Gallery 49.

Peace reigns supreme in this gallery of Tryon and Weir.  Tryon reflects all the poetic qualities of the Barbizon group without striking a new note either technically or in composition.  His larger canvases are of great beauty, very tender and poetic, and altogether too sweet to have you feel that they were painted for any other reason than to make a pretty picture.  His smaller work gives you that feeling more than his larger ones.  Alden Weir’s art is the direct opposite of this.  Searching for truth, character, and beauty, he labors over simple subjects with great concentration and does not stop until they seem like silver symphonies.  His art is personal and must be studied at great length to be fully appreciated.  It expects a great deal of concentration, but one willing to take the trouble will be amply rewarded by ever increasing pleasure.  The art of McLure Hamilton is more interesting in the power of psychological characterization than in painting.  His pictures are painted thinly, more like watercolours than oils.

Gallery 48.

No noteworthy contribution is made here, unless one excepts the academically clever portraits by Troccoli, a landscape by Vonnoh, and a sumptuous bed of rhododendrons by Edward F. Rook.  Two large “Grand Cañons” again demonstrate the utter futility of trying to paint such motives, which, in their success, depend entirely upon a feeling of scale that is almost impossible to attain on a small canvas.

Gallery 47.

Here Blumenschein’s large Indian compositions are of decorative character.  They are well composed and dramatic.  The “Peace Maker” is big in feeling.  Typically American and very unusual are Colin Campbell Cooper’s New York street perspectives.  His originality as a painter is well demonstrated by this choice, which must have taken much courage at a time when American subjects were more or less despised.  Richard Millers “Pink Lady” does not look a bit convincing, cleverly as it is painted; it is not interesting enough in the large surfaces of overnaturalistic pink flesh.  Half that size would have been just enough for this canvas, which is chiefly a concession to the modern mania for painting large exhibition pictures to attract attention by their size alone.  Groll’s desert pictures are disappointing.  They have neither interesting colour nor sufficient atmosphere to come up to the standard of this typical desert painter.

Gallery 46.

There is a lovely note in this gallery, contributed by Ruger Donoho’s garden scenes.  Most unusual in subject, they are full of life, vibrant with colour, and altogether very delightful, a most pleasant change from the ordinary run of subjects.  Frank Dumond’s work on another wall (B) excels in a pleasant mannerism.  His work is most thoughtful and well studied.  The two smallest of his paintings are perfect gems in every way - well balanced by two small tender canvases of southern Europe by Mrs. Dumond