International studio (42.1910)

In the Galleries

tural draughtsman of the better sort. He clings to
the salient detail of landscape perspective with the
precision of an engraver. He is careful of design
and bold, almost arbitrary, in color, conventionaliz-
ing like a decorator. He occasionally forces the
note beyond the possibility of any doubt, any mud-
dled response in the mind of the spectator, in a way
that inevitably suggests the scene painter. His
work is at once provocative and enticing.

When Jonas Lie exhibited four years ago at the
New Gallery the performance entertained and de-
lighted a small circle of admirers who had been
watching the beginning of what promised to be a
brilliant career. The gratifying effect of the conse-
quent encouragement begins to be seen in the one-
man exhibition recently shown at the Madison Gal-
lery. The painter has an unacademic, fresh vision,
a unique point of view, a nice sense of elimination.
Mr. Lie has but recently returned from Norway,
where he has spent the last two years painting en-
thusiastically among the ice fjords of his native

Courtesy of N. E. Montross

THE HOUSETOPS BY JULES

OF NAZARETH GUERIN

Courtesy of N. E. Montross

THE THREE WISE MEN BY JULES GUERIN

land. The larger pictures shown in the galleries
were with one exception scenes typical of places in
and around Christiana. The Market Place, one of
the most striking examples, is a thoughtfully stud-
ied composition. The line of stone buildings front-
ing on the Square is broken by a group of strange-
looking sleighs and carts in the center, behind
which lies a glimpse of the brilliant flower market,
and in the immediate foreground slush and snow
reflect the blue of the sky. There is strong color,
daring and a certain assurance in the picture. In
the Returning Fishermen the red brown of the sails
of the three boats entering the bay are transformed
by the setting sun to a fiery red and in a companion
picture, the Setting Out to Sea of the boats at dawn,
there is breadth of treatment, good color and sym-
pathetic rendering of an attractive subject. Mr.
Lie works with a large, full brush, unsparing of
pigment.

At the Macbeth Gallery, 450 Fifth Avenue,
eleven recent paintings by Charles W. Hawthorne
present the advancing work of a man who mixes not
only brains but emotion with his pigment. He is
successful in the simple pose of his Cape Cod fishing
folk; his brush fills with rich and vivid color and by
predilection in larger expanses; he models heads
and figures clearly and gravely; he searches out the
self-sufficing beauties of still life, as in the glinting
bottles of Refining Oil. But these things make
themselves apparent as a secondary impression.

LI