DOI Heft:
Nr. 200 (October, 1913)
DOI Artikel:Rainey, Ada: A painter of the figure in sunlight: Lillian Genth
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43453#0399
INTERNATIONAL
•STUDIO
VOL. L. No. 200 Copyright, 19/3, by John Lane Company OCTOBER, 1913
JUNE
BY LILLIAN GENTH
of much that
We seem to
all forms of painting, and
distinction fairly in her chosen Held,
all the more remarkable when we remember
the absurd Puritanical prejudice that is deep-
grained in the lay mind here in America against
the nude figure in any form. But she has fear-
lessly painted in her own way, and has suc-
ceeded in educating her public and deepening their
appreciation of this beautiful form of art expres-
The art of Miss Lillian Genth is vital,
optimistic, stimulating. She is truly original,
which quality of originality is sufficient reason for
a careful considera¬
tion of her work,
this being a sincere
expression of her in-
dividuality, her par¬
ticular way of seeing
beauty.
It is unusual in
one so young to have
attained the promi¬
nence before the ar¬
tistic public that
Miss Genth has. Few
American women
have received such
enthusiastic recogni¬
tion of artistic merit,
and perhaps none
has been represent¬
ed in so many pub¬
lic museums, or well-
known collections, or
has been the recipi¬
ents of so many prizes
in early youth.
The nude figure, in
shimmering sunlight,
by running water, in deep, leafy dells, vibrating
with light and life, is the favorite subject matter
that occupies the artist’s brush in her recent work.
The treatment of these joyous figures in outdoor
environment is so delightfully imaginative, so full
of the deep joy of life, of the beauty of light in
the open, playing in unconstrained freedom on
the body, that one draws in a deep breath of
relief and delight in turning to these pleasant
themes from the sordid expression
goes by the name of modern art.
come into contact with nature at her best in
looking at these sylvan figures. They exhale the
primal pagan joy of beings in harmonious relation
with the trees, the sky and the streams. But
these figures are not ethereal beings that have no
reality save in the
artist’s brain; they
are real flesh-and-
blood people living
simply, close to
nature and alive with
beauty.
With technical skill
commensurate with
her imaginative pow-
ers, this young artist
bids fair to stand at
the top notch of our
American painters.
For not always do we
see in an artist imagi-
native and technical
ability equally ex-
pressed. As there is
reality in the figures,
so is there firmness
and directness in the
brushwork and truth
in the drawing.
The nude figure in
landscape is perhaps
the most difficult of
Miss Genth has won
This is
A PAINTER OF THE FIGURE IN
SUNLIGHT: LILLIAN GENTH
BY ADA RAINEY
•STUDIO
VOL. L. No. 200 Copyright, 19/3, by John Lane Company OCTOBER, 1913
JUNE
BY LILLIAN GENTH
of much that
We seem to
all forms of painting, and
distinction fairly in her chosen Held,
all the more remarkable when we remember
the absurd Puritanical prejudice that is deep-
grained in the lay mind here in America against
the nude figure in any form. But she has fear-
lessly painted in her own way, and has suc-
ceeded in educating her public and deepening their
appreciation of this beautiful form of art expres-
The art of Miss Lillian Genth is vital,
optimistic, stimulating. She is truly original,
which quality of originality is sufficient reason for
a careful considera¬
tion of her work,
this being a sincere
expression of her in-
dividuality, her par¬
ticular way of seeing
beauty.
It is unusual in
one so young to have
attained the promi¬
nence before the ar¬
tistic public that
Miss Genth has. Few
American women
have received such
enthusiastic recogni¬
tion of artistic merit,
and perhaps none
has been represent¬
ed in so many pub¬
lic museums, or well-
known collections, or
has been the recipi¬
ents of so many prizes
in early youth.
The nude figure, in
shimmering sunlight,
by running water, in deep, leafy dells, vibrating
with light and life, is the favorite subject matter
that occupies the artist’s brush in her recent work.
The treatment of these joyous figures in outdoor
environment is so delightfully imaginative, so full
of the deep joy of life, of the beauty of light in
the open, playing in unconstrained freedom on
the body, that one draws in a deep breath of
relief and delight in turning to these pleasant
themes from the sordid expression
goes by the name of modern art.
come into contact with nature at her best in
looking at these sylvan figures. They exhale the
primal pagan joy of beings in harmonious relation
with the trees, the sky and the streams. But
these figures are not ethereal beings that have no
reality save in the
artist’s brain; they
are real flesh-and-
blood people living
simply, close to
nature and alive with
beauty.
With technical skill
commensurate with
her imaginative pow-
ers, this young artist
bids fair to stand at
the top notch of our
American painters.
For not always do we
see in an artist imagi-
native and technical
ability equally ex-
pressed. As there is
reality in the figures,
so is there firmness
and directness in the
brushwork and truth
in the drawing.
The nude figure in
landscape is perhaps
the most difficult of
Miss Genth has won
This is
A PAINTER OF THE FIGURE IN
SUNLIGHT: LILLIAN GENTH
BY ADA RAINEY