International studio (48.1913)

In the Galleries


IN THE GALLERIES
The close of the year has been characterized in
the art world by successions of exceptionally
good exhibitions in the different galleries on
or bordering on Fifth Avenue. It has been pos-
sible to feast the eyes on many old masters, other-
wise accessible only through the medium of a
photograph or collotype. We have seen grand
displays of etchings, notably by Brangwyn, who
has attained a degree of popularity which, well
deserved as it is, must none the less have come
almost as a surprise to his keenest admirers. It is
a strange coincidence that at one and the same
time different dealers were independently occu-
pied in London, arranging for an exhibition here,
notwithstanding which each individual display of
this artist’s output has been eminently successful.
The Macbeth Gallery gave a very successful
display of Western pictures in the latter part of
November, and the public had an opportunity of
seeing for the first
time an exhibition by
painters of the Far
West. Such artists as
Parshall, Couse,
Moran, Daingerfield
and Groll were repre-
sented by two pictures
apiece. Mr. Dainger-
field is seen at his best
in a large canvas rep-
resenting a canon of
the weirdest grandeur
and of impenetrable
depth, which is the
keynote and essence
of the picture. The
tree in the foreground
might, however, have
been better handled;
it is insufficiently
drawn and lacks form.
Mr. Moran has shown
us that he can paint
mountains with the
same masterly tech-
nique that we are ac-
customed to see in his
pictures of the plains.
No. 13, by Mr. Pot-
thast, breathes the
spirit of the great
Northwest, and has

been much admired. It represents Lake Louise,
Alberta. Now canvas has had to yield to marble
and bronze and people are flocking to see the
work of Mr. Chester Beach, whose reputation
needs no enhancing at our hands. We only wish
that critics would not split hairs over whether he
is a realist or an idealist—a realistic-idealist or an
idealistic-realist. What does it matter? Of
course, he stands for all this and very much more.
No. 2 in the catalogue, entitled Beyond, is the
figure of a young girl on the threshold of woman-
hood, the very embodiment of immature grace,
looking wistfully into the future; pose and expres-
sion are admirable. Very much admired is his
Vestal Virgin guarding the sacred fire. The idea
is grandly conceived, but the face is somewhat
disappointing, the expression and features being
heavy. There is also a most striking fountain
—a great faun’s head with leering face, whose
mouth, with amused contempt, spouts the water,
serves as couch to a sprightly nymph, who views

BY B. ESTEBAN MURILLO
I6l8-l662

Courtesy of The Ehrich Galleries
MADONNA AND CHILD
“charity”

LXIX