International studio (36.1908/1909(1909))

have been shown previously in Wa.shington, but he
would also 6nd in this collection a surprising
amount of entireiy new work.
Here, for example, are shown for the first time
Gari Melcher's portrait of Fresident Roosevelt,
Sargent's portrait of Miss Mathiide Townsend and,
if I am not mistaken, Mr. Tarbeil's charming genre,
/fferc/e. The portrait of the Presi-
dent is distinctly disappointing—poor in likeness
and in execution. The portrait of Miss Townsend
is clever and attractive but somewhat Rippant, and
none of the other four canvases which Mr. Sargent
shows, save, perhaps, the portrait of James Whit-
comb Riley, are by any means profound. Miss
Beaux has three portraits to her credit, ali suave,
colorful and distinguished, but notabiy so that of
Mr. Lewis, the president of the Pennsylvania
Academy of the Fine Arts. J. J. Shannon sends
but one, and that his fuii-length portrait of Mrs.
Guggenheim, which, if not bad, might certainiy be
better. F. P. Vinton, R. E. Clarkson and Wiiiiam
Funk all make exceiient contributions in this held,
sending portraits of extraordinary merit.
Among the landscape painters there are many
that command attention—J. Francis Murphy, Emil
Carlsen, Willard Metcaif, Leonard Ochtman, Ar-
thurParton, Gran-
vilie-Smith,
Charles H. Davis,
Chiide Hassam
and others mak-
ingimportant con-
tributions.
Horatio Waiker,
P a u i Doughtery
and Aibert Groii
are, it seems, less
w e 11 represented
than might have
been desired, send-
ing not, it is true,
inferiorworks, but
those below t h e
high standards
t h e y h a v e
achieved.
Of purely tone-
ful paintings—-
works rich in color
and inherentiy
decorative, b u t
with little kinship
to nature—those
of Ballard Will- JOSEPHINE AND MERCIE BY EDMUND C. TARBEDL

iams and Henry Golden Dearth are to be remarked,
and though one may not sympathize with the view-
point none can evade the charm of the result. If
all artists painted in this way it might be lament-
able, but that some do gives cause for gratitude.
The catholicity of this exhibition, so far as man-
ner and methods go, is, in fact, one of its note-
worthy features.
And again passing through the galleries, which,
by-the-way, are a fair size and beautifully lighted,
attention is drawn to one and another picture be-
cause of peculiar merit—such, for instance, as the
portrait of the late Augustus Saint-Gaudens by
Kenyon Cox, a nocturne by Charles Warren Eaton,
a landscape by Charles Melville Dewey, a figure
painting by Hugh Breckenridge, and many others.
From Paris quite a number of paintings have
come from artists claiming American citizenship,
among whom may be mentioned Walter MacEwen,
Alexander Harrison, William T. Dannat, Walter
Gay, George Elmer Browne, Robert MacCameron
and Henry S. Hubbell.
This gives, to be sure, but the briefest summary
and covers only salient points, or those which seem
salient to the writer—but there are over 400 paint-
ings, and all merit thoughtful consideration.

XCIII