International studio (25.1905)

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Woolf, whose Dr. Fw/gy,
c/ CoMege <?/ fAg City
g/ Wgw ForA: is a note-
worthy performance, really
in the nature of a human
document.
A sumptuous piece of
colour, with remarkable
breadth of treatment may
be found in Henry G.
Dearth's Da:Jog7?g Lfar&or,
over which rises the moon
and here the values are
observed, the lines are
agreeable and the work is
very complete throughout,
an admirable combination
of the artistic and the in-
tellectual in picture mak-
ing. A newcomer is Henry
Salem Hubbell—the name
should be marked since
the man has something to
say combined with the
technical ability to say it
well—His D&g Pgg% shows
one of those French bohe-
mians in a cafe, sombre
of garments and eccentric
of pose, all rendered de-
lightfully, while the Paw
CaMy, by the same artist,
is really a fine character
study that reeks of the
type. From the French
capitol to Philadelphia, the
jump is great and Colin
Campbell Cooper, finding material in the sky-
scraper, arranges a fine composition in his Broad
61rgg7 Bfa/fow, making the new epoch in American
building progress quite his own pictorially, for this
is only one of a long series the man has presented
of busy street and towering structure.
The tendencies of the exhibition, seem to show
the men endeavouring to key the work in low tones,
to present impressions of nature, or of the human
figure, rather than to go in for detail; to express
more the abstract than the concrete, and to obtain
the realistic in place of the decorative. Perhaps
something of a feeling of monotony prevails for in-
dividuality seems to be, as it were, lost in the general
desire to comform to prevailing fashions in art, all
of which while it makes for repose in the galleries,
is not conducive to exploiting the personal note.

BROAD STREET STATION, PHILADELPHIA. BY COLIN CAMPBELL COOPER

HE ART OF FRANKLIN SIMMONS.
BY LILIAN WHITING.

FRANKLIN SiMMONS, the American
sculptor, whose home has long been in
Rome, but whose frequent sojourns in his own
country keep him in close sympathy with its
national life, is an artist whose place is distinctive
and unique among all American sculptors. He is
the idealist who translates his vision into the act-
uality of the hour and who also exalts this actuality
of the hour to the universality of the vision. In the
creation of portrait busts and of the statues and
monumental memorials of great men, he yet
infuses into them the indefinable quality of
extended relation which relegates his work to the
realm of the universal and, therefore, to the im-

Lii