DOI issue:
Nr. 148 (July 1905)
DOI article:Covey, Arthur Sinclair: The Venice Exhibition, [1]
DOI Page / Citation link:https://doi.org/10.11588/diglit.20712#0123
The Venice Exhibition
art-loving public is familiar, received a gold medal
in St. Louis last summer.
Campbell Cooper is represented by two paintings
of sky-scrapers of Chicago and New York. They
are a fine rendering of an exceedingly difficult
subject, full of light and atmosphere.
Richard E. Miller is a highly promising young
American who had great success in Paris in last
year’s Salon. He has already sold a picture to the
French Government, and received high honours at
the St. Louis Exposition. He shows two very able
pieces, one of which, An Old Woman, is herewith
reproduced.
The Question and The Secret,, by Walter
Me Ewen, and The Mysteries of the Night, by
John Humphries Johnston, are well worthy of
notice.
Sunday in Brittany, by Eugene Vale, is a low
sympathetic treatment of
a most interesting subject,
possessing a deep religious
sentiment which surpasses
description.
Only one small black
and white is shown from
among the works of James
McNeill Whistler, and it is
in no wise important con-
sidered as a part of the
work of the celebrated
painter.
Among the other nations
represented in this room
are two remarkably good
portraits of young women
by John Lavery. Both are
claiming a well - merited
amount of attention in this
show. James William Mor-
rice has two good things;
On the Beach is well worth
seekingout in this multitude
of pictures.
Fritz Thaulow has quite
departed from his usual
treatment and subject in
his Street in Cordova and
Vigna Vergine.
Those lovers of art who
are fortunate enough to
see this exhibition should
not fail to visit the Dutch
collection of etchings and
lithographs, to which an portrait by giuseppe romagnoli
entire room is given. A finer collection is seldom
brought together. Hours could be spent in this
little room with much pleasure and profit. Then,
too, it is a room which one always has a clinging
desire to revisit.
The collection was brought together and hung
by Philip Zilcken, the well-known etcher and Hague
correspondent of The Studio, who shows four
strong pieces. Of the others I can only mention a
few names of the artists represented, for there are
over one hundred and fifty works shown. Among
these are examples by Israels, Havermann Dupont,
Toorop, Van der Volk, Van Derksen Bosch, Aarts,
Kramer and many others of equal importance.
I must hasten along, however, until we come to
the Hungarian section. Here, in this room, is a
surprise for the personally conducted sightseer.
Even Solomon’s temple in all its glory was not
art-loving public is familiar, received a gold medal
in St. Louis last summer.
Campbell Cooper is represented by two paintings
of sky-scrapers of Chicago and New York. They
are a fine rendering of an exceedingly difficult
subject, full of light and atmosphere.
Richard E. Miller is a highly promising young
American who had great success in Paris in last
year’s Salon. He has already sold a picture to the
French Government, and received high honours at
the St. Louis Exposition. He shows two very able
pieces, one of which, An Old Woman, is herewith
reproduced.
The Question and The Secret,, by Walter
Me Ewen, and The Mysteries of the Night, by
John Humphries Johnston, are well worthy of
notice.
Sunday in Brittany, by Eugene Vale, is a low
sympathetic treatment of
a most interesting subject,
possessing a deep religious
sentiment which surpasses
description.
Only one small black
and white is shown from
among the works of James
McNeill Whistler, and it is
in no wise important con-
sidered as a part of the
work of the celebrated
painter.
Among the other nations
represented in this room
are two remarkably good
portraits of young women
by John Lavery. Both are
claiming a well - merited
amount of attention in this
show. James William Mor-
rice has two good things;
On the Beach is well worth
seekingout in this multitude
of pictures.
Fritz Thaulow has quite
departed from his usual
treatment and subject in
his Street in Cordova and
Vigna Vergine.
Those lovers of art who
are fortunate enough to
see this exhibition should
not fail to visit the Dutch
collection of etchings and
lithographs, to which an portrait by giuseppe romagnoli
entire room is given. A finer collection is seldom
brought together. Hours could be spent in this
little room with much pleasure and profit. Then,
too, it is a room which one always has a clinging
desire to revisit.
The collection was brought together and hung
by Philip Zilcken, the well-known etcher and Hague
correspondent of The Studio, who shows four
strong pieces. Of the others I can only mention a
few names of the artists represented, for there are
over one hundred and fifty works shown. Among
these are examples by Israels, Havermann Dupont,
Toorop, Van der Volk, Van Derksen Bosch, Aarts,
Kramer and many others of equal importance.
I must hasten along, however, until we come to
the Hungarian section. Here, in this room, is a
surprise for the personally conducted sightseer.
Even Solomon’s temple in all its glory was not