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i I
BRUSH AND PENCIL
WlNSOR & NEWTON'S
...Illustration Paper...
WE have every confidence in placing this paper on the market. It has been subjected to very
exhaustive tests, not only for Water Color Work, but also for Pastel, Pencil, and Charcoal
Drawings, as well as for General Black and White Work for reproduction, and in every
instance the result has been entirely satisfactory. Dealers may confidently recommend its use where
an inexpensive, reliable Drawing Paper for general purposes is required.
It is supplied in Sheets and in Continuous Rolls, £4 inches wide, at the following prices:
SIZE WRIGHT PER QUIRK
CAP I2!£ x I5J£ 14 lbs. $030
DEMY .... 14^x18 20 lbs. .40
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ROYAL .... 19^ x 24 44 lbs. .90
IMPERIAL . . . 22 x 30 65 lbs. 1.25
" It is the best paper I ever used, not only for Black and White work, but for Water Color, Pen or Pencil. I like it better than any paper
I used in the United States or Europe, therefore do not hesitate in making the above statement."
Very sincerely yours, H. G. MAR ATT A, 180 Dearborn St., Chicago, 111.
^SAMPLES OX APPLICATION-
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CHINA PAINTING with the Schumacher colors, which are used with the same freedom and direct-
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and lodging from $5.00 to $15.00 per week.
For further information, address, as above, Urbana, Illinois. After June 15, Macatawa, Michigan
JAMES G. MOULTON
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Has just received a beautiful example by the late George Inness, Corot, Jules Dupre, T. Robie,
G. Bernier, Jean Portielje, Chas. Sprague Pcarce, Felix Ziem, Prof. Papperitz, Tamburini,
Rinaldi, Le Roux, Sergent, Beauquesne, Detti, Chica, Landelle, Deyrolle, Verberckhoven, Van
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The Rinehart Scholarship in Sculpture
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tions. Mr. MacNeil returns to the United
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Thomas W. Hall, Chairman of Rinehart
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Mr. Albert Lynch, the distinguished
Parisian painter, has been a resident recently
in Chicago. Among other things he said
the following in a recent interview :
"American art students in Paris are rap-
idly gaining reputation and recognition.
Considering their numbers, it strikes me
they are carrying off the greater number of
medals from the salons. The French are a
generous people and the American artists
have been receiving unstinted praise lately.
I know many whose work is held by the
French to be equal to the best of the French
painters. They have been admitted to all the
competitions for which they are eligible,
without discrimination."
Prof. Charles Eliot Norton, of Harvard
University, has been named as one of the
literary executors of the late John Ruskin.
Prof. Norton has declined an invitation to
write a biography of Ruskin.
Frank D. Millett has charge of the interior
decoration and arrangement of the United
States building at the Paris Exposition.
The entrance is a hemicycle. Below the
arch is a frieze by Robert Reed, who also
contributes two figures for the pendentives
of the central rotunda. Elmer E. Garnsey
will embellish the lunettes, and the eques-
trian statue of Washington, modeled jointly
by Daniel C. French and E. C. Potter, will
be placed in the center.
In an interview with Mr. Robert C. Minor,
at his studio at the Sherwood, he expressed
his gratification at the result of the Evans
sale so far as he was personally concerned.
"But," he said, "the applause which greeted
the bid of three thousand and fifty dollars for
my 'Close of Day/ was as much directed to
American artists, as a body, as to myself in
particular. Hitherto Americans have lacked
THE
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China, Photographs sent by mail.
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SOUTHAMPTON, LONG ISLAND
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Instructor: WM. M. CHASE
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teaches drawing for newspapers, magazines, books, poems, humor-
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beginners and advanced pupils coached, positions secured, work
furnished. Circulars sent free. W. K. Ciiampney, Director.
A Liberal Offer
Will be made for a few copies of Brush and Pencil, issues
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the opportunity to compete with the world,
and the Evans sale gave them that oppor-
tunity."
