DOI Heft:
No. 215 (January 1915)
DOI Artikel:Fitzsimons, Theodore L.: Decorative pictures at the Pennsylvania Academy of Fine Arts
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43457#0329
Decorative Pictures at the Pennsylvania Academy
THE GUARD OF THE BY THORNTON
MAHARAJAH OAKLEY
and massed and fluent in colour and line that
comparison is impossible. Among the others,
where one perceives the unique arrangement that
is the chief charm of this painter, are The Bullock
Cart (Raj-Punta), Water Buffalo and that strange
and fascinating study of The Fakir, in which every
part of the composition of the picture combines to
express the mysterious asceticism of the East.
One is inclined to regret that Mr. Oakley had not
used pure water-colour and left his lights—it
would have given a spontaneous, fresh flow to
his work that only a water-colour possesses.
One regrets very much, also, that in an exhibi-
tion which is supposedly of water-colours there are
so few strong, unadulterated water-colours pres-
ent. When one misses the strength of an oil
painting, one can only be satisfied with the grace
of pure water-colour. Tempera—the go-between
-—is not a convincing medium. These remarks do
not apply to the Oakley pictures, but are sug-
gested by the exhibition as a whole.
The third group which attracted the writer’s
attention is that of paintings by Elenore Abbott.
In coming to Mrs. Abbott’s work, one passes from
the Oriental spirit of gaudy colour and voluptuous
style to the classic spirit of the Greeks. Though
just as sensuous, it is more constrained in its
expression—more self-controlled in drawing and
subdued and subtle in colour relation—and its
very self-imposed limitations are the wings of its
freedom of expression. This is true of all Greek
art. The spirited picture of Circe (a pure water-
colour, by the way) is the most complete expres-
sion of this spirit in Mrs. Abbott’s work. Come,
Lie in the Grass with Pan was another charming
example. In it is expressed the pastoral spirit of
paganism. The decorative, drooping foliage of
PETIT JEAN BY ANNA HURLBUT JACKSON
the tree hanging near the reclining figures makes a
most fascinating design in this picture.
The last group of paintings by M. W. Zimmer-
man draws its inspiration from Japan and is very
frankly Japanese. Though one instantly per-
ceives that they are of Western origin, Fuiji and
the Pines is beautiful in its simplicity, the dark
silhouette of the pines against the pale-blue, snow-
crowned pyramid of Fuiji in the distance.
LXXXVIII
THE GUARD OF THE BY THORNTON
MAHARAJAH OAKLEY
and massed and fluent in colour and line that
comparison is impossible. Among the others,
where one perceives the unique arrangement that
is the chief charm of this painter, are The Bullock
Cart (Raj-Punta), Water Buffalo and that strange
and fascinating study of The Fakir, in which every
part of the composition of the picture combines to
express the mysterious asceticism of the East.
One is inclined to regret that Mr. Oakley had not
used pure water-colour and left his lights—it
would have given a spontaneous, fresh flow to
his work that only a water-colour possesses.
One regrets very much, also, that in an exhibi-
tion which is supposedly of water-colours there are
so few strong, unadulterated water-colours pres-
ent. When one misses the strength of an oil
painting, one can only be satisfied with the grace
of pure water-colour. Tempera—the go-between
-—is not a convincing medium. These remarks do
not apply to the Oakley pictures, but are sug-
gested by the exhibition as a whole.
The third group which attracted the writer’s
attention is that of paintings by Elenore Abbott.
In coming to Mrs. Abbott’s work, one passes from
the Oriental spirit of gaudy colour and voluptuous
style to the classic spirit of the Greeks. Though
just as sensuous, it is more constrained in its
expression—more self-controlled in drawing and
subdued and subtle in colour relation—and its
very self-imposed limitations are the wings of its
freedom of expression. This is true of all Greek
art. The spirited picture of Circe (a pure water-
colour, by the way) is the most complete expres-
sion of this spirit in Mrs. Abbott’s work. Come,
Lie in the Grass with Pan was another charming
example. In it is expressed the pastoral spirit of
paganism. The decorative, drooping foliage of
PETIT JEAN BY ANNA HURLBUT JACKSON
the tree hanging near the reclining figures makes a
most fascinating design in this picture.
The last group of paintings by M. W. Zimmer-
man draws its inspiration from Japan and is very
frankly Japanese. Though one instantly per-
ceives that they are of Western origin, Fuiji and
the Pines is beautiful in its simplicity, the dark
silhouette of the pines against the pale-blue, snow-
crowned pyramid of Fuiji in the distance.
LXXXVIII