DOI issue:
No. 152 (November, 1905)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20713#0190
Studio-Talk
sitter, but also the artist’s interest, and, through
hers, our interest in the sitter.
In point of time, Mr. Cameron has been recog-
nised as an established artist much longer than his
wife, his first introduction to the public having
occurred with the exhibition of his In the Studio at
the Salon of ’88. A Philadelphia critic'so admired
the canvas called The Morning Train, when it was
shown at the American Artists’ Exhibit at Chicago,
that he recommended Mr. Cameron''to submit it for
the mid-winter exhibition of the Academy of Fine
Arts at Philadelphia. This advice was followed,
and, as a result, the work in question was pur-
chased by the well-known collector Mr. Peter
Schemm. Recognition of this sort ought to
encourage the artist to still devote a portion
of his time to the painting of easel - pictures,
and not to be altogether allured by the greater
freedom of covering larger
surfaces in decorative work,
with which he has been
mostly occupied of late.
It was in 1890 that
chance brought him his
first important com-
mission. Among his
European studies was
contained a copy of
Aime Morot’s Battle of
Reichoffen. This canvas
came to the notice of
Major E. C. Moderwell,
an officer in the Civil
War, who entrusted to the
young artist the painting
of his most thrilling engage-
ment. Success crowned
this effort, and its experi-
ence to the artist resulted
in such enlarged technique
that he decided to produce
another battle subject for
the Chicago Artists’ Ex-
hibit. As an outcome, the
excellent work entitled The
Stragglers appeared, which
was rewarded by an honour-
able mention in the Yerkes
Prize competition.
Mr. Cameron’s finest
work, however, is his large
canvas, The Youth of Christ.
Deeply reverential in spirit,
172
this work is one from which an observer would
not idly turn away. The central figure repre-
sents the carpenter’s Son, inspired while at his
work by the faint rays shed upon him; the
eager, suppressed movement in the attitude, the
fixed gaze of rapt wonder on the uplifted face,
combine in a sublimely impressive production.
Aside from his painting, Mr. Cameron was, for
some time, engaged as instructor both in the
Art Academy and in the School of Illustration.
During the Exposition of 1900 at Paris he was
a member of the Jury of Awards. For many years
he contributed art criticisms to one of the leading
Chicago newspapers. Intermittently, however, he
has found—or, rather, made—time to devote to
travel and to his own creations.
With broad standards, progressive ideas, and
untiring zeal in their profession it seems little
“mending the net” by marie gelon-cameron
sitter, but also the artist’s interest, and, through
hers, our interest in the sitter.
In point of time, Mr. Cameron has been recog-
nised as an established artist much longer than his
wife, his first introduction to the public having
occurred with the exhibition of his In the Studio at
the Salon of ’88. A Philadelphia critic'so admired
the canvas called The Morning Train, when it was
shown at the American Artists’ Exhibit at Chicago,
that he recommended Mr. Cameron''to submit it for
the mid-winter exhibition of the Academy of Fine
Arts at Philadelphia. This advice was followed,
and, as a result, the work in question was pur-
chased by the well-known collector Mr. Peter
Schemm. Recognition of this sort ought to
encourage the artist to still devote a portion
of his time to the painting of easel - pictures,
and not to be altogether allured by the greater
freedom of covering larger
surfaces in decorative work,
with which he has been
mostly occupied of late.
It was in 1890 that
chance brought him his
first important com-
mission. Among his
European studies was
contained a copy of
Aime Morot’s Battle of
Reichoffen. This canvas
came to the notice of
Major E. C. Moderwell,
an officer in the Civil
War, who entrusted to the
young artist the painting
of his most thrilling engage-
ment. Success crowned
this effort, and its experi-
ence to the artist resulted
in such enlarged technique
that he decided to produce
another battle subject for
the Chicago Artists’ Ex-
hibit. As an outcome, the
excellent work entitled The
Stragglers appeared, which
was rewarded by an honour-
able mention in the Yerkes
Prize competition.
Mr. Cameron’s finest
work, however, is his large
canvas, The Youth of Christ.
Deeply reverential in spirit,
172
this work is one from which an observer would
not idly turn away. The central figure repre-
sents the carpenter’s Son, inspired while at his
work by the faint rays shed upon him; the
eager, suppressed movement in the attitude, the
fixed gaze of rapt wonder on the uplifted face,
combine in a sublimely impressive production.
Aside from his painting, Mr. Cameron was, for
some time, engaged as instructor both in the
Art Academy and in the School of Illustration.
During the Exposition of 1900 at Paris he was
a member of the Jury of Awards. For many years
he contributed art criticisms to one of the leading
Chicago newspapers. Intermittently, however, he
has found—or, rather, made—time to devote to
travel and to his own creations.
With broad standards, progressive ideas, and
untiring zeal in their profession it seems little
“mending the net” by marie gelon-cameron