A bill providing for an Art Commission,
which has been introduced in both houses
of Congress, is a measure directly in the line
of effort so persistently followed by the Pub-
lic Art League of the United States, an or-
ganization formed several years ago, with a
view to securing better results in federal,
state and municipal architecture, statuary,
decoration, etc., etc., and incidentally for the
improvement of public parks, squares, etc.
The bill, it is understood, has the approval
of not only the league, but of the American
Institute of Architects, the National Sculp-
ture Society, and the National Academy of
Design, all having the same' general ends in
view, and all represented more or less largely
in the membership of the league. It may
properly be mentioned here that the officers
and directors of the league are: R. W.
Gilder, editor of Century Magazine, presi-
dent ; R. S. Peabody, president of the Ameri-
can Institute of Architects, first vice-presi-
dent; Augustus St. Gaudens, second vice-
president; John La Farge, third vice-presi-
dent; T. M. Clark, recording secretary;
Glenn Brown, secretary ; Robert Stead,
treasurer. Among the directors are T. R.
Procter, president civil service commission ;
J. W. Ellsworth, Montgomery Schuyler,
Charles Dudley Warner, William R. Harper,
D. C. Gilman, Edward Robinson. D. C.
French, Mrs. Bellamy Storer, and Joseph
Jefferson.
Ra ffa el le waxes complimentary of Chicago.
In a recent interview in Paris he said : "In
Chicago I found a colony of artists whose
zeal and accomplishment are really tremen-
dous, and I found the galleries . better than
even five years ago. The artists there no
longer seek inspiration and authority in
Europe, although almost all of them have
been educated, in part at least, in Paris.
They construct their ideals, and then follow
them out in that vigorous, businesslike way
that is the characteristic of American life.
This independence, this true artistic instinct,
will make Chicago one of these days a great
art center."
Mr. Harrison S. Morris, the managing di-
rector of the Pennsylvania Academy, is cred-
ited by the Philadelphia Press with the
remark that George de Forest Brush is the
' only person he knows who can afford to have
a large family. Brush has painted at least
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The Burbank Indian Portraits which appeared in Brush & Pencil
during the past year have been so well received by all who realize their value as
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merit, that we have decided to send them
Free to all New Subscribers to Brush & Pencil
\\ r\x> (D^ £r\ f A yearly subscription to Brush & Pencil and SIX (6)
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X Ul iiJ^9\J\J | series of twelve pictures, Series B.
APRIL ISSUE OF BRUSH AND PENCIL
The April number of Brush & Pencil, the only American magazine dealing exclusively with American Art, is par-
ticularly interesting in its articles and illustrations on the modern tendencies in American architecture. Robert Spencer
treats of " Couutry Homes," a subject in which he has taken particular interest and to which he brings a cultivated taste
and practical experience. "Suggestions for a Small City Park," by B. B. L,oug, with plans and elevation, is au inspiration
founded on the activity of the Chicago Woman's Club. "The Second Instalment of the Regular American Architecture
Series," by G. R. Dean, deals with glass, with some very modern and characteristic illustrations. "The National Society
of Miniature Painters," by Gardner Teall, is another paper which is beautifully illustrated. The initial article deals with
the Art of Charles Herbert Woodbury, a painter of the sea, illustrated by half-tones and some charming reproductions, by
a new process, of pencil sketches. The froutispiecc is a color plate of " A Wordless Farewell," by Richard I,orenz, which
illustrates a touching episode of frontier life. Two inserts, printed in dark green, " Mid-Ocean," by C H. Woodbury, and
a Miniature, by W. J. Baer, with other full-page illustrations of American paintings at the Paris Exposition, by P. D. Millet
and Theo. Robinson, with other articles, and the usual editorials, make up one of the richest numbers this progressive art
magazine has so far issued.
Date, March IQOO.
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five family gruups. depicting his own wife
and children. Four of these works are
owned by the Pennsylvania Academy, the
Boston Museum of Fine Arts, Mrs. J. Mont-
gomery Sears and Mrs. Potter Palmer.
Each successive picture in the series shows
another small Brush added to the list. The
latest group has five children in it, and the
Philadelphia statisticians reckon that its
price ought to be $15,000.
