DOI issue:
No. 180 (February, 1912)
DOI article:Hoeber, Arthur: The winter academy
DOI article:American painters and sculptors-a new society
DOI Page / Citation link: https://doi.org/10.11588/diglit.43448#0452
The Winter Academy
THE BRIDGE, WINTER AFTERNOON
BY JONAS LIE
ful and direct in his rendering, showing great
advance in his performance.
One may not pass by Guy C. Wiggins’s charming
little East Wind, with its agreeable rendering of
boats in gray weather on the coast; Miss Winter’s
Annie, the child at a door, of delicious tech-
nique; Sergeant Kendall’s Alison, a group of a
woman and two children, and Gifford Beal’s
When the Circus Starts, the last a most able per-
formance of admirable textures. Harry Town-
send, who makes steady improvement, has a little
panel, Lynette, a girl by a table, with much still
life, though with an involved meaning, but good
to look at nevertheless. Finally, Robert Vonnoh
has a most serious picture of The Old Bridge, the
one at Grez, which so many of the students have
cut their artistic teeth upon, but which Mr.
Vonnoh makes a thing of rare beauty in the tender
early morning gray light, constructed and painted
with authority, a genuinely good, artistic achieve-
ment.
A MERICAN PAINTERS AND SCULP-
TORS—A NEW SOCIETY
1. Jk A group of painters and sculptors
met early in January in New York and
took the first steps toward an organization of art-
ists that they expect will be national in scope.
The new society calls itself “The American
Painters and Sculptors,” and, while the constitu-
tion and general plan of work are still incomplete,
it may be stated on good authority that the mem-
bers have large hopes and high purposes.
One of the most important of the aims of the
American Painters and Sculptors is to erect a
building in New York where exhibitions can be
given and which will not be dominated by any
school of art or any group of artists. The pro-
posals of the new society for a building will prob-
ably be made known a little later on, and the loca-
tion will be at some desirable point in New York
City, but not in any park.
xciv
THE BRIDGE, WINTER AFTERNOON
BY JONAS LIE
ful and direct in his rendering, showing great
advance in his performance.
One may not pass by Guy C. Wiggins’s charming
little East Wind, with its agreeable rendering of
boats in gray weather on the coast; Miss Winter’s
Annie, the child at a door, of delicious tech-
nique; Sergeant Kendall’s Alison, a group of a
woman and two children, and Gifford Beal’s
When the Circus Starts, the last a most able per-
formance of admirable textures. Harry Town-
send, who makes steady improvement, has a little
panel, Lynette, a girl by a table, with much still
life, though with an involved meaning, but good
to look at nevertheless. Finally, Robert Vonnoh
has a most serious picture of The Old Bridge, the
one at Grez, which so many of the students have
cut their artistic teeth upon, but which Mr.
Vonnoh makes a thing of rare beauty in the tender
early morning gray light, constructed and painted
with authority, a genuinely good, artistic achieve-
ment.
A MERICAN PAINTERS AND SCULP-
TORS—A NEW SOCIETY
1. Jk A group of painters and sculptors
met early in January in New York and
took the first steps toward an organization of art-
ists that they expect will be national in scope.
The new society calls itself “The American
Painters and Sculptors,” and, while the constitu-
tion and general plan of work are still incomplete,
it may be stated on good authority that the mem-
bers have large hopes and high purposes.
One of the most important of the aims of the
American Painters and Sculptors is to erect a
building in New York where exhibitions can be
given and which will not be dominated by any
school of art or any group of artists. The pro-
posals of the new society for a building will prob-
ably be made known a little later on, and the loca-
tion will be at some desirable point in New York
City, but not in any park.
xciv