International studio (26.1905)

York, worked under various artists and later
studied at Paris, he began at a day before artistic
schooling was so fully developed with us as it now
is; and his work was always more practical than
that which falls to many young men beginning their
training at present. This probably served to stimu-
late his own tendency to readiness and incisive
aim. The quality of work that comes most natur-
ally from his hand is well represented in the assured
freedom and frank painting of Coco and the Por-
o/ Afw. P. But the power for such treatment
rests on the thorough command and technical con-
trol that are displayed, without loss of freshness
and grace, in the more careful handling seen in the
PorPaP o/ TP'j. P/MJ. These paintings are all
examples of his recent work, that, beginning about
r poo, followed an interruption of eight years due
to a breakdown in health, and that show him in,
possession of refreshed powers and an undiminished
vigour of preception. The delightful assurance
and telling straightforwardness of the PwPai^ o/
Afr.5 PfwAer are characteristic elements in the
temper of his lastest work. This canvas is fresh
from the easel and has not as yet been exhibited.
We shall be interested in observing the reception
that we feel certain it is to receive.
T HE ALBRIGHT ART GALLERY
OF BUFFALO, NEW YORK. BY
CHARLES M. KURTZ
THE Albright Art Gallery, erected at a
cost of approximately three-quarters of a million
dollars, and presented by Mr. John Joseph
Albright, of the City of Buffalo, to the Buffalo Fine
Arts Academy, was formally dedicated May 31
and was opened with a loan collection of paintings
representing ancient and modern masters and
many of the most prominent American collections.
On this occasion representatives of the leading art
museums of the United States were present, an
address was made by President Eliot, of Harvard
University, a poem was read by Mr. Richard
Watson Gilder, and original music by Professor
Parker, of Yale University, was sung by a chorus
of several hundred trained voices.
The dedicatory exercises were simple, noble and
monumental, like the structure in honor of which
they were celebrated. They were held out of doors
on the broad granite steps and green terraces
stretching from the art building down to the lake
in beautiful Delaware Park. The day was ideal—
bright sunshine, deep blue sky, cool, bracing tem-
perature. And the stately, simple Greek temple


"coco" BY DE WITT M. LOCKMAN

never before seemed so dignified, beautiful and
truly impressive.
The Albright Art Gallery is of the Ionic order,
studied from details of the Erectheum on the
Acropolis at Athens. It was designed, however,
not alone to realize an architectural ideal, but to
provide the best possible conditions for the exhibi-
tion of works of art.
Before beginning their design for the structure,
the architects, Messrs. Green and Wicks, of Buffalo,
visited the principal art museums of the world,
carefully studied them and noted not only those
features which were commendable, but certain
others to be avoided. In working out their own
plans they kept constantly in view the desiderata
of the art musuem:—well-proportioned rooms not
unduly high, adequately lighted, arranged to afford
the free circulation of large numbers of persons
without likelihood of congestion, and providing for
the safety of the exhibits from hre.
The exterior of the Albright Gallery is entirely
of white marble of a peculiarly fine crystalline^
texture. The interior is of steel construction with
solid brick partition walls. The floors, wainscot-
ing and door frames are of marble—white in the
Sculpture Court, while in the galleries for paintings,
the floors are of dark red-brown marble and the
wainscoting is a black marble having dashes of
gray-green. The doors are of bronze and slide into
the partitions.
The length of the building is two hundred and
fifty feet (north and south) and the depth is one

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