DOI Heft:
No. 58 (December, 1901)
DOI Artikel:American studio notes
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.22772#0193
American Studio Talk
THE CARNEGIE ART INSTITUTE EXHIBITION AT PITTSBURG
“SEWING—A PORTRAIT” BY ELLEN WETHE.RALD AHRENS
Awarded the Silver Medal
example may well inspire others, his method is far
too personal and, it may be added, far too narrowly
restricted to his immediate personality, to be imi-
tated. And in this picture it is not a question of
being influenced, but of conscious or unconscious
cribbing. Frank D. Millet again shows The Card
Players; Robert Reid, Azalea; Sargeant Kendall,
A Fairy Tale; and Walter McEwen, a picture not
seen before at Eastern exhibitions, A Secret, a sub-
ject of two little girls on a long window seat, that
has some pleasant effects of light, and is less weakly
constructed than some of his later pictures. Gari
Melchers sends another Dutch study, Wedded.,
strongly drawn and seriously felt, but poor in color
and of unaccountable and unattractive sadness.
There are some good examples of landscapes
and marines in this exhibition, and yet the showing,
xliv
on the whole, is of very moderate interest, owing
partly to the fact that many prominent painters, such
as Tryon, Childe Hassam, Weir, Twachtman, J.
Francis Murphy, and Horatio Walker, are not
represented. Probably the most acceptable land-
scape among the American pictures is Ben Foster's
Close of the Day, a scene in the woods with a
pale full moon showing beyond the vista of tree-
stems. The ground is soundly constructed, the
various forms well drawn, and there is unity in the
color scheme and in the feeling, and a well-adjusted
relation between the two. It is a picture with much
strength of manner as well as earnestness of senti-
ment. Another that will attract the student who
delights in hardiness of drawing is L. H. Meakin’s
Stormy Weather, both rocks and ocean admirably
constructed ; a little picture with a large sense of
THE CARNEGIE ART INSTITUTE EXHIBITION AT PITTSBURG
“SEWING—A PORTRAIT” BY ELLEN WETHE.RALD AHRENS
Awarded the Silver Medal
example may well inspire others, his method is far
too personal and, it may be added, far too narrowly
restricted to his immediate personality, to be imi-
tated. And in this picture it is not a question of
being influenced, but of conscious or unconscious
cribbing. Frank D. Millet again shows The Card
Players; Robert Reid, Azalea; Sargeant Kendall,
A Fairy Tale; and Walter McEwen, a picture not
seen before at Eastern exhibitions, A Secret, a sub-
ject of two little girls on a long window seat, that
has some pleasant effects of light, and is less weakly
constructed than some of his later pictures. Gari
Melchers sends another Dutch study, Wedded.,
strongly drawn and seriously felt, but poor in color
and of unaccountable and unattractive sadness.
There are some good examples of landscapes
and marines in this exhibition, and yet the showing,
xliv
on the whole, is of very moderate interest, owing
partly to the fact that many prominent painters, such
as Tryon, Childe Hassam, Weir, Twachtman, J.
Francis Murphy, and Horatio Walker, are not
represented. Probably the most acceptable land-
scape among the American pictures is Ben Foster's
Close of the Day, a scene in the woods with a
pale full moon showing beyond the vista of tree-
stems. The ground is soundly constructed, the
various forms well drawn, and there is unity in the
color scheme and in the feeling, and a well-adjusted
relation between the two. It is a picture with much
strength of manner as well as earnestness of senti-
ment. Another that will attract the student who
delights in hardiness of drawing is L. H. Meakin’s
Stormy Weather, both rocks and ocean admirably
constructed ; a little picture with a large sense of