International studio (27.1905/1906(1906))

The National Academy

brush stroke, and, we make bold to believe, is that
much more interesting, for beside being con-
vincing as an excellent likeness, the canvas is inter-
esting as a colour scheme on the wall. Louis Loeb
calls his portrait of a young woman, Jessica, a
Harmony in Brown, and it has pleased him to
experiment with an interesting problem in tone
which he has worked out successfully. The draw-
ing is Capital, the colour is entertaining and much
intelligent thought has been expendecl in realising
the harmony he sought. Ira M. Remsen gives a
full length of his father, Ira Remsen, of Johns
Hopkins University, and, working con amore, has
evolved a dignified, earnest portrait of a gentleman
in his College robes, who Stands in an easy attitude,
the painting frank and without preconception, the
effort obviously being to represent the figure before
the artist in an adequate manner. So, too, J. N.
Marble’s portrait of Arthur Wilder is no less honest

and frank, and Miss Elisabeth Finley represents
a young woman in a für boa with commendable
straightforwardness, in a naive manner, that makes
for truth.
In the portrait of a French sculptor, Louise L.
Heustis works out an interesting scheme of lighting
and has a masculinity in the facture that never for a
moment betrays her sex, and there are portraits by
other women, Amanda Brewster Sewell, Juliet
Thompson, and Rhoda Holmes Nicholls. William
T. Smedley also contributes portraits, as do Walter
Florian, J. Campbell Phillips, William J. Whitte-
more, F. Luis Mora, William M. J. Rice and L. M.
Genth, the latter making a pictorial composition
in his likeness of a girl holding a Statuette.
In the workwe have mentioned there is,as a rule,
an effort to break away frorn the conventional ren-
dering of the portrait, to secure something of the
pictorial, and by reason thereof the canvases are


THE WHITE CLOUD

BY GEORGE ELMER BROWNE

LXXXVTI