International studio (36.1908/1909(1909))

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FOUNTAIN GROUP

BY ISIDORE KONTI

who for years have sent to the Academy shows.
Fewer of the ancient Academicians were in evidence
than usuai, and their canvases were practicaiiy iost
in the mass of other work, so that almost for the
hrst time their presence was not feit at aii—which is
saying a good deai, and naturaily made for the bet-
terment of the display.
And as one must count on the younger element to
continue the best of the artistic traditions, it is
pleasant to note that some of these were happily
prominent on the iine. Miss Liliian Genth, whose
work has before this attracted serious attention, had
a nude figure of a woman, AMw dfuf&w, recati-

ing, perhaps—but in no wise in imitation of—the
famous picture by Alexander Harrison, fw Arcady.
That is to say, Miss Genth has seen ht to put her
figure in shadow and have flicks of sunlight dash
here and there across the flesh, and she has worked
out this highly difEcuIt problem with rare artistic
feeling and cleverness. Charles W. Hawthorne
had three contributions, notably one of a young
hsher lad, TAc RgfMW, wherein he has achieved un-
usually charming results. Seriously considered and
with fine sentiment, the figure stood out with great
distinction and effect. The drawing of the face and
the rendering of the surroundings made this picture
not only one of the best things here, but a work that
will hold its own among the good things that have
been done by Americans in recent years. In por-
traiture the show was filled with many examples,
EHen Emmet's likeness of the painter Mr. von
Glehn being fine in its quality of low tones, and
another of Mr. Perkins, by this same EHen Emmet,
among the really good portraits in the show. Lydia
F. Emmet had likewise capital canvases, some of
children, attractive transcripts of adolescence not
surpassed in the show.
One of the snappy, wholesome, original and dar-
ing performances of the display was George Bel-
lows's ffMifMW, a somewhat large canvas
showing the stream and the surrounding country, all
portrayed with zest, with life, in a frank almost
brutal manner, bubbling over, nevertheless, with
animation and life. One was conscious the work
was a joy in the rendering, that the man worked
with an enthusiasm fairly contagious and caught a
verisimilitude most convincing, and in TAg Hfwr,
by James Preston, there was again a rugged quality
of truth that did not entirely escape the brutal,
where the pigment was piled on recklessly but with
astonishing effect. Similar treatment character-
ized the by Earnest Lawson, though
we do not feel him to have been as successful as
hitherto, some of his remembered snow scenes hav-
ing been more convincing. G/ory, by
Will S. Robinson, we think showed some of the in-
fluence of the school of the Ten Americans, notably
the methods of Mr. Metcalf, with the regular
touches of broken color and the way of looking at
nature. It was, however, an excellent canvas, well
worth a careful inspection, and in attractive color
of the reds and yellows of the season. In William
Glackens's BgccA. Acgwg it may be said that the
painter was obviously striving to get away from the
conventional rendering of his confreres. That he
has succeeded no one will question, perhaps. That
he has been wholly successful may be instantly de-

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