Mr. Andrew Carnegie has recently [riven
to the Cooper Union of New York a gift of
$300,000, which will enable the opening of a
day school for the study of the mechanical
arts in this institution. With another $200,-
000 advanced by the trustees, 500 pupils can
be taught the mechanical arts and the plans
of the late Peter Cooper carried out.
The Fairmoimt Park Art Association has a
total membership of 1,280, and in its twenty-
seven years of existence it has been able to
accumulate, after large expenditures, a
permanent fund of $85,000.
It was th rough the efforts of this associa-
tion that the Smith bequest of $500,000 is
now being expended in the erection of a
memorial of the Civil War.
We quote some pointed observations by
Hamlin Garland on the decorations of the
Congressional Library at Washington :
"The decoration of these buildings registers
a curious stage in American art life. For
some reason many of our painters to-dav are
frankly scornful r}f US. They consider their
native land barren and hopeless, a place unfit
for them to inhabit. They sneer at the no-
tion of a national art. To be 'little French-
men,' to paint canvas that shall look like the
success of the year in Paris, is to these men
better worth while than the delineation of
any phase of American life whatsoever. 'I'd
rather be a beggar in Paris than a millionaire
in America,' said an artist to me. They
have no part in American life ; those of them
who remain at home herd together in the
great cities; they mav he found constantly
at the clubs, where they talk each other into
deafness if not into silence. Thev copy each
other even to the brush-stroke. They go to
Paris if they can: if they can't thev com-
plain of their hard lot. The Alleghemes. the
great plains, the Rocky Mountains, the Sier-
ras and the western sea are to them names.
The life of the farm, the workshop and the
mines has for them no interest. At the verv
best they endure New York City."
Eric Pape School of Art
OCTOBER I, ISW, TO JUNE 2, 190*.
and 111 Hit rater. Asiitlant Instructor,
VJAGNlFICENTnc .ludi«, ««cimlly duignedind
ton. No rumination (or •dmiuioa lo any of Ihc dUKt'
EVENING CLASSES.
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or St. Louis and the Rocky Mountains.
Every week an organized party
leaves Boston for California via
Niagara Falls, Chicago, Denver
and Salt Lake, in charge of a
special conductor. Pullman
Tourist cars are used. They
lack only the expensive finish of
Palace cars, while the cost per
berth is about one-third. Similar
parties leave each week from St.
Louis also.
"Vciiomlone park"
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P. S. EUSTIS, General Pi
C. B. & 0. R. R., CHICAGO.
«It*$ all in the Lens"
The most popular Camera of the day is the
Long Focus Korona
Among Its Advantages
/( has a Double-Sliding Front, Convertible Lens
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BRUSH AND. PENCIL
AN ILLUSTRATED MAGAZINE OF THE
ARTS OF TO-DAY
EDITED BY
CHARLES FRANCIS BROWNE
VOLUME V
OCTOBER 1899 TO MARCH 1900
CHICAGO:
THE BRUSH AND PENCIL PUBLISHING COMPANY
1900
COPYRIGHT igOO
THK BRUSH AND PRNCIL PUBLISHING COMPANY
ALL RIGHTS RESERVED
INDEX TO VOLUME V
Architecture, American, A New Move-
ment IN . . . George R. Dean
Seven Illustrations
Architecture and Decoration Gardner C. Teall
Art as a Rational Use . . . Lucy Silke .
Art of Illumination, The . . Gardner C. Teall
Eight Illustrations
Art Notes .......
Arts and Crafts, The — Beauty in Com-
mon Things . . . D. M. Morrell .
Ten Illustrations
Artistic Lithography; Its Present Pos-
sibilities ....
Seven Illustrations
Bitter's, Karl, Statue of Dr. Pepper
One Illustration
Bookbindings, Notes on, with Exam-
ples by Ellen G. Starr
Five Illustrations
Book Covers, New . . .
Eleven Illustrations
Book Notes ....
Chant, The ....
Two Illustrations
Dallin, Cyrus E., Sculptor
Twelve Illustrations
Demand for Art in America, The .
