Full Text: 1865-1866
"General Exhibition of Water-colour Drawings." The Art-Journal, 1 April 1865: 111.
The human figure — which demands closer study than landscape — does not obtain justice at the hands of the tyros within these walls. For the most part, the figure drawings in this exhibition confess to a timid, uncertain hand, wanting the guidance of knowledge. A few of the more conspicuous attempts may be passed in review. Miss Rebecca Solomon, in ‘Hypatia’ (221), has hit upon a manner which does not fail to arouse attention. The stately stiffness in the heroine’s bearing, has quite the air of originality. In ‘Prima Vera’ (255), this artist has been haunted with reminiscences of the style of Mr. Leighton. More power over the figure is shown in ‘Antinuous Dionysiacus’ (239), by S. Solomon.
"Fine Arts: Exhibition of the Royal Academy." The Illustrated London News, 13 May 1865: 451.
It is curious (to diverge partially from the class of painting of which we are speaking) to find how often in this exhibition the same fundamental principle of art is violated. Take, for instance, two pictures which naturally associate themselves in one's memory--Mr. Burgess's "Bravo Toro!" (304), a group of spectators at a bull-fight; and Mr. S. Solomon's "Habet!" (431), a party of Roman ladies witnessing a gladiatorial contest. Both give unmixed pain, or may afford a morbid gratification, but neither has a sufficiently evident moral intention. In the one the imagination is driven to figure the bull goring man or horse--doubtless the former, one horse or a dozen being of little account; in the other the exclamation "He has it!" leaves us in no doubt that a mortal thrust or blow has been delivered, and is the more revolting because women are the willing or delighted spectators. In Mr. Burgess's picture, the variety of character and expression is very admirably discriminated; but Mr. Solomon has ventured rather beyond his powers, both in scale and subject: the drawing is inaccurate, the modelling weak, the colouring mannered. (page 451, column 2)
"The Royal Academy." The Art-Journal, 1 June 1865: 161-172.
The Spanish bull fight has supplied J. B. BURGESS with a subject out of which he has made a capital picture (304). "Bravo, Toro!" exclaim the spectators, some in surprise, some in terror, and others in cool indifference. Each varying phase of expression is portrayed with graphic power. The composition is the result of calculating thought, and must be accepted as a great success.--Not so is a somewhat companion picture, 'Habet!' (431), a gladiatorial scene from the Roman Coliseum, painted by S. SOLOMON. Unfortunately, the countenances are all of the same type and wear the same expression; the colour, too, is monotonous. (page 170, column 1)
Swinburne, Algernon Charles. "Erotion." Poems and Ballads. London: Moxon & Co., 1866.
Sweet for a little even to fear, and sweet,
O love, to lay down fear at love's fair feet;
Shall not some fiery memory of his breath
Lie sweet on lips that touch the lips of death?
Yet leave me not; yet, if thou wilt, be free;
Love me no more, but love my love of thee.
Love where thou wilt, and live thy life; and I,
One thing I can, and one love cannot — die.
Pass from me; yet thine arms, thine eyes, thine hair,
Feed my desire and deaden my despair.
Yet once more ere time change us, ere my cheek
Whiten, ere hope be dumb or sorrow speak,
Yet once more ere thou hate me, one full kiss;
Keep other hours for others, save me this.
Yea, and I will not (if it please thee) weep,
Lest thou be sad; I will but sigh, and sleep.
Sweet, does death hurt? thou canst not do me wrong:
I shall not lack thee, as I loved thee, long.
Hast thou not given me above all that live
Joy, and a little sorrow shalt not give?
What even though fairer fingers of strange girls
Pass nestling through thy beautiful boy's curls
As mine did, or those curled lithe lips of thine
Meet theirs as these, all theirs come after mine;
And though I were not, though I be not, best,
I have loved and love thee more than all the rest.
O love, O lover, loose or hold me fast,
I had thee first, whoever have thee last;
Fairer or not, what need I know, what care?
To thy fair bud my blossom once seemed fair.
Why am I fair at all before thee, why
At all desired? seeing thou art fair, not I.
I shall be glad of thee, O fairest head,
Alive, alone, without thee, with thee, dead;
I shall remember while the light lives yet,
And in the night-time I shall not forget.
Though (as thou wilt) thou leave me ere life leave,
I will not, for thy love I will not, grieve;
Not as they use who love not more than I,
Who love not as I love thee though I die;
And though thy lips, once mine, be oftener prest
To many another brow and balmier breast,
And sweeter arms, or sweeter to thy mind,
Lull thee or lure, more fond thou wilt not find.
"General Exhibition of Water-colour Drawings. Dudley Gallery." The Art-Journal, 1 March 1866: 71.
The pictures of Mr. Simeon Solomon seldom tread on the confines of common-place; in other words, they generally have about them traits which are decidedly uncommon, and yet perhaps not entirely commendable. ‘Medea at Colchis’ is certainly strange enough. On the other hand, ‘The Coptic Baptismal Procession’ has impressive power.
"The Royal Academy." The Art-Journal, 1 June 1866: 165.
Mr. Simeon Solomon has been seen to greater advantage. This year, in ‘Damon and Aglae’ (555), he is certainly a little too indifferent to the accepted conventionalities of grace and the amenities of execution.
