THE ROYAL SCOTTISH SOCIETY OF PAINTEIIS IN WATER-COLOURS.
THE eleventh annual exhibition of the Royal Scottish Water-Colour Society was opened to the public on the 20th of last month, in the gal- leries of the Fine Art Institute. The collection numbers 283 works in all ; and although the averapc merit of the exhibition is not high, yet distributed over the walls are many works of distinguished ex- cellence, showing more artistic promise than any- thing we can see in similar exhibitions throughout the kingdom. With regard to the hanging, Messrs. Melville, Nisbet, and Laing, who formed the com- mittee, while performing a difficult task, can scarcely be credited with unqualified success. Neither in point of harmonious effect, decorative scheme, balance of colour, nor in the matter of dealing strict justice to the exhibitors, have they accomplished all that could be desired with the materials they had in hand. In the case of Mr. Crawhall's work this is specially noticeable, as his pictures are unques- tionably amongst the finest in the exiiibition, and in some cases they have been hinig in positions where they cannot be seen to advantage. The President, Mr. Francis Powell, is represented by four drawings, which, wliile rather mechanical in manipulation, are remarkable fi)r precision and general truth of effect, lacking, however, freshness and virility of art expression. ' Torr Aluinn Woods — Spring,' No. 53, compares favourably with the others in point of execution, and having greater vigour and vitality in colour. One of the features of the exhibition is the work of Mr. Wm. M'Taggart. He is represented by five drawings, all showing the expression of a thorough artist. ' In the Surf,' No. 188, is a remarkable work, full of air and life, and vigorous with the vitality of movement. In it will be found none of that lifeless conscientiousness, which is the guiding- star, or forlorn hope, as occasion demands, of so many weak painters. Swift to seize the dominant motive which impresses him, his art instincts prompt him to reveal it in the most direct way, and by the simplest methods. Every brush-mark, every separate bit of tone or colour, every line, has a distinct part in. perfecting the completion of the picture. You cannot take away or add to his work without de- stroying the unity and balance of the whole. W. Y. Macgregor's two drawings, ' On the Stour near Christchurch,' No. 44, and ' In the Gardens, Bournemoutli,' No. 107, are excellent examples of a judicious and intelligent finish in water-colour. The drawing ' On the Stour,' while very fine in its quite refined scheme and tone, with skilful adjust- ment of colour values, is very valuable in result as giving an artistic expression of landscape sentiment. Of Mr. Joseph Crawiiall's work, the most import- ant and in some respects the finest, 'The Snake- Charmer,' No. 218, is hung so high that it is almost impossible except for an artist to see and appreciate its peculiar beauties. In the particular phase of art expression in which Mr. Crawhall is best known, viz. the artistic realisa- tion of animal life, though lacking somewhat in reserve force, yet, nothing equal to his work can be found in England to-day. His subtle analysis of characterisation, keen accuracy of drawing, and perfect mastery of methods, renders his work quite unique. Any of his drawings will suffice as an example. Note in them the originality of composi- tion, the sense of decorative quality, the charm of colour, the range and harmony of tones, the knowledge of exactly what to do, and where to do it, combined with intelligence and deftness in the treatment. Of the six drawings by Mr. Duncan Mackellar, all of which are marked by careful manipulation, we prefer 'Harmony,' No. 201, and 'Expectancy,' No. 246. These are finer in quality and more successful as regards tonality than his other work, which, though seldom crude, and never careless, is somewhat deficient in spirit and movement. The same may be said of the drawings by Mr. A. S. Boyd, which, though smartly put down and cleverly handled, are wanting in that outcome of the art instinct, viz. a true capacity for acuteness of feeling. The result is an occasional element of coarseness or sentimentalism.
Of the art of Mr. Arthur Melville we have two drawings, of which ' Street Scene, Bagdad,' No. 97, is certainly the finest. It is a brilliant drawing of great wealth and range of colour, painted with vital decision and thoroughly artistic expression, strong in its refinement, showing consummate skill and knowledge in the composition of the background masses, and in the treatment and grouping of the figures, giving a most vivid impression of the East, with all its glamour, sparkle, and movement.
