DOI Heft:
No. 262 (January 1915)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21211#0316
Studio-Talk
Triangle. They were arrangements of colour but painted in gouache by Mr. Alexander Robinson,
apparently represented nothing that ever existed subjects drawn from Tangier, Spain and the Orient,
in nature and their significance was quite obscure may be cited ; mosaics in colour one might call
even to the initiated. While it may not be a them, yet they were distinctly successful in sugges-
crime unpardonable to violate traditions of art in tions of actual data as they exist locally, conveyed
the effort to be absolutely modern, yet one felt by means of a thoroughly modern technique and
inclined to question the raison d'etre of the retaining capital qualities of drawing and values
groups of sketches in pure aquarelle exposed by beside the pleasing scheme of colour. Twenty-
Mr. Dodge McKnight, views of Utah and the six aquarelles, the work of the late Charles E. Dana,
Far West in which brilliant carmine rocks were exposed in a group as a memorial to the President
the prevailing note, and of those by Mr. John and founder of the society conducting the exhibi-
Marin, catalogued as picturing localities on the tion, led one back to a wholesome sanity that did
coast of Maine, but quite too modern in technique not lack a full measure of feeling for the picturesque
to be intelligible. It would not be fair either to whether it be in Cairo, Rothenburg or Gruyeres.
the artists or to the American public who are Mr. Cecil Gay's views of Marken, Holland deserve
interested to proclaim these as serious works of art. particular mention for brilliant colour schemes.
- Mr. Colin Campbell Cooper's The White House,
On the other hand, it is necessary to point Mrs. Paula Himmelsbach Balano's Parthenon by
out that modernity does not imply failure to con- Moonlight, Mr. Charles Warren Eaton's Italian
vey an impression to the beholder, considered by subjects, 57th Street, New York by Ethel L.
Tolstoy as an essential to every work of art. As Paddock, The Morning Cup by Miss Eaura
an example, a number of virile works, apparently Coombs Hills, Arizona by Mr. Albert L. Groll,
' SN'OW-COVEREl) HILLS"
( Pennsylvania Academy, Water-Colour Exhibition)
BY FRED WAGNER
Triangle. They were arrangements of colour but painted in gouache by Mr. Alexander Robinson,
apparently represented nothing that ever existed subjects drawn from Tangier, Spain and the Orient,
in nature and their significance was quite obscure may be cited ; mosaics in colour one might call
even to the initiated. While it may not be a them, yet they were distinctly successful in sugges-
crime unpardonable to violate traditions of art in tions of actual data as they exist locally, conveyed
the effort to be absolutely modern, yet one felt by means of a thoroughly modern technique and
inclined to question the raison d'etre of the retaining capital qualities of drawing and values
groups of sketches in pure aquarelle exposed by beside the pleasing scheme of colour. Twenty-
Mr. Dodge McKnight, views of Utah and the six aquarelles, the work of the late Charles E. Dana,
Far West in which brilliant carmine rocks were exposed in a group as a memorial to the President
the prevailing note, and of those by Mr. John and founder of the society conducting the exhibi-
Marin, catalogued as picturing localities on the tion, led one back to a wholesome sanity that did
coast of Maine, but quite too modern in technique not lack a full measure of feeling for the picturesque
to be intelligible. It would not be fair either to whether it be in Cairo, Rothenburg or Gruyeres.
the artists or to the American public who are Mr. Cecil Gay's views of Marken, Holland deserve
interested to proclaim these as serious works of art. particular mention for brilliant colour schemes.
- Mr. Colin Campbell Cooper's The White House,
On the other hand, it is necessary to point Mrs. Paula Himmelsbach Balano's Parthenon by
out that modernity does not imply failure to con- Moonlight, Mr. Charles Warren Eaton's Italian
vey an impression to the beholder, considered by subjects, 57th Street, New York by Ethel L.
Tolstoy as an essential to every work of art. As Paddock, The Morning Cup by Miss Eaura
an example, a number of virile works, apparently Coombs Hills, Arizona by Mr. Albert L. Groll,
' SN'OW-COVEREl) HILLS"
( Pennsylvania Academy, Water-Colour Exhibition)
BY FRED WAGNER