International studio (27.1905/1906(1906))

The International Exhibition at Pittsburgh


GIRL IN GRAY BY JEAN M’LANE

groups this Frenchman has made and it is a per-
formance of the highest order.
Second honours have been awarded Edward W.
Redfield for his The Crest, a serious study of a
Stretch of country overlooking the Delaware river
under a light fall of snow. Broacl in treatment, in
fact a sort of glorified sketch, brushed-in enthusi-
astically with good colour, the picture appeals for
vigour and straightforwardness along with dex-
terity in suggesting the masses with a minimum
amount of labour. Childe Flassam has again found
favour with the jury, which has given him the third
prize for his June, showing three nude women by
the bank of a stream near some flowering bushes.
In 1898 he farecl better with a second prize. This
work is able and decorative, though marked by
mannerisms with which the painter has made us
familiär, in their turn adapted from some of the
French impressionists, wherein much piled-up pig-

ment and cross-hatching with the brush obtrude
on the spectator’s eye and are disturbing factors.
An honourable mention to Charles H. Woodbury
for a Winter calls attention to a canvas by no means
as interesting as many he has done; another to John
Sloan, for The Coffee Line, will be disputed by many,
in view of the muddy quality of the colour and too
great generalisation of forms, while an ambitious
and successful effort by William J. Glackens, At
Mouquins, finds many admirers who take issue with
the jury at the lack of a more substantial commen-
dation, for the picture has surely prize-winning
qualities of a high order. It represents a corner of
the famous New York Bohemian restaurant,
wherein a couple are seated at table, a mirror
behind them reflecting other diners. Dexterity and
a serious attention to the problems of values and
colour hold the spectator before this work, than
which the artist has done nothing better.
Of the portraits, of which there are two score or
more, a large number have been seen before at
exhibitions in other cities. Mr. Alexander, Mr.
Henri, Miss Beaux, Mr. Wiles, Mr. DeCamps, Air.
Florian, Miss Wheeler, Air. Hopkinson, Air.
Eakins, Miss MacChesney and Air. Funk are
prominent among the natives. Aman-Jean, the
Frenchman, has an extraorclinary portrait of a lady
whose curiously meagre form and weird colouring
are accentuated by a costume of many tints, fear-
fully matched and of insistent prominence that may
not be escaped. For a man of his decorative feeling
one is amazed at such inharmonious arrangement
of pigment. Air. Lavery is disappointing in a por-
trait of a lady, marked by artificiality both in pose
and colour. Jean McLane has an excellent young
woman in gray at full length, and Henry George has
an earnest, well-rendered portrait of a lady on a
sofa, while Harrington Mann, in a group of a
woman with two children, in a sober interior, makes
an interesting composition.
Charles Cottet, in his Mourning a Sailor’s Death,
Brittany, about reaches the limit of dirty colour, for
which there seems no reasonable excuse. Other
than this, however, the artist gives to the last extent
the dreariness of the sorrowful occasion and his
types are capital. FI. H. La Thangue, Austin
Brown, Lily Defries and Robert G. Hutchinson
contribute figures, the latter with an interior,
Bairnies Cuddle Doon, that strikes a populär note
and attracts attention, while the English landscape
painters include Alfred East, Alexander Roche,
Robert W. Allen, James Aumonier, Edward Ertz,
Alark Fisher and J. Campbell Noble, the last hav-
ing a quiet and rehned bit of the Dutch coast,

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