International studio (27.1905/1906(1906))

The National Academy



THE HARVEST

BY EDWARD H. POTTHAST

in a little Breath of Spring, admirably renders a
California landscape with poetic feeling and at-
tractive colour. E. H. Potthast represents The
Harvest, with horses, wagon and harvester in the
foreground, and, drawing his figures equally well
with the landscape, is happy in the result. The
work is a distinct advance and possesses much quiet
charm. A. T. Van Laer is no less progressive in
a Sunny Afternoon, with its broadly painted fields
and agreeable greens, and Frank Russell Green,
forsaking the figure, has a Peaceful Valley that is
full of poetry, with tender sky and moon. A view
of Madison Square, by Paul Cornoyer, has much
of the sparkle of foliage and people, the movement
of crowds and the breath of spring. Charles Warren
Eaton gets away from his usual effects and success-
fully attacks an early moonlight, which he calls
Gathering Mists, and which has much refinement
of colour. An able effort by Charlotte B. Com an,
called Mountain Road, has a landscape half-envel-
opecl in a mist, painted in a direct way with nice
construction, and sincerity, and there are worthy
canvases by Everett L. Warner, William Ritschel,
Jules Turcas, Leonard Ochtman and Will Howe
Foote. A new name is that of Gustave Ciniotti,
whose Äbove the Dale, with its prominent tree and
unteresting sky, is highly original, both in conception
and treatment. Birge Harrison, in his one contribu-
tion, Early Lamplight, strikes more or less of a novel
■composition, and Bruce Crane, though remaining
faithful to compositions with which he has made us

familiär, is yet interesting and the plaintive note he
strikes is full of a tender harmony.
An ambitious effort by Carleton Chapman is
called The Argus and the Telican, and is a pictorial
description of the sea fight of August 14, 1813,
which is spirited, if somewhat confused. It is full
of realism, however, and shows the painter to be
well up 011 things maritime, while there is much
action 011 the deck with the fight in full progress.
A charming little marine, The Narrow Cove, by
Charles H. Woodbury, is hung high in the centre
gallery and so almost lost, which is a pity, since the
canvas is of unusual excellence. Emil Carlsen,
who both in landscape and still life has hitherto
attracted attention, this year sends a large canvas
of rocks and sea, The Wind in the East, and the
effort is successful, the artist conveying a big feel-
ing to all and securing satisfactory colour. Paint-
ing with breadth and virility, Mr. Carlsen demon-
strates possibilities that give promise of even more
in this direction, and his subsequent marines will
be looked forward to with anticipation. Henry T.
Snell, invariably competent and artistic, has Steam
and Smoke, showing a liner in the river, with much
mist and uncertainty of forms which loom up here
and there, and these he conveys in a highly intelli-
gent and satisfactory manner. Another marine
man is Paul Dougherty, with a virile rendering of
The Evening Tide, and there are tenderness and a
highly decorative quality in Gifford Beal’s Summer
Seas.

xc