International studio (34.1908)

Society of Western Artists

A VENETIAN SHRINE
their author. His small landscape, Voices of the
Evening, is a most happy creation, a gem of Corot-
esque feeling.
The figure subjects are not extensive but they are
executed with purpose and sincerity. Sold at de
Crimee, by Harriet Blackstone, is an accomplished
rendition, both in arrangement and in brushwork,
the texture of the blue, waxen skin covering the old
man’s features being particularly well expressed.
Ethel Mars sends The Girl in White, a cleverly
painted work, sketchy and loosely drawn in parts
and yet finished as a cameo in others. The small
boy with head upraised, as he gazes off into space
building Air Castles, is entered by Carl G. Waldeck
and expresses a deal of sympathetic understanding.
Contemplation, a portrait of a man, by Alice Mur-
phy, shows an excellent sense of warm, rich coloring,
if lacking somewhat in draughtsmanship. Mr.
Carpenter’s Portrait of a Poet, Mi Carem and The
Orange Woman are each thoroughly individual
works, full of sentiment, or snappy and chic, as the
case might demand. Albright’s children are losing
that forced naturalness which was formerly attrib-
uted to them and they are now becoming real, every-
day boys and girls. His contribution to this exhi-
bition, called A Sculpin, is well deserving of notice.
Two interiors, one in a modern home, the other in
an Indian tepee, are studiously worked out. The
first of these, The Gown and the Book, by Walter M.
Clute, is an example of sound, conscientious en-
deavor with the resultant of a thoroughly harmo-
nized composition, in color as well as in line. The
counterplay of a warm green light from below and

a warm yellow light from
above assists in the forming
of quite an unusual prob-
lem, which the artist has
succeeded in solving to
one’s entire satisfaction. In
the Tepee is the work of
Oscar E. Berriinghaus. If
painted a little thinly, it,
nevertheless, represents
such a refined palette, and
the Indian mother and child
are so full of human ap-
peal, that it is a most grat-
ifying canvas. The same
artist sends works wherein
animals are leading factors,
which, while they are clever,
lack the sincerity of pur-
pose of the painting just
named.
Animals by Eugenie Fish Glaman and Alfred
Conway Peyton are a distinct addition to the show.
Mrs. Glaman’s entry is called The Watering Place.
It is a large canvas showing a group of cattle wa-
ding into shallow water, a splendid white cow drink-
ing in the foreground. The handling, however, is
inclined toward impressionism, which does not
please us so much as Mrs. Glaman’s own familiar
manner. Air. Peyton’s Stalled is a small work, but
it portrays a team of vigorously painted horses.
Aliss Alice Schille’s remarkable water colors are
represented by four examples, the Little Orphan
being the only typical subject of her brush. The
Witch of Faoult is exceedingly fine technically, but
Miss Schille delights us so much with her chubby
youngsters that we regret to see her change her
theme. Lotus, by Ellsworth Woodard, and three
Ghetto pictures by Mrs. Burnham are water colors
which are decidedly worth while.
Aliniatures are exhibited by Misses Hess, Lynch,
Packard and Younglove.
E. T. Hurley and Jessie Hamilton present an
attractive display of etchings.
Sculpture is represented by Rose F. Jones, who
sends an excellent bust of a young girl in bronze;
by Georgia AI. Ormund and Gilbert P. Riswold,
who offer plaster reliefs; by Leo Lentelli, who con-
tributes small plasters, and by Lorado Taft, Clem-
ent J. Barnhorn and Nellie V. Walker.
This year the exhibition of the Society of Western
Artists began in Chicago on the tenth of December.
It visited in turn the cities of Cincinnati, Indi-
anapolis and St. Louis, closing on March 23.


BY ERANK DUVENECK

LX VI