1 Pater Colours at Pennsylvania Academy, Philadelphia
BOATS AT GLOUCESTER
BY HAYLEY LEVER
WATER COLOURS AT PENN¬
SYLVANIA ACADEMY,
PHILADELPHIA
Even with the added attrac-
tion of miniatures representing the fifteenth
annual exhibition of the Pennsylvania Miniature
Society, it can hardly be said that water colours
exert quite the same impelling influence as the
oils. The fact is, oil is more expensive than
water, canvas than paper, and the oil painting
is larger in volume and is provided with a highly
ornate frame, more is the pity! The average
American looks upon a water colour as a ladylike
little accomplishment like knitting a pair of socks
for the poilus or listening to an Hawaiian ditty.
In time it will be discovered that a good water
colour is a better possession than an inferior oil.
When people fight they are guided by Queens-
bury rules and regulations, but in water colour
there seems to be no recognized method; in fact,
anything goes: even oils masquerade as water
colours. Amongst the more interesting ex-
amples that stand out as shining lights in the
exhibition are some excellent rock-and-water
studies by Childe Hassam, daring decorations of
parrots, savages and tropical verdure by Alexan-
der Robinson, street scenes in dot-and-dash
strokes of pure colour by Alice Schille, excellent
Italian scenes by Colin Campbell Cooper, good
charcoal portraits powerfully rendered by Leo-
pold Seyffert, Devonshire cream decorations of
land and sea by Felicie Waldo Howell, some very
luminous street scenes simply executed by John
J. Dull whose style and name are at complete
variance, and Gloucester impressions by Hayley
Lever, who should renounce a little mannerism
he has lately adopted of replacing a wash by
rows of dots and flicks. He is always interesting,
however, and never commonplace. Anne Gold-
thwaite, Jane Peterson, Charles Graflv with his
delicate line drawings, Johanna M. Boericke,
Gifford Beal, Hilda Belcher and Charles Warren
Eaton are all well represented. W. H. N.
LVI
BOATS AT GLOUCESTER
BY HAYLEY LEVER
WATER COLOURS AT PENN¬
SYLVANIA ACADEMY,
PHILADELPHIA
Even with the added attrac-
tion of miniatures representing the fifteenth
annual exhibition of the Pennsylvania Miniature
Society, it can hardly be said that water colours
exert quite the same impelling influence as the
oils. The fact is, oil is more expensive than
water, canvas than paper, and the oil painting
is larger in volume and is provided with a highly
ornate frame, more is the pity! The average
American looks upon a water colour as a ladylike
little accomplishment like knitting a pair of socks
for the poilus or listening to an Hawaiian ditty.
In time it will be discovered that a good water
colour is a better possession than an inferior oil.
When people fight they are guided by Queens-
bury rules and regulations, but in water colour
there seems to be no recognized method; in fact,
anything goes: even oils masquerade as water
colours. Amongst the more interesting ex-
amples that stand out as shining lights in the
exhibition are some excellent rock-and-water
studies by Childe Hassam, daring decorations of
parrots, savages and tropical verdure by Alexan-
der Robinson, street scenes in dot-and-dash
strokes of pure colour by Alice Schille, excellent
Italian scenes by Colin Campbell Cooper, good
charcoal portraits powerfully rendered by Leo-
pold Seyffert, Devonshire cream decorations of
land and sea by Felicie Waldo Howell, some very
luminous street scenes simply executed by John
J. Dull whose style and name are at complete
variance, and Gloucester impressions by Hayley
Lever, who should renounce a little mannerism
he has lately adopted of replacing a wash by
rows of dots and flicks. He is always interesting,
however, and never commonplace. Anne Gold-
thwaite, Jane Peterson, Charles Graflv with his
delicate line drawings, Johanna M. Boericke,
Gifford Beal, Hilda Belcher and Charles Warren
Eaton are all well represented. W. H. N.
LVI