DOI issue:
No. 347 (February 1922)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21395#0132
STUDIO-TALK
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:
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“ THE AFTER-GLOW.” FROM A COLOUR
PRINT BY HARRY DE MAINE
(portrait of Mr. R. W. de Forest, President
of the Metropolitan Museum of Art), Mr.
R. S. Meryman, Mr. Douglas Volk and
Mr. Edmund Tarbell. 000
Two marine paintings of importance
were Mr. Charles Woodbury's The Green
Wave and Mr. Elmer Schofield's Cliff
Shadows. Mr. Chauncey Ryder's Hills of
North Branch; Mr. Robert Spencer's
Mill Valley, with its old buildings ; Mr.
F. J. Mulhaupt's Gloucester Harbor, with
its shipping ; Mr. J. T. Pearson's decora-
tive By the River, with its waterfowl;
Mr. Theodore Soclen's Flamingo Gate,
ablaze with colour, and Mr. Gardner
Symons's Through Sunlit Hills were all
of interest, and this was especially the
case with Mr. F. W. Benson's still-life
The Silver Screen, and Mr. Emil Carlsen's
White Jug and Black Bottle. E. C.
NEW YORK.—Mr. Harry de Maine's
colour print, The After-Glow, of which
a monochrome reproduction is given on
this page, is fairly typical of the kind of
work which this artist is now doing. An
enthusiastic devotee of the wood block, he
exploits its charms in a way of his own.
He shows a marked predilection for marine
subjects and generally prefers a more
limited range of colour than most practi-
tioners use, often being content with no
more than two or three tints, which are so
judiciously harmonised as to produce very
agreeable resuits. But neither in subject
matter nor in the method of treating it is
he committed to any hard and fast pro-
gramme, and thus among his prints one
finds landscapes and architectural themes
with a range of colour pleasantly varied to
suit the special circumstances. Mr. de
Maine worked in Paris prior to the war,
which both before and after the American
intervention down to the date of demo-
bilization absorbed his energies to the
almost complete exclusion of art. Among
the prints dating from this period is a
view of Notre Dame, Paris, in which, with a
restricted colour scheme, the artist has pro-
duced a decorative effect of much charm.
ii5
‘ *
.
:
-_
“ THE AFTER-GLOW.” FROM A COLOUR
PRINT BY HARRY DE MAINE
(portrait of Mr. R. W. de Forest, President
of the Metropolitan Museum of Art), Mr.
R. S. Meryman, Mr. Douglas Volk and
Mr. Edmund Tarbell. 000
Two marine paintings of importance
were Mr. Charles Woodbury's The Green
Wave and Mr. Elmer Schofield's Cliff
Shadows. Mr. Chauncey Ryder's Hills of
North Branch; Mr. Robert Spencer's
Mill Valley, with its old buildings ; Mr.
F. J. Mulhaupt's Gloucester Harbor, with
its shipping ; Mr. J. T. Pearson's decora-
tive By the River, with its waterfowl;
Mr. Theodore Soclen's Flamingo Gate,
ablaze with colour, and Mr. Gardner
Symons's Through Sunlit Hills were all
of interest, and this was especially the
case with Mr. F. W. Benson's still-life
The Silver Screen, and Mr. Emil Carlsen's
White Jug and Black Bottle. E. C.
NEW YORK.—Mr. Harry de Maine's
colour print, The After-Glow, of which
a monochrome reproduction is given on
this page, is fairly typical of the kind of
work which this artist is now doing. An
enthusiastic devotee of the wood block, he
exploits its charms in a way of his own.
He shows a marked predilection for marine
subjects and generally prefers a more
limited range of colour than most practi-
tioners use, often being content with no
more than two or three tints, which are so
judiciously harmonised as to produce very
agreeable resuits. But neither in subject
matter nor in the method of treating it is
he committed to any hard and fast pro-
gramme, and thus among his prints one
finds landscapes and architectural themes
with a range of colour pleasantly varied to
suit the special circumstances. Mr. de
Maine worked in Paris prior to the war,
which both before and after the American
intervention down to the date of demo-
bilization absorbed his energies to the
almost complete exclusion of art. Among
the prints dating from this period is a
view of Notre Dame, Paris, in which, with a
restricted colour scheme, the artist has pro-
duced a decorative effect of much charm.
ii5