International studio (60.1916/1917)

IMilliam Merritt Chase: his Art and his Influence

couragement to young painters but necessarily in
that act foregoing himself both medal and prize—
the very considerable prizes of one, two and five
thousand dollars—since a member of the jury may
not receive a prize.
No painter more completely loved and revered
art for its own sake than Chase. He had to the
utmost degree the quality of disinterested and
impersonal judgment. He could value the work
and rejoice in the success of the man who had
wronged him as sincerely as
if the painter had been his
loyal friend. He was him¬
self a generous patron of
the arts, buying not only
the pictures of arrived art¬
ists but those of his own
pupils before they had re¬
ceived recognition — thus
conferring it upon them.
In his student days he was
deeply impressed by the
remark of his teacher,
Piloty, that the next great
art development was to
take place in America. He
never ceased to believe in
the art destiny of his coun¬
try or to work for its ful¬
fillment. He never expa¬
triated himself despite the
lure of the old world, yet
none can say that his art
was the sufferer thereby.
What William Chase gave
to his fellow artists and
pupils in his living creat¬
ing presence, his beautiful
enthusiasm, ever helping
to keep alive the spirit of
art, he can give no more
save as his deeds live in
our memories. Yet Chase
the painter still lives. It
is Chase the man—witty,
kindly, generous, the sympathetic friend, the affec-
tionate father, the unceasingly devoted husband
who has left the empty space. There is the
irretrievable loss.
A Correction—Sketches in Poetry, Prose, Paint
and Pencil,by James FI. Worthington and Robert
P. Baker. Price, $15.00, not $6.00 as stated.
ex

PATCHING
The Print Club of Philadelphia plans a
course of talks on etching, to afford its members
an intimate acquaintance with the history and
technique of the art. On January 15, Troy Kin-
ney and Fred Reynolds demonstrated the proc-
esses of line etching, dry point, aquatint and mez-
zotint. Plates were grounded, simple designs
bitten in line and aquatint, and a dry point made.

THE BLACK KIMONO
The plates were variously printed to emphasize
the qualities of line peculiar to the etching and
the dry point, and to indicate range of effect by
various manners of wiping a plate. Mr. Reynolds
demonstrated the technique of the mezzotint,
showing how the plate is rocked and scraped, and
how diversity of texture is secured.