subsequent exhibition of modern prints of the photo- graphs at the Gallery. A smaller version will be touring the country, and a souvenir booklet with sixty-four illustra- tions has been produced by The Times (9op). The photographs themselves are superb, and I can add nothing to the review of the earlier Hill/Adamson exhi- bition that appeared in August 1971. But what it is important to stress now is the very serious way in which the Portrait Gallery is tackling the issue of photography with regard to its collection. At the same time, while it is highly desirable that photo- graphs should be included in the per- manent display, and added to the archive, is it always necessary to spend large sums on acquiring original prints? As the exhibition has just shown, modern re- productions can be as good; and, anyway, the gallery has always (rightly) concen- trated on collecting portraits, largely irrespective of their status as an autograph original, studio version or even early copy.

Arthur Segal (1875-1944) was a Rou- manian-born painter who joined the Berlin Academy in 1892, studied in Paris and Italy, and helped to found the Neue Secession, where he exhibited in 191o and 1911, along with Nolde, Kirchner and Schmidt-Rottluff. An interesting exhi- bition of his paintings has been arranged by Richard Nathanson and is to be seen at The Alpine Club, 2nd-I4th April. The talent is not a major one, but several of the pictures are definitely worth seeking out, not only for their intrinsic qualities but also for their fascinating period flavour. Interior II (Fig.xI 7), with its Surrealist stillness, angular furniture and

sharp, cinematic lighting, belongs very properly to 1928. Less successful, but still intriguing, are the narrative pictures (c.1919-27) with their curious blending of the icon tradition, Cubism and Rayon- nism - and, apparently, Goethe's colour theories. There is also a group of Segal woodcuts on view, freer in handling and starker in mood.

Hartnoll & Eyre (39 Duke Street, St James's) is certainly a gallery to watch, for those interested in Victorian and late Pre-Raphaelite art. Their recent exhi- bition, though small, contained a number of interesting pictures. Pride of place must go to Sidney Meteyard's Lady of Shallot (Fig. I I I), precisely painted and dominated by blues and purples, a Pre-Raphaelite image subtly re-orchestrated along Art Nouveau lines and dating from I9 I3. Also on view were a latish Arthur Hughes; Cupid with Doves, a semi-circular decora- tive canvas by Lord Leighton; a rather dingy Edwin Long, Esther, shown at the Royal Academy in 1879; and a good Burne-Jones, The Challenge in the Wilderness, probably begun in the early I870's and

worked on later. Pre-Raphaelitism in its Art Nouveau

phase had its effect on Lucien Pissarro, and in particular on his wood engravings, which were included in a recent Leicester Gallery exhibition devoted to the graphic work of the Pissarro family - the other two being of course Camille and Orovida. Lucien was not a particularly distinguished artist, but his response to black and white was in many respects keener, and more positive, than the approach of Camille Pissarro, whose prints, while delicate, lack the breath-taking interplay of tone that he achieved in oils. Historically, of course, they are of some significance, especially in the way they reveal the influence of Millet in the subject-matter.

The Mellon water-colours and draw- ings, at the Royal Academy until 3oth April, and alluded to in the February issue, fully live up to the expectations aroused by the sumptuous catalogue. The collec- tion, as a whole, is not particularly fas- cinating: the choice is both too compre- hensive and too cautious for that. But the quality of the individual items, from grand Turners (Fig.113) to the George Dance II Portrait of a Boy, or from the Blakes to The Geographers of John Brown, with its overtones of Fuseli, is so high that the opportunity to see them should on no account be missed.

Two other exhibitions also concentrate on comparable British material. At Spink's, there is a selection of drawings and coloured aquatints by Samuel Daniell (1775-1811), who travelled and worked in Southern Africa and Ceylon, and used the material for two sumptuous publications, African Scenery and Animals (1804) and a comparable volume on the scenery, animals and people of Ceylon (1808). As Basil Taylor suggests in his introductory essay, Daniell deserves to be better known. His drawings (Fig. I Io) have

quality and charm, the natives being observed (well before the anti-slavery Bill) with considerable tenderness, while the best of the aquatints combine keen observation with delicacy of colour and an overall simplicity of presentation that naturally brings to mind the work of Stubbs, whom Daniell actually met in

August 180o3. The second exhibition, at The City

Gallery (Royal Exchange) until 5th April, includes several very attractive British landscapes and seascapes, com- forting by virtue of their emotional security, and pleasing on account of their craftsmanship. The Landscape in the Lake District (Fig. I12) has just a hint of Wilson, and even a touch of Fragonard, and is actually by John Rathbone (1750-1807). Thomas Creswick is represented by a View in Wales, E. J. Niemann by a View in Ashdown Forest, luscious and inviting after the manner of Turner's Crossing the Brook. There are also examples of William Linnell, Benjamin Barker of Bath (The Lost Ferret), and George Vicat Cole.

