International studio (55.1915)

Philadelphia s Hundred and Tenth Annual

canvas loaned, by Dr. Woodward, representing the
artist’s wife, Mrs. George Sauter, silhouetted in
shadow against the studio door. The other figure,
by the way, is Mrs. Richard Galsworthy.
Cecilia Beaux shows a large canvas which would
be interesting alone for the fact that it portrays
Mr. Lewis, the president of the Academy, and his
young son. Besides being an entertaining family
chronicle, the picture is a fine composition, the
light and shade nicely balanced. The pose of Mr.

PORTRAIT: DR. JAMES TYSON BY SAMUEL MURRAY


Lewis, who stands beside his seated son, is rather
too “stiff and starch.” A better effect might have
been obtained by a less military posture. Adolphe
Borie has two portraits, one a half-length portrait
of Paul P. Cret, the flesh-tones carrying well
against a very dark background. Fred G. Car-
penter’s The Convalescent is a capital painting, but
loses much from its inartistic frame.

Very delicate in colour and delightful in its de-
sign of the repeated circle is a little group of ref-
ugees at a landing stage, by Joseph L. Weyrich.
It is unconventional and entertaining to a degree.
Gifford Beal’s decorative picnic painting is an
excellent note to the exhibition, which is so defi-
cient this year in such compositions. The frieze of
figures is a joyous rendering of white-clad women
and children, with an offset of black coats to per-
fect the harmony. The picture is full of life, rich
colour and atmosphere, and would make a fine
mural decoration. A clever young artist who
compels attention is Arthur B. Carles, who has a
quartette of forceful paintings to his credit. His
Cleopatra is a fine rendering without accessories of
the sensuous East. Curtain and jewels give all
the local colour requisite to compose the portrait.
The treatment of the arms and hands shows Carles
to be original and individual. His nude attracts
attention by its good draughtsmanship, but he has
painted dead flesh—some days dead. Mother and
Child, by Mary Cassatt, is one of the very' best
numbers on view. Robert Henri shows three
studies from his recent trip to California, of which
his Sylvester, a negro boy, is the best; the colour is
luscious and the head marvellously constructed.
English Nurse, by Martha Walter, is an excellent
picture, in her bold and breezy style, and certainly
deserves to be in the best gallery.
Gertrude Fiske presents an excellent design in
figure work called Job's Tears; it is luminous in
the extreme, while the beads make stunning little
dark dashes of colour against the figure of the girl
in light raiment. George Oberteuffer has a good
painting of Notre Dame, the scale being well felt.
Charles Hopkinson well deserved his medal, with
his winter-clad maid against a snowy background.
His textures are well explained in terms of paint.
Lydia Field Emmet is less successful with a little
lady named Patricia, who, regard her as you will,
is tumbling down; the picture, too, is out of
scale, which might also be said of Alice Mumford
Roberts’ unsportsmanlike-looking Polo Player.
There is nothing in this young man to suggest
Meadowbrook or Hurlingham, but rather a youth
unaccustomed to riding, but fond of fancy dress
and not afraid to hire a costume. The Morning
Mist, by Daniel Garber, is the best of many good
paintings from his hand that we have seen and
admired from time to time. Want of space un-
fortunately precludes mention of many good
offerings both in the flat and in the round.

VIII