International studio (42.1910)

New York Water Color Club

showed a strong
double portrait of
brother and sister, a
pastel of unusual so-
lidity of form and
interesting composi-
tion, the dullness and
monotony of the color
detracting from its in-
terest as a portrait.

Colin Campbell
Cooper's Laujenburg
Bridge illustrated his
customary clever
workmanship and the
ever-present charm in
whatever subject he
endeavors to inter-
pret. The historic
old bridge over the
Rhine, with its queer
modern addition in
incongruous contrast,
the varicolored detail
of red-roofed clifflike
dwellings crowded
along the shores, with
the repetitive contrast
of the ostentatious
modern residence in
the distance, sugges-
ted romance and im-
aginative beauty. A
fairy - story - telling
picture, if you will!
Competence is syn-
onymous with Mr.
Cooper's name and in
the second Rhine pic-
ture and the Porch
at the Church of Se-
mur, Francethe hand-
ling of the difficult
medium he affects,
the gouache, is be-
yond Criticism William R. Beal Prize

Edith Cockcroft, of study in black by tony nell

New Jersey, whose
picture at the autumn

Salon, Place de Saint Sulpice, was one of the few enlivened the exhibition. Those of Concarneau
American works favorably commented upon by peasants by Maud Squires were deservedly popular,
the Parisian critics, sent two vigorous studies of Strictly decorative in style, the treatment was origi-
old women, full of ugly character and vitality, nal and the quaint humor in pose and gesture quite
Groups of studies and sketches of varying interest irresistible.

XLV