International studio (58.1916)

Pennsylvania, hi

murky background. The blase types are well ex-
pressed in a few strokes and more important work
from her brush may confidently be awaited.
Robert Spencer’s The Blue Gown is a sympa-
thetic rendering but somewhat black in colour
here and there. Frank Benson’s The Fox Hunter
shews the figure standing out in strong relief
against the sky. Textures might be improved,
the man and the rock have the appearance of
being hewn from the same material.
Frederic Clay Bartlett commanded respect
with his Roof Garden Tea, which narrowly escaped
being one of the import¬
ant pictures of the exhi-
bition. It is marred by
its architectural features
which might easily have
been subdued, otherwise
it is perfectly delightful.
The lines of the figures,
the flickering sunlight,
the distant figure looking
over the railing, the pano¬
rama, are especially at-
tractive—if only the glass
doors had been omitted!
Charles Rosen has a
good autumn piece hang-
ing next to Pearson’s On
the Valley, a pleasant
change from his usual
snow scenes and excellent
in tonal quality.
Leopold G. Sevffert is
always worth studying.
He has four portraits to
his score. That of Hans

Reverie is as usual a woman bathed in sunlight,
admirably worked out but meticulous to a degree
and rather too much of the recipe. A portrait
by David E. Kornhauser of a young girl seated
at a bureau between two sprightly candlesticks
is one of the best exhibits in figure work. Alice
Kent Stoddard has lost no opportunities while
studying under Robert Henri. Liela of the
unkempt hair and smutty cheeks is a well-
painted little gamin.
NEW YORK PUBLIC LIBRARY
The recent death of
Alexander Wilson Drake
is the occasion of a
memorial exhibition by
the Prints Division of
the New York Public
Library. It is now on
view in the Stuart gal-
lery (room 316) and will
remain until March
20. Excepting some bi-
ographical notes relating
to Mr. Drake, the show
consists of wood engrav-
ings by well-known mas-
ters of the art in America
connected with Mr.
Drake’s time and activ-
ity. The exhibition is
fittingly introduced by
some of the earliest ex-
amples of the technique
of the so-called "new
school.” There are J.
G. Smithwick’s Drum-


THE UPPER BOX

BY ELIZABETH EYRE

Kindler lacks solidity. His portrait of Miss
Gladys Snellenburg is a charming presentment
but rather thin; it seems to be angehaucht
rather than painted. Little, however, need be
said in his dispraise. The Cassatt A Woman
Sitting in a Garden is a memory of the past but
a delightful picture, beautiful in tone and design,
a model to many of our get-there-quick portraitists.
Luis Mora’s Two Brunettes first shewn at the
Winter Academy, N. Y., is an unusual problem
cleverly solved, but not free from adverse criti-
cism. Look at the picture again and again,
always the two girls appear to grow from one
stem like Siamese twins; also the colour is a little
waxy in face and shoulders. Richard E. Miller’s

ming Out a Tory, after C. S. Reinhart, published
in February, 1877, and Timothy Cole’s Gillie
Boy, which appeared in August of the same year.
And then, especially interesting from both the
technical and historical standpoint, there is
Frederick Juengling’s Engineer Crossing the Chasm
Over the Rimae, which was published in Scribner's
in 1877. This engraving by Juengling was ex-
ecuted after a drawing by James E. Kelly, and
it is an interesting fact that Mr. Drake and Mr.
Kelly rejected Juengling’s first engraving of the
subject, whereupon he executed a second. A
review is given of a period of wood engraving
in this country which will remain a noteworthy
epoch in the annals of engraving.

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