Studio: international art (55.1912)

Studio-Talk

Bilotti, and the work of D. Richard Brooks should
not be ignored. In applied art a coffer by F.
Morton Johnson proved him to be an admirable
worker in metal, and one would like to see his
undoubted ability applied to his own design.

E. A. T.

PHILADELPHIA.—Before noticing the
recent exhibition of the Pennsylvania
Academy of the Fine Arts, a brief account
must be given of the Annual Philadelphia
Water-Colour Exhibition which preceded it and
was as usual held in the galleries of the Academy.
The show included, besides an impressive display of
works in pure water-colour, pastel, chalks, tempera,
and gouache, a collective exhibition of lithographs
by members of the Senefelder Club of London.
Groups of etchings by well-known artists added to

the comprehensive character of the ensemble, and
finally, the most interesting of all perhaps, a capital
show of miniatures, the Tenth Annual of the
Pennsylvania Society of Miniature Painters, com-
bined with a Loan Collection of Old Miniatures
of the greatest artistic and historic interest.

A group of fifteen aquarelles, principally scenes
drawn from the Tyrol and showing evident Japanese
influence, by Mr. John Marin, occupied the most
conspicuous position in the Gallery of Honour.
They proclaimed themselves as the dernier cri
of impressionism, and marked an indefinite ethical
note that aroused discussion in the ranks of the
different factions of the ilite, but more than likely
left the layman puzzled or indifferent. Professor
Hans von Bartels was represented by a number of
paintings in tempera that quite satisfy the

“spring sunshine” (American Art Club, Paris) by Walter griffin

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