DOI Heft:
No. 214 (December 1914)
DOI Artikel:Lane, John: Thumb-nail notes on the annual exhibition of the Chicago Art Institute
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43457#0215
Exhibition of the Chicago Art Institute
THE MORNING ROOM
BY CHILDE HASSAM
THUMB-NAIL NOTES ON THE
ANNUAL EXHIBITION OF THE
CHICAGO ART INSTITUTE
BY JOHN LANE
I happened to be passing through Chicago and
handed my card to the acting-director of the
Art Institute, Mr. Carpenter. He at once in-
formed me that the Twenty-seventh Annual
Exhibition of Oil Paintings and Sculpture was
being put in place. Mr. Carpenter spoke with
such enthusiasm that I expressed a hope that I
might be allowed to see the collection. Although
there was no catalogue ready, I was prompted to
go through the rooms. I was so struck with the
freshness of the work that I have made a few
thumb-nail notes, in the hope that they may be of
interest to the readers of The International
Studio.
I think it is only fair to say that it was with diffi-
culty that I could discover the names of some of
the artists, and that I therefore selected the pic-
tures from my own predilection, and not from
names. However, later, on looking through a
card list of names, I discovered that there were
only a few which were known to me, for I should
say at once that I am only a visitor in the States,
and that I am not in the way of meeting or know-
ing the work or even the names of many of your
most distinguished artists. That I have made
omissions will be obvious to all readers. But, on
the other hand, it may have some interest to have
the rapid notes of a lover of modern painting.
The Visit, by Louis Kronberg, with its blonde
and brunette dancing girls, with the grandmother,
is spacious and delightful. The Ponte Vecchio,
Florence, from the brush of Colin Campbell
Cooper, has a Turneresque effect. Ernest L. Blu-
menschein’s The Peace-Maker and William R.
Leigh’s The Great Spirit have a kind of artistic
relationship, and both struck me as being original.
The inspiration seems to be the spirit of the
Indian. In this room there is a fine picture of the
English artists’ quarters, St. Ives, by Gardner
Symons, which breathes the atmospheric mystery
of Celtic Cornwall. Another picture of great
LIII
THE MORNING ROOM
BY CHILDE HASSAM
THUMB-NAIL NOTES ON THE
ANNUAL EXHIBITION OF THE
CHICAGO ART INSTITUTE
BY JOHN LANE
I happened to be passing through Chicago and
handed my card to the acting-director of the
Art Institute, Mr. Carpenter. He at once in-
formed me that the Twenty-seventh Annual
Exhibition of Oil Paintings and Sculpture was
being put in place. Mr. Carpenter spoke with
such enthusiasm that I expressed a hope that I
might be allowed to see the collection. Although
there was no catalogue ready, I was prompted to
go through the rooms. I was so struck with the
freshness of the work that I have made a few
thumb-nail notes, in the hope that they may be of
interest to the readers of The International
Studio.
I think it is only fair to say that it was with diffi-
culty that I could discover the names of some of
the artists, and that I therefore selected the pic-
tures from my own predilection, and not from
names. However, later, on looking through a
card list of names, I discovered that there were
only a few which were known to me, for I should
say at once that I am only a visitor in the States,
and that I am not in the way of meeting or know-
ing the work or even the names of many of your
most distinguished artists. That I have made
omissions will be obvious to all readers. But, on
the other hand, it may have some interest to have
the rapid notes of a lover of modern painting.
The Visit, by Louis Kronberg, with its blonde
and brunette dancing girls, with the grandmother,
is spacious and delightful. The Ponte Vecchio,
Florence, from the brush of Colin Campbell
Cooper, has a Turneresque effect. Ernest L. Blu-
menschein’s The Peace-Maker and William R.
Leigh’s The Great Spirit have a kind of artistic
relationship, and both struck me as being original.
The inspiration seems to be the spirit of the
Indian. In this room there is a fine picture of the
English artists’ quarters, St. Ives, by Gardner
Symons, which breathes the atmospheric mystery
of Celtic Cornwall. Another picture of great
LIII