The Lure of the Royal Academy

Solomon J. Solomon St. George, c. 1906 Oil on Canvas -  83 1/2" x 41 1/2"

By Peter Adams

On Boarding the boat to Catalina to paint with the Plein Air Painters of America (PAPA) a few weeks ago, I encountered PAPA's new president, Kenn Backhaus. The first words out of his mouth were not "Hello, Peter! How are you?" Rather, they were, "Did you see the Sargent show?" Similarly, when I arrived in Avalon, all the PAPA artists were a-buzz about the John Singer Sargent exhibition. I ran into landscape painter, Clyde Aspevig, and his lovely and talented wife Carol Guzman Aspevig, both of whom I hadn't seen for over a year. On greeting me Clyde asked, "So, how'd you like the Sargent exhibit?"
 
I felt like a fool. I had fully planned to fly to Washington D.C. or to the later venue in Boston to view the John Singer Sargent exhibition, but just didn't carve out the time. As a painter myself, I realize there is much I could learn by closely examining the works of that great master. I determined then and there not to miss another major exhibit held anywhere in the United States. So when my friend, Lorna Dryden from Southwest Art magazine called me and said, "Man, you've got to see the Victorian exhibit at the Frye Art Museum; it'll blow your mind!" I found myself on the next plane to Seattle to visit the Frye.
 
Those who have not donned the doors of the Frye Art Museum have a real treat in store. Their permanent collection boasts of some truly fine examples of the Munich School. In the first gallery are good paintings by Franz Xavier Winterhalter (1806-1873), Alexander Max Koester (1864-1932) and Friedrich Kaulbach (1850-1920). There is an amazing horse painting, Horses Fleeing from Flames, that is one of the strongest Adolf Schreyer (1828-1899) paintings I've ever seen! There is also a large outstanding landscape by the Hungarian artist, Daniel Somogyl (1837-1892).
 
The next gallery displays some fascinating examples of the Munich Secessionist Painters. One wall holds five works by Franz von Stuck (1863-1928). The centerpiece is in a goldleaf tabernacle frame that holds a version of Sin. Arguably, this is von Stuck's most famous painting. It shows a seductive Eve whose face is in shadow and whose naked torso is entwined by a snake. That work is counterbalanced across the room by a painting entitled, Christian Martyr, by Gabriel Cornelius Ritter von Max (1840-1915). The painting depicts Saint Julie being crucified. In a strange way this painting of an unusual subject has a sensuality that rivals von Stuck's Sin. Other works of note displayed in the galleries were done by Sydney Laurence (1865-1940), Childe Hassam (1859-1935), Emil Carlsen (1853-1932), and Felix Ziem (1821-1922). The museum has two paintings by Adolphe-William Bouguereau (1825-1905) and a large breathtaking Venetian sunset painting by Hermann Corrodi (1844-1905). But, the best was yet to come.
 
Down a long corridor stands a marble bust of Queen Victoria (1819-1901) sculpted in 1876 by her own daughter Princess Louise (1848-1939), Duchess of Argyll. This is the opening piece to the exhibition Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection.
 
The Princess was undoubtedly a talented artist with a sensitive touch, as she portrayed her mother as a regal, yet slightly plump gentlewoman. This is the image that all of England grew to love and admire.

Gabriel Cornelius Ritter Von Max Christian Martyr Oil on Canvas 48"x 36 3/4" Collection: Frye Art Museum

Continue to next page