International studio (61.1917)

Domesticated Art

in the place of honour, flanked on the left by
Douglas Volk’s presentment of Master William
Sloane, and Irving Wiles’s Miss Melville Silvey.
These are all notable portraits. Miss Mary by
Louis Betts gives the same breezy summer-fra-
grant sensations that Martha Walter inspired at
the Pennsylvania Academy with her portrait of


JEANNE CARTIER

BY F. LUIS MORA

Mrs. Charles Barnett Goodspeed. Betts has
given us a full-length pose of a girl in a fluffy pink,
perhaps superpink, dress, advancing nonchalantly
towards the spectator, and he has executed his
difficult task ably. Wiles has given a perfect
symphony in browns and has imbued his concep-
tion with his usual admixture of refinement and
grace. The boy by Volk is impeccably drawn and

is a dignified composition. In the corners is a
clever nude, lying against a mirror, by Seyffert,
well constructed and observed; a very impres-
sionistic three-quarter length by Lockman, en-
titled Blue and Gold, catches the eye and holds
it agreeably. Lockman paints rapidly and with
great chic; his pictures, of late, possessing charm
of arrangement and brilliant colouring. Mora in
another corner is represented by a graceful little
full-length dancer whose orange skirt and purple
hose have forfeited nothing in the rendering. It
is a great improvement upon much that this ver-
satile artist has treated us to of late. Lydia Field
Emmett has narrowly escaped painting a master-
piece in Beatrice, but the head and hands being
alone visible in the large canvas is not a com-
mendable trait. Dickinson’s Unrest should have
been catalogued as Undressed. Restlessness is the
last impression given by the little model seated
upon a bench and partly draped by gorgeous
damask curtains that drop in pleasant curves,
cutting the left side of the seated figure, whose
smooth and creamy flesh stands out in magnifi-
cent contrast against the rich colouring of the
hangings. It is a tour de force of marked ability.
There is a certain sameness, not tameness,
about Redfield’s winter scenes around Center
Bridge, Pennsylvania, so that his Woodland Soli-
tude comes in the nature of a surprise. It is a
huge bit of outdoor still life, a welter of snow-laden
bush and bramble by a pool or river bank. The
canvas is very direct and convincing, the tonal
quality excellent. Hayley Lever’s Late Autumn,
Gloucester, is clever but crowded. The eye finds
no resting spot. It is like a checkerboard with
every square occupied. John F. Carlson is more
than usually successful with his Sombre Uplands,
where the drama of nature has been well ren-
dered. Guy Wiggins has a snow picture of great
subtlety and distinction, very different from his
usual contributions. One of the most interesting
exhibits in this gallery is a harbour scene by
Louise Upton Brumbach, full of good colour and
interesting spotting, the sky, perhaps, a little
weak but otherwise an excellent offering. Childe
Hassam’s Daivn is a very handsome contribution,
full of noble trees, hazy atmosphere with a pink
and orange sky pervading the composition and
reflecting upon a nude figure indulging in an early
morning dip. Henry B. Snell sends a handsome
harbour scene full of sunlit shanties and boats in
exquisite colour.

LXXXII