One Illustration
Dessar, Louis Paul, and His Work
Mabel Key .
M. K.
Edna Harris
...
% //. Sharp
William Howe Downs
Adelaide S. Hall
Lena M. Cooper
Seven Illustrations
Dyer, William B., The Photographs of Ralph Clarkson .
• Nine Illustrations
Editor, The . . . . . 48, 95, 143,
Three Illustrations
Figure Drawing . . . . y. H. Vanderpoel
Plate VIII. The Head
Plate IX. The Head ......
Plate X, XI. Neck, Throat and Shoulders ....
Plate XII. The Arm ......
Plate XIII. The Figure ......
Plate XIV. The Arm and Hand— Male
Plate XV. The Arm and Hand — Female
PAGE
• 254
106
. 279
71
93
222
3i
117
178
118
88,189
284
1
248
• 97
20
191, 239, 285
47
90
137, 139
184
. 187
274
279
French, Daniel Chester, Sculptor Lorado Taft ... 145
Sixteen Illustrations
Grumbler in Manhattan, The . . The Grumbler 236
Grumbler Visits the Museum, The The Grumbler . . 259
One Illustration
Japanese Method of Acquiring Abso- •
lute Knowledge in Art, A Note on
THE . . . . . Gardner C. Teall . 172
Nine Illustrations
Kai-piex-yao, or Soft Paste Jars . . . . . 177
One Illustration
MacNeil, H. A., Some Recent Work by ..... 68
Two Illustrations
Melaun, Ernst— A Worker in Iron Wilhelmena Seegmtller . 60
Eight Illustrations
Murphy, Hermann Dudley, . Dora M. Morrell . . .49
Eight Illustrations
Murphy's, Hermann Dudley, Note on
Sketching Class . . M. K. . . 57
New York Art ......... 270
New York Art News . . . . . 218
Pennsylvania Academy of the Fine
Arts, Sixty-Ninth Annual Exhibi-
tion OF THE .... Francis y. Ziegler . 262
Seven Illustrations
Philadelphia's Photographic Salon Francis J. Zie.gler . 108
Nine Illustrations
Pittsburg Exhibition, The . Frances B. Schaefer .125
Eight Illustrations
Plaster Casts .... Edna Harris . 58
Power of Line in Illustration, The Mabel Key . 200
Fourteen Illustrations
School with a Purpose, A . . . E. S. C. . . 80
Sculptors of the United States Pavi-
lion at the Paris Exposition, The Georgia Fraser 233
Three Illustrations
Simmons, Edward Emerson . Arthur Hoeber . . 241
Seven Illustrations
Society of Western Artists, The
Fourth Annual Exhibition of the Edmund H. Wuerpel 165
Eight Illustrations
Sonnet— The Columbian Quadriga . Horace Spencer Fiske . 164
One Illustration
Statue of the Republic, The . . .163
One Illustration
Ugly Duckling, The ....... 19
One Illustration
Sterner, Albert E. . Arthur Hoeber . 193
Five Illustrations
WOMEN IN THE ART CRAFTS . . /Catherine Louise Smith . . 76
Brush and Pencil
n APRIL, 1900
!, BY CHARLES H. WOODBURY
CHARLES HERBERT WOODBURY AND HIS WORK
The theory that a man's choice of profession is governed mainly
by heredity and environment has numerous exceptions. In some
families the tradition of vocation is strong and continuous, but most
American boys enjoy a freedom of choice as to their life-work which
tends to make them their own arbiters, free to diverge from the
paternal example to make their success or failure in new fields.
In Charles Herbert Woodbury's ancestry it is difficult to find any con-
spicuous instances of iesthetic tendencies, which would account for
his mental bias, unless by the exercise of some ingenuity we connect
the fact of inventiveness, a trait prominently possessed by his paternal
line, with the artistic bent.
The first of the Woodburys to come from England, about 1640,
was a civil engineer, who laid out the town of Salem, Massachusetts,
and who is mentioned in one of Nathaniel Hawthorne's romances.
