Evening Star Newspaper, April 3, 1897, Page 19

THE EVENING STAR, SATURDAY, APRIL 3, 1897-98 PAGES” 19 Examples From the Best Work of Local Studios, Opening at the Cosmos Club Next Monday -- Water Colors Excluded--Some Notable Works in Oil and Pastel--Many Young Artists Coming Into Prominence. On Monday hibition of the the seventh annual ex- ¢ of Washington Art- at the Cosmos Ciul next fists will oper », the pic- tures to remain on view for one week. This vear for the first time water colors were not admitt and the oxhibit in- fludes works fn oil, pastel and sculptu xclusion is felt to be shghtly e or two of the artists, who sly in water color, and who nt at the Water to save their but in the of tae ofls and < prove the best. examination to any ex wt of the place whic the gro the younger artists are taking in these ennual affairs. It 1s in itself a most en- of art in jouraging sign of the advance “A DAY | in the exhibition. ; only painting on view that is in any sense of the delicate harmony in the sober grays and greens. * x * The “Daughter of an Eastern King” is the ttle that Harold L. Macdonald has given to his figure study in pastel, and the title prepares one for the queenly poise of the head arid the sumptuous effect of color in found the accessories. The woman's “On Florida § By Wells M. wavy brown hair falls unconfined about her shoulders, and partly hides the rich yellow mate: of her dre The back- ground is of the deep red hue which the artis ommonly uses as a setting for E. F. Andrews is represented by three ecanva and his figure of Wat Tyler, which is the best thing he has ever shown here, is one of the mest important pictures For one thing, it is the es, and this in itself gives it pecu- Mr. Andrews has shown us the sturdy armor-smith, with rolled-up sleeves and leathern apron, standing be- side his anvil. In one hand he grasps a ee *| hangs at her side, | a study of 1 with IN SUMMER,” By H. Hobert Nichols. grow the cess of the exhibits in years to come will largely Gepend. But if the younger artists are coming to the front in a very decided manner the older contributors have sense pushed aside; they * * * yl, who never lets a year slip by ut showing new specimens of over color and atmospheric represented by three landscap Potomac marshes being in which % clouds, the es of the his ér- par- manner he ard N. Brooke ape, painted con b with a ength of ec vigor of handling which give it a ra atic power. A dark line of ts ouetted sharply against a mm sky, and overhead is a exceptions, very well repre- | : ~—: | heavy hammer which he has picked up and holds ready for action, and in the other he holds his trusty helmet. His feet are firmly planted a short distance apart, and every line of the figure expresses res- olution and defiance. An immense amount of work has been expended upon the pic- | ture, and a close inspection of the smithy, with its pieces of armor scattered about | here and there, reveals the minutest finish | in every part. "Yet so strongly is the figure | painted that at the first glance the eve takes in none of these minor details, but is riveted upon the man alone. | * * * Parker Mann places before the public this year three of the subjects that he obtained at st Gloucester during the summer. ‘Two of these are moorland scenes, the it of which has been left in the sketchy con- dition in which it was executed, and so re- tains the life and freshness which are sometimes lost in the elaboration of a land- scape. The other study is more rich in Sere wee Linme t shows the moors tn the glory of eto 5 possess lies in | October color: Mr. Mann's largest paint- so strongly the {198 is a spirited rendering of a storm on ‘and his work | the Massachusetts coast, and he has been *s saying that | Very siul in giving movement to the a tempera- | Waves x ~*~ * East Gloucester has also furnished the theme for one of the pictures which Carl. Weller exhibits, a picturesque wooden pier running out into the water. Mr. Weller's view of the ancient fortifications of the town of Wisby, in Sweden, is impressive in its heavy masses of light and shade. The old stone towers pierced here and there "THICK WEATHER,” By George Gibbs. bank of lowering clouds, accented here and there with touches of golden light. The treatment of the meadow, which slopes §ently away from the trees on the crest of the hill, ts especially good. * . * * Edmund Clarence Messer is harly rep- resented {n an adequate manner this year, though the two tiny landscapes which he contributes are as fine in their artistic feeling as anything that one could wish