International studio (15.1901/1902(1902))

American Studio Talk

distance, breeze, and movement, most agreeable
also in color. A singularly fascinating picture is
Dwight Blaney’s Solitude; a grassy slope of shore,
spotted with smooth flat bowlders, fronting a wide
expanse of smooth water and clear sky. From the
shore juts out a little spit on which stands a desolate

depth of the divide through which no doubt the
river flows, and also to catch a sense of the bold
hills rolling on and on into the distance. Mr.
Kost is a sincere painter, with a power of very fully
comprehending the significance of what he studies,
and this picture is a remarkable example of an

THE CARNEGIE ART INSTITUTE EXHIBITION AT PITTSBURG
“ THE HOURGLASS ” BY MARY L. MACOMBF.R

Awarded Honorable Mention

hut. The impression of vast and silent solitariness
is most convincingly suggested. In Frederick W.
Kost’s Fish Huts on the Shrewsbury again appears
a welcome largeness of feeling. The immediate
scene is a steep grassy knoll up which two men are
pushing a cart to a hut at the top, which catches the
glow of the declining light. To the right are op-
posite hills in shadow, and one is made to feel the

artist’s ability to invest a fragment of nature with
suggestion of its own environment, and with this to
give the spirit and character of the whole locality.

A small canvas by Charles H. Davis, April
Clouds, moist, breezy, and tenderly fresh in color,
well represents his alert observation and direct sin-
cerity of method. There is not a truer nature-
student among our painters. He has a sympathy

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