A later Woodbury invented that part of the planing-machine which
gave it its greatest value; also a dummy engine and a submarine gun.
2 BRUSH AND PENCIL
Like many inventors, the men of the family were whimsical, unbal-
anced, and not too strong at business. One of them refused a fortune
for his patent, and died almost poor. On the maternal side, Wood-
bury's people came from Cape Cod. The Woodburys seem to have
remained, with a few exceptions, in Essex County, Massachusetts.
Charles Herbert Woodbury, the subject of this paper, was born in
Lynn, on July 14, 1864. His early education was obtained in the
public schools of Lynn, where he was fitted for college, but because
of his interest in scientific things, he went to the Massachusetts Insti-
tute of Technology, in Boston, worked his way through, and was
graduated with honor in 1886 as a mechanical engineer.
In every leisure hour during his course in technology he was paint-
ing, preferring this recreation to the joys of the baseball field and the
river. Perhaps the training of a scientific school was not so incongru-
ous as might be thought for the profession of a painter. The habits
of thought there acquired have been for something in the develop-
ment of a talent which, as we shall perceive, has for long been shaped
logically with reference to a very definite and high purpose. Two
evenings a week during the years of severe schooling were given to
the free life class-work at the Boston Art Club.
When Woodbury elected to be a painter, after graduation, a pro-
fessor in the Institute of Technology thbught that there was a brilliant
mathematician spoiled. But there was no hesitation on the part
of the graduate. His first studio was in School Street, Boston, where
he went to work with enormous zeal and enthusiasm in the summer
of 1886. Fancy his elation when he sold his first picture, a painting
of a basket on the beach, to Mrs. John A. Andrew, for twenty-five
dollars! In less than a year he was ready for his first exhibition;
and I remember, almost as well as if it were yesterday, that little
exhibition in the old gallery of J. Eastman Chase, in Hamilton Place,
1887. From it some thirty pictures were promptly sold, for an aggre-
gate of about a thousand dollars, and our artist was fairly launched
on his career.
The significant thing about that first exhibition was that the pic-
tures had evidently been painted more for the love of painting than
for the love of nature. That I admired and relished them inordinately
simply shows that my point of departure for the field of art was
identical with Woodbury's, and that we both had much to learn.
Not that there is not something to be said for the ardent paint-
slinger. It is a good thing for a man to be on friendly terms with
his materials. Brush-work has potent charms if it is just fluent and
free enough not to cloud or veil the thought and emotion that
it should modestly body forth.
Woodbury, from the start, had a touch that was painter-like. His
way of laying pigments on a canvas or a panel so clearly betrayed
his own enjoyment in the process that it communicated a like sensa-
CHARLES H. WOODBURY 5
tion of gusto. He possessed, indeed, a dangerous talent. Precocious
facility seldom leads up to anything great, and excessive cleverness
in painting is a notorious pitfall. He must have realized that he had
made a start in the wrong direction, inasmuch as growth in that direc-
tion had its immutable boundaries, for he soon proceeded to adopt
PENCIL DRAWING, BY CHARLES H. WOODBURY
a course of conduct which argued strength of character, making
a complete right-about-face in his methods and his aims. He began
to study individual things more closely, to press his nose upon the
grindstone, and as a first result his painting became tighter and less
interesting. There was an apparent falling off in quality, in tone,
in breadth, in dash; but the period of serious work that ensued was
a time of real training and preparation for higher things, during which
6 BRUSH AND PENCIL
much that might have ended in meretricious and superficial perform-
ance was bravely put aside, and our young man got his feet firmly
planted on the solid earth. He was not satisfied with an easy success.
He wished to get at the construction of things, in order that he might
get at the expression of things.
In 1888 he held a second exhibition in Boston, showing forty-five
pictures and sketches of the coast of Cape Ann and the humble fishing-
villages of Nova Scotia. Let painters wander where they may,
I doubt if they can find anything much more paintable than the rough
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L DRAWING, BY CHARLES H. WOODBURY
and broken shores of Massachusetts Bay and the whitewashed cottages
of the provincial fishermen, with their bleak surroundings, cluttered
by boats, nets, reels, and the like.
