International studio — 42.1910

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In the Galleries

Courtesy of Frederick Keppel & Co.


fancy, a time when values may be unnecessary and
everything will be stated in terms of color; when a
masterpiece of music may be translated, flung into
the color terms of a cathedral window, and art
schools, supposedly, will have become conserva-
tories of music. Meanwhile these talks are not ad-
dressed to the psychologist, who might question the
summary handling of subconsciousness, nor to any
pedantical and pestiferous philosopher in search of
definitions free from question-begging terms. For
the student who has reached the Woodstock stage
without reaching Woodstock we commend the en-
tire book, and especially the suggestive chapters on
values and "refraction." Here we permit our-
selves one question: Is not the light in the spots of
sky seen through the interstices of a large tree soft-
ened ordinarily by the fact that the interstices house
shadow quite as much as by the "refraction" from
the surrounding dark masses ? (Unless, of course,
the author has commanded the sun to stand still be-
hind the interstices.)

To the attractive series, "Masterpieces in Color,"
edited byT.Leman Hare (Frederick A. Stokes Co.),
three titles have been added, Watteau and Ho-
garth, for which the critical text is contributed by
C. Lewis Hind, and Millet, with text by Percy M.
Turner. The reproductions in color for this latter
book include six of the paintings in the Louvre:
The Woodcutter, The Weedburner, The Church at
Greville, The Gleaners, The Strawbinders, Spring;
from the South Kensington Museum, The Saw-
yers, and from the Glasgow Corporation Galleries,
The Sheepjold.

As has been the case with so many other
artists, so with the late Sir Francis Seymour
Haden, France was the first to recognize his
power, where, in Paris, in 1865, Philippe Burty pub-
lished twenty-five of the etchings, with critical text.
In this country, however, Haden found one of his
most discerning admirers in Mr. Keppel, whose cur-
rent exhibition of the surgeon-etcher's work is at-
tracting deserved attention, 4 East Thirty-ninth
Street. Here, too, Haden's work has found some
of its greatest popularity. His style has found a
ready appreciation, owing partly, perhaps, to its
directness and clarity. Commanding a technique
remarkable for its reliance on expressive line, he has
never been precious. He is too sound to be sensa-
tional. Dying last June at the age of ninety-two, a
great part of his etched work was done before 1880.
Since then he produced a number of mezzotints,
which are regarded as surpassing almost anything
done in the medium during the century. He was
for many years president of the Royal Society of
Painter-Etchers. A critical review of his work with
illustrations will appear in these pages next month.

Mr. Montross has opened the season at his galler-
ies, 550 Fifth Avenue, with a representative group
of pictures by painters for whose work he has long
stood sponsor, together with that of three men,
newly arrived in this company. Of these latter
Elliott Daingerfield and Hugo Ballin are perhaps
better known than is Charles A. Winter. Mr. Bal-
lin's essays in color have been reproduced from time

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