DOI Heft:
No. 207 (May, 1914)
DOI Artikel:In the Galleries
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43455#0457
In the Galleries
MOUNTAIN TOP BIRCHES
BY CARROLL BROWN
IN THE GALLERIES
Women painters and sculptors held their
twenty-third annual exhibition last month
month at the Knoedler Galleries, which were
crowded each afternoon. It was a pity that so
many pictures passed the jury; the good things
were not seen to advantage. A nude study by
Clara McChesney; Basque Houses, by Margaret
Patterson; a very sunny canvas of children bath-
ing, by Clara Davidson; An Umbrian Town,
painted in Monet-like taches by Mary MacCord;
a winter view of the Hudson by that veteran
painter, C. B. Coman; Street in Assisi, better in
design than in colour, by F. F. Snell; The Wharves,
by Rhoda Nicholls; Mending, by Agnes Richmond
are a few of the better pictures displayed. By far
the best in our esteem was The Veil Counter, by
Elizabeth Sparhawk-Jones.
The Macdowell Club has been showing the
work of the following group—T. F. Bernstein,
Jennie Brownscombe, H. Camp, L. M. Davis,
A. J. Dewey, R. Hamilton, Susan Ricker Knox,
T. B. Modra, E. E. Richards, C. W. Svensson,
F. Waller, L. C. Mayer. Of these the most origi-
nal is Theresa Bernstein, whose daring colours
and broad technique are seen in The Masquerad-
ers, The Concert and Yellow Kimono. Susan
Ricker Knox had some good canvases, notably a
portrait entitled Master Joe Lathrop, and a very
winsome little baby chewing its thumb and look-
ing out upon the world with true infantile com-
placency—only a three-hour sketch but a work of
art. Leonard M. Davis reminded us again of the
beauties of the far North, especially in his When
Alaskan Wild Flowers Bloom. If he would only
permit tone at times to do the duty of detail, his
pictures would be more appealing. R. Hamilton
should leave the cows and follow the sheep; his
Prize Flock is a fine piece of work.
The Montross Gallery held its seventeenth
annual exhibition of Ten American Painters, the
ten on this occasion being seven: Benson, Chase,
de Camp, Hassam, Metcalf, Tarbell and Weir.
Mr. Chase showed some Venetian scenes and some
excellent still-lives, especially A Dresden Bowl and
Dish. A fine bit of -work with excellent tonal
quality was Joseph de Camp’s The Flirt.
MOUNTAIN TOP BIRCHES
BY CARROLL BROWN
IN THE GALLERIES
Women painters and sculptors held their
twenty-third annual exhibition last month
month at the Knoedler Galleries, which were
crowded each afternoon. It was a pity that so
many pictures passed the jury; the good things
were not seen to advantage. A nude study by
Clara McChesney; Basque Houses, by Margaret
Patterson; a very sunny canvas of children bath-
ing, by Clara Davidson; An Umbrian Town,
painted in Monet-like taches by Mary MacCord;
a winter view of the Hudson by that veteran
painter, C. B. Coman; Street in Assisi, better in
design than in colour, by F. F. Snell; The Wharves,
by Rhoda Nicholls; Mending, by Agnes Richmond
are a few of the better pictures displayed. By far
the best in our esteem was The Veil Counter, by
Elizabeth Sparhawk-Jones.
The Macdowell Club has been showing the
work of the following group—T. F. Bernstein,
Jennie Brownscombe, H. Camp, L. M. Davis,
A. J. Dewey, R. Hamilton, Susan Ricker Knox,
T. B. Modra, E. E. Richards, C. W. Svensson,
F. Waller, L. C. Mayer. Of these the most origi-
nal is Theresa Bernstein, whose daring colours
and broad technique are seen in The Masquerad-
ers, The Concert and Yellow Kimono. Susan
Ricker Knox had some good canvases, notably a
portrait entitled Master Joe Lathrop, and a very
winsome little baby chewing its thumb and look-
ing out upon the world with true infantile com-
placency—only a three-hour sketch but a work of
art. Leonard M. Davis reminded us again of the
beauties of the far North, especially in his When
Alaskan Wild Flowers Bloom. If he would only
permit tone at times to do the duty of detail, his
pictures would be more appealing. R. Hamilton
should leave the cows and follow the sheep; his
Prize Flock is a fine piece of work.
The Montross Gallery held its seventeenth
annual exhibition of Ten American Painters, the
ten on this occasion being seven: Benson, Chase,
de Camp, Hassam, Metcalf, Tarbell and Weir.
Mr. Chase showed some Venetian scenes and some
excellent still-lives, especially A Dresden Bowl and
Dish. A fine bit of -work with excellent tonal
quality was Joseph de Camp’s The Flirt.