Carnegie Institute, Pittsburgh

Alexander Roche has a pleasing portrait of his
young wife. George Henry has a charming, simple
portrait of a lady seated, with a bit of china in
her lap, hence the title, China Kiln. H. H. La
Thangue has a large composition—it would have
been just as effective a quarter of the size—Har-
vesters at Supper, wherein a lot of men and women
are gathered about a fire, the light effect of which
is strikingly brought out. Arnesby Brown’s Sep-
tember is of colour charm and well composed. Mof-
fatt P. Lindner, in two marines alongshore, is most
agreeable in colour and happy in his theme. The
work of George Pirie, the Scotchman, is of such
modest proportions that it is likely to be overlooked,
but it is worth consideration just the same, in its
artistic quality and charm of colour. He has two

small panels of some oxen and hounds, sketchily
rendered, but of serious result, and Arnold Priest-
man, in his A Yorkshire Moor, if a trifle tight in the
handling, gives a fine sense of space, light and atmos-
phere, the country stretching away for miles and
the canvas being seriously thought out, while the
man’s feeling for nature is unmistakeable. Some-
what chalky, but decorative in a colour way, is
Charles Sims’s The Kiss, which is well drawn, too,
while Alfred East is disappointing in his large Re-
turning from Church of some people in the rain.
Julius Olsson again demonstrates his sterling
ability to paint the sea, his large Fiery of the Gale
being beautiful in colour and of quite remarkable
knowledge of wave forms.
John S. Sargent, with his great portrait of the
four doctors, Welch, Osier,
Halstead and Kelly, a work
painted for the Johns Hop-
kins University in Balti-
more, leads the Americans.
The canvas is familiar now,
having been shown in
Washington, and Cecilia
Beaux has a group of ten
portraits, including her Er-
nesta, the little child with
the nurse. While it did not
need this showing to estab-
lish Miss Beaux’s high place
among modern workers, it
is nevertheless agreeable to
see it and it emphasises her
capacity, artistic excellence
and splendid technical en-
dowment, for one may not
look at her display without
being impressed at her skill,
taste and excellent paint-
ing. When her theme is
woman, we know of no one
who quite approaches her
in the realisation of the
fine feminine qualities with
which she renders her sit-
ter, and her colour invari-
ably is most appetising. It
is an unqualified delight
again to linger over John
W. Alexander’s portrait of
Mrs. Wheaton, in which he
has caught the pathos and
refinement of gentle old age,
the work being such an


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