International studio (25.1905)

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simple, voicing that brisk and bracing alacrity with
which the ocean in summer impresses the natural
man, are very satisfactory. One is by Charles Hop-
kinson the other by F. Ik. M. Rehn; and the latter,
by introducing a little sunlit island and a view
beyond of rich olive green coastline, has discovered
for himself a new outlet for his skill in depicting
the ocean.
Among several pictures of John W. Alexander^
one's preference may be for the reverently sympa-
thetic portrait of an old lady, and, perhaps, even
more for his ideal study of a girl kneeling by a
cushioned seat in a window. The latter has pre-
eminently those qualities of fine-spaced composi-
tion and beautiful line, with the delightful com-
bination of sentiment, vivacity and decorative
treatment, which distinguish his ideal subjects.
T. Alden Weir is represented by that picture of
striking craftsmanship, TAe Greew Bodice,* and
Wyatt Eaton, by Bc^ccfiowj, a canvas that is
altogether a bigger thing in conception and treat-
ment than a good deal of modern work.
The portrait of a young man in a riding suit, by
Robert Henri, with its clever shrouding of the lower
part of the figure in shadow, so as to give promi-
nence to the body and especially to the head, is an
excellent example of his artistically natural style.
Again, the portrait of A. EMxecM, by
Thomas Eakins, while as vital as anything he has
done, is more artistically pleasing than some of his
dryly realistic pictures. One other portrait that,
even, in an imperfect survey, must not be omitted,
is that of a white-haired man, by F. W. Benson,
an admirable example of this painter's accom-
plished method.
A bunch of landscapes which particularly attracts
attention includes: the richly-coloured luminous
IFaderiKg Adaceby Van der Weyden; an extremely
tlelicate harmony of ivory, greenish-grey and
cream, by Vincent du Mond; a strong, reposeful
scene from the Cape Cod region, by Arthur Hoeber;
Emil Carlsen's Ajriwg Biox^o?;M; a snow scene by
Walter Nettleton, a racy, spontaneous treatment
of sandy road and fresh green trees by Irving R.
Wiles; a finely constructed, if rather stern, rocky
hillside by Schofield, and two pictures by Redfield.
In both he has got away from the riverside, and in
one, distinguished by its yellow-green grassy fore-
ground, has struck a vigorous, new note. But,
perhaps, the finest landscape in the exhibition is
Dowef, Ferwowf, a scene of rolling green hills,
beautiful in colour, stirringly emotional in senti-
ment, by F. Ballard Williams.
Amid the chaos of sculpture, not yet installed,

one piece singled itself out; a bas-relief by Saint-
Gaudens, portraits of Mr. and Mrs. Wayne Mac-
Veagh, seated opposite to each other on a bench.
The likeness of the celebrated lawyer is admirable,
and the quiet severity of the lines and gracious
amplitude of the simply treated surfaces are
eloquent of dignity and elevation of character.


LADY HAMILTON. BY JOHN LA FARGE

T

HE BUILDING OF REDWOOD.
BY ALICE M. KELLOGG.

THE "simple life" is more often read
about in these days than it is seen put
into active practice. The idea is full of attraction
to those who are seeking a solution for the problems
of our over-strenuous existence, yet, to follow its
requirements exacts a more radical change of
environment than is possible to the majority of
people.
For simplicity in living is, of necessity, based
upon an architecture and interior fittings that are
essentially simple in character—elements that are

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