DOI issue:
Nr. 243 (June 1913)
DOI article:Taylor, Ernest Archibald: Pictures by american painters in the Paris Salons
DOI Page / Citation link: https://doi.org/10.11588/diglit.21159#0064
American Pictures in the Paris Salons
the light flickers on other varied interior hangings.
The theme of Miss Copeland’s picture, though
old, has always something fascinating in its colour
and possibilities for an artist, and here, too, the
personality of the painter is delightfully evident.
Then there is Mr. Max Bohm’s Femme et son
Enfant, and the sentiment that arises unbidden
before similar subjects is not new. What is
commonplace, however, he has made dignified, and
in the sentiment conveyed there is no littleness.
In its simplicity of design and massing it becomes
one of the colossal attractions in the exhibition.
Though Mr. Miller’s subject, a lady beside a mirror,
is in some ways similar to others he has done,
the predominant green and violet colour vibrations
are more luminous than he has yet attained.
Other notable figure subjects in the “ Old ”
Salon include the late Robert Mac-Cameron’s Les
bas-fonds de Londres, being a typical study of the
saddening life tragedy one witnesses after dark on
the seats of the Thames Embankment; Mr.
Murray Bewley’s L’Actrice and Le Marchand de
Statues, an interior study entitled Conseil de
Sceur by Karl A. Buehr, S. L. Landeau’s Capitaine
de Scouts Americains, Oscar Miller’s vigorous
Mar chi aux Poissons en Bretagne, Clara Weaver
Parrish’s La Romance de la Rose, with its refined
poetical outlook and decorative quality, the Por-
trait de Madame T. by H. T. Pushman, two
nude studies by Louis Pitman, Le Sommeil by
Lester Rosenfield, Dans le jardm and Portrait de
Madame Saunders, by N. Kendall Saunders, and
F. W. Simmons’ Decharpe verte.
American still-life and landscape painters do not
evidence themselves so much in the Old Salon
as in the New ; still the same national character-
istics are distinctly manifest in that branch of art.
Walter Griffen’s Boigneville exhibits much of the
sincerity and qualities for which his work is always
notable. Other things that linger in one’s memory
are the Nature Morte by Morton F. Johnston, a
Paysage by Parke-Curtis Dougherty, Edwin D.
Connell’s Le marais and Lionel Walden’s Le
passage des brisants a Hawai.
“the alcove”
BY WALTER GAY
44
(Soc&tl Nationale)
the light flickers on other varied interior hangings.
The theme of Miss Copeland’s picture, though
old, has always something fascinating in its colour
and possibilities for an artist, and here, too, the
personality of the painter is delightfully evident.
Then there is Mr. Max Bohm’s Femme et son
Enfant, and the sentiment that arises unbidden
before similar subjects is not new. What is
commonplace, however, he has made dignified, and
in the sentiment conveyed there is no littleness.
In its simplicity of design and massing it becomes
one of the colossal attractions in the exhibition.
Though Mr. Miller’s subject, a lady beside a mirror,
is in some ways similar to others he has done,
the predominant green and violet colour vibrations
are more luminous than he has yet attained.
Other notable figure subjects in the “ Old ”
Salon include the late Robert Mac-Cameron’s Les
bas-fonds de Londres, being a typical study of the
saddening life tragedy one witnesses after dark on
the seats of the Thames Embankment; Mr.
Murray Bewley’s L’Actrice and Le Marchand de
Statues, an interior study entitled Conseil de
Sceur by Karl A. Buehr, S. L. Landeau’s Capitaine
de Scouts Americains, Oscar Miller’s vigorous
Mar chi aux Poissons en Bretagne, Clara Weaver
Parrish’s La Romance de la Rose, with its refined
poetical outlook and decorative quality, the Por-
trait de Madame T. by H. T. Pushman, two
nude studies by Louis Pitman, Le Sommeil by
Lester Rosenfield, Dans le jardm and Portrait de
Madame Saunders, by N. Kendall Saunders, and
F. W. Simmons’ Decharpe verte.
American still-life and landscape painters do not
evidence themselves so much in the Old Salon
as in the New ; still the same national character-
istics are distinctly manifest in that branch of art.
Walter Griffen’s Boigneville exhibits much of the
sincerity and qualities for which his work is always
notable. Other things that linger in one’s memory
are the Nature Morte by Morton F. Johnston, a
Paysage by Parke-Curtis Dougherty, Edwin D.
Connell’s Le marais and Lionel Walden’s Le
passage des brisants a Hawai.
“the alcove”
BY WALTER GAY
44
(Soc&tl Nationale)