for. He {s one of those artists who do their best work only when they are in the Tight mood, and as a result the exhibition sometimes finds him with his most tmpor- tant works still unfinished. Of the two pictures that he sends this year, his morn- ing effect ts the more pleasing, on account with narrow windows stand out strongly ‘against the yellow sunset sky and have quite a forbidding aspect. The two figures hurrying homeward through the snow re- eve the otherwise desolate appearance of the scene. Hain or Shine fs the title of an- other effective landscape by the same artist. * ** Frank Moses, who {s a newcomer in Washington exhibitions, but who has won his laurels elsewhere, sends four pictures, In his “Boat Builder of Clovelly” he shows us the bluff old tar, who was Charles Kingsley’s mentor in the author’s youth, seated at his work bench. It was in this dingy work shop, which Mr. Moses has greater part of “Westward Ho!” was writ- ten. The head of a Puritan by Mr. Moss is an extremely effective piece of work, though it is quite possible that persons whose Puritan ancestry is their chief boast may consider it a trifle libelous. He also exhibits a composition of graceful nude fig- ures called’ the “Death of the Hamadryad. * * x The only other nude that is included in the exhibition is from L. 8. Brumidi’s clever brush and bears the title of “Reveille Toi.” It is executed in pastel and the skill with which. the accessories are handled shows his Parisian training. It is soft and deli- cate coloring, and the textures are ren- dered in an especially able manner. Another pleasing essay by the same artist is a view of Lafayette Square in its autumn dress. * * * Either by accident or design several of the best portraits in the exhibition have been grouped near together in one part of the hall. Among these Juliet Thompson's likeness of Rebecca Hyde at once attracts the eye, and it is safe to say that it is the most striking portrait in the exhibition. It is a three-quarter-length figure, and pos- sesses a tremendous amount of style. Miss Hyde wears a large black hat with drooping plumes, and her low-neck dress of light filmy material is of the same color. The somber tone of her attire is relieved by the positive color note struck by the red lining of the fur-trimmed cape which has slipped negligently from her left shoulder. The carriage of the head and the attitude of the entire figure are spirited, yet full of dig- nity, and in spite of an occasional uncer- tainty in the drawing it still remains the best thing the artist has ever done. * ares 5. ° Hanging near by is Bertha E. Perr portrait of a young girl, which, if it is not as striking as Miss Thompson's chef @ceuvre, is in many ways superior to it the directness and simplicity of its han- dling. There is absolute sincerity in_ it, and there has been no painting for effect alore. There is splendid drawing and m. deling in the head and neck, and the fi is a very expiessive one. The girl is clad in a white dress of the utmost simplicity, the color scheme is very quiet and restful. x The graceful ease of the woman which Arna M. Sands has portrayed in pastel shows that she appreciates the value of in portraiture. One hand rests light- ly upon her hip, and in the other, which he holds a bunch of The modeling of the left hand good. The rich red hb; arply with the black , Suggested the title, = Sands also exhibits 2d, hut ft does not come up to her half-length figure, which is one of the best pastels in the exhibition. < * * Robert Hinckley exhibits but one canvas this year, an effective portrait of a lady in yellow. * dane Bridgham Curtis, whose work pastel has been a feature of the exnibit for several years back, most dec below the high standard that s for herself in the past in he It is the third of th s taken from Ternyson’s poe so rich in pictorial mate in pa which are While it has some fine decorative quuities, embossed as good especially in the rich sreen dri golden dragons, it is werk as erence to the attrac! she shows. is executed gives it a pe not she can do, and one turns in pr e portrait study that | It is a likeness of herself, and n & straightforward way that uliar charm. * Alice Agcher Sewall also exhibits a por- trait of herself, which is an admirable likeness, and is handled with zreat force and vigor. Her large decoration in tel is one of the most original things shown, both in conception and execution. The “The W will theme of the composition is musical, and the twe central figures are performing upon instruments, but the attendant figures seem to be introduced