DOI Heft:
Nr. 108 (February, 1906)
DOI Artikel:Oliver, Maude I. G.: The exhibition of the Society of Western Artists
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26961#0511
The Society of l¥es fern Artists
WINTER, CENTRAL PARK
to that sort of picture, that they are painted with
equal skill and that, naturallv, as the title would
indicate, the centre of interest has been focussed
in the distant bluffs.
In the Martin P. Cahn prize picture of the
present season at the showing of American Artists,
Charles Francis Browne diel what he does not offen
do: he departed from his native russets and painted
various developments of lead colour. The venture
was a success. It won a prize for the “best paint-
ing by a Chicago artist”; still, Mr. Browne does
russets admirably and we delight in them. And a
perfect little gern in this scheme is The Scum Pond,
Autumn. A manipulation of the palette knife pro-
duces in this work an almost sparkling freshness.
At near ränge we become conscious only of the
merciless splashes and dashes of one who is work-
ing for crisp, clean efl'ects and who knows exactly
what he is doing, but, at a sufficient distance, we
obtain an impression which, as was observed the
other day by an apprecia-
tive rustic, “appearsmore
natural.” And how well
does this manipulation
lend to the style of sub-
ject! Long streaks of ex-
crescence on the water’s
surface alternate with
charming reflections from
the distant bank; and, in
the foreground to the
right, giving a slightly
Japanesque touch, are
seen the trunk and
branches of a half-de-
nuded tree which serves
to produce the proper
sense of balance and to
assist in the representa-
tion of the perspective.
Again, Autumn Oaks,
Rock River, III., by the
same autlior, is another
alluring strain in notes
of russet hue. But the
russets in this work have
shaded into rose and the
blue of the picturesque
river has retained the
clear empyrean element
of the sky overhead.
eredk. j. mulhaupt L. H. Meakin sends
two exceedingly virile
landscapes o f ab o ut
equal interest although quite different in tem-
perament, recording phases along the Ohio
River, the one showing the nearer bank and
the other the opposite shore. In the latter, the
bold, confident drawing reveals a simple enibank-
ment of weather-smoothed rocks handled entirely
in rieh, dark colours; while in the former the
colouring is light and in neutral tones, but for an
occasional accent of effective red, and the composi-
tion leads into the picture through the employment
of strong diagonal lines in the shape of great slant-
ing shafts of stratified rock. T. C. Steele is perhaps
best represented by An August Day, which, in the
Chicago hanging, was associated with John F.
Stacey’s Road Over the Uplands. Messrs. Steele
and Stacey ought to be congenial spirits because
there scarcely could be two men who paint so unlike
and at the same time so harmoniously as they.
Some one has said that, in the whole ränge of
colour work, there is no more difhcult problem to
cv
WINTER, CENTRAL PARK
to that sort of picture, that they are painted with
equal skill and that, naturallv, as the title would
indicate, the centre of interest has been focussed
in the distant bluffs.
In the Martin P. Cahn prize picture of the
present season at the showing of American Artists,
Charles Francis Browne diel what he does not offen
do: he departed from his native russets and painted
various developments of lead colour. The venture
was a success. It won a prize for the “best paint-
ing by a Chicago artist”; still, Mr. Browne does
russets admirably and we delight in them. And a
perfect little gern in this scheme is The Scum Pond,
Autumn. A manipulation of the palette knife pro-
duces in this work an almost sparkling freshness.
At near ränge we become conscious only of the
merciless splashes and dashes of one who is work-
ing for crisp, clean efl'ects and who knows exactly
what he is doing, but, at a sufficient distance, we
obtain an impression which, as was observed the
other day by an apprecia-
tive rustic, “appearsmore
natural.” And how well
does this manipulation
lend to the style of sub-
ject! Long streaks of ex-
crescence on the water’s
surface alternate with
charming reflections from
the distant bank; and, in
the foreground to the
right, giving a slightly
Japanesque touch, are
seen the trunk and
branches of a half-de-
nuded tree which serves
to produce the proper
sense of balance and to
assist in the representa-
tion of the perspective.
Again, Autumn Oaks,
Rock River, III., by the
same autlior, is another
alluring strain in notes
of russet hue. But the
russets in this work have
shaded into rose and the
blue of the picturesque
river has retained the
clear empyrean element
of the sky overhead.
eredk. j. mulhaupt L. H. Meakin sends
two exceedingly virile
landscapes o f ab o ut
equal interest although quite different in tem-
perament, recording phases along the Ohio
River, the one showing the nearer bank and
the other the opposite shore. In the latter, the
bold, confident drawing reveals a simple enibank-
ment of weather-smoothed rocks handled entirely
in rieh, dark colours; while in the former the
colouring is light and in neutral tones, but for an
occasional accent of effective red, and the composi-
tion leads into the picture through the employment
of strong diagonal lines in the shape of great slant-
ing shafts of stratified rock. T. C. Steele is perhaps
best represented by An August Day, which, in the
Chicago hanging, was associated with John F.
Stacey’s Road Over the Uplands. Messrs. Steele
and Stacey ought to be congenial spirits because
there scarcely could be two men who paint so unlike
and at the same time so harmoniously as they.
Some one has said that, in the whole ränge of
colour work, there is no more difhcult problem to
cv