International studio — 80.1925

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Costigan's paintings will never cause the cata- some tricky piece of foliage as it turns in the wind

loguer's much difficulty in the way of chrono- or some point in the brook where it slips out of its

logical sequence, for in them his menage in all its winter sheathing of ice with quaint and unex-

stages is on record. Lock, stock and barrel, the pccted turn. This is what gives his seemingly

Costigan household stands revealed. unstudied tapestries oi color their authenticity.

It is but natural that Mr. Costigan should In design, too, Mr. Costigan is well versed. The

feel the deepest admiration for John Singer Sar- canvases in his show at Rchn's were strong in

gent's "Hermit," perhaps the greatest rendition unified and unusual pattern, several of them indi-

of a woodland interior in all art. This famous eating an advancing sense of subject matter and

canvas, which hangs in the permanent collection composition. He takes his place, therefore, among

of the Metropolitan Museum of Art, is a point of the most interesting of contemporary American

pilgrimage whenever he comes to town. He places painters because of his pioneering along a new

this Sargent as his favorite painting, and goes to direction in representation, for having evolved an

the Museum to stand before this consummate individual and telling technique to meet a direct

summary of forest forms in rapt attention, as still pictorial need, for making his own Barbizon and

and observant as if he were in his own sun-shot dwelling a happy master therein, and for the deep

glades, learning bit by bit to make his hold on art and abiding sense of beauty with which he invests

and nature more secure. his canvases.

In patient, studious hours of closest attention
has the way unfolded to this painter. Like , , , . , . , „ ,. . ,., .

r Color plate ana photographs except where otherwise credited

Turner, he likes to sit hour by hour watching by courtesy oj lie Rebn Galleries

four ihirty-two

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