Frederick Walker and his works . itions and three sketches and studies to the winter ones. Amongthese were, in 1865, the large Jutiunn, which is the second edition of thedesign for a wood-cut, already referred to; in 1866, Tlic Bouquet, agardener presenting a nosegay to two children dressed in black, whichhad also been preceded by a drawing on wood of somewhat differenttreatment; and in 1866-7, ^ Introduction, with figures in the costumeof about 1800. He had not again at that date submitted himself tothe ordeal of the hanging committee at the Royal Academy, but in 1866exhibited his large canva
Frederick Walker and his works . itions and three sketches and studies to the winter ones. Amongthese were, in 1865, the large Jutiunn, which is the second edition of thedesign for a wood-cut, already referred to; in 1866, Tlic Bouquet, agardener presenting a nosegay to two children dressed in black, whichhad also been preceded by a drawing on wood of somewhat differenttreatment; and in 1866-7, ^ Introduction, with figures in the costumeof about 1800. He had not again at that date submitted himself tothe ordeal of the hanging committee at the Royal Academy, but in 1866exhibited his large canvas. The IVayfarers, at Gambarts Gallery in KingStreet, St. Jamess. The picture has already been incidentally describedin its connection with the etching of the same name. With The IVayfarers (now belonging to Mr. William Agnew),and the more celebrated Bathers of the subsequent year. Walkerapproaches the period which must be called that of his maturity as anoil painter, although, had he lived, this too would have proved itself, no. by permission of Messrs. Jgnezv and Sons, oivners of tke Copyright. 32 FREDERICK WALKER ?doubt, to be but a transitional stage. The Bathers appeared at theRoyal Academy in 1867—his second contribution to its exhibitions—andwas there untavourably hung, though not at such an altitude as itspredecessor, -The Lost Path. It is in many respects the best of Walkersproductions on this large scale, broader and freer in execution, if lessminutely finished and less exquisite in local passages of colour, than itsfellows, more synthetic in treatment, and of a classicality sounder becausearising more naturally out of the subject depicted. In an eveninglandscape studied, we are told, from Walkers beloved Thames betweenCookham and Marlow, on the rush-grown banks of the low-lying river,beyond which rise tall trees bordering an unseen road, appear, under oneof the painters favourite warm evening skies, a company of naked youthsand boys, some strip
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