International studio (21.1903/1904(1904))

71%^


0CT0BER DAY, NOANK, CONN.
with the elaborated picture as a flourish of silver
trumpets with a Symphonie composition. Color
a!so plays a prime part in Garber's group of trees,
a scheme of greens, gray, oiive, and biuish in tone,
which seems like an echo of Ruysdael's coioring.
In the arrangement of the composition there is a
certain weird grotesqueness, very attractive; the
sycamore having a traiiing skirt of boughs that gives
it the Suggestion of a woman's figure reared high
toward the clouds. In fact there is a weicome
smack of unusuainess in the whole treatment of tbis
picture which condones, to a certain extent, the
evident inexplicability of the background, where
values are siurred and everything tumbles together
in confusion.
Near by hung another iandscape, with an un-
familiar signature, Lewis Cohen's -Sww/— ^77^777777

BY GEORGE H. BOGERT
— Akay which was full of good quaiities ;
and in the same galiery were two good exampies
of the work of oider men, Waiter Ciark and George
Ii. Bogert. The latter's AiMW-R, Cw/7/.,
seemed to me, however, to betray an increasing
tendency toward paintiness. In studying the picture
of a Iandscape, one has a way — and perhaps it is
not so bad a one — of asking oneseif the question,
How does it succeed in impressing one with the
reai feeling of nature, and effacing the recoliection
of paint and canvas? And, judged from this stand-
point, Bogert's picture does not make myseif, at
any rate, lose sight of the fact that it is a picture.
It even suggests that he has a partiaiity for certain
pigments, which is not unnatural; but that he also
transposes the scene in front of him to fit his for-
niula of color. The latter is rieh and impregnated

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