International studio (55.1915)

The Passing Shaw

ing childhood naturally without suggesting the
portrait in Paper Dolls. It is a snapshot in oils
and technically excellent. This artist can do
other things with her palette. She stands high
among American marine painters. Elizabeth
Sparhawk-Jones is so busy with colour that she
somewhat neglects drawing. An old gardener
stooping over his geranium is an orgy of colour
intelligently applied. Her other picture was less
interesting. Ada C. Williamson showed portraits
and etchings. Her Peacock Girl is a grand study
of blues and greens and extremely decorative.
Several good seashore etchings testified to her
abilities with the needle. Good landscapes, wood
scenes of tree trunks and valley, a quarry entitled
Human Ants, were credited to Marjorie D. Mar-
tinet. To lend additional interest to the exhibi-
tion was a large group of sculptures, commemora-
tive of the late Emily Bishop, that talented Mary-
land artist who died so young, and some good por-
trait busts by Beatrice Fenton.

VI. THE PORTRAIT PAINTERS
The National Association of Portrait Painters
held their usual annual show in New York City
and at the National Museum, Washington, D. C.
They offered no special surprises, it is true, but the
twenty-two exhibits totalled a high average of
proficiency in interpretation of character. The
finest example of simplified art was undoubtedly
Cecilia Beaux’s portrait of Mr. William Straight.
Both Mr. and Mrs. Crawford, Eugene Speicher,
George Bellows, Irving Wiles and Robert Vonnoh
were all well represented with vital renderings of
their subjects, proving themselves in possession of
that idiosyncratic note which a good painting
must have if it shall appeal to our aesthetic emo-
tion. A portrait of a lady in a blue, spangled gown
by Howard Gardner Cushing was remarkable for
its forceful background in black against buff.
Johansen’s portrait of the veteran art editor, Mr.
Alexander W. Drake, is too well remembered from
the Academy to need further notice.


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