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Studio: international art — 33.1905

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Dutch Art at St. Louis

desired. A. Allebe had seven drawings on view,
of which Crocodile and Monkeys were excellent.
M. Bauer was best in Ava Sophia, in which the
nonchalance of form and outline went unobserved
in the importance of the whole. J. Bosboom was
represented by one of his usual church interiors,
full of charm and elegance, finely drawn, and,
at the same time, bright and pleasing. Other
works worthy of special note were The While
Horses, by Breitner, a water-colour in every way
praiseworthy; Snoek, by Dysschlof; P. J. C.
Gabriel's drawings; Josef Israels' Sandhaulers
and Going Home; Jacob Maris' powerful draw-
ings ; and Mauve's drawings. The examples of
Albert Neuhuys were good in colour but want-
ing in imagination. George Poggenbeek was
broad and good in his Cows in a Meadow seen
in a soft sunshine. W. B. Tholen exhibited
two of his finest water-colours, J. H. Weissen-
bruch was well represented in his Winter, and
Witsen showed A Small Canal. This exhibi-
tion was decidedly interesting, although the work
of many important artists was conspicuous by its
absence.

DUTCH ART AT THE ST.
LOUIS EXPOSITION. BY
MAUDE I. G. OLIVER.

For one who had witnessed the Dutch
loan collection, commemorating the eightieth
birthday of Josef Israels at the Chicago Art Insti-
tute last winter, it would be unreasonable, in com-
menting upon the Dutch exhibition at St. Louis,
not to dwell with pleasure upon the memory of
the earlier show. Upon close analysis, however,
the impossibility of a just comparison became
evident. In fact, the essential features of the
two were seen to be so widely divergent, that to
parallel them would be unfair. The former, having
represented the evolution of Dutch art during the
half century just closed, was reminiscent and un-
deniably \ impressive, and being composed also
of selected specimens existing on American
shores of modern Dutch masters, it was of a
lofty standard. When we examined more carefully
the material at St. Louis, we observed that, aside
from a few examples from the palettes of such men
as Maris, Israels, and Blommers, almost the entire

"the old scribe':

by josef israels
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