purely on account of their decorative value. A couple of interesting profile heads in the upper part of the panel faintly suggest the Burne-Jones type. The decoration is executed on gray paper with that pecullar touch which is characteristic of Miss Sewall’s technique, and while treat- ed in a comparatively simple scale of color, it has a glowing luminous quality. Miss Sewall also exhibits one of her inimitable cherub heads. * * * Among the four excellent landscapes that ARTISTS Fuller Curtis sends to the exhibition are entirely different from anything else in the collection, and are perhaps a good deal out of their element. Both.of hig pastels are treated in a broad, posteresque style, and show a marked originality in design. His study of a woman reading a. book is especially quaint and unique. In his lafge decoration, where he presenfs' the personi- fication of power in the figure of a woman the delicate green of the lichened rocks and the rich russet brown of the stunted bushes. * * * §. Jerome Uhl, who generally exhibits several strong portraits, sends but one head, a vivacious little sketch, and is best represented by his work in another line. His “October Wood Interior,” which is painted in a low key, and is wonderfully rich in color, 1s perhaps the best of his canvases, but his “Mcenlight on the Eng- lish Channel” is also Wective. The latter gives a view of the beach at Dieppe with the chalk cliffs rising in a forbidding line a short distance from the water's edge. * * * Lillian Cook exhibits one of the many faithful sketches that she made in Holland last summer. It is a study of a Dutch “LANDSCAPE,” By Spencer Nichols. clad in flaming red, the flat masses are outlined so sharply as to approach hard- hess, and the figure looks weil only when it is viewed from a distance. Spencer Nichols is @ very close student of nature in all Ner moods, and, while he does not insist on the exact imitation of her forms when he ts composing a pic- ture, he always aims to give the effect with all possible truth. He has adhered to these principles in the execution of hi “Misty Morning Along the River Front, and while, fo. the sake of composition, he has taken great liberties with the river front, as far as effect goes, there is not a truer picture in the entire exhibition. s rendered in a splendid manner the effect of the first rays of sunlight strug- gling through the fog, and has shrouded | all the distant features of the scene in { mist, the buildings looming out with in- creasing distinctness as they draw near to the eye. In order to get the fine sense of distance that he has obtained, he called into ervice both linear and aerial per- | Spective. The many converging lines of the roadway, the sea wall, ete., do their | Part, and the positive manner in which the foreground is painted is a still more Important factor. The use of a powerful impasto in painting his foregrounds is one of Mr. Nichols’ pet hobbies, and a very good one it {s, but in this case he has ex- celled himself. He has laid the paint so to give the uninitiated the impression that he half intended to model the whole pic- |ture in bas-relief. Of the two smaller | canvases that Mr. Nichols exhibits, his Paxson motive is especially attracti | * * An Old Estate is the title that Wells M. Sawyer has given to his most important picture, which presents a corner of the old Calvert marsion at Riverdale, where the artist makes his summer home. It is work- ed out in the carefully studied manner that Mr. Sawyer finds to give him the most sat- isfacvor: sults, and is one of the best | things he has ever done. It is brilliant in j color and full of sunlight. He also contri- | butes a couple of studies made along the | Florida coast. * * In Robert Coleman Child's pictures the notable advance over his work of last year cannot fail to be observed. His oil giving | a bit of old wharf at East Gloucester is as sincere and truthful a study as one could wish for, and the effect of the picture is further enhanced by a handsome burnt- wood frame. His allegorical figure of “Dawn’’ is quite decorative ahd his study of Old Field Pines is full of poetic fgeling. * * Ok James Henry Moser has chosen original effects for the oils that he has sent to the exhibitions for several years back, and this year the lxndscape which he contributes is Hobart Nichols contributes, his “Autumn Afternoon,” which gives us a glimpse of a country road bordered on one side by a Stone wall, is particularly attractive. ‘Phe trees that rise just beyond the wall are clad in the russet mantle of late autumn, and the