DOI issue:
No. 208 (June, 1914)
DOI article:B. Nelson, W. H. de: Pittsburgh international, 1914
DOI Page / Citation link: https://doi.org/10.11588/diglit.43455#0467
Pittsburgh International, 1914
Aivarded Medal of the Third Class, Carnegie Institute, 1914
CLIFF DWELLERS
BY GEORGE W. BELLOWS
edly awarded a medal for his
exceedingly vital picture en-
titled Cliff Dwellers, being an
admirable rendering of the
sordid east-end life of New
York’s slummery by the
river. The picture is frank
to a degree and distinctly
Rabelaisian in flavour.
Portraits and still life were
wisely denied the right to be
too insistently in evidence.
Landscapes were admitted
in overwhelming proportion.
W. M. Chase has a portrait
and a still life. We all know
and respect his fishes. The
portrait is of his youngest
son, dressed in Etons, full of
animation and dashing out
of the canvas as through an
open door. The lad’s bright
face, dark hair and olive
complexion have been finely
handled, better, a great deal,
than the advancing right leg,
Frenchman, has two pictures, but they do not
represent him at his best. They appear to be
hurriedly executed and contain bad colour.
Will Ashton received an honourable mention for
his On the Seine. His sky-line of buildings is
typically Parisian and interesting. His barge, too,
in shadow has been well handled, but he seems to
miss that peculiar colour which everyone knowing
the river appreciates and discerns.
John W. Alexander has a large and somewhat
detached composition entitled Iler Birthday, in
which three graceful and pleasant-looking young
women in different well-studied poses are busy
arranging flowers. The canvas contains many
very beautiful passages and is full of delicate dis-
tinction.
Chicharro, whose admiration for Zuloaga is
clearly mirrored in his performances, shows some
Castilian peasants breaking bread, very black
bread, with sun-baked fingers. They are not
pleasant, these nut-brown, hard-featured peasants
with their piercing black eyes and sullen demean-
our. The artist lacks the fluidity and imagination
of his leader. Chicharro carries realism to a point
where the observer is less impressed than repelled
by his brutality. This brutality is also evident in
the work of George W. Bellows, who was deserv-
MASTER RONALD BY WM. M. CHASE
CX
Aivarded Medal of the Third Class, Carnegie Institute, 1914
CLIFF DWELLERS
BY GEORGE W. BELLOWS
edly awarded a medal for his
exceedingly vital picture en-
titled Cliff Dwellers, being an
admirable rendering of the
sordid east-end life of New
York’s slummery by the
river. The picture is frank
to a degree and distinctly
Rabelaisian in flavour.
Portraits and still life were
wisely denied the right to be
too insistently in evidence.
Landscapes were admitted
in overwhelming proportion.
W. M. Chase has a portrait
and a still life. We all know
and respect his fishes. The
portrait is of his youngest
son, dressed in Etons, full of
animation and dashing out
of the canvas as through an
open door. The lad’s bright
face, dark hair and olive
complexion have been finely
handled, better, a great deal,
than the advancing right leg,
Frenchman, has two pictures, but they do not
represent him at his best. They appear to be
hurriedly executed and contain bad colour.
Will Ashton received an honourable mention for
his On the Seine. His sky-line of buildings is
typically Parisian and interesting. His barge, too,
in shadow has been well handled, but he seems to
miss that peculiar colour which everyone knowing
the river appreciates and discerns.
John W. Alexander has a large and somewhat
detached composition entitled Iler Birthday, in
which three graceful and pleasant-looking young
women in different well-studied poses are busy
arranging flowers. The canvas contains many
very beautiful passages and is full of delicate dis-
tinction.
Chicharro, whose admiration for Zuloaga is
clearly mirrored in his performances, shows some
Castilian peasants breaking bread, very black
bread, with sun-baked fingers. They are not
pleasant, these nut-brown, hard-featured peasants
with their piercing black eyes and sullen demean-
our. The artist lacks the fluidity and imagination
of his leader. Chicharro carries realism to a point
where the observer is less impressed than repelled
by his brutality. This brutality is also evident in
the work of George W. Bellows, who was deserv-
MASTER RONALD BY WM. M. CHASE
CX