DOI issue:
No. 206 (April, 1914)
DOI article:In the Galleries
DOI Page / Citation link: https://doi.org/10.11588/diglit.43455#0421
In the Galleries
BY JO DAVIDSON
Among exhibitions of importance must be
reckoned one by a pupil of B our del and Rodin,
Miss Sarah Green, whose excellent display
at the Starr Company has at once placed her in az-
leading position among women sculptors. We
shall revert to this exhibition later on and at the
same time reproduce some of this talented art-
ist’s work.
Mr. J. Nilsen Laurvik, the well-known art critic,
has been instrumental in bringing to this country
an exhibition of Hungarian Peasant Art, carefully
selected by Dome Koperly, director of the Hun-
garian Home Industrial Association. The Arts
Club’s galleries have been ablaze, the walls being
most tastefully covered with every conceiv-
able design and colour in textiles and ceramics.
L’art nouveau is clearly a reversion to type, and
the merest glance at these garments, mats,
embroideries, aprons, caps, cushions, etc., reveals
where the modern artist seeks his inspiration.
A PORTRAIT BUST OF
RAYMOND WYER
DIRECTOR OF THE HACKLEY GALLERY
MUSKEGON, MICH.
SUNLIGHT ON ST. BARTHOLOMEW’S, N. Y. BY WILLIAM JEAN BEAULEY
ment. Mr.
commendation for this enterprise.
Very curious are the drinking horns,
which form the only industry of the
herdsman; these huge horns are all
differently ornamented, though the
main design is similar in each.
The “ Making of an Etching ” has
proved so attractive a feature of
the New York Public Library print
galleries, that it will be continued
during this month. Technical dry-
ness has been relegated to the
background. The exhibition illus-
trates the tools and plates and de-
scriptions or pictures of processes;
on showing a roulette, for instance,
its effects in a Whistler plate are
shown, too. Soft ground etching
is explained in showing the work of
J. D. Smillie, Jacque and Maroy,
while etchings by Goya, Delacroix,
Klinger, Mielatz, Turner and Helen
Hyde illustrate the employment of
aquatint. Furthermore, sand paper
mezzotints, Scotch stone are treated
of, and the various papers and inks
used. Finally “states” are dis-
cussed, counterproofs, correcting,
and cancelling, so that one leaves
this exhibition with the grateful
feeling that he can in future re-
gard an etching, if not as a connois-
seur, at least with some discern-
Weitenkampf is deserving of much
j^N THE GALLERIES
LXIV
BY JO DAVIDSON
Among exhibitions of importance must be
reckoned one by a pupil of B our del and Rodin,
Miss Sarah Green, whose excellent display
at the Starr Company has at once placed her in az-
leading position among women sculptors. We
shall revert to this exhibition later on and at the
same time reproduce some of this talented art-
ist’s work.
Mr. J. Nilsen Laurvik, the well-known art critic,
has been instrumental in bringing to this country
an exhibition of Hungarian Peasant Art, carefully
selected by Dome Koperly, director of the Hun-
garian Home Industrial Association. The Arts
Club’s galleries have been ablaze, the walls being
most tastefully covered with every conceiv-
able design and colour in textiles and ceramics.
L’art nouveau is clearly a reversion to type, and
the merest glance at these garments, mats,
embroideries, aprons, caps, cushions, etc., reveals
where the modern artist seeks his inspiration.
A PORTRAIT BUST OF
RAYMOND WYER
DIRECTOR OF THE HACKLEY GALLERY
MUSKEGON, MICH.
SUNLIGHT ON ST. BARTHOLOMEW’S, N. Y. BY WILLIAM JEAN BEAULEY
ment. Mr.
commendation for this enterprise.
Very curious are the drinking horns,
which form the only industry of the
herdsman; these huge horns are all
differently ornamented, though the
main design is similar in each.
The “ Making of an Etching ” has
proved so attractive a feature of
the New York Public Library print
galleries, that it will be continued
during this month. Technical dry-
ness has been relegated to the
background. The exhibition illus-
trates the tools and plates and de-
scriptions or pictures of processes;
on showing a roulette, for instance,
its effects in a Whistler plate are
shown, too. Soft ground etching
is explained in showing the work of
J. D. Smillie, Jacque and Maroy,
while etchings by Goya, Delacroix,
Klinger, Mielatz, Turner and Helen
Hyde illustrate the employment of
aquatint. Furthermore, sand paper
mezzotints, Scotch stone are treated
of, and the various papers and inks
used. Finally “states” are dis-
cussed, counterproofs, correcting,
and cancelling, so that one leaves
this exhibition with the grateful
feeling that he can in future re-
gard an etching, if not as a connois-
seur, at least with some discern-
Weitenkampf is deserving of much
j^N THE GALLERIES
LXIV