ART
THE fundamental necessities of life have demanded so much of our attention during the past few weeks that comparatively few people have cared to brave the elements in order to look at pictures. The galleries have, of course, suffered in varying degrees, but even the more fortunate, with ample window-space and undamaged top-lights, have on occasions been transformed by skies filled with snow and yellow fog into gloomy candle-lit caverns. The Spanish paintings have been an exception (dare one suggest that perhaps the seductive warmth of the National Gallery has proved as great an attraction as Velasquez?) and continue to draw crowds.
The other shows, with much to contend with, have not been conspicuously cheering. The most important has been the exhibition of pictures from the Althorp collection at Agnew's, in aid of the Friends of the Fitzwilliam Museum. The series of Reynolds portraits shows most of his strengths and his weaknesses—on the one hand his studied variety of invention and composition, his power, authority and life ; on the other, what Mr. Wilenski calls his " kitbag " of stolen procedures, and rather heavy-handed approach. Personally, I preferred the Gainsboroughs. Among other works to be noted are a tapestry design by Rubens, Francois Quesnel's elegant portrait of the attendant of Mary, Queen of Scots, Mary Anne Waltham, and a most remarkable portrait (unfortunately skied) which has recently been attributed by Mr. Anthony Blunt to Simon Vouet. Setting a northerly course up Bond Street, I came next to the mixed show at Messrs. Wildenstein's. Robert Buhler, Thomas Carr and Leonard Greaves may be seen here in harness, pulling together in a direction which is now well known. &rider's warm, dusky landscapes are more than competent, though the view from above through the foliage of trees is evidently becoming a formula. Of the younger painters, Clifford Frith has challenged comparisons with his 'Cellist, a picture of considerable accomplishment, and a newcomer, P. Wyeth, pays homage to John and Innes.
Fred Uhlman, at the Lefevre, just fails to ring the bell. To be sure, many of his new pictures I found extremely attractive individu- ally, but his developing interests do not seem to be fully integrated as yet. His canvasses can be divided into a number of fairly well- defined categories—the Utrillo group, the Matisse group, the Lurcat group and so on—each of which, if pushed a little further, however, would end in opposition to the others. The landscapes from Wales and the Scilly Isles are truthful and likeable, while a single dislocation in the colour of the sky—provides the red landscapes (what I have called the Lurcat group) with a sultry splendour. No. 37 seemed to me the best of these. Embracing most of Uhlman's diverse tendencies, it perhaps shows the way his still expanding talents will develop.
Elsewhere, it was nice to see two of Christopher Wood's best pictures again, from Mrs. Wertheim's collection, at the St. George's Gallery. Henryk Gotlib has another show at Messrs. Roland, Browse and Delbanco, remarkable mainly for its fusion of colour and plastic organisation. Kenneth Armitage, a name hitherto unknown to me, has been showing drawings at the Mayor Gallery. He draws as a sculptor, formalising his volumes into monumental groups. Carried to excess, this sometimes results in arid superficiality, but his more rhythmic compositions show great precise. Finally, at Walker's Galleries, the show of work by Slade students seemed to me quite as accomplished and a good deal more gay and varied than the average mixed society exhibition. The implication is either that the show is very, very good indeed, or that many inembers of the societies never get beyond the student stage. Or maybe both.
M. H. MIDDLETON.
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