International studio (32.1907)

Studio- Talk

alone in its mystic beauty
and peculiar atmospheric
qualities. This painter’s
unique woik has been
termed “the impressionism
of Whistler projected into
infinite possibilities.”

“THE TURKEY HUNTER”

(Photo. J. A. Lyon, New Orleans)

Sentinel Pines, satisfying in the simplicity of its
composition and in the harmony of its colour
relations; E. Irving Couse’s
Turkey Hunter; Fight—The
Pool, by Harry Haviland Osgood,
a picture in which the mysterious
charm of the “huge and thought-
ful night ” is wonderfully em-
bodied; Lewis Cohen’s Autumn,
vigorously but delicately painted
and exquisite in colouting; The
Sycamore, by W. L. Lathrop;

Ben Foster’s After the Rain-,

A. T. Van Laer’s characteristic
Evening; an exquisite sunset
scene by R. C. Minor; A Coming
Storm by A. H. Wyant (deceas-
ed) ; Isaac Josephi’s daintily
painted Landscape; The Lilli-
putian Boatlake, a graceful piece
of work by William Chase;

Arthur Parton’s Summer
Showers; R. A. Blakelock’s
Cloudy Morn, Maine; Arthur
Dawson’s Wood Lnterior; Woods
in Spring, by Leonard Ocht-
man; Wm. Howe’s On the Road
to Market; and W. Merritt
Post’s Lowland Farm. Leon
Dabo’s Hudson River stood
82

A great picture of the ex-
hibition was Robert Henri’s
Spanish Dancer, a wonder-
ful piece of work, virile and
compelling, and done with
bold, impassioned strokes
of the btush. The bold-
ness of the pose, the devilry
in the black eyes, the won-
derfully painted arm, throat
and chest, made an ensemble
pulsating with life and
colour. Other figure sub-
by e. Irving couse jects worthy of mention

were Douglas Volk’s Boy
with Arrow, Walter Mc-
Ewen’s The Secretary, Luis Mora’s Spanish Lady
and Maid, Henry Mosler’s Dutch Woman, Charles

“the sycamore” (Photo. J. A. Lyon, New Orleans) by w. l. lathrop


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