DOI issue:
Nr. 160 (June 1910)
DOI article:Mechlin, Leila: The Carnegie Institute's international exhibition
DOI Page / Citation link: https://doi.org/10.11588/diglit.19866#0438
Carnegie Institute Exhibition
Medal o) the Third Class and Prize o\ S500, Carnegie Institute, 1910
LAUREL BY EDWARD F. ROOK
there is an excellent portrait group; by Cottet a por-
trait study of a young girl wearing a rose-colored
hat, subtile and exquisite in tone; by William M.
Chase two portraits and an interior very signifi-
cant. In this gallery are some canvases by the
French impressionists—Monet, Sisley, Moret, Pis-
saro, Mauf ra— and landscapes by our own men, who
while profiting by their teaching possess independ-
ent conviction—such men as J. Francis Murphy,
Leonard Ochtman, Charles H. Davis, Willard Met-
calf, Daniel Garber and Charles Morris Young.
In the second gallery a large and powerful marine
by Frederick J. Waugh, The Outer Surf, terminates
one vista, and a big, impressive canvas, The Com-
municants, by Joseph Bail, the other. To a charm-
ing picture by Hornel, the Scotch painter of chil-
dren, a place of honor has been given, and to The
Bridge oj Arts, a skilful and interesting painting by
La Touche, another. Harrington Mann, Augustus
John and Robert MacCameron are each repre-
sented by a strong portrait in this gallery. Here,
also, is a portrait by Charles Shannon of Miss
Lillah Macarthy, in the dress of Dona Ana in
Bernard Shaw's "Don Juan in Hell"—not a pleas-
ant picture but unquestionably well painted.
The works of two of the Russian artists deserve
special mention—Nicholas Fechin, a painter of por-
traits which are psychological as well as decorative
in suggestion, and Constantin Krijitzki, who con-
tributes a winter landscape, subtile in treatment and
at the same time strong. Mesdag and Neuhuys are
the Dutch painters represented, the former by a
marine and the latter by an interior. Emil Carlsen,
Charles H. Woodbury and Paul Dougherty all con-
tribute excellent marines. Henry O. Tanner sends
two small canvases of much merit—The Disciples
See Christ Walking on the Water, and Mary. From
Arthur Streeton and P. Wilson Steer have come
spontaneous and thoughtful transcriptions of land-
scapes with buildings, and from George Symons,
xci
Medal o) the Third Class and Prize o\ S500, Carnegie Institute, 1910
LAUREL BY EDWARD F. ROOK
there is an excellent portrait group; by Cottet a por-
trait study of a young girl wearing a rose-colored
hat, subtile and exquisite in tone; by William M.
Chase two portraits and an interior very signifi-
cant. In this gallery are some canvases by the
French impressionists—Monet, Sisley, Moret, Pis-
saro, Mauf ra— and landscapes by our own men, who
while profiting by their teaching possess independ-
ent conviction—such men as J. Francis Murphy,
Leonard Ochtman, Charles H. Davis, Willard Met-
calf, Daniel Garber and Charles Morris Young.
In the second gallery a large and powerful marine
by Frederick J. Waugh, The Outer Surf, terminates
one vista, and a big, impressive canvas, The Com-
municants, by Joseph Bail, the other. To a charm-
ing picture by Hornel, the Scotch painter of chil-
dren, a place of honor has been given, and to The
Bridge oj Arts, a skilful and interesting painting by
La Touche, another. Harrington Mann, Augustus
John and Robert MacCameron are each repre-
sented by a strong portrait in this gallery. Here,
also, is a portrait by Charles Shannon of Miss
Lillah Macarthy, in the dress of Dona Ana in
Bernard Shaw's "Don Juan in Hell"—not a pleas-
ant picture but unquestionably well painted.
The works of two of the Russian artists deserve
special mention—Nicholas Fechin, a painter of por-
traits which are psychological as well as decorative
in suggestion, and Constantin Krijitzki, who con-
tributes a winter landscape, subtile in treatment and
at the same time strong. Mesdag and Neuhuys are
the Dutch painters represented, the former by a
marine and the latter by an interior. Emil Carlsen,
Charles H. Woodbury and Paul Dougherty all con-
tribute excellent marines. Henry O. Tanner sends
two small canvases of much merit—The Disciples
See Christ Walking on the Water, and Mary. From
Arthur Streeton and P. Wilson Steer have come
spontaneous and thoughtful transcriptions of land-
scapes with buildings, and from George Symons,
xci