International studio (60.1916/1917)

Washington s Biennial

side Pasture in his characteristic, sincere, and
poetic style.
The securely established are given their due
meed of space—Weir, Redfield, Schofield, Reid,
Wiles, Paxton, Dougherty, Mary Cassatt, Met-
calf, Groll, Sergeant Kendall. But all these, wel-
come as they are, have nothing particularly new
to tell us about their way of seeing things. Tar-
bell’s soundness and sincerity make up the appeal
of Nell and Elinor. Benson’s Girl with Dog at-
tracts by its sense of elevation and spaciousness.
Kenyon Cox’s sympathetic Portrait of Emil Carl-
sen is shown, while the latter’s own Moonlight on
a Calm Sea creates a deep impression. Garber’s
technique, usually wearisome, appears to more
advantage than usual
in Buds and Blossoms.
Hawthorne gives us a
convincing picture in
The Wine Drinkers and
The Morning Bath is
not only convincing but
delightful as well. Gari
Melchers, in Easter Day,
shows himself a true
artist by the beauty he
extracts from common¬
place materials. Has-
sam, who has a goodly
sized and most inter-
esting group of etchings
on view, as well as sev-
eral other paintings,
contributes also the
wonderfully harmoni¬
ous Moonrise at Sunset
—the Laurel.

But after all, the work of the older men ought
not to make up the bulk of any collection except
one premeditatedly retrospective; in art no less
than in politics it is but fitting that America
should be “forward-looking.” For this reason it
is pleasant to record the fact that the jury in
Washington this year has been more generous
than previously in the measure of recognition
accorded to those who have known what it is to
be slighted. There is some quality about Glac-
kens’ apparently awkward work which yet ren-
ders his most commonplace subject, such as
Bathers on a Beach, interesting. A kindred spirit
is Sloan, whose Spring Planting, Greenwich Vil-
lage, Manhattan is racy anecdote. Henri’s reclin-
ing full-length, Betalo
Rubino as a Dancing
Girl of Delhi, verges
dangerously close to
mere cleverness. Bel-
lows’ The Sawdust Trail
enables one to sense the
clap-trap and hys-
teria of the Sunday cir-
cus. And so would it
be possible, did space
permit, to continue
commenting upon the
other artists akin to
these—Randall Davey,
J erome Myers, Prender-
gast, the two Beals,
Robert Ball, Jane Pe-
terson, and others yet.
A few expressive can-
vases peculiarly indi-
vidual to their creators

The Corcoran Callery of Ari, Washington, D. C.
NUDE WITH STILL LIFE BY HUGH H. BRECKENRIDGE


Among the men still longer established than
these just mentioned, the following are repre-
sented: Duveneck, Blakelock, Horatio Walker,
de Forest Brush, Dewing, and Chase. The last-
named artist’s Portrait of the Honorable William
A. Clark is particularly apropos because the cash
prizes accompanying the Gallery’s medals were
again made possible through the generosity of
the sitter; this painting also brings home to us
the nature of the loss American art has recently
sustained in the death of the painter. Dainger-
field exhibits The Strife of Waters, pulsating with
powerful colour. Sargent has a room to himself,
an honour justified by the high rank universally
accorded him among our artists.

ought also to be mentioned. There is Carl
Schmitt’s Autumn Lyric, with its magnetic colour;
there is Ross Moffett’s A Portuguese Family of
Cape Cod, infused with a wild grace and pathos;
there is Giovanni Troccoli’s lovingly done Por-
trait of Mrs. Brinckerhoffthere are Jonas Lie’s
masterly water scenes, At the Dock and At Sun-
rise; there is Hayley Lever’s Dawn, well com-
posed and marked by exquisitely harmonious
tone; and lastly there is Rockwell Kent’s Burial
of a Young Man, in which not alone the impres-
sive procession of figures but the very cliffs and
sea and sky express their grief in line and colour.
This exhibition is the first biennial at which it
has been possible to use the large semi-circular

CXII