The human figure — which demands closer study than landscape — does not obtain justice at the hands of the tyros within these walls. For the most part, the figure drawings in this exhibition confess to a timid, uncertain hand, wanting the guidance of knowledge. A few of the more conspicuous attempts may be passed in review. Miss Rebecca Solomon, in ‘Hypatia’ (221), has hit upon a manner which does not fail to arouse attention. The stately stiffness in the heroine’s bearing, has quite the air of originality. In ‘Prima Vera’ (255), this artist has been haunted with reminiscences of the style of Mr. Leighton. More power over the figure is shown in ‘Antinuous Dionysiacus’ (239), by S. Solomon.
"Fine Arts: Exhibition of the Royal Academy." The Illustrated London News, 13 May 1865: 451.
It is curious (to diverge partially from the class of painting of which we are speaking) to find how often in this exhibition the same fundamental principle of art is violated. Take, for instance, two pictures which naturally associate themselves in one's memory--Mr. Burgess's "Bravo Toro!" (304), a group of spectators at a bull-fight; and Mr. S. Solomon's "Habet!" (431), a party of Roman ladies witnessing a gladiatorial contest. Both give unmixed pain, or may afford a morbid gratification, but neither has a sufficiently evident moral intention. In the one the imagination is driven to figure the bull goring man or horse--doubtless the former, one horse or a dozen being of little account; in the other the exclamation "He has it!" leaves us in no doubt that a mortal thrust or blow has been delivered, and is the more revolting because women are the willing or delighted spectators. In Mr. Burgess's picture, the variety of character and expression is very admirably discriminated; but Mr. Solomon has ventured rather beyond his powers, both in scale and subject: the drawing is inaccurate, the modelling weak, the colouring mannered. (page 451, column 2)
"The Royal Academy." The Art-Journal, 1 June 1865: 161-172.
The Spanish bull fight has supplied J. B. BURGESS with a subject out of which he has made a capital picture (304). "Bravo, Toro!" exclaim the spectators, some in surprise, some in terror, and others in cool indifference. Each varying phase of expression is portrayed with graphic power. The composition is the result of calculating thought, and must be accepted as a great success.--Not so is a somewhat companion picture, 'Habet!' (431), a gladiatorial scene from the Roman Coliseum, painted by S. SOLOMON. Unfortunately, the countenances are all of the same type and wear the same expression; the colour, too, is monotonous. (page 170, column 1)
Swinburne, Algernon Charles. "Erotion." Poems and Ballads. London: Moxon & Co., 1866.
Sweet for a little even to fear, and sweet,
O love, to lay down fear at love's fair feet;
Shall not some fiery memory of his breath
Lie sweet on lips that touch the lips of death?
Yet leave me not; yet, if thou wilt, be free;
Love me no more, but love my love of thee.
Love where thou wilt, and live thy life; and I,
One thing I can, and one love cannot — die.
Pass from me; yet thine arms, thine eyes, thine hair,
Feed my desire and deaden my despair.
Yet once more ere time change us, ere my cheek
Whiten, ere hope be dumb or sorrow speak,
Yet once more ere thou hate me, one full kiss;
Keep other hours for others, save me this.
Yea, and I will not (if it please thee) weep,
Lest thou be sad; I will but sigh, and sleep.
Sweet, does death hurt? thou canst not do me wrong:
I shall not lack thee, as I loved thee, long.
Hast thou not given me above all that live
Joy, and a little sorrow shalt not give?
What even though fairer fingers of strange girls
Pass nestling through thy beautiful boy's curls
As mine did, or those curled lithe lips of thine
Meet theirs as these, all theirs come after mine;
And though I were not, though I be not, best,
I have loved and love thee more than all the rest.
O love, O lover, loose or hold me fast,
I had thee first, whoever have thee last;
Fairer or not, what need I know, what care?
To thy fair bud my blossom once seemed fair.
Why am I fair at all before thee, why
At all desired? seeing thou art fair, not I.
I shall be glad of thee, O fairest head,
Alive, alone, without thee, with thee, dead;
I shall remember while the light lives yet,
And in the night-time I shall not forget.
Though (as thou wilt) thou leave me ere life leave,
I will not, for thy love I will not, grieve;
Not as they use who love not more than I,
Who love not as I love thee though I die;
And though thy lips, once mine, be oftener prest
To many another brow and balmier breast,
And sweeter arms, or sweeter to thy mind,
Lull thee or lure, more fond thou wilt not find.
"General Exhibition of Water-colour Drawings. Dudley Gallery." The Art-Journal, 1 March 1866: 71.
The pictures of Mr. Simeon Solomon seldom tread on the confines of common-place; in other words, they generally have about them traits which are decidedly uncommon, and yet perhaps not entirely commendable. ‘Medea at Colchis’ is certainly strange enough. On the other hand, ‘The Coptic Baptismal Procession’ has impressive power.
"The Royal Academy." The Art-Journal, 1 June 1866: 165.
Mr. Simeon Solomon has been seen to greater advantage. This year, in ‘Damon and Aglae’ (555), he is certainly a little too indifferent to the accepted conventionalities of grace and the amenities of execution.