sky is covered with floating clouds of a delicate luminous gray. Several geese straying across the road in the foreground lend a touch of life to the scene. His “Coming Storm” is a glowing color study, in which a couple of sturdy oak trees tcuched by the last rays of the setting sun filing their branches against a dark, threat. ening sky. Mr. Nichols’ “Day in Summe! @ sunny little study, and his “September Beers wnich, tte cei poetry of . complete the number that he has placed on view. erapipcures * * * The painting of marines has always been George Gibbs’ specialty, but this year he shows his versatility by Placing before the public something of an entirely differ- ent character. It 1s an oil, showing a man dressed in the costume of the French re- natssance period, poring over a pile of musty books by the dim light of a candle. The Rembrandtesque lighting makes the chiaroscuro of the picture extremely in- teresting, and Mr. Gibbs has handled it in @ very satisfactory manner. In his pastel entitled “Thick Weather” he gives us a spirited picture of the rolling deck of a small schooner, that is ploughing its way through the fog. He has rendered to per- fection the.wash of the waves, the pitch- ing of the little vessel, and the excited movements of the saflors, who have just brought the boat around in time to avoid collision with the big liner that is fast dis- appearing through the fog. Mr. Gibbs also exhibits a striking marine, called “After the Storm,” and a faithfully studied wood interior, with a brook babbling down over its pebbly shaupel. x* = portrayed with so much fidelity, that the The two decorative works that William “Wat Tyler,” By E. F. Andrews. ‘unique in its motive. It is called a “Janu- ary Thaw,” and shows’ the half-melted Patches of snow lying in* tie depressions heavily upen the ruts of the roadway as | | given a view of the beach after the wa peasant woman seated by an open door- way, through which one catches a glimps of the sunry garden outside. It has a quiet, domestic sentiment about it and a nice quality of color, though the composition itself does nct hold together very well. * Miller exhibits a profile portrait and a large figure composition called “After the Tide.” The latter is particularly inter- esting, as it has a great many figures in it, ali painted with painstaking care. He has ter has receded and the shore is crowded with children looking for shells, playing in the sand or wading in the pools of water that the outgoing tide has left. * * Ok There is little work of the ultra impres- E. H. “A GLIMPSE OF ARLINGTON,” By Max Weyl. stonistic character shown this year, the only canvas of that sort being by E. W. Lightner, who is correspondent for e Pitts- burg paper, and wields his brush merely as a means of relaxation. That he is as clever with his brush as with his pen no one will deny, but as the same time his work 1s much too bizarre in both color and technique to suit the average taste. His Picture is called “Dispersing Fog,” and af- “Rebecea,” By Juliet Thompson. ter peering through the mist for a few mcements one is able to faintly discern the monument and a few other Washington landmarks. * x x Frank B. Clark’s Sardine Market at Con- carneau shows that he also has been at- tacked by impressionism, though the mal- ady does not appear in such a virulent form in his case. In fact, he uses that style of painting solely to obtain atmos- phere, freshness of color and vibration of light, and his picture is in other respects @ sound piece of painting, and very pleas- ing withal. * * x W. H. Chandlee exhibits two pictures, an oil giving a view of Madison Square on a rainy night, and a large pastel call- ed the “Woodside Way.” This last has a delightfully soft atmospheric quality, and is full of artistic feeling. * * x Catherine Critcher’s strongly painted head of Col. John 8. Mosby will undoubt- edly come in for considerable admiration during the course of the exhibition: It is an excellent likeness, and is painted in a telling manner, both as to color and to mcedeling. . * * * . Lucien Powell follows in Ziem’s foot- steps in his fondness for Venetian scenes with their brilliant coloring, and much of his best work is in this class of sub- jects. The “Environs of Venice” is what he calls the one picture that he shows this year, and it is painted with his usuel of color and boldness of touch. * Fao Clary Ray contributes but one picture— @ large canyas showing the Trocadero in and protected places among the rocks. One | Raris, against a glowing sunset sky. The of its chief charms is in the