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[Transcriber's note: The spelling inconsistencies of the original have beenretained in this etext.]
SPRAGUE & CO., LIMITED, 4 & 5 EAST HARDING STREET, E.C.
From the WESTERN DAILY PRESS, Feb. 20th, 1901.
To the Editor of the Western Daily Press.
Sir,—First impressions forced upon me by an inspection of thepicture, "Ecce Homo," by Mons. de Munkacsy, would be succinctlyexpressed in few words. It is haply, although not highly, inspired. Itconstitutes a work of laborious but of average ability, and descendsto a lower technical state of imaginative eclecticism and expressionthan I had indeed expected to encounter in so lavishly-applauded awork. Let it be granted in the first instance that the theme is anonerous one; the problem afforded by the venture should have beenmet in a manner skilful in art, commensurate with its righteousobligations and its lofty demands by the artist. The one fineattribute conspicuously lacking in the work is its illumination,generally too yellow; the fine quality of light, naturally directingthe hearts with the intelligences of the beholder to the central factof the subject theme, "I am the Light of the World." The broad use anddisposition of whitish pigment; I mean whitish, snowy light flecked,pimpled, dimpled with tints of orange and purple, like snow about tothaw, here and there, honeycombed or stippled to mark the intensity ofits native regard for its own divine, suffering, martyred Lord, wouldhave attracted the attention and won the curiosity, the sympathy, ofmany finer sensibilities. A dramatic and subtle sense of distance,such a powerful agent of spiritual injection in the hands of realartists is in this work absent; never skilfully employed either fornegative or positive reflections of emotion. Linear perspective thereis, and employed to much scenic advantage; but aerial perspective,utilised towards expressing overlapping figures, there is not, savein meagre degree. The canvas is too crowded, the sense of visionand admiration is nowhere at all lulled by repose. We may pointto successful juxtaposition of individual figures, to masses ofharmonious tones, but not to masterly composition. The mind of theartist is intent upon the bitterness of turmoil; it does not reach usdirectly by imperishably revealing or extolling the divine nature of"The Man," "Homo;" and is throughout the field of interest usuallyrecognised in overstrained partiality for attitude and outline.Hence the title of the picture is almost sought for, expected in themultitude on the left, which should have been isolated. "Ecce Homo,"briefly and emphatically, is not so suitable a title as I wouldsuggest, with the utmost regard for reverence, might be described, asthe interval between the two cries: "Away with Him," "Crucify Him,"such intensely dramatic particles of time finding expression and ventthroughout the work in coarse s