In these days we expect a good deal of a painter with claims to originality—a good deal more than most of them can give. We are habituated to pictorial representation as a major means of communication of ideas and we are surrounded by technically proficient work in the competitive field of advertising. Work of this kind is evocative too—at least to the variety of emotions which may determine the act of buying—and the poster that does not come off soon comes down. Except in the esoteric field of prestige-advertising, the sales-curve is the sole judge of the efficacy of this kind of appeal and the consumer—the indirect and unwilling patron—is rarely himself able to judge the effects of such hidden persuaders as the artist has built into his work.