International studio (35.1908)

Art Students' League Alumni


Alumni exhibition of the art
STUDENTS’ LEAGUE
BY ARTHUR HOEBER
An interesting showing of work by
men and women at one time pupils of the Art Stu-
dents’ League, of New York, was held at the gal-
leries of the National Arts Club in May. The
doyen of the group was Charles Y. Turner, closely
followed by Carl Hirschberg and Irving R. Wiles,
while there were familiar names, such as Bruce
Crane, Louise Cox, Charles C. Curran, William J.
Whittemore, Louis Loeb, Ella Condie Lamb, Lucia
Fairchild Fuller, Robert F. Bloodgood and Edward
Penfield. More recent graduates figured as well,
youths and maidens who have won honors and who
count seriously in any esti-
mate of modern art achieve-
ments. Of the older men
and women, several date
back to the old days of the
eighties, when the class-
rooms were on the corner
of Fifth Avenue and Six-
teenth Street, away up on
the top floor, when enthu-
siasm ran rife and the art
students were far fewer in
number. From there the
League migrated over to
East Twenty-third Street
and finally came into its
present quarters in the Fine
Arts Building in West Fifty-
seventh Street, with all the
modern improvements.
And as if to make the
memory stronger of the
older days, there was a
portrait of Walter Shirlaw,
by C. Y. Turner, an admir-
able likeness in an inti-
mate pose, to the life, re-
calling a favorite instructor
who came back in the late
seventies with laurels gath-
ered at Munich and made
a considerable stir in New
York art circles. Mr. Tur-
ner was also represented by
some of his studies for the
decoration of the Baltimore
Court House, of the Burn- Wilstach Gallery, by Courtesy of the Commissioners Photograph by Rittenhouse
ing of the Peggy Stewart. old peasant workman by j. f. raffaelli

Irving R. Wiles, one of the leading American
portrait painters now, offered the likeness of a
lady, Girl in Black, of alluring technical clever-
ness, thorough draughtsmanship and general happy
manner of presenting femininity, while from Louis
Loeb there was his remembered decorative canvas,
containing several figures, called Twilight—Calm
Rejnge oj Day. Bruce Crane disclosed no less
ability and charm than earlier in his landscape
work and, indeed, must be accounted as one of the
serious men working in this direction. Time was
when Mr. Crane was more or less identified with
snow pictures, gray transcripts of the late afternoon,
with a streak of luminous light along the horizon.
Though he has not renounced the winter effects, he
has added fall themes and the summer greens.

XXXVIII