SIR EDWARD J. POYNTER, P.R.A. By Cosmo Monkhouse lifications 'ittle for that often abused has almost become an "old" school now, glish Royal Academy of but he has seen no reason to swerve from losing in rapid succes- the aims and principles which inspired and quished presidents as guided his earliest efforts, and he finds it Sir John Millais, it impossible to believe that any new fashion t another from its or indeed any new discovery can alter cer'ts prestige as the tain fundamental truths, which inform all t,' Atalanta's the greatest art works of the past, includEsculapius." ing those of Phidias and Michelangelo. pictures, nor To him, as to them, art means the exercise decorative not only of feeling and skill, but of thought and knowledge. He seeks beauty, espeAs a cially of form, as seen in the most beautiful ut it is and expressive of all forms—the human. done. He loves not only its superficial charm, but begin- the excellent order of its construction, the d has been inimitable science of its organization. And us for the good of this beauty, this order, this organic perountry's art. As the fection, should, to his mind, regulate the sor at University College, making of a work of art, a creation comuas Director of the National Art plete in itself, with every part correctly pro..g Schools at South Kensington, to portioned and adjusted to achieve a deention no other ways in which his knowl- signed result. Art so intellectual in its edge and intelligence have been employed genesis, so definite in its appeal, requires for national ends, he has been occupied with great patience and exactitude in execution important duties which must have seriously and preparation, and Sir Edward's work trenched upon the time at his disposal for never fails in these respects, for it is always original composition; moreover the thought thoroughly thought out and wrought out. and care and judgment which he has so It does not seem at all improbable that the continuously exercised as a teacher and a desire for order and proportion which counsellor, have doubtless influenced the marks the work of the present president of creations of his own mind. They are by the Royal Academy may have descended no means deficient in variety, in originality, to him from his father, the late Ambrose or force, but they are the work of an imag- Poynter, architect, who, before his career ination always under critical control. was cut short by blindness, had, amongst there is one element predominant in all his other works, designed the National Prowork, it is the intellectual. Clear, serene, vincial Bank at Manchester, St. Katharine's well ordered, the art of Sir Edward Poynter Hospital, Regent's Park,and Christ Church, stands out with some distinction amongst Westminster. At all events his early surthe less considered and less complete work- roundings must have soon drawn his attenmanship with which it is so often sur- tion to architecture and also probably to rounded. Although he himself has been architectural decoration. Those who beamong the reformers of his day, the later lieve in heredity will also not fail to obmovements in the direction of personal im- serve that his mother, Emma Forster by pressionism have not affected either his birth, was the granddaughter of Thomas method or ideal. The new school to which Banks, R.A., a sculptor of real genius, he belonged in his youth, which may be whose works were the admiration of Sir broadly described as the "neo-classical," Joshua Reynolds and Flaxman, and have If All of the sketches and studies reproduced in this article are now published for the first time by special permission of the artist. VOL. XXII-73 good joy desk ans chool won the mocks of the murmurous woodland ways, but whood with billete of the sheaves of slender maize : abrikant book. a. the bushed Pacific calm, In de quen by night of her splendid might and the love her children yield. And on through the uorum apoca, though stormy and sunlit days, Bull doll the wront poon of history wing her praise, A by wie of dub and landden to the goal of strife's surcease due pour me the patch a gourdon, the dawn of a deathless peace, V the sore who had to love her, and of loving her learned to die By Cosmo Monkhouse T says not a little for that often abused has almost become an "old" school now, body, the English Royal Academy of Arts, that after losing in rapid succession two such distinguished presidents as Lord Leighton and Sir John Millais, it should be able to select another from its ranks so able to sustain its prestige as the painter of "Israel in Egypt," "Atalanta's Race," and "The Visit to Esculapius." But it is not only from his easel pictures, nor even from his other pictorial and decorative works, that he derives all his qualifications for the high office which he holds. As a creative artist he has done much, but it is doubtful whether he has ever quite done. himself justice. Almost from the beginning of his career his keen mind has been employed in many directions for the good of his country and his country's art. As the first Slade Professor at University College, London, and as Director of the National Art Training Schools at South Kensington, to mention no other ways in which his knowledge and intelligence have been employed for national ends, he has been occupied with important duties which must have seriously trenched upon the time at his disposal for original composition; moreover the thought and care and judgment which he has so continuously exercised as a teacher and a counsellor, have doubtless influenced the creations of his own mind. They are by no means deficient in variety, in originality, or force, but they are the work of an imagination always under critical control. If there is one element predominant in all his work, it is the intellectual. Clear, serene, well ordered, the art of Sir Edward Poynter stands out with some distinction amongst the less considered and less complete workmanship with which it is so often surrounded. Although he himself has been among the reformers of his day, the later movements in the direction of personal impressionism have not affected either his method or ideal. The new school to which he belonged in his youth, which may be broadly described as the "neo-classical," but he has seen no reason to swerve from the aims and principles which inspired and guided his earliest efforts, and he finds it impossible to believe that any new fashion or indeed any new discovery can alter certain fundamental truths, which inform all the greatest art works of the past, including those of Phidias and Michelangelo. To him, as to them, art means the exercise not only of feeling and skill, but of thought