International studio (40.1910)

American Water Color Society

J. Alden Weir and Henry Golden Dearth, American
landscapes of note.

The jury of awards this year was composed of
William M. Chase, Charles H. Davis, Childe Has-
sam, W. L. Lathrop, Henri Eugene Le Sidaner,
Albert Neuhuys, Leonard Ochtman, Edward W.
Redfield, W. Elmer Schofield and Charles H. Wood-
bury, with John W. Beatty, the director of the de-
partment of fine arts of the Carnegie Institute, as
chairman. The result, however, was no less sur-
prising and, on the whole, illogical, from the lay-

LIBERTY STREET BY COLIN CAMPBELL

CREVASSE COOPER

XCII

man's viewpoint, than usual.\ The first prize, car-
rying with it a medal and $1,500, was given to
William Orpen, of London, for a portrait of himself,
in a mirror, which reflected as well the sunny glare
of an open window and a statue of the Venus de
MUo—a brilliant piece of technical jugglery. The
second prize, carrying a medal and $1,000, went to
Karl Anderson, of New York, for a figure painting,
impressionistic in tendency, vividly colored but Veil
drawn, of two young women out of doors on the
grass, in the glaring light of midsummer sun. The
third prize, a medal and $500, was awarded to
Edward F. Rook for a landscape showing promi-
nently in the foreground a clump of blossoming
laurel. In addition honorable mention was given
to a remarkable painting of still life, Chinese
Porcelain, by Joseph Oppenheimer; a winter land-
scape, Farmhouse, by Charles Morris Young; a
landscape, Hills oj Byram, by Daniel Garber, and
a portrait study of a little girl, Apple Blossoms, by
Louis Betts. To the average visitor these pictures
will not be singled out as the most significant, the
public demanding something more than technical
achievement, but under these conditions, if the art-
ists themselves did not encourage by reward good
painting, who would ? Certainly it is technical fa-
cility which permits the expression of lofty senti-
ment and the transmission of worthy ideas. Be-
cause many of the paintings set forth in this exhi-
bition possess these attributes it is important and
impressive.

E, XHIBITION OF AMERICAN WATER
i COLOR SOCIETY
J A feature of the annual exhibition of
the American Water Color Society held in
the Fine Arts Building, West Fifty-seventh Street,
New York City, was the group of work in other
media hung in the central gallery. Drawings, etch-
ings in color and color monotypes were included.
A number of drawings by Arthur B. Davies from
the nude demonstrated a spontaneous and finished
mastery of draughtsmanship. John S. Sargent was
represented by a drawing of the Irish poet, William
Butler Yeats. Charles Keene and John Leech, the
illustrators of Punch; Aubrey Beardsley, Frederic
Remington and James D. Smilie, whose recent
death marked a loss in the ranks of American etch-
ers, were represented to good purpose. There
were some of the Samoan drawings by John La
Farge, a group of sketches by Augustus E. John,
tenement-district transcripts by William Glackens,
and colored monotypes by Everett Shinn.