Studio: international art (52.1911)

Art School Notes

sented a clever and wholly successful scheme
of colour in which the greens predominated. A
charming delineation of the child in art was seen
in Miss Lydia Field Emmett's Playmates. Mr.
George de Forest Brush's Portrait of Olivia
gave one a capital instance of his skill in the
same direction.

Mr. Willard L. Metcalf was represented by a
carefully worked out landscape, The Rapids.
Mr. Elmer W. Schofield was seen at his best in
Early Morning, Boulogne Harbour, handled
with great freedom and dash. Mr. Fred Wag-
ner's River Front, though somewhat literal in
its plain record of facts as they exist in nature,
was withal very satisfying in the way of tech-
nique. Mr. Edward W. Redfield in The Hem-
locks gave a good idea of his virile treatment
of a plein-air subject. Mr. Joseph T. Pearson,
jun., Mr. Gardner Symons, Mr. Paul Doherty,
and Mr. Daniel Garber contributed excellent
landscape work.

The showing of sculpture was large and of a
high standard, being exposed with due regard to
lighting and environment. Mr. Scott Hartley's
The Conqueror representing, not a fierce war-
rior, but a chubby little boy modelled in the
nude enclosed in his mother's arms, conveyed
a touch of sentiment that appealed to all. Quite
in contrast to this was a very modern and novel
Washington of 1753 by Mr. Solon H. Borg-
lum, the subject taken from the life of the
early settlers of the British Colonies in North
America. A very spirited little figure by Miss
St. Leger Eberle, entitled A Windy Doorstep,
Mr. Charles Grafly's portrait bust of The Painter
Redfield, and a very vigorous portrait bust of
William H. Taft, President of the United
States, by Robert 1. Aitken were notable ex-
hibits. E. C.

ST. LOUIS, MISSOURI.—This city is
one of our oldest communities. It had
a polite society as early as the thirties
of last century, and shares with Phil-
adelphia and Boston the honour of having been
a pioneer in culture and art. It sheltered more
men of talent in the ante-bellum days than
most cities of its size. Among them were G.
Catlin, who made interesting colour sketches
and ethnological studies of the Indians, de Fran-
ceau, a Frenchman, Deas of Dutch descent,
Tracy, and J. R. Meeker, who made a speciality
of the picturesque wildness of the Mississippi
248

swamps. Far superior to these, however, were
C. Wimar, the Indian painter, whose Buffalo
Hunt was purchased by King Edward VII.
(then Prince of Wales) during his visit to this
country, and G. C. Bingham, who has preserved
for us the early life of the middle west.

After the war there came a pause in the art
activities of St. Louis. The World's Fair,
however, seems to have given a new impetus
to local art life, and there grew up quite a
colony of able artists in the city. Among them
are, or were till recently, Frederick L. Stoddard,
who excels in the decorative treatment of highly
imaginative subjects, The Road to Paradise,
here reproduced, being an excellent example of
his work ; E. H. Wuerpel, a pupil of Whistler ;
Richard E. Miller, well known at the Paris
Salon exhibitions for his vigorous brushwork
and individual rendering of modern life ; Dawson
Watson, who has carried the impressionist
technique to a high pitch of perfection ; F. O.
Sylvester, the painter of the Mississippi ; C. S.
Waldeck, a portrait painter ; Oscar E. Berning-
haus, who goes to the haunts of the Pueblos,
Navajos, Apaches, for his subjects; Gustav
Wolf, a landscape painter; and Cornelia F.
Maury, who devotes herself to the representation
of child life. The St. Louis artists frequently
hold joint exhibitions, but, as in most American
cities, the products of local artists have been
somewhat neglected here. To arouse greater
interest Mr. Lewis Godlove some time ago
founded a ' Society for the Promotion of St.
Louis Art," which makes annual purchases of
local art productions, and exhibits them, and the
organisation is fairly prosperous. S. H.

ART SCHOOL NOTES.

LONDON.—Mr. David Murray, R.A.,
in the course of an admirable criti-
cism of the work of the members
of the St. Martin's Sketching Club,
laid great stress on the need for young land-
scape painters to study still life. The practice
of painting still-life and the careful study and
analysis of the forms and colours of objects that
do not move would help them almost to antici-
pate the changes in the kaleidoscope of nature
that are so bewildering to the painter working in
the open air. They must, he said, as students,
take care not to put art before nature, or to
attempt to take liberties with her until their
knowledge was matured. The longer and more