coloring, in the pinkish tinge which the snow. has taken on, brilliant orange tone of the sky is re- flected in the ruffed surface of the Seinc, and the masts of boats are all tipped with gold. * * * Hattie E. Burdette’s decorative pastel called “Spring Blossoms,” deserves to be hung in a much better place than it re- ceived. Graceful sprays of dogwood fur- nish the background for a woman's head with flowing reddish hair, and the study is charming in color. * * Ok Marie L. Mattingly is represented by an oil portrait of her mother, and a small study head in pastel, the latter being es- pecially good in its handling. The head is bent well forward, so that the heavy au- burn hair almost hides the face, and the action is full of natural grace. * x x The sketch of a beech tree which W. B. Chilton sends is treated very broadly and has been left in a vather unfinished state There is so much that is good in the start which he has made that one can not help wishing that he had carried the study a little further. * * x Edward Siebert is not fully represenied this year, as he has sent but one canvas, @ portrait of a man in his shirt sleeves. It is a strong piece of work, and the sense of form is given by very sharp, accurate modeling. * * x Carl Gutherz exhibits a couple of agres- able portraits, one of them a likeness of Represer tative Wheeler of Alabama. His other portrait wili also attract attention, especially on account of its coloring. * * Helen Nicolay shows three pictures, well-painted portrait of a lady in blac a figure study, ertitled “The Song,” and a marine, called “On Appledore.” In the latter she has introduced a large stret of shore, and it has given her an oppor- tunity to show her skill in marine nd landscape painting at the same time. * OS In her three pictures Aline Solomons vs that though her drawing is quite satisfactory, she {s a colorist par exc The portrait of, her father is co: ed by all to be an excellent likene: @ study head which she has eutitle is also a fine piece of work. Her study of a bowl of peonies is best flower pieces In the ex “Inez palette knife one of the hibition. * «OK Wn. Haskell Coffin is represented by an size female figure clad in flowing red drapery, which bears the title of “Karma.” It lacks quality of color, there are some crudities of drawing execution that more mature work would not show, but when one considers what an ambitious subject it was for a young art- ist to undertake a great deal of credit must be given him fur its successful han- dling. * Edgar Nye, who one of the most promising of the younger landscape paint- * is several excellent canvases, all ine outdoor quality. * x * The large canvas by Daniel Rose, other young lanc pist, leaves his - vious work far behind. It is a gre effect, painied in a sober key, and is f ot truth and artistic * % A charming pcrtrait of a charming youn: bited by Grace Le Duc. Sh ack view, and one catches of the soft line of the d even this is partly hidden by the lustrous brown curls which hang in Winsome disorder about her brows. There particularly ice quality in the flesh ts, and the neck and shoulders are well miodcled. * * * Anna Lee shows an interesting rofile head, which is not hard to identify. The effect of light and shade, as well as of color, is notably good. * * * Sadie Richardson Meetze is represented by a study of a golden-haired child, which 1s delightful in its sincerity. * * * It is seldom that one sees flowers painted with the delicacy of form and color that the studies by Irma Komlosy display. In her orchids she has Mngered caressingiy over the crepe-like edges of the petals, and yet with all this minute attention to de- tail the flowers are very effective when seen from quite a distance. * * * “The Noon Hour,” a canvas which shows the deserted interior of a blacksmith’s shop, with the fire still smoldering in the forge, is the work of Lesley Jackson, and is as conscientious a study as one will find any- where in the exhibition. * * * Among the others who show good work in ofl and pastel, and whose pictures are deserving of special mention, if would permit, are Mrs. F. G. Doubleday, Mary M. rde, Anna Stanley Holbrook, Ida L. Ja- Grace Patten, B. K. Hanson, Anna Glenn M. Brown, Sheridan ‘Ferree Hunt, and Lewis Chew. * * * ot miniatures only three artists bein, a number of very nice own. Franz Schwariz and Kirkham both conirivute The cullection small this year, represented, but specimens are Mrs. Ralph W. is rather some very dainty litte portr: and Anne S. Hobbs of New York sends three, her likeness of Mrs. John Sherwood being a