International studio (60.1916/1917)

Chicago in Art

What difference about the subject?” remarks an-
other. “It’s like a Whistler symphony—a beau-
tiful design whether hanging right side up, side-
ways, or upside down.”
Less disagreement was observed in the case of
the first prize, the Potter Palmer Gold Medal,
which was awarded to Emil Zettler for his figure
entitled Job. Every one seemed satisfied about
this award—excepting the sculptors. It is a dig-
nified production personifying the Bible character
whose name it bears. The simplicity of the work
is the key to its impressiveness. If perhaps a
trifle robust for the role of the original, the figure
in its dejected pose and wretched face, expresses
the scriptural Job’s profound misery.
The fact that this prize and the two Honourable
Mentions went to Chicago artists, although the
jury consisted mainly of eastern men, prevented
any suspicion of injustice. Naturally the local
exhibitors were all proud that a Chicagoan had
at last won the coveted first prize. Pauline
Palmer, whose group of five landscapes evince a
decided jump in technique, was the recipient of
one of the mentions. Her Pumpkin Hollow, upon
which the honour was bestowed, is a sunlit corner
of a New England village. A free use of the pal-
ette knife, fresh, joyous pigments, and a sincerity
of delineation attracted attention to this note-
worthy record. The other mention was granted
to Mr. Szukalski for his figure entitled The Fall.
James R. Hopkins received the Norman Wait
Harris Bronze Medal for his large canvas, A
Mountain Courtship. Technically, this work
holds its own, but, if its intention is to get away
from the literary element in painting, it has
failed in its purpose, not having reached beyond
the Mid-Victorian period. The Martin B. Cahn
Prize of one hundred dollars, which is awarded to
a Chicago painter, “without regard to subject,”
was presented to Walter Ufer, one of a group of
local men who have been making new discoveries
in the Southwest. Mr. Ufer paints with a direct-
ness and knowledge that his Munich training has
given him, and The Solemn Pledge: Taos Indians,
admirably represents his able brush. The clever
modelling of the faces is lost in the photograph.
W. Victor Higgins, who took the Martin B.
Cahn Prize in 1915, reveals his rich colour sense
in Joan Domingo and the Bread Jar. Similar sub-
jects, Purple and Old Gold, Taos, N. M., and
The Chief’s Two Sons, are rendered by Ernest
Blumenschein. From still farther west, Edward


THE SOLEMN PLEDGE
TAOS INDIANS

BY WALTER UFER

B. Butler sent an admirable delineation of Cali-
fornia Hills. William Wendt offered The Grove,
a sincerely painted glimpse of western woodland.
California also furnished the setting for the strong
equestrian production of Josie of the Hills by
Louis Betts.
Daniel Garber is another distinguished artist
who was represented here in his last Academy
picture, Tanis. The painting of light that seems
to enfold the child from behind, as it is refracted
in the filmy fabrics of her garments, shows a well-
managed treatment of a difficult problem. The
First Voyage, the one offering by Charles W. Haw-
thorne, and The Rocky Shore of New England by
Childe Hassam, reveal the love with which they
were executed. Workmanlike in manner, also, is
the wharf scene by Henry B. Snell. Backwater,
the entry name of this canvas, explains the leaden
complaisance of the motionless water. The op-
portunity in this work for carefully related values
is seized with convincing results. Cullen Yates
in his Breezy Weather depicts a sheltered cove
away from the shore. While not so spirited as
in his customary performance, Paul Dougherty
is vigorous, nevertheless, in his rendition of
October Morning. Friends of Charles Francis
Browne were gratified to see that his brush has
not been idle during the period of all his recent
official connections, as his Autumn Sumacs and
September Moonlight testified. The fresh point

XLVIII