International studio (35.1908)

Carnegie Institute

than by any solid qualities in his Portrait of a Bo-
hemian. Zuloaga is ponderous and unpleasant,
and his Grape Gatherers Returning from the Vintage
at Evening would not require much change to be-
come stage brigands. Zorn, though, as always, un-
deniably clever and vivid, is candidly brutal in his
Portrait of John Chipman Gray. Cottet has done
little more than forward a perfunctory carte de
visile; and his full-length portrait of a smiling girl
in no sense represents the serious side of his art. Of
Albert Baertsoen’s large canvas, entitled An Indus-
trial Centre: Snow-Covered Roofs, the best that can
be said is that it has the beauty of its ugliness and
.the picturesqueness of its squalor.
On the other hand, Le Sidaner’s Grand Canal by
Moonlight is a rarely poetical impression of the
Venice of our day-dreams; its palaces loom through
the soft, misty moonlight with a half spectral effect
which is charming. Monet’s two landscapes—one
quite an early example, dated 1881, showing a
stranded boat in a shallow harbor, and reminding
the observer of Boudin; the other, painted as late as
1902, belonging to the Thames River series, and
representing Waterloo Bridge swimming in an ;ri-

Medal, Third Class, Carnegie, 1908
SURF

descent atmosphere through which the sun is vaguely
shining in its half-hearted London way—are both
worthy of his fame. John M. Swan’s picture of
two huge, clumsy polar bears, Adrift, on cakes of ice,
is strikingly naturalistic, and tells its story well.
Alfred East’s Haru-no-Yuki: Snow in Spring is
one of his well-painted and interesting illustrations
of Japan. Arthur Kampf’s three pictures of theat-
rical subjects are spicy, original and notablv well
drawn. Raffaelli has a good picture in The House
on the Border of the River.
Turning to the American contributions, Thomas
W. Dewing’s The Necklace, the picture to which the
first prize was awarded, first engages our attention.
The engravings which have thus far appeared
hardly do justice to the charm of this delicate paint-
ing. It is one of the most attractive examples of
Dewing’s sophisticated art. The medal of the first
class, carrying with it a prize of $1,500, has been
awarded in previous years to John Lavery, J. J.
Shannon, D. W. Tryon, Cecilia Beaux, Andre
Dauchez, Alfred H. Maurer, Frank W. Benson, W.
Elmer Schofield, Lucien Simon, Gaston La Touche.
The picture shown by the recipient of the second-
class medal this
year—M. Le Sida-
ner’s Grand Canal
by M oonlight—has
already been
alluded to. The
winner of the
third-class medal
is Emil Carlsen,
of New York,
whose painting of
Surf is a large,
simple, airy marine
piece in a truly ex-
quisite scale of
blues and grays.
In the landscape
field the Ameri-
cans make a great
showing. Theexhi-
bition is arranged
with irreproach-
able taste in four
galleries, two o.
them the uncom-
monly large rooms
known as galleries
M andN, the larg-
est picture galler-
by emil carlsen ies in America.


XXI