veritable gem in the delicacy of its work- manship. * * * In sculpture the number of exhibiters is also quite small, but here again quality makes up for the lack of quantity. Mr. Dunbar, who has for years been the main contributor to this department of the ex- hibition, shows several unusually strong things. His bust of Admiral Stevens is aot enly considered an excellent likeness, but is as a telling a piece of modeling as he has done. He shows also the sketch model that he made for the Francis Scott Key monu- ment competition. Among the busts which Mr. Dunbar exhibits are portraits of C. G. Conn and Count de Maunay. * * * Clara Hill exhibits one bas-relief, in which she has handled the beautiful pro- file of a young girl in such a delicate man- “A Clear Day,” By Carl Weller. ner that one cannot help wishing that xhe was more fully represented. * : -* Among the pieces of sculpture that Ru- dolph H. Evans has placed on view the eye is at once attracted to his bust of a young lady wearing a wide, plumed hat, on ac- count of the novelty of its conception. It is to be regretted, however, that the limi- tations of the plastic art require the brim of the hat to be over a quarter of an inch in thickness, as this somewhat spoils the effect and gives the hat a clumsy appear- ance. The sculptor also shows busts of Justice Harlan, ex-Secretary J. Sterling Morton and the late Father Walter, and an interesting bas-relief of Frederick -Bend. rs = ss The large size of many of the pictures | shown this year has rendered the task of hanging doubly difficult, and if it ts not faultless in every respect it has certainly been managed in the best manner possible under the circumstan Por this great credit is due to the executive committe and especially to the chairman, Parker Mann, whose untiring devotion has don great deal toward making the exhibi @ success. The exhibition will be op daily from 10 a.m. to 4 p.m. througho the coming week, and cards of admission may be obtained at Fischer's, Veerhoff's, Heitmuller's and Schmidt's street store. ART AND ARTISTS a a a Hubert Vos, the well-known port painter, plans to leave the city in a week or so, as there is but one thing that detains him. This is his work upon the portrait of George Washington that he has be com- missioned to paint for the council room of the clearing house in New York. He has obtained permission to study the full-length portrait by Gilbert Stuart which hangs in the White House, and intends to make a careful study of the figure. When this is done he expects to go to Boston, where he can*have access to the Stuart head there, and with the ald of other data which he has in hand he will then paint a full- length figure. He expects to return to Ku- rope for the summer, and has already au- nounced his coming by the three canvases which he has sent to the Salon of the Champs de Mars, viz., portraits of ex-Sec- y and Mrs. Olney, and his interes!ing portrait of Max Vogerich. The most recent- ly finished portrait by Mr. Vos is the full- h figure of Miss of th city, & her passing through a garden a pavsing for a moment to pick a ro: from one of the many handsome bushes, * * rative and industrial Art Students’ a decided suc- ot profic ite from the « The sign in dec which was Started in the League last fall cess during the winter stwlents have shown Under the direction of M phreys the class has passe: has prove and great many y Hum- mentary work first taken up to the des ing of calicoes and oil hs, and has now reached book covers, on the mo: inter- esting kinds of work. The dlffere: dents select for themselves ir h wil seems to sult t cover for it wh : tive, but will give, as far as possible idea of the general character of the Thus a Dutch tate suggests a quaint biue and white decoration in imitation of Delft, a story of Jay a black and gold design : se lacquer work, and Ir- Alhambra lis forth a handsome, richly « lored design of a moresque patter Several of the student ful flower designs for su With Wild Flowers, and in som = the lic way as the and a poppy design on a red ‘ound for De Quincey’s “Confessions of an Opium Eater.” One of the many in- teresting things that have been recently evolved is a cover for “Undine.” It is in delic sea greens, and in the center is a nere whose long, Nowing hair sweeps dow nd follows the undulations of the Waves. The collection of pictures that reached Fischer's about a week age, and is now on exhibition, proved even finer than was an- ticipated, 1 eral picture that had ne ed. Among these the splendid cany ather par or it painted wnelius de Vos at orce