Frederick Walker and his works . The IVoman in White. Design for a Poster. red-on-black vase of the best period, is Walkers only extant attempt togive form to a subject actually and avowedly classical, although the styleof ancient Greece, and especially its style in sculptural relief, wasrarely absent from what he did in his later years. The dates of these. 38 FREDERICK JFALKER Invitation cards were respectively 1865, 1866, and 1867, the designsliaving been made in the hatter part of the years preceding. But to return, after this too long digression, to the discussion of theartists more import
Frederick Walker and his works . The IVoman in White. Design for a Poster. red-on-black vase of the best period, is Walkers only extant attempt togive form to a subject actually and avowedly classical, although the styleof ancient Greece, and especially its style in sculptural relief, wasrarely absent from what he did in his later years. The dates of these. 38 FREDERICK JFALKER Invitation cards were respectively 1865, 1866, and 1867, the designsliaving been made in the hatter part of the years preceding. But to return, after this too long digression, to the discussion of theartists more important works In their proper sequeiice, and to the factsmore directly bearing upon the evolution of these. And first, it Ison record that he went to Paris for the Universal Exhibition of 1867,and this circumstance Is of high importance in determining the degreeof influence, if any, exercised over him by contemporary French art. At this Exhibition Walker had his first great opportunity of seeingand judging Millet, who was there represented by no less than eight ofhis finest oil paintings, among these being such now famous examples asUne Tondeiise de Moiitons, Les Glaneuses, UAngelus du Soir (as It wasthen more accurately entitled), Un Bergej\ Recolte des Pomnies de terre,and Un pare a dioh/oiis : clair de June. M. Jules Breton, by whom, ashas been point
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