and knowledge. He seeks beauty, especially of form, as seen in the most beautiful and expressive of all forms-the human. He loves not only its superficial charm, but the excellent order of its construction, the inimitable science of its organization. And this beauty, this order, this organic perfection, should, to his mind, regulate the making of a work of art, a creation complete in itself, with every part correctly proportioned and adjusted to achieve a designed result. Art so intellectual in its genesis, so definite in its appeal, requires great patience and exactitude in execution and preparation, and Sir Edward's work never fails in these respects, for it is always thoroughly thought out and wrought out. It does not seem at all improbable that the desire for order and proportion which marks the work of the present president of the Royal Academy may have descended to him from his father, the late Ambrose Poynter, architect, who, before his career was cut short by blindness, had, amongst other works, designed the National Provincial Bank at Manchester, St. Katharine's Hospital, Regent's Park,and Christ Church, Westminster. At all events his early surroundings must have soon drawn his attention to architecture and also probably to architectural decoration. Those who believe in heredity will also not fail to observe that his mother, Emma Forster by birth, was the granddaughter of Thomas Banks, R.A., a sculptor of real genius, whose works were the admiration of Sir Joshua Reynolds and Flaxman, and have All of the sketches and studies reproduced in this article are now published for the first time by special permission of the artist. VOL. XXII.-73 By Guy Wetmore Carryl OF Pilgrim eyes previsioned and Puritan lips foretold, She hath store of grain ungarnered and harvests her sons have sown, With a strength no shock may shatter while her seasons wake and wane, Her breath is sweet of the southland and the fragile jasmine blows, And her feet are shod with the mosses of the murmurous woodland ways, As the wild Atlantic fearless, as the hushed Pacific calm, She rules her rugged hilltops and her breathless groves of palm, And, whether in waste or city, with freedom her shining shield, She is queen by right of her splendid might and the love her children yield. And on through the unrun ages, through stormy and sunlit days, Still shall the crescent pages of history sing her praise, As by ways of strife and burden to the goal of strife's surcease Of the sons who learned to love her, and of loving her learned to die By Cosmo Monkhouse T says not a little for that often abused body, the English Royal Academy of Arts, that after losing in rapid succession two such distinguished presidents as Lord Leighton and Sir John Millais, it should be able to select another from its ranks so able to sustain its prestige as the painter of "Israel in Egypt," "Atalanta's Race," and "The Visit to Esculapius." But it is not only from his easel pictures, nor even from his other pictorial and decorative works, that he derives all his qualifications for the high office which he holds. As a creative artist he has done much, but it is doubtful whether he has ever quite done himself justice. Almost from the beginning of his career his keen mind has been employed in many directions for the good of his country and his country's art. As the first Slade Professor at University College, London, and as Director of the National Art Training Schools at South Kensington, to mention no other ways in which his knowledge and intelligence have been employed for national ends, he has been occupied with important duties which must have seriously trenched upon the time at his disposal for original composition; moreover the thought and care and judgment which he has so continuously exercised as a teacher and a counsellor, have doubtless influenced the creations of his own mind. They are by no means deficient in variety, in originality, or force, but they are the work of an imagination always under critical control. there is one element predominant in all his work, it is the intellectual. Clear, serene, well ordered, the art of Sir Edward Poynter stands out with some distinction amongst the less considered and less complete workmanship with which it is so often surrounded. Although he himself has been among the reformers of his day, the later movements in the direction of personal impressionism have not affected either his method or ideal. The new school to which he belonged in his youth, which may be broadly described as the "neo-classical," If has almost become an "old" school now, but he has seen no reason to swerve from the aims and principles which inspired and guided his earliest efforts, and he finds it impossible to believe that any new fashion or indeed any new discovery can alter certain fundamental truths, which inform all the greatest art works of the past, including those of Phidias and Michelangelo. To him, as to them, art means the exercise not only of feeling and skill, but of thought and knowledge. He seeks beauty, especially of form, as seen in the most beautiful and expressive of all forms-the human. He loves not only its superficial charm, but the excellent order of its construction, the inimitable science of its organization. And this beauty, this order, this organic perfection, should, to his mind, regulate the making of a work of art, a creation complete in itself, with every part correctly proportioned and adjusted to achieve a designed result. Art so intellectual in its genesis, so definite in its appeal, requires great patience and exactitude in execution and preparation, and Sir Edward's work never fails in these respects, for it is always thoroughly thought out and wrought out. It does not seem at all improbable that the desire for order and proportion which marks the work of the present president of the Royal Academy may have descended to him from his father, the late Ambrose Poynter, architect, who, before his career was cut short by blindness, had, amongst other works, designed the National Provincial Bank at Manchester, St. Katharine's Hospital, Regent's Park, and Christ Church, Westminster. At all events his early surroundings must have soon drawn his attention to architecture and also probably to architectural decoration. Those who believe in heredity will also not fail to observe that his mother, Emma Forster by birth, was the granddaughter of Thomas Banks, R.A., a sculptor of real genius, whose works were the admiration of Sir Joshua Reynolds and Flaxman, and have All of the sketches and studies reproduced in this article are now published for the first time by special permission of the artist. VOL. XXII.-73 |