International studio (61.1917)

The Allied Artists

vital as the ordinary twice yearly exhibitions on
Fifty-seventh Street. A generous measure of
mediocrity reigns in both associations. This is
no dispraise, for similar conditions obtain under
other flags and merely reassert the fact that great
art is uncommonly rare, if not almost extinct.
Without any illusions about great art, there are
plenty of canvases that fully reward a visit and
only a few that, in the free and easy language of

part of Bernhard Gutmann whose canvases are
always new problems thoroughly studi ed and enter-
tainingly handled. We recall portraits and com-
positions of his winsome little daughter Elizabeth
which are as vital and interesting as any children
studies exhibited in New York. Good portraits
by Lockman, Helen Turner, Hubbell, Laurence
Nelson, Oscar Fehrer, Hildebrandt, Renwick and
Rouland add to the general attractiveness of the


GOING TO SUN MOUNTAIN, GLACIER PARK

BY ARTHUR J. E. POWELL

the profession, rank as “lemons.” The place of
honour fell to Powell with a portrayal of the
Grand Canyon of the Colorado, which may well
be styled monumental. Good composition and
good colour values mark it out as a fine rendering
of a very difficult subject. A big canvas by Leigh
of the same region, entitled The, Sacred Moun-
tain of the Zuni, is idyllically conceived, the natu-
ral grandeur rather yielding to the poetic con-
ception.
A portrait of an old lady seated by a table,
also a small waterfall, show earnest striving on the

galleries. Glenn Newell is represented by a large
canvas of a bull which had to be tamed as well as
painted. It is a noble rendering of a noble animal.
The small cattle studies of Volkert are excellently
spotted and streaming with sunlight. As in the
case of Potthast’s strand scenes, the small can-
vases are usually more interesting than the larger
and less spontaneous subjects. Christina Morton
has a nude that invites attention for its naive
rendering and effective pose, but it lacks firmness
and construction besides a bigger conception of
colour. James Weiland is a determine follower

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