DOI Heft:
No. 178 (December, 1911)
DOI Artikel:The twenty-second annual exhibition of the New York water-color club
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43448#0398
Exhibition of the New York Water-Color Club
A SALEM MANSION BY COLIN CAMPBELL COOPER
(THE BEAL PRIZE, 1911)
THE TWENTY-SECOND ANNUAL
EXHIBITION OF THE NEW
YORK WATER-COLOR CLUB
The exhibition this year contained
very little work by leading painters, the best
known of the exhibitors being Birge Harrison,
George Wharton Edwards, Childe Hassam, Colin
Campbell Cooper, Alice Schille, Ross Turner,
Corwin Knapp Linson and Walter L. Palmer.
Many of the pictures by painters of less popular
repute, however, were quite as good, and in some
instances were better than the others, Miss Olive
Rush’s Girl in the Hall being, perhaps, the most
striking in its simple sincerity and freedom of ren-
dering. Birge Harrison showed Madison Avenue
at Twilight and George Wharton Edwards a
Landscape and The Harbor Entrance. Childe
Hassam’s exhibit did not give the impression of
being up to his usual ability, even as an impres-
sionist, the little group of landscapes and marines
seeming to be quite overpowered and obliterated
by “technique.” It seems disproportionate that
one small and delicate landscape should be made
to shoulder the whole volume of impressionistic
rendering, and it is to be felt that some sacrifice
of a purely academic ideal might have been made
in behalf of greater simplicity and sincerity.
Colin Campbell Cooper’s charming painting of
A Salem Mansion leaves little question as to the
judgment displayed in its award of the Beal prize.
Mr. Cooper, who has usually stood out as a strong
interpreter of such qualities of the picturesque as
are to be found in city vistas, has in this instance
captured to the very most subtle and intangible
element all the charm of an old Colonial mansion.
The sweet dignity of the old brick house, with its
prim white woodwork, enshrined in a green bower
of trees as old as itself, forms a subject as difficult
to translate in terms of line and color as it were
possible to submit, yet Mr. Cooper has felt and
expressed even the most elusive of these qualities
of dignity, reserve age and history which we asso-
ciate with such relics of Colonial life as he has por-
trayed. Mr. Cooper also showed several smaller
pictures.
XLII
A SALEM MANSION BY COLIN CAMPBELL COOPER
(THE BEAL PRIZE, 1911)
THE TWENTY-SECOND ANNUAL
EXHIBITION OF THE NEW
YORK WATER-COLOR CLUB
The exhibition this year contained
very little work by leading painters, the best
known of the exhibitors being Birge Harrison,
George Wharton Edwards, Childe Hassam, Colin
Campbell Cooper, Alice Schille, Ross Turner,
Corwin Knapp Linson and Walter L. Palmer.
Many of the pictures by painters of less popular
repute, however, were quite as good, and in some
instances were better than the others, Miss Olive
Rush’s Girl in the Hall being, perhaps, the most
striking in its simple sincerity and freedom of ren-
dering. Birge Harrison showed Madison Avenue
at Twilight and George Wharton Edwards a
Landscape and The Harbor Entrance. Childe
Hassam’s exhibit did not give the impression of
being up to his usual ability, even as an impres-
sionist, the little group of landscapes and marines
seeming to be quite overpowered and obliterated
by “technique.” It seems disproportionate that
one small and delicate landscape should be made
to shoulder the whole volume of impressionistic
rendering, and it is to be felt that some sacrifice
of a purely academic ideal might have been made
in behalf of greater simplicity and sincerity.
Colin Campbell Cooper’s charming painting of
A Salem Mansion leaves little question as to the
judgment displayed in its award of the Beal prize.
Mr. Cooper, who has usually stood out as a strong
interpreter of such qualities of the picturesque as
are to be found in city vistas, has in this instance
captured to the very most subtle and intangible
element all the charm of an old Colonial mansion.
The sweet dignity of the old brick house, with its
prim white woodwork, enshrined in a green bower
of trees as old as itself, forms a subject as difficult
to translate in terms of line and color as it were
possible to submit, yet Mr. Cooper has felt and
expressed even the most elusive of these qualities
of dignity, reserve age and history which we asso-
ciate with such relics of Colonial life as he has por-
trayed. Mr. Cooper also showed several smaller
pictures.
XLII