International studio (58.1916)

hi the Galleries

athletics. A feature of the exhibition was the
transformation of the Vanderbilt Room into a
formal Italian garden, and the hanging at one
end of the room of a huge painting of New York
seen from the harbour, by Birch Burdette Long.
Several exhibitions of importance at such
well-known galleries as Macbeth, Folsom, Mon-
tross, Arlington, Berlin Photographic Company,
Reinhardt’s, etc., will be treated at length in
the next number of the magazine, as unfortu-
nately space has not permitted it this month.
At the Daniel Gallery is to be seen good,
mediocre and bad works by American painters—
some academic, some impressionistic, some ultra-
modern. Harry Berlin has a Manguin-Cezanne

Courtesy Arlington Galleries
SAKI (SUNDIAL) by HARRIET W. FR1SHMUTH



Courtesy Berlin Photographic Company
THE ARTIST’S DAUGHTER

BY PAUL MANSHIP

still-life which marks a distinct advance over a
seascape of his recently displayed. Arthur
Davies shows an older painting which resembles
a badly drawn Bocklin, set in the thin and empty
atmosphere of a Rene Menard with a dash of
Gustave Moreau. The picture is colourless,
formless and apparently symbolic. Edward Fish
exhibits a capable landscape of rich, if too warm,
colours. The Glackens holds one for an instant;
but the Halpert does not. Childe Hassam has
done many inconsequential things, but his pres-
ent work has less interest than any other painting
of his I have seen. It is of a uniform grey and
gives one the impression of monotony.
Henri has perhaps the best canvas on view.
One can never pass lightly by this painter. He
is a virile artist, and is the aesthetic father of
more inspiration than he is usually credited with.
Lever and Lawson are both Impressionistic,
Lawson being at once more able and less interest-
ing than the former. Manigault is represented
by a usual monochromatic approximation to
Montegna, called Tide. Gus Mager’s Flowers

XXXIII