DOI issue:
No. 205 (March, 1914)
DOI article:Haswell, Ernest Bruce: The Society of Western Artists, 1913 - 1914
DOI Page / Citation link:https://doi.org/10.11588/diglit.43455#0374
The Society of Western Artists
one always feels in standing before his canvases,
yet the composition is unsatisfactory. Brown
has in Gathering Clouds grasped the mighty aloof-
ness of the desert and the loneliness of waste
places. Entirely different in spirit but no less fine
and painterlike is Corwin’s Grey Day. Gloucester
Harbour stretches outbefore us, with here and there
a boat standing out against the still luminous
water. Another interpretation of the same scene
by Herman Wessel is full of breadth and spon-
taneity. Still better is an Oriental Study of his,
rich with blues and wine reds, truly Oriental,
without a touch of the bizarre.
Always grasping something above the mechan-
ics of her craft, Alice Schille this year has painted
St. Germaine des Pres with her characteristic sense
of the effect of mass and proportion.
J. H. Sharp occupies a unique position in
American art. Never relying upon daring inno-
vations, he paints the Indian with a truthfulness
and technical skill that will cause his work to be
valued, not only as a record of a fast-disappearing
race, but as distinctive American art. From his
studio in New Mexico he has sent two canvases.
Most effective is The Pastoral by C. F. Galt,
with its glow of sunlight on soft brown limbs and
a piping, goat-footed Pan. Another figure piece
by Dawson Watson, lacking in colour and drawing,
falls far short of that painter’s usual charm. Dis-
appointing, too, is Adam Emory Albright’s Silver
Sea, too prettily picturesque and far inferior to
Big Fish up the Creek. In this he successfully
combines restraint with vitality and delicate notes
of colour with force of expression. The same might
be said of C. F. Brown’s Autumn Clouds.
An Afternoon Call by W. M. Clute and two
marines by Paul M. Gustin deserve acknowledg-
ment. There is only one piece of sculpture, the
work of Clement J. Barnhorn, done for the Sea-
men’s Institute in New York. The interpretation
of the subject Christ Walking on the Water, dis-
plays tenderness and fine idealism.
The lack of sculpture, portraits and etchings is
to be regretted. Of the latter Earl H. Reeds’s
Highway of the Wind displays poetic as well as
substantial treatment. A number of other crafts-
manlike etchings were contributed by Cecilia M.
Stuever and E. T. Hurley. In short, a most
excellent exhibition, in spite of the deficiencies
named above.
Exhibition of Western Artists, 1913-1914
GREY DAY BY CHARLES ABEL CORWIN
XVII
one always feels in standing before his canvases,
yet the composition is unsatisfactory. Brown
has in Gathering Clouds grasped the mighty aloof-
ness of the desert and the loneliness of waste
places. Entirely different in spirit but no less fine
and painterlike is Corwin’s Grey Day. Gloucester
Harbour stretches outbefore us, with here and there
a boat standing out against the still luminous
water. Another interpretation of the same scene
by Herman Wessel is full of breadth and spon-
taneity. Still better is an Oriental Study of his,
rich with blues and wine reds, truly Oriental,
without a touch of the bizarre.
Always grasping something above the mechan-
ics of her craft, Alice Schille this year has painted
St. Germaine des Pres with her characteristic sense
of the effect of mass and proportion.
J. H. Sharp occupies a unique position in
American art. Never relying upon daring inno-
vations, he paints the Indian with a truthfulness
and technical skill that will cause his work to be
valued, not only as a record of a fast-disappearing
race, but as distinctive American art. From his
studio in New Mexico he has sent two canvases.
Most effective is The Pastoral by C. F. Galt,
with its glow of sunlight on soft brown limbs and
a piping, goat-footed Pan. Another figure piece
by Dawson Watson, lacking in colour and drawing,
falls far short of that painter’s usual charm. Dis-
appointing, too, is Adam Emory Albright’s Silver
Sea, too prettily picturesque and far inferior to
Big Fish up the Creek. In this he successfully
combines restraint with vitality and delicate notes
of colour with force of expression. The same might
be said of C. F. Brown’s Autumn Clouds.
An Afternoon Call by W. M. Clute and two
marines by Paul M. Gustin deserve acknowledg-
ment. There is only one piece of sculpture, the
work of Clement J. Barnhorn, done for the Sea-
men’s Institute in New York. The interpretation
of the subject Christ Walking on the Water, dis-
plays tenderness and fine idealism.
The lack of sculpture, portraits and etchings is
to be regretted. Of the latter Earl H. Reeds’s
Highway of the Wind displays poetic as well as
substantial treatment. A number of other crafts-
manlike etchings were contributed by Cecilia M.
Stuever and E. T. Hurley. In short, a most
excellent exhibition, in spite of the deficiencies
named above.
Exhibition of Western Artists, 1913-1914
GREY DAY BY CHARLES ABEL CORWIN
XVII