International studio (57.1915/1916)

In the Galleries

BETTY BY RUTH A. ANDERSON


Monets and Renoirs at the Durand-Ruel Galleries.
Here can be seen the two most widely known
painters of the impressionist movement. Monet
represents the purely technical and sensitive
side of an empiric advance in means, while
Renoir’s handling of those means has led to sig-
nificant aesthetic expression. Although Monet
was the first to carry the impressionist methods
the farthest, Renoir was the greater workman
and the better artist. In fact, he has carried his
metier to a superlative height, and has proved him-
self the greatest technician since the Renaissance,
even as great as Titian. Artistically, there can
be no comparison between the work of these two
men. Those who have always thought Monet
the master and leader of his group can now see
Renoir’s superiority on Monet’s own ground.
Indeed, Monet’s work seems negative alongside
of Renoir’s. His boasted light, in many instances,
becomes mere pasty pigment; and his strips
and spots appear like crude hachures of paint.
Renoir’s La Seine d Argenteuil is better than any
Monet landscape; and a nude by Renoir, before

Frieseke’s toilet and garden pictures are better
known here than his nudes. Two are on exhibition.
One is a standing figure in a sun-splashed sylvan
setting, the other is seated, with a somewhat
colourless and monotonous setting of dunes. In
each case the figure is delicately and solidly
executed with great understanding.
Rolf Pielke is a young illustrator of much in-
dividuality in spite of the obvious leaning to the
Beardsley tradition. His mind and pen run to
sensuous images of the East.
A. G. Warshawsky has been showing at Ad.
Braun et Cie Galleries. Some of his rich-toned
impressionist canvases of Paris, but especially of
Brittany, are very striking. Amongst his best
canvases are Opal Sea—Morbihan and The Sun
Worshippers, a group of lads on the rocks while
bathing, and a half-length portrait of a young
girl among the trees.
Ruth A. Anderson, a quondam pupil of Jonas
Lie, but now for some years out of leading strings,
is a more than ordinary success, as a glimpse at
Betty will prove. Her work is high-keyed and
extremely characteristic; nothing commonplace
ever leaves her studio. We see a great future
before her and Baltimore should be careful to
guard her jealously.
Interesting and important is the exhibition of

A DRAWING BY ROLF PIELKE


CXXXIV