File:British painters; with eighty examples of their work engraved on wood (1881) (14597828797).jpg

Identifier: britishpaintersw00newy (find matches)
Title: British painters; with eighty examples of their work engraved on wood
Year: 1881 (1880s)
Authors:
Subjects: Painters -- Great Britain Painting -- Great Britain
Publisher: New York, D. Appleton
Contributing Library: New York Public Library
Digitizing Sponsor: MSN

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thetwo figures seem to have but a secondary place. It is but fair to add that thegreat length of the canvas, prescribed by the wall space it had to fill, musthave increased the difficulties of the composition. As a companion picture to this last, Mr. Poynter painted and sent to theAcademy in 1873 The Fight between More, of More Hall, and the Dragonof Wantley, a very large composition, and of ambitious pretensions, lackingbut little to make it most successful, and the little refers more to the qualityof portions of the work than to anything else. Rhodope is a small figure of elegant design ; it was the artists solitarycontribution to the Academy in 1874. In the next year he sent a pair ofsubjects, The Festival and the Golden Age ; in the former (of which anengraving is introduced) we see two Greek girls decorating an apartment withflowers, in the latter two youths are gathering fruit from a large tree in anorchard. Atalantas Race was one of the very few really noteworthy r^ ^<Jtis I
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THE FESTIVAL.From a Fainting by EJicanl J. Pointer, R.A. RIVIERE. ,51 pictures in the Academy exhibition of 1876. The following year TheFortune-teller was deposited as the artists diploma picture on becoming-Royal Academician. Zenobia Captive was his most important work of1878. Of our two engravings, The Festival was at the PhiladelphiaExhibition of 1876, and The Catapult at Paris in 1878. Besides the works to which reference has been made, Mr. Poynter hasbeen a frequent exhibitor in both oil and water colour paintings at the DudleyGallery. The mosaic figures, representing respectively Phidias and Apelles, executed for the South Kensington Museum, and the architec-tural and pictorial decorations of the Refreshment Room, are also from hisdesigns. His works of every kind testify no less to the grace of his pencilthan to his artistic learning and most attractive manner of displaying it. Heis one among a limited class of our painters who seek rather to obtain thegood opinion of the compar

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