International studio (32.1907)

Worcester Art Museum

skilful handling com-
mends itself. Carle-
ton Wiggin’s Leader
oj the Herd occupies
a place of prominence
in the west gallery,
and Henry Salem
Hubbell’s Henry and
Jack likewise attracts
attention. Both are
strong works and
though they leave the
medium a little too
apparent possess a
fresh, purposeful
vigor which is not
only pleasing but
significant.

Gari Melchers has
contributed a sketch
of his wife, The Black
Scarf, which is clever
and somewhat effec-
tive but cold in color
and not up to his
best standard; while
Henry Oliver Walker
has sent his Portrait
of Mrs. IT., to which
the third prize was
awarded.

Again the temper-
amental and visual
difference of our
American painters
is manifested and em-
phasized. William
Keith’s California

pictures, keyed to the tradition of the Barbizon
School, hang near Childe Hassam’s well known
Old Church at Lyme and Albert Groll’s Arizona
landscapes, which savor strongly of extreme mod-
ernity. Willard Metcalf’s Milky Way is to the
right of Colin Campbell Cooper’s Bowling Green,
and with William Ritschell’s Katwijk Strand has
been placed Leonard Ochtman’s Winter A fternoon
—the one decorative, the other purely pictorial.
It is impossible to single out those of most moment
or to dwell at length upon any. All are of import
and none is preeminent. The prize jury (composed
of Messrs. Thomas Alien, Thomas Eakin and Alex-
ander T. Van Lear) must have had a difficult task,
though on the other hand whatever choice had been
made could scarcely have been accounted an error.

THE FORTUNE TELLER

BY F. LUIS MORA

The pictures receiving first and second award
are to be found in the east gallery and are namely,
Oxen Drinking by Horatio Walker and At Sea by
Charles H. Woodbury, both too well known to need
description or comment. . No doubt, for complete-
ness and technical merit, they deserved the distinc-
tion.

In the east gallery are also to be seen Arthur
Hoeber’s Flowing Tide, Frederick Ballard Will-
iams’s Gorge, Philip Hale’s Spirit of Antique Art,
T. W. Dewing’s An Arabesque, and Charlotte
Coman’s Summer Afternoon, each of which lends
a note of individuality. Mrs. Adelaide Cole Chase’s
charming portrait of Miss Jacques is there, as well
as the excellent likeness of Frank R. Whitside,
painted by Hugh Breckenridge. Passing slowly

XLIX