DOI issue:
Nr. 108 (February, 1906)
DOI article:Oliver, Maude I. G.: The exhibition of the Society of Western Artists
DOI Page / Citation link: https://doi.org/10.11588/diglit.26961#0512
The Society of Western Art ist s
essay than to catch the particular elusive green of
an August light. If this be true, Mr. Steele’s almost
tropical luxuriance of foliage, executed on an
August day, is an unusually praiseworthy accom-
plishment. The landscape referred to, by Mr.
Stacey, while having many points in common with
that just described regarding their colour qualities,
is altogether distinctive both as to selection of sub-
ject and as to execution. He has chosen to depict
a large panoramic view instead of a few quiet fea-
tures at a nearer ränge. He has delineated for us a
little winding stream which circles off into the dis-
tance, loses itself and again reappears from behind
some slight hillock. He has recorded the blue of
the distant bay at its deepest.
Charles Abel Corwin, another strong painter,
has sent a notable achievement somewhat daring
in effects of colour but goocl as to technical methods.
With much warmth of yellows and here and there
a nervous dash of red, this picture is not dissimilar
to that by Mr. Stacey. Frank V. Dudley decides
upon a group of red trees for his subject matter. He
relies upon a scheine of graclations in cumulative
signihcance for the concentration of colour interest
and upon a subtle swing and balance of mass for
pictorial effect. A scholarly statement of a winter
landscape was shown by Frederick J. Mulhaupt, a
young man now
studying abroad,
who has appeared
quite recently
upon the artistic
arena. The land-
scape in question
is descriptive of
early winter when
the grass is still
verdaut but when
depressions in the
ground have been
fillecl with hard
cakes of thinsnow.
In this particular
painting, the grass
has been some-
what sheltered on
a woocled knoll
and the snow has
fallen on the un-
covered ground at
its base, across
which fingers of
shadows slant into
the composition
from trees without. Clusters of trees, admirably
placed, rececle off into the distance which has
been excellently sustained in relation to this up-
right canvas.
James William Pattison shows us a view of
New York Bay from Staten Island scintillating in
nocturnal purples which grade off into cool blues
to be relieved by a Scattering of gold-tinged sails
along the high horizon. A very simple arrange-
ment has been followed in this work. A V-shaped
cleft in the ample foreground mass reveals the
interesting distant bay, while a conscientious and
intelligent study of colour placement contributes
to the harmonious effect. Another canvas of dis-
tinct artistic merit is catalogued as Young Poplars
and Willows. It is from the brush of William R.
Harper and delineates, in semi-decorative style,
with yellow browns and greens for leading colours,
an inviting corner of woodland landscape. A
happy creation, also, is the Anlumn Roadside,
Kentucky, by W. Forsyth, of Indianapolis. The
turning road, the fallen fence and the blaze of yel-
low in the trees unite in testimony to the genuine-
ness of the ensemble. Decidedly the antithesis of
the preceding subject is that called Evening Calm,
by Christian Walter. Mr. Walter employs a simple
ränge of colour though quite original in scheine, a
cvi
essay than to catch the particular elusive green of
an August light. If this be true, Mr. Steele’s almost
tropical luxuriance of foliage, executed on an
August day, is an unusually praiseworthy accom-
plishment. The landscape referred to, by Mr.
Stacey, while having many points in common with
that just described regarding their colour qualities,
is altogether distinctive both as to selection of sub-
ject and as to execution. He has chosen to depict
a large panoramic view instead of a few quiet fea-
tures at a nearer ränge. He has delineated for us a
little winding stream which circles off into the dis-
tance, loses itself and again reappears from behind
some slight hillock. He has recorded the blue of
the distant bay at its deepest.
Charles Abel Corwin, another strong painter,
has sent a notable achievement somewhat daring
in effects of colour but goocl as to technical methods.
With much warmth of yellows and here and there
a nervous dash of red, this picture is not dissimilar
to that by Mr. Stacey. Frank V. Dudley decides
upon a group of red trees for his subject matter. He
relies upon a scheine of graclations in cumulative
signihcance for the concentration of colour interest
and upon a subtle swing and balance of mass for
pictorial effect. A scholarly statement of a winter
landscape was shown by Frederick J. Mulhaupt, a
young man now
studying abroad,
who has appeared
quite recently
upon the artistic
arena. The land-
scape in question
is descriptive of
early winter when
the grass is still
verdaut but when
depressions in the
ground have been
fillecl with hard
cakes of thinsnow.
In this particular
painting, the grass
has been some-
what sheltered on
a woocled knoll
and the snow has
fallen on the un-
covered ground at
its base, across
which fingers of
shadows slant into
the composition
from trees without. Clusters of trees, admirably
placed, rececle off into the distance which has
been excellently sustained in relation to this up-
right canvas.
James William Pattison shows us a view of
New York Bay from Staten Island scintillating in
nocturnal purples which grade off into cool blues
to be relieved by a Scattering of gold-tinged sails
along the high horizon. A very simple arrange-
ment has been followed in this work. A V-shaped
cleft in the ample foreground mass reveals the
interesting distant bay, while a conscientious and
intelligent study of colour placement contributes
to the harmonious effect. Another canvas of dis-
tinct artistic merit is catalogued as Young Poplars
and Willows. It is from the brush of William R.
Harper and delineates, in semi-decorative style,
with yellow browns and greens for leading colours,
an inviting corner of woodland landscape. A
happy creation, also, is the Anlumn Roadside,
Kentucky, by W. Forsyth, of Indianapolis. The
turning road, the fallen fence and the blaze of yel-
low in the trees unite in testimony to the genuine-
ness of the ensemble. Decidedly the antithesis of
the preceding subject is that called Evening Calm,
by Christian Walter. Mr. Walter employs a simple
ränge of colour though quite original in scheine, a
cvi