DOI issue:
Nr. 201 (November, 1913)
DOI article:Hudson, Mary Worrall: The art treasures of Mexico
DOI article:A contretemps
DOI article:The New York society of etchers
DOI Page / Citation link:https://doi.org/10.11588/diglit.43454#0127
The Art Treasures of Mexico
PORTRAIT OF CARLOS III
OF SPAIN
BY SALBADOR
DE MAELLA
CONTRETEMPS
The October number of The Interna-
tional Studio suffered an unusual experience
inasmuch as it was held up by the New York Post
Office, who considered the illustrations to an arti-
cle upon the work of Lillian Genth as sufficiently
indelicate to warrant their seeking instructions
from Washington. Needless to say, Government
at once telegraphed permission for the issue to be
mailed, and we should not mention this trifling
occurrence only that it so aptly illustrates the
continual struggle between orthodoxy and hetero-
doxy in matters of art. Every one acquainted
with Lillian Genth’s paintings and with the trend
of The International Studio, will share our sur-
prise that September Morn should have been
extended into October and probably beyond.
THE NEW YORK SOCIETY of ETCH-
ERS
The first annual exhibition will be held at the
galleries of the Berlin Photographic Company, 305
Madison Avenue, from January 5 to 31 inclusive.
All prints for exhibition must be sent unframed
by December 1, 1913, to New York Society of
Etchers, 2104 Flatiron Building.
race. The earthen bowl and pitcher borne by
Zochital and her attendant and the large ollas on
the floor in front of the kneeling servant, are like
those made by the Mexican Indians today as
well as like the Toltec and Aztec pottery preserved
in the museums. The servant at the extreme
left bears in her arms a maguey plant, showing
the origin of the newly discovered drink to the
Prince. The Prince is attired as if he were ex-
pecting a deputation of importance, with crown
on head, scepter in hand, a magnificent blanket
about his shoulders, and his sandaled feet resting
on a bear skin. About him are grouped his
attendants, musicians, scribes, wives and slaves.
The Travesuras del Amor, by Manuel Ocaranza,
is a spirited and beautiful bit of work. The eyes
of the little god fairly sparkle as he jealously
watches the drops of his love philter.
The portrait of Carlos III. of Spain is by
Salbador de Maella. The face of this picturesque
pretender to the crown is sinister and haunting,
as any face that has the “Mona Lisa mouth,”
with its upturned corners, is apt to be. The
picture is rich in detail, of fine textures, glittering
jewels and precious metals, and the duller gleam
of marble pillars and polished rosewood.
LA VISITACION (ON WOOD) BY BALTASAR ECHAVE
CV
PORTRAIT OF CARLOS III
OF SPAIN
BY SALBADOR
DE MAELLA
CONTRETEMPS
The October number of The Interna-
tional Studio suffered an unusual experience
inasmuch as it was held up by the New York Post
Office, who considered the illustrations to an arti-
cle upon the work of Lillian Genth as sufficiently
indelicate to warrant their seeking instructions
from Washington. Needless to say, Government
at once telegraphed permission for the issue to be
mailed, and we should not mention this trifling
occurrence only that it so aptly illustrates the
continual struggle between orthodoxy and hetero-
doxy in matters of art. Every one acquainted
with Lillian Genth’s paintings and with the trend
of The International Studio, will share our sur-
prise that September Morn should have been
extended into October and probably beyond.
THE NEW YORK SOCIETY of ETCH-
ERS
The first annual exhibition will be held at the
galleries of the Berlin Photographic Company, 305
Madison Avenue, from January 5 to 31 inclusive.
All prints for exhibition must be sent unframed
by December 1, 1913, to New York Society of
Etchers, 2104 Flatiron Building.
race. The earthen bowl and pitcher borne by
Zochital and her attendant and the large ollas on
the floor in front of the kneeling servant, are like
those made by the Mexican Indians today as
well as like the Toltec and Aztec pottery preserved
in the museums. The servant at the extreme
left bears in her arms a maguey plant, showing
the origin of the newly discovered drink to the
Prince. The Prince is attired as if he were ex-
pecting a deputation of importance, with crown
on head, scepter in hand, a magnificent blanket
about his shoulders, and his sandaled feet resting
on a bear skin. About him are grouped his
attendants, musicians, scribes, wives and slaves.
The Travesuras del Amor, by Manuel Ocaranza,
is a spirited and beautiful bit of work. The eyes
of the little god fairly sparkle as he jealously
watches the drops of his love philter.
The portrait of Carlos III. of Spain is by
Salbador de Maella. The face of this picturesque
pretender to the crown is sinister and haunting,
as any face that has the “Mona Lisa mouth,”
with its upturned corners, is apt to be. The
picture is rich in detail, of fine textures, glittering
jewels and precious metals, and the duller gleam
of marble pillars and polished rosewood.
LA VISITACION (ON WOOD) BY BALTASAR ECHAVE
CV