International studio (36.1908/1909(1909))

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CROSSING THE BROOK BY MARIE DIETERLE

AN iNTERESTiNG exa.mple
of modern cattfe painting,
at the galleries of Arthur
Tooth & Sons, 420 Fifth
Avenue, is by Mme. Marie
Dieterle, a daughter of the
iate Emiie van Marcke,
himself one of the greatest
modern painters of cattle.
But his daughter follows
closely in his footsteps, and
enjoys a great vogue among
collectors. Thepicture
u n d e r consideration, o f
which we give a reproduc-
tion, is an agreeable com-
position, containing several
animals, with two calves,
coming toward the specta-
tor, as they cross a small
brook, near a peasant's cot-
tage with thatched roof.
The cattle are admirably
drawn and constructed, the
color is satisfactory, and the work is agreeable in its
balance of light and shade.
KARL EniL TERMOHLEN is a Dane who came
to this country some twenty or more years ago and
settled in the West. Without instruction he took
uplandscapepainting, hnding themes near Chicago
and on the prairies. Some of his works may be
seen at the Rice gallery, 45 John Street. The late
evening has obviously appealed to him with great
force and he paints sunset skies frequently, effects
of deep yellows predominating. Now and then he
renders the deep tones of the forest interiors with
the light of the fading day shining out from be-
tween tree trunks, or again he has attacked a bit
of sea and shore. The work is more or less per-
sonal, even if one has to admit the influence of the
late George Inness. But then Mr. Inness has had
a strong effect on the landscape work of his time,
for that man was a sincere and honest worker,
striving before nature, imbued with her tints and
her poetry. Mr. Termohlen has chosen to refer to
his work as dream pictures and, seeking not to con-
hne himself strictly to a concrete realization of the
scene before him, essays rather to obtain the effect
in the abstract, and so has evolved these many com-
positions as his fancy has suggested, with what re-
sults the public may judge for itself. It is under-
stood the man has shown some canvases at the
Pennsylvania Academy of Fine Arts, in Philadel-

phia, as well as elsewhere. At these Rice galleries
there is a large painting by the late Edwin Lord
Weeks, one of his characteristic Oriental scenes,
and some of the landscapes of Olive Black, a one-
time pupil of H. Bolton Jones, along with other
things, mainly by Americans.
FoR precocity in the arts, the name of Lucas van
Leyden—as he was called, although in reality his
name was Lucas Jacobsz—stands out as the most
remarkable of all, and indeed he was scarcely sur-
passed in the history of any one for early develop-
ment. The son of an obscure painter, one Huig
Jacobsz, of Leyden, he had scarcely reached his
ninth year when he had engraved some plates from
his own designs, and when he was twelve he painted
a picture which he called -S7. FfM&cr/, which as-
tonished the artists of his day—which is surely a
phenomenal record. But more was to follow, for
at fourteen he engraved a celebrated plate,
-Scrgw.y, Af/M &y Afa/Mwe/, a remarkable
composition of hgures and landscape of the most
seriously considered nature. It is profoundly in-
teresting, therefore, to call attention to a collection
of work by the man at the New York galleries of
R. Ederheimer, No. goq Fifth Avenue, where are
shown some 143 prints, many of them rare, all of
them interesting, and a few quite unique in their
way. From his earliest work, to the last engraving
from his hand, the display is educational.

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