It is back to abstraction with Mordecai

260

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CURRENT AND FORTHCOMING EXHIBITIONS

Ardon at Marlborough: large, heavily textured canvases, matt surfaces often enlivened with cunningly placed pools of colour. It is only after a close inspection that many of the pictures yield up secon- dary meanings, subjects even, hinted at in Cabbalistic signs and musical allusions. The effect is of Klee working on the scale of Mir6 or Ernst. But surrealism is used like garlic, for seasoning; the shapes and colours and textures are the important factors. Mr Ardon's talents are consider- able, and the pictures good - not, in all honesty, very exciting, or all that original, but good.

Much the same can be said about the still-lifes on which Adrian Stokes was working in the months before he died, and which are on view at the Tate. The proposition is by now a classic one, a few bottles, a cup and saucer, on a table. They are not painted for their de- scriptive value, but treated as elements in an exploration of colour and space that becomes virtually abstract in the most freely worked pictures. The familiar domestic utensils become detached from their surroundings, and float free, still withstanding and yet enveloped by colour and tone, the canvases taking on the character of a radiant late Turner and even hinting at Bonnard. The best of them - and there are only eleven - are good, irrespective of the tragic circumstances in which they were created and, in some ways more important still, quite apart from Adrian Stokes's achievements as a writer.

Finally, two important events at the Victoria and Albert Museum. The first is the re-opening of Room 50 West, which is devoted to sculpture in England between i6oo and 1850 and which displays, in a discreet yet elegant setting, not only the museum's own important collection but also many of the Flaxman plasters and models from University College, as well as other loans, in particular three sketch models by Roubiliac, lent by the Dean and Chapter of Westminster Abbey.

The second event is an exhibition of Recent Acquisitions. The material here includes items from the Handley-Read Collection, many of them presented by the family; more than forty drawings by Aubrey Beardsley collected by Ralph Harari, and purchased with N.A.-C.F. help; and the important group of textiles from the collection formed by Warner and Sons Ltd. It is hoped to reproduce many of these acquisitions, as well as examples of Far Eastern Art and European silver and porcelain, in issues over the next few months.

KEITH ROBERTS

I University of Kent, Canterbury, 28th March- S9th April; Wimbledon School of Art, 24th April - 26th May; Royal Museum, Canterbury, I ith August - 2nd September; Campbell Institute, St. Helens, Lanes., I5th September - 7th October; Willis Museum, Basingstoke, 20oth October -

I Ith November; and Wigan, 24th November - I6th December.

Paris One of the most short-lived of great

works of art, the monument to Louis XV on the Place de la Concorde, is the subject of the latest exhibition to be mounted at the Cabinet des Dessins (until 30oth April, catalogue by Lise Duclaux). Of the statue itself only the massive right hand remains, detached from the baton of command, to record the misuse of essential war material. Because of the shortage of bronze during the Seven Years' War, Bouchardon did not live to see the monu- ment inaugurated; those that did enjoyed the sight for a bare thirty years before it was requisitioned for the revolutionary foundries. Few dared to regret the loss at the time, and to most it was a good riddance. It was a poor advertisement for royalty, as Falconet had realised. For this particular sitter the attitude of a con- queror was ill-chosen, and the costume a la romaine was more likely to aggravate than placate the citizen of 1792. The horse at least deserved better. It was the last and probably the best representation of a breed soon to be superseded. Nineteenth- century heroes are mounted on arabs.

A mass of preparatory drawings, which form the kernel of the present show, were bequeathed by Bouchardon's nephew to the Musee Napoleon in 18o8, while others were already there, acquired for the old royal collection at the Mariette sale of I775. Every stage in the gestation of the work is recorded, from the measured sketches of existing equestrian statues to the detailed sanguine drawings made in the stable. For these, Bouchardon could not have been luckier in his choice of a model. Caylus describes him as the epi- tome of good nature, letting the artist sit between his legs to draw the belly: 'he even seemed to associate himself with the business, and to inspect the drawing that was being done of him'.

