DOI issue:
No. 229 (April 1912)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21156#0254
Studio-Talk
“VILLAGE HOLLANDAIS”
(SociM de la Peinture it VEau, Paris)
BY HENRI CASSIERS
gleaned from past masters, one feels has gone
through the sieve of their own personality. The
most notable are Max Bohm’s Maternity, Charles
W. Hawthorn’s Fisherman’s Daughter, and Professor
J. Niemeyer’s Portrait Study. That the exhibition
was not entirely composed of the work of American
artists was observable in the name and work of
Arthur Lyons, the most distinguished of his three
exhibits being his Girl Ktiitting, and I think I
mistake not by including Bernard Harrison with
the British side of the Channel.
In the landscapes there was much that was
independent and vigorous, but as space is limited
I must be content with briefly naming some of the
works that merit more than a restrained mention.
Amongst the most original are Alson Clark’s
Autumn Landscape; Parke C. Dougherty’s atmo-
spheric Spring Mortiing, and his virile little
sketch In the Garden; F. C. Frieseke’s harmonious
Misty Morning; Walter Griffin’s Brittany Houses
and Church at Boigneville; Cumulus Clouds, by
Bernard Harrison; The Well, by M. Herter ; Canal
at Paris, by George Oberteuffer; Edwin Scott’s
poetical interpretation of Notre Dame; F. W.
Simmonds’s Landscape, and Charles Thorndyke’s
Brittany landscapes with their distinctive com-
position and colour. Some searching ability was
shown in the work of L. Adams, C. Buehr,
Cameron Burnside, Louis Putman and A. J.
Warshawsky. Etchings already well known to
readers of The Studio were contributed by Lester
G. Hornby and Herman Webster.
In sculpture the most important and of special
interest were a fragment of the pediment for the
National Capitol at Washington and a case of
bronzes by the vice-president, Paul W. Bartlett,
whose well-known equestrian statue of Lafayette
stands on a lofty pedestal on the second grass-plot
of the Carrousel Square near the Louvre. A
refined marble bust and bronze figures by S. J.
233
“VILLAGE HOLLANDAIS”
(SociM de la Peinture it VEau, Paris)
BY HENRI CASSIERS
gleaned from past masters, one feels has gone
through the sieve of their own personality. The
most notable are Max Bohm’s Maternity, Charles
W. Hawthorn’s Fisherman’s Daughter, and Professor
J. Niemeyer’s Portrait Study. That the exhibition
was not entirely composed of the work of American
artists was observable in the name and work of
Arthur Lyons, the most distinguished of his three
exhibits being his Girl Ktiitting, and I think I
mistake not by including Bernard Harrison with
the British side of the Channel.
In the landscapes there was much that was
independent and vigorous, but as space is limited
I must be content with briefly naming some of the
works that merit more than a restrained mention.
Amongst the most original are Alson Clark’s
Autumn Landscape; Parke C. Dougherty’s atmo-
spheric Spring Mortiing, and his virile little
sketch In the Garden; F. C. Frieseke’s harmonious
Misty Morning; Walter Griffin’s Brittany Houses
and Church at Boigneville; Cumulus Clouds, by
Bernard Harrison; The Well, by M. Herter ; Canal
at Paris, by George Oberteuffer; Edwin Scott’s
poetical interpretation of Notre Dame; F. W.
Simmonds’s Landscape, and Charles Thorndyke’s
Brittany landscapes with their distinctive com-
position and colour. Some searching ability was
shown in the work of L. Adams, C. Buehr,
Cameron Burnside, Louis Putman and A. J.
Warshawsky. Etchings already well known to
readers of The Studio were contributed by Lester
G. Hornby and Herman Webster.
In sculpture the most important and of special
interest were a fragment of the pediment for the
National Capitol at Washington and a case of
bronzes by the vice-president, Paul W. Bartlett,
whose well-known equestrian statue of Lafayette
stands on a lofty pedestal on the second grass-plot
of the Carrousel Square near the Louvre. A
refined marble bust and bronze figures by S. J.
233