International studio (49.1913)

In the Galleries

Courtesy of the Prang Co.
THE LAST WORD BY POWER O’MALLEY


comes on exhibition later on, will evoke more than
passing interest. The canvas in question is a
large woodland scene, with broken grass-grown
foreground of the paysage intime variety, and
revels in cool greens and delicious depths.
Within recent date at the same galleries
fifteen canvases by Gardner Symons, N.A., were
on exhibition, many of them being winter land-

Courlesy of the Prang Co.
SHE NEEDED BREAD BY POWER O’MALLEY


scapes. He is verily a panegyrist of winter, and is
seen at his best in his splendid handling of snow
and ice. These pictures show immense strides in
the management of large spaces and atmosphere,
and have the true ring of the conscientious out-of-
doors worker.
Lovers of etchings were rewarded last month by
a unique display at the Keppel Galleries of nine-
teenth century French painter-etchers, to wit:
Lalanne, Appian and Daubigny; more than half
the plates shown being by the first-named.
Lalanne’s etchings on the Norman coast, with few
lines, so perfect in atmosphere and perspective,
are things to enjoy, while his street sketches about
Paris and Bordeaux are full of crowded interest
without confusion. Appian, pupil of Corot and
Daubigny, did graceful plates, full of delicate feel-
ing, as may be witnessed in such proofs as Une


Courtesy of the Prang Co.
HER PROPER PLACE, BY POWER
IN THE SUN O’MALLEY

Moria and A Rocky River Bed, where the amphi-
theatrically abutting rock layers are splendidly
expressed. As an etcher of rustic and riverside
bits Daubigny was unexcelled; his Ford; Autumn;
Souvenir of Morvan, and his last plate, Moonlight
at Valmondois, are beautiful examples of his
artistic expression.
Mr. O’Malley has certainly painted a most dis-
tressful country in his numerous canvases dis-
played at the Prang Galleries. Only one canvas
of a laughing boy gives relief to drawn faces,
squalid cabins, bleak mountains, pitiful interiors
and melancholy bogs and moors. The note of
truth rings clear. O’Malley saw an unhappy
country and painted what he saw in vigorous,

XLVIII