To see these studies is to understand exactly what eighteenth-century theorists meant when they talked of correction du dessin. Sanguine, Bouchardon's habitual medium, is the test, for it cannot be erased or effectively blurred. Unfortunately a disciplined draughtsman did not neces- sarily make a good artist. It is interesting that the generation of David, when students, did their prize acadimies in black and white chalk on tinted paper, whereas a decade earlier their undistinguished precursors had done theirs in sanguine.

Their medium was certainly not well- suited for everyone who was made to learn it, but with Bouchardon the limi- tations provided a constant challenge, which he regularly met with a tour de force of simple parallel hatching (Fig. I I9). This astonishing dexterity is not the only quality that distinguishes his drawing: his manner of perceiving and choice of viewpoint are a continual surprise.

Obliged to study his model from every angle, he sets himself to draw from any point with as little embarrassment as a man with one eye. The results frequently

have an oddity that has been labelled surrealist: large-as-life anatomical details, nude models seen from around the corner of a pedestal. In fact it comes from a directness of vision that is as rare as the case of a sculptor completely dependant on his drawings.

The exhibition, which might have seemed rather dry if the Louis XV monument had been its only subject, has been filled out with drawings for earlier projects, notably Cupid cutting his bow and the fountain in the rue de Grenelle, as well as a number of surprisingly rococo compositions that were not executed.

'Autour du Nio-Classicisme' at the Cailleux gallery, rue faubourg Saint-Honor6, groups a fine collection of terra-cotta statuettes by Chaudet, Houdon, Pajou and Clodion inter alia, with a mixed bag of late eighteenth-century painting and drawing. Among the landscapes are a series of chalk sketches by Hubert Robert, a Joseph Vernet and an exquisite small view by Bidauld of the Gorge of Civita Castellana.

Oil sketches that belong more or less to the period I770-1820 are notoriously difficult to identify. They cause a few knitted brows before coming to rest in attributions that are seldom satisfactory. Only when the finished pictures become better known will it be possible to assign them to their right authors. Until that time one has to be prepared to admit simply not knowing what a given artist's sketching style looks like over his whole career. Two esquisses on show here have been definitely placed: one by Lemonnier, for Saint Charles Borromde portant les secours de la religion aux pestifiris de Milan, of 1785, and one by Meynier, for his prix-de-Rome picture of 1789, Joseph reconnu par ses

frdres (illustrated in M. Cailleux's Supple- ment last month, plate 6). Another, re- presenting what appears to be the Death of Priam, has been tentatively ascribed to Regnault, but seems most unlikely to have any connection with his picture of that subject shown at the Salon of I785. The attribution of a tiny Ddluge to Girodet (M. Cailleux's Supplement, plate 5) is tempting, though it has nothing in com- mon with the Louvre composition, and the subject was treated by many painters around the turn of the century. A sketch in the Musde Magnin ('Combat hiroique') given to Gros could be by the same hand.

The David (Fig.I 21) inscribed 'Kervele- gand, ancien maire de Nantes' is lengthily discussed in the catalogue, with the aim of identifying the sitter as the deputy Kervel6gan, and not the Mayor of Nantes whose portrait David travelled to paint in i79o. The Louvre received another version in the La Caze gift as a portrait of the deputy Bailly. Although the latest Louvre catalogue has changed this title for that of Kervelhgan, there can be no doubt that the sitter is in fact Bailly, the central figure taking the oath in the Jeu de Paume drawing. The Cailleux version, less solidly painted and with a light wash

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S14. Migrant Mother, by Dorothea Lange. California, March I936. Photo- I 15. Annie Mae Burroughs, wife of cotton-cropper, by Walker Evans. Alabama, graph. (Exh. by Circulation Department, Victoria and Albert Museum.) 1936. Photograph. (Exh. by Circulation Department, Victoria and Reproduced by permission of the Library of Congress. Albert Museum.) Reproduced by permission of the Library of Congress.

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Ii7. Interior II, by Arthur Segal. Signed and dated 1928. Board, 59'5 by 84 cm. (Exh. Richard Nathanson at The Alpine Club, London.)

Ii6. Wardrop I, by Robyn Denny. I961. Canvas, 243.8 by 198,1 cm. (University of Liverpool; exh. Tate Gallery.)

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