The pictures of these regions were composed with an unerring per-
ception of linear effect and that seventh sense which puts things
together in a pictorial way. The distinctive characteristics of the
place were grasped; strong light and dark contrasts were brought out,
the coloring was brilliant and gay, and the work might have been set
down as good, clear, candid prose-painting, chiefly enjoyable for the
freshness of the first impression. I remember certain skies in which
CHARLES H. WOODBURY 7
the bold employment of the palette-knife struck me as prodigiously
clever.
In 1890 Woodbury was married to Marcia Oakes, an artist of
remarkable originality and distinction, whose influence upon his own
professional tendencies and purposes was to become a constant and
important factor in his life as a painter. The pair made an extensive
journey abroad, traveling through several European countries; and
in the winter of 1890-91 they made their home in Paris, where both
of them entered anew upon courses of art study, the husband at
Julian's academy, the wife at Lazar's school. In the spring of 1891
PENCIL DRAWING, BY CHARLES H. WOODBURY
Woodbury exhibited an etching in the New Salon, and the following
summer was passed in outdoor work in Holland, where he found
eminently congenial landscape motives, while his wife made a series of
charming character studies of children's figures.
After five months of work in the Netherlands, they returned to the
United States in October, and took a studio in Boston. In 1892 they
went back to Holland for the summer, and passed several months
in Volendam, then a primitive and unknown hamlet on the shore
of the Zuyder Zee, not far from Edam, where the conditions for paint-
ing were propitious. Again they returned to Boston for the winter
season. The next visit to Holland — the third — was still more profit-
able; they stayed there a year and a half, dividing the time between
8 BRUSH AND PENCIL
Volendam and Laren. Laren is southeast of Amsterdam, not far
from Utrecht, and had been made a painting-ground already by the
modern Dutchmen, more especially by Israels, Mauve, Neuhuys, and
Kever. Later, the Woodburys made a fourth visit to the Netherlands.
After each of these trips they returned to Boston, exhibited and sold
their pictures, and took a new flight.
An interesting feature of the last of the journeys to Holland was
a bicycle tour, not on a bicycle built for two, but on two bicycles,
all around the coast of the Zuyder Zee, and through the comparatively
unknown provinces of the northeast, Friesland and Drenthe. It was
the same season that Woodbury established his reputation as a man
among the seafaring Dutchmen by making a voyage in a little fishing-
vessel on the rough and stormy North Sea for the purpose of making
marine studies. The seaworthiness of his legs and his stomach
excited the candid approval of the Dutch sailors. A hail would come
from the decks of one of the boats composing the fishing fleet:
"Is the Englishman sick yet?"
"Nor
"Gott ver dicken! Dat is gute!"
And there he stood on the heaving and sloppy deck, as the
thickset little hooker plunged through the smother of foam and
chopping seas, sketching for dear life. I have by me a letter written
by Woodbury in October, 1895, from Laren, in which he describes
the unique bicycle tour through the northeastern provinces.
"About the middle of September," he wrote, "we started with
our bicycles on a trip to Drenthe, which is a province very little
known, even to the Dutch people, as it is quite out to one side.
It seems absurd to speak of anything as out of the way in so small
a country as Holland, and yet it is so, for Drenthe has but one line
of railroad running through it, and communication between the other
towns is to be had by stage, or more often by driving. To give you
much idea of what we saw would be impossible, but, as you may
imagine, it was all very quaint. • One is strongly reminded of Hob-
bema and Ruysdael at every step, not only in form, but in color. The
houses have most extraordinary pointed thatched roofs, and there are
groves of fine old oaks everywhere. You couldn't imagine more
interesting wheeling, for there is interest at every turn. Fancy going
sliding along a perfect road, with an immense heath on either side, and
at last coming to some quaint little forgotten town, where, in all prob-
ability, no foreigner has ever been, and putting up at night at an inn
that was built when our forefathers were worrying about premature
and total baldness, and by way of pleasure enjoying a tremendous
spree when the parson died! Frequently we slept in the town hall,
and one very weary night we were obliged to sit up long, till the town
in assembly had bought and sold its manure. Around the hall are
closets, three feet by six, perhaps, in which the beds are built, like
4
ADVERTISING DEPARTMENT
Franzen, August. "Charity." Loaned by
Samuel MacMillan, Esq.
