DOI Heft:
No. 102 (August, 1905)
DOI Artikel:The New York water-colour Club's first exhibition in England
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.26960#0191
yv<?%7 (7//^
anatomically sound and scholarly in execution, was
exhibited by E. N. Vanderpoel, and there was an
apparently very truthful painting of Zazzg* ZsVazzZ
ZazzzzZ by George H. Clements. A pleasant
piece of decoration was Z%a Z?7ia[ga by M.
Louise Stowell. ZHa ZVzWziZ by C. T. Chapman
was excellent in colour. Cleverly drawn was Emma
L. Cooper's Z%a ZTTaZwzTZZzaT*, but it was some-
what cold and colourless in effect. ^4 Zzzzzz/Tz^z*
ZZyZ, by F. Ballard Williams, was undoubtedly one
of the best water-colours in the exhibition; it
would, perhaps, have been even improved had a
note been struck to relieve the green tone which
permeated it, even to the sky. An excellent study
of Zarar was exhibited by Rhoda H. Nicholls ; and
the Z^zYrY a/* zTza TVzzzaz'aaTzz'^ CfsWMrr, by E. N.
Vanderpoel, was successful, if the artist intended to
capture the spirit of utter desolation pervading a
sordidly surrounded railway siding.
The picture yaazz, by Constance Curtis, was a
well-painted picture with a pleasant arrangement
of greens. There was good painting in Cullen
Yate's Zaz*a ^4/z*a7*7zaa7z. Excellently rendered were
the blue hills and the greens in Charlotte Coman's
TZwz/azzz AZ'rz*. The ZzVZ Zz/y Zz*zzZy by 1.. C.
Hunter was patently the work of a clever tech-
nician. Sentiment of an artistic order informed
the nice colour of Clara W. Parrish's fC%<?7z z7 war
jraz* Zaz-A Some roses by M. E. Browse were deli-
cately treated, and Z7az7zg^7 z'zz azz ZzzgVz'r^ FzzYagi?,
by Florence Frances Snell, was admirably painted.
Amongst other contributions to the exhibition
claiming attention were OaAf z'zz ^zz/zrzzzzz, by R.
Swain Gifford; ^4 Zara azzZ a Zazzg, by Rhoda
Holmes Nicholls; Zzg/lz^az/ra Ay AZw77/zg7%/, by
Hlenry B. Snell, and Zwz7zg7%/, Caar/ a/" 7Vaw
ZzzgVazzZ, by the same painter; ZZ^z'zzg Z^z^az*,
by Clara T. McChesney; A'az-ra TVzj^z*, by H.
Reuterdahl; Zz-a&zTzaaz'awzz, Ca^a CaA, by Rhoda
Holmes Nicholls; Zfz7/r a/ A'aza Zzzg/azzA, by
Charles Melville Dewey, and TVasya/zzYaz* Za)', from
the same brush ; Ben Foster's Za//z'7zg* zt%a Z/^aa^, and
Z%a ZZa7*^a7, by William J. Whittemore; a small
picture called Z'Z yaz* Zaz*Zz7a'r rz'zzz^Z Czz^7aaz-Z
and an illustrative design for a head-piece to ^4zz
6YZ Cazzzzz'zy Zfazzra by Elizabeth Shippen Green.
"THE FtNISHtNG TOUCHES"
146
BY ARTHUR J. KELLER
anatomically sound and scholarly in execution, was
exhibited by E. N. Vanderpoel, and there was an
apparently very truthful painting of Zazzg* ZsVazzZ
ZazzzzZ by George H. Clements. A pleasant
piece of decoration was Z%a Z?7ia[ga by M.
Louise Stowell. ZHa ZVzWziZ by C. T. Chapman
was excellent in colour. Cleverly drawn was Emma
L. Cooper's Z%a ZTTaZwzTZZzaT*, but it was some-
what cold and colourless in effect. ^4 Zzzzzz/Tz^z*
ZZyZ, by F. Ballard Williams, was undoubtedly one
of the best water-colours in the exhibition; it
would, perhaps, have been even improved had a
note been struck to relieve the green tone which
permeated it, even to the sky. An excellent study
of Zarar was exhibited by Rhoda H. Nicholls ; and
the Z^zYrY a/* zTza TVzzzaz'aaTzz'^ CfsWMrr, by E. N.
Vanderpoel, was successful, if the artist intended to
capture the spirit of utter desolation pervading a
sordidly surrounded railway siding.
The picture yaazz, by Constance Curtis, was a
well-painted picture with a pleasant arrangement
of greens. There was good painting in Cullen
Yate's Zaz*a ^4/z*a7*7zaa7z. Excellently rendered were
the blue hills and the greens in Charlotte Coman's
TZwz/azzz AZ'rz*. The ZzVZ Zz/y Zz*zzZy by 1.. C.
Hunter was patently the work of a clever tech-
nician. Sentiment of an artistic order informed
the nice colour of Clara W. Parrish's fC%<?7z z7 war
jraz* Zaz-A Some roses by M. E. Browse were deli-
cately treated, and Z7az7zg^7 z'zz azz ZzzgVz'r^ FzzYagi?,
by Florence Frances Snell, was admirably painted.
Amongst other contributions to the exhibition
claiming attention were OaAf z'zz ^zz/zrzzzzz, by R.
Swain Gifford; ^4 Zara azzZ a Zazzg, by Rhoda
Holmes Nicholls; Zzg/lz^az/ra Ay AZw77/zg7%/, by
Hlenry B. Snell, and Zwz7zg7%/, Caar/ a/" 7Vaw
ZzzgVazzZ, by the same painter; ZZ^z'zzg Z^z^az*,
by Clara T. McChesney; A'az-ra TVzj^z*, by H.
Reuterdahl; Zz-a&zTzaaz'awzz, Ca^a CaA, by Rhoda
Holmes Nicholls; Zfz7/r a/ A'aza Zzzg/azzA, by
Charles Melville Dewey, and TVasya/zzYaz* Za)', from
the same brush ; Ben Foster's Za//z'7zg* zt%a Z/^aa^, and
Z%a ZZa7*^a7, by William J. Whittemore; a small
picture called Z'Z yaz* Zaz*Zz7a'r rz'zzz^Z Czz^7aaz-Z
and an illustrative design for a head-piece to ^4zz
6YZ Cazzzzz'zy Zfazzra by Elizabeth Shippen Green.
"THE FtNISHtNG TOUCHES"
146
BY ARTHUR J. KELLER