at shows a mother with her child at her side the face of the littl painted in an especially master Among the other jy ings that haa not been looked for ar examples by Mabu: alas Maes. i Metzu, and the painting called “The Alchemist,” which is the work of ‘abritius, J t noted of KRem- brandt’s pupils. The study of a Jewish student by Rembrandt himself, while not al-solately authenticated, is Vouched for Humphrey Ward, and is considered by any who made a close study of the great artist's work to be enti the work of his hands, though there is a strong pos- sibility that some one of his pu had a part in it. The two Holbeins, the Erasmus, which is a repiica of the one in the Louvre ard the portrait of Henry the VIII, are perhaps tne most interesting things in the collection. The last mentioned is remark- able for the vividness of the impression which it makes upon the observer. Hol- bein has indicated with no flattering brush the small eyes set closely together, the thin lips and the large, flabby cheeks, and by tris unpleasant picture he has shown us the man’s character in Ns very essence, and the king seemingly stands befor With all his weakness revealed us x A number of interesting old pictures in various stages of dilapidation are now at Veerhoff’s, awaiting che restorer’s hand. One of them is apparently a copy of Rey- nolds or Gainsborough, and in spite of the fact that the paint is half peeled off, it is sull full of natural grace and dignity Some very strange things happen to old family portraits. A load of buckshot had been acetdentally discharged into one it is not uncommon to find them with heles burnt out of the center. A short time ago in a fine portrait, which was by Suliy, if memory is not at fault, the atti- tude of the hand seemed inexplicable, but when clea and restored the hand proved to be holding a bunch of cherries, the very extsten before suspected. © of which had not been * x * Following close on the heels of the exhi- bition of the Society of Washington Artists at the Cosmos Club is another exbi at the same place. This exhibition, which will be open from the 14th to the 17th of April, inclusive, is composed of the work of the students of the American Academy at Rom», and ts held here under the aus- tion pices of the Washington npter of the American Institute of A ts and the Architectural Club. The emy which is domiciled in the Villa deli’ Aurora in Rome: is composed of the students holding the different traveling scholars: modeled somewhat after the Fre emy at the Villa Medici, which w ed under the reign of Louis XIV. American Academy was founded rather re- cently, the decisive steps having been taki a in 1895 by the American School of Archi- tecture in Rome, the National ety of Sculptors and the Society of Mural Paint- ers. There is but ope student in the de- partment of painting, George W. ; who holds the Lazarus sciolarzh:y of New York. The Rinehart scholarship of Bal- timore has sent out two students of scull ture, Hermon MacNiel and A. Phimster Procter. The larger part of the exhibition, which will soon open, is the work of the Students holding the scholarships for chitectural work, and Harold V. B. gonigle’s contribution is the large t. The exhibition promises to be of very great in- terest. * < “* Mr. R. Le Grand Johnston is busy pre- paring for his annual exhibition, waich is to be held at Fischer's next week, and a very fine display may con iy be ex- Pected. As usual, his animai pictures will predominate, though there are several specimens of pure landscape which show that he is as skillful in one as in the other. Among his animal subjects there are sey- eral studies of cows ihat are particularly g00d, and several views of stable Interiors will also attract faverable comment. In view of the interior of a sheep fold he has given in a very skillful maaner the con- trast between the sunny fields seen through the half-open dcorway and the dark in- terlor of the shed. ¥ At Veerhoff’s there is now a collection of paintings by Edward W. Deming, one of the American artists who has seen the pictorial material to be found in American Indian life. He has not painted the In- dians as they are now, but as they were come very near’ to delineating “the type come very near to eat pe which exists only in the minds of the au- thors who write thrilling western tales. In a word, he has taken only the most romantic aspects cf Indian now and then he has chosen scene and ted it with a shows ones has ges his larger pictures, . jar is particularly effective and He is 2lso very fortunate simaiicr canvases, such as dor.