International studio (52.1914)

Pennsylvania Pre-eminent

A Winter Morning, good in tone, full of atmo-
sphere, fine in construction. Paul Cornoyer is
well represented with Old New York. Theodore
Wendell has painted strong midsummer light in
his much-admired canvas, The Hayfield. The
mellow mediaevalism of Hawthorne is apparent in
his two excellent canvases, The Widow and The
Lovers, which so strangely rub shoulders with The
Polo Crowd—a quaint fellowship of art, indeed!
If asked to name the best landscape on exhibition
we should be sorely tempted to call Gardner
Symons’ Across the River. The distant bank,
topped with trees, the muddy stream and the
punts in the foreground make a delightful ensem-
ble; the planes have been well observed, while the
tonal quality is excellent. It has all the ear-
marks of a masterpiece. Gari Melchers shows
some good, firm modeling in his mother bending
over her babe, entitled Maternity. The same
subject by Lillian Genth is a splendid contrast.
They have selected different
types of motherhood and
have worked out their motif
in a totally different spirit.
While Gari Melchers has
been attracted by physical
forces, Miss Genth has
drawn more upon the spirit¬
ual suggestions offered.
Each has obtained a con¬
vincing and charming re¬
sult. Among the younger
portrait painters who are
earning strong recognition,
Leopold G. Seyffert is show¬
ing as many as four can¬
vases, his best portrait, in
our opinion, being that of
Mr. Charlton Yarnall, pose
and treatment being very
similar to his last year’s por¬
trait of Leopold Stokowski,
conductor of the Philadel¬
phia Orchestra. It is easy
to perceive Mr. Seyffert’s
artistic parentage, but there
is no discredit in following
so good an example until
strong enough to renounce
his discipleship and stand
alone.
Adolphe Borie is repre¬
sented by two well-executed
pictures—one, In Wyoming,

depicts a young Diana of the mountains, figure
and landscape in excellent harmony. The other
canvas, which is better in characterization, has
already been noticed. With regret we missed
Henry R. Rittenberg, who is equally clever as
portraitist or still-life painter. W. W. Churchill
has three canvases in his well-known smooth and
distinguished style, which is shared by W. Mc-
Gregor Paxton, with four to his credit. Both
artists are past masters of la belle pate.
In Gallery B one must not overlook Gerrit A.
Beneker’s The Wage Earner, which is a powerful
proletarian type, but would be more convincing if
the flesh tones had been naturally treated; every-
thing in the canvas has been darkened to call
attention to the face and hands, admirably mod-
eled, but in colours that do not belong to the
horny-handed toiler. Armin C. Hansen has an
excellent painting in The Belated Boat. Helen M.
Turner’s Summer has fine decorative quality.


BY EVERETT L. WARNER

Pennsylvania Academy of the Fine Arts, 1914
QUEBEC

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