"The Housebuilder." Loaned by artist.
Gallagher, Sears. "Foggy Weather" (water-
color ) . Loaned by artist.
Gallison, H. H. "A Gray Day." Loaned
by artist.
Gauley, Robert D. "Polly." Loaned by
artist.
Gifford, R. Swain. "Headwaters of the
Westport River." Loaned bv artist.
Grothjean, Fanny. "The New Moon."
Loaned by Mrs. Britton Busch.
"The August Moon" (pastel). Loaned
by artist.
Guy, Seymour J. "Preparing for To-mor-
row." Loaned by artist.
"Rest." Loaned by artist.
BOOK NOTES
"Masters in Art," a series of illustrated
monographs, appears monthly. Van Dyck
was the subject of the first number of Vol-
ume I, Titian following in the February is-
sue. There are ten beautiful plates, and
valuable historical, critical, and biblio-
graphical notes make up the text. The
thirty-six pageji are attractively arranged and
printed, and alike a valuable art series for
school study, as well as for reference and
aesthetic enjoyment. Bates & Guild Com-
pany, 13 Exchange Street, Boston, Mass.
15 cents; $1.50 a year.
"Rembrandt," by Estelle M. Hurl!, is the
subject of the second volume of "The River-
side Art Series." The first volume, devoted
to Raphael, has already been reviewed in
these pages, so a repetition is unnecessary.
School edition in paper covers for the four
volumes (two in preparation), $1.00 net: in
cloth, $1.50 net. Houghton, Mifflin & Co.,
Boston.
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n^mjlMttqvcs rt |M(L
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WEBSTER S INTERNATIONAL DICTIONARY
A Dictionary- of ENGLISH,
^oktkmuk/ Biogr aphy, Geography, F iction, etc
What better investment can be made than in a copy of the International ?
This royal quarto volume is a vast storehouse of valuable information
arranged in a convenient form for hand, eye, and mind. It is more widely
used as a standard authority than any other dictionary in the world.
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iso publish Webrter'
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24
BRUSH AND PENCIL
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A story of Indiana city and town life. The hero is a young newspaper editor whose hostility to the White Caps of the neighborhood
leads to an attack, when he is kidnaped and severely injured. During his absence from his newspaper, the paper is edited by a young
woman, with various complications, the plot presenting many opportunities for clever composition and illustrating.
II. BOB, SON OF BATTLE. By Alfred Ollivant.
This is primarily a dog story, and the central figure is Old Bob, a famous sheep dog, with extraordinary intelligence and character.
The scene of the book is laid in England.
III. BLIX. By Frank Norris.
The love 'Story of a young Californian reporter- novelist. Both in the chance for picturesque views and in a most exciting fishing
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For rules governing the contest, see any issue of the Photographic Times.
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In THE
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Old Colony Building, Chicago, III.
When writing to advertisers, please mention Brush and Pencil.
4
10 BRUSH AND PENCIL
name is remembered hereafter it will be as a painter of the sea. The
sea has been his chief instructor and inspiration. During his first
voyage across the Atlantic he had begun to make studies of the wake
of the steamer, and on each of the succeeding voyages for four years
running he continued to study and to sketch it — above all, to fix
it in his memory. On the third voyage he succeeded in getting
a fifteen minutes' sketch of the wake on a terribly rough day by
wedging himself under a life-raft near the stern, holding the canvas
down on the deck with his elbows, and painting with a wrist move-
ment. This hasty sketch became the motive for the picture. As soon
as he reached Laren he started a twenty-by-thirty canvas, and put
into it' everything that he could remember of the subject. Later
he began his full-sized composition on a canvas four by six feet, on
which he worked through the whole winter at Laren and Volendam.
The picture was finished in 1894, and was exhibited at the Paris Salon
that year under the title "Serpente Verte." At the Boston Art Club,
in 1895, ft appeared as "Mid-Ocean." Many persons then believed
that it should have taken the first prize. The majority of the jury
thought otherwise. Several years later it was bought for twenty-five
hundred dollars by the Berkshire Athenasum, of Pittsfield, Massachu-
setts, where it now hangs.
"Mid-Ocean" may be said to be Woodbury's first serious effort to
convey a personal impression of a great motive — nothing less than
the majesty and beauty of the sea. For all who have seen and noted
the color, movement, and form of the wake of a steamer the picture
brings a stirring reminder of a splendid spectacle, but one so tran-
sitory and evanescent as to defy description and analysis. To me
it has brought back not only the sensations of the visual nerves, but
also the associated sensations of the other senses — more especially the
sounds of weltering, seething, hissing, whispering waters, in wild liquid
torment fleeing from the screw. Churned into a tracery of milky
foam, making momentary patterns of lace-work, swirling upon
a changeful ground of pale green, transparent and lustrous, it dies
away in gradations of intense blue and purple as the turmoil recedes
imperceptibly and merges with the dark tones of the huge waves afar
against the corrugated horizon. Once more upon the unsteady deck
one stands and looks, holding the breath while the ship sweeps down
the long slope of a monstrous Atlantic billow, leaving its sinuous track
boiling across that watery ridge, only to rise slowly to the crest of the
next wave.
In "Mid-Ocean" Woodbury made the first of a series of works
in which his chief purpose has been to give expression to the idea
of force. He got his impression as he could, using form merely
as the incident of the motive, and bringing his facts into organic order
and correlation; then he resumed the whole thing, composing it, until
it stood as a typical expression of a fine phenomenon. Truth, fact,
CHARLES H. WOODBURY U
reality — these were present, but there was also a beyond in which the
imagination could roam; the thought of the observer was not impris-
oned this side of the horizon. So, to resume, the artist began by being
a skillful and light-handed performer; then came a period of drudgery
and severe training; Anally he evolved from experience a working
philosophy of art through which he could express himself.
There is something for the imagination to feed upon in all pictures
that are pictures. The rest are studies. A valuable feature of every
appeal to the imagination is the policy of seizing the stage of an
MARINE, BV CHARLES H. WOODBURY
event which just precedes the climax, leaving something more to come,
on the familiar principle of the serial tale whose chapters always end
at a juncture when something of interest is impending. Nothing
is more essential to a painter in his choice of motives than the selec-
tion of an event, a circumstance, an action, a scene of typical charac-
ter; so only can he put before us something higher than a mere
isolated fact, a mere study of a place, a mere item. The meaning
of inanimate nature is what -we make it, but we can make nothing
of permanent worth out of unrelated fragments. To be of enduring
interest in art, our work must have something of the universal, which
\2 BRUSH AND PENCIL
is historical, legendary, and symbolical at the same time. To exem-
plify, after a manner, how this theory may be applied even to land-
scape painting, I cite Woodbury's later works, which have the atmos-
phere of history, tradition, and romance. Something has happened,
is happening, will happen in the localities that he represents. The
world is never asleep; the wind, in Wordsworth's quaint phrase, "will
be blowing at all hours." William Howe Downes.
ON SO-CALLED CONCEIT IN ARTISTS
There are few faults discoverable in human nature which the world
at large does not impute to that unfortunate class of persons known
as artists. One of the charges most frequently made against them,
and most unhesitatingly accepted, is that of self-conceit. The average
artist of to-day is regarded by the average layman as a self-satisfied
and narrow-minded creature, who establishes himself on the pedestal
of his own opinions, will listen to suggestions from nobody, and
enters into argument with others only to assert his own superiority.
Some good people go so far as to affirm that the trivial vanity of the
present generation of painters is the cause of what they call the modern
deterioration of art. Even Whistler, that acknowledged master whom
many rank with the very highest, they denounce as incapable of pro-
ducing work which is truly great, because, forsooth, he is sadly lacking
in humility. They never we?ry of comparing the greatness of the
