DOI issue:
No. 178 (December, 1911)
DOI article:In the Galleries
DOI Page / Citation link: https://doi.org/10.11588/diglit.43448#0407
In the Galleries
N THE GALLERIES
The walk uptown
among the picture gal-
leries is increasing in
interest with the progress
of the calendar and the be-
ginning of the real season,
and important exhibitions
are following each other in
such rapid succession that
the most ardent enthusiast
in these events could not
complain of anything in the
nature of dullness.
The galleries of C. W.
Kraushaar are hung this
month with a notable col-
lection of etchings by the
late Sir Seymour Haden,
whose plates unquestionably
hold a perennial and ever-
increasing charm for collec-
tors and connoisseurs of
eaux-fortes.
The Folsom Galleries were
occupied from the 28th of
October to the Sth of No-
vember with a remarkable
collection of recent paint¬
ings by Maurice Fromkes,
that Russian-American
genius who attained the honor, early in his career,
of painting a portrait of the Cardinal Merry del
Vai, to be hung in the Vatican at Rome. His work
shows greater mastery and surety than that ex-
hibited here six years ago, and in the twenty-two
oil paintings hung an extraordinary evenness of
merit prevailed. His Iiolbein Drawing, the grace-
ful figure of a woman bending over a small pic-
ture on a table, suggested, in its direct sim-
plicity of composition and its delicate grace of
pose, such canvases by J. W. Alexander as The
Quiet Hour, Pandora or The Pot of Basil. In his
intensely dramatic portrait of Mme. Mazarin, in
the role of Electra, however, Fromkes seems to
have attained values nearly approaching Sargent’s
portrait of Miss Ellen Terry as Ophelia. It is at
once a dramatic document, a salient character
study and forceful piece of technique—a picture
far above our usual expectations in a “one-man”
exhibition.
On the 10th of November the Fromkes exhibi-
tion was replaced by two other shows—one of the
BY BARTOLOME ESTEBAN MURILLO
1617-1682
clever sanguine and pastel portraits by Virginia
Hargreaves Wood, to run until the 30th of the
month, and another of the oil paintings of Jonas
Lie, a Norwegian-American painter. This last
exhibition comprises fifteen saliently original and
forceful canvases, of which a detailed considera-
tion may be presented next month.
The Macbeth Galleries announce some interest-
ing events, beginning with an exhibition of the
work of Robert Henri, comprising a collection of
marines, landscapes and “wood interiors”—a
designation by which are to be understood the
glades and sylvan vistas of the forest itself, in
contradistinction to the distant aspect of a
countryside. This exhibition will last from the
15th to the 31st of November, and will be fol-
lowed by the fourth annual exhibition of bronzes
by American sculptors, through December. This
will form an interesting divigation from paintings
and by reason of the variety of the exhibits should
attract no small amount of attention.
With no definite dates given as yet it is under-
Courtesy of the Ehrich Galleries
PORTRAIT OF AN
UNKNOWN MAN
LI
N THE GALLERIES
The walk uptown
among the picture gal-
leries is increasing in
interest with the progress
of the calendar and the be-
ginning of the real season,
and important exhibitions
are following each other in
such rapid succession that
the most ardent enthusiast
in these events could not
complain of anything in the
nature of dullness.
The galleries of C. W.
Kraushaar are hung this
month with a notable col-
lection of etchings by the
late Sir Seymour Haden,
whose plates unquestionably
hold a perennial and ever-
increasing charm for collec-
tors and connoisseurs of
eaux-fortes.
The Folsom Galleries were
occupied from the 28th of
October to the Sth of No-
vember with a remarkable
collection of recent paint¬
ings by Maurice Fromkes,
that Russian-American
genius who attained the honor, early in his career,
of painting a portrait of the Cardinal Merry del
Vai, to be hung in the Vatican at Rome. His work
shows greater mastery and surety than that ex-
hibited here six years ago, and in the twenty-two
oil paintings hung an extraordinary evenness of
merit prevailed. His Iiolbein Drawing, the grace-
ful figure of a woman bending over a small pic-
ture on a table, suggested, in its direct sim-
plicity of composition and its delicate grace of
pose, such canvases by J. W. Alexander as The
Quiet Hour, Pandora or The Pot of Basil. In his
intensely dramatic portrait of Mme. Mazarin, in
the role of Electra, however, Fromkes seems to
have attained values nearly approaching Sargent’s
portrait of Miss Ellen Terry as Ophelia. It is at
once a dramatic document, a salient character
study and forceful piece of technique—a picture
far above our usual expectations in a “one-man”
exhibition.
On the 10th of November the Fromkes exhibi-
tion was replaced by two other shows—one of the
BY BARTOLOME ESTEBAN MURILLO
1617-1682
clever sanguine and pastel portraits by Virginia
Hargreaves Wood, to run until the 30th of the
month, and another of the oil paintings of Jonas
Lie, a Norwegian-American painter. This last
exhibition comprises fifteen saliently original and
forceful canvases, of which a detailed considera-
tion may be presented next month.
The Macbeth Galleries announce some interest-
ing events, beginning with an exhibition of the
work of Robert Henri, comprising a collection of
marines, landscapes and “wood interiors”—a
designation by which are to be understood the
glades and sylvan vistas of the forest itself, in
contradistinction to the distant aspect of a
countryside. This exhibition will last from the
15th to the 31st of November, and will be fol-
lowed by the fourth annual exhibition of bronzes
by American sculptors, through December. This
will form an interesting divigation from paintings
and by reason of the variety of the exhibits should
attract no small amount of attention.
With no definite dates given as yet it is under-
Courtesy of the Ehrich Galleries
PORTRAIT OF AN
UNKNOWN MAN
LI