International studio (60.1916/1917)

Some Philadelphian Exhibitions

gallery recently added to the resources of the
Corcoran. It is gratifying to note that this room
contains a group of pictures worthy of their set-
ting. Here Ritschel has a vigorous rendering of
The Morning Tide, California; here is Adolphe
Borie’s Nude Figure, as enigmatic as Seyffert’s
Resting is tediously technical; here is Howard
Russell Butler’s Surging Seas in Sunlight, which
title alone is apt to inveigle into admiration those
fond of splendid sounds. Here are two poetic
paintings by Ettore Caser; here is another ver-
sion of homely beauty by Ben Foster; here are
two striking examples of Joseph Pearson’s large
and ample style of decorative work, one of which,
Winter, is-exceptionally satisfying. And to make
an end of this room, take last the gorgeous Fan-
tasy of Charles H. Woodbury, whose Challenge,
hung elsewhere, is as dashing as the former is
dazzling.
However, nothing about the exhibition gives
clearer evidence of its genuine artistic importance
than the actual awards made. The important
things about the prizes of this year are their
recipients and the work for which they were
given. This year’s group of judges—consisting of
Childe Hassam (chairman), George Bellows, Wal-
ter Griffin, Philip Hale, and Charles Morris
Young—seem to have succeeded in making their
decisions without the usual undue sacrifice of
artistic conscience. The exhibitors singled out
for recognition of this sort are significant not
merely for what they have already done but also,
and this is much more important, for what they
may yet accomplish. To Arthur B. Davies was
awarded the first prize, for Castalias; the sec-
ond fell to Ernest Lawson for Boathouse, Winter,
Idarlem River; the third to H. H. Breckenridge
for Nude with Still Life; and the fourth to G. B.
Luks for lEomizn and Macaws.
SOME PHILADELPHIAN EXHIBI¬
TIONS
| BY EUGENE CASTELLO
The annual exhibition of oil paintings
by members of the Art Club, another by mem-
bers of the Sketch Club, and an exhibition of the
work of American women sculptors at the Plastic
Club, all on view at the same time, clearly indi-
cate that the artists are making a very strong
bid for the interest of the public of Philadelphia
in their work. The show at the Art Club, open

until the last day of the year, included seventy-
five works and, as a whole, seemed to be one of
the best in recent years. Emil Carlsen’s beautiful,
iridescent, high-keyed, marine painting entitled
The Meeting of the Seas was the central point of
interest of the whole collection. Gardner Symons
contributed a very distinguished landscape in Yew
England Hillsides, as did also E. W. Redfield in
The Brook in Winter. Paul King as a painter of
animals combined with a wintry landscape showed
himself in his best form in Hauling Ice. The
essential points of the individual are well depicted
in Henry R. Rittenberg’s portrait of Doctor Leslie
W. Miller, head of the School of Industrial Art.
The donor of the Buffalo Art Gallery, J. J. Al-
bright, Esq., with his two daughters is the subject
of a work by E. C. Tarbell, and is a most satis-
factory performance. Adolphe Borie sent a por-
trait of his father, B. Borie, Esq., that has dis-
tinctive character and Lazar Raditz had a charm-
ing representation of young womanhood in his
portrait of Henrietta. Edward H. Potthast, in
his Brighton Beach, shows that he is a colourist of
unusual ability; and Leon Kroll, in his semi-draped
nude, Young Girl, exhibits admirable skill in the
painting of flesh tints. A note of remembrance was
marked in the palm branch laid near a group of
three of the late Wm. M. Chase’s works, a Still
Life and two small landscapes.
The local resident painters had their showing
at the Sketch Club until Dec. 23. The opening
was also the occasion of the monthly dinner, fol-
lowed by a very interesting talk on “Zuloaga and
His Art” by Dr. Christian Brinton. Forty-nine
canvases were on view and of these Leopold Sey-
ffert’s portrait of a young negro drew the atten-
tion from the novelty of the treatment of colour
scheme, indicated by the title Black and Yellow.
C. A. Ricciardi was represented by three works, a
full-length portrait of a woman, La Visita, a por-
trait of Mr. Troth, a member of the club, and a
Moonlight, delightfully tonal in quality of subtle
ambience. Fred Wagner made a convincing
and true note in his work Mill Race, as did Fred
Nunn with a different technique in Winter along
Canal. One of the best works in the show was
Morris Hall Pancoast’s Sunburnt Hill, most suc-
cessful in effect of pervading light of midday.
Henry A. Rand was also one who scored a success
in Sunlight on Snow, and John J. Dull’s picture of
Addingham in Winter notes, in a very direct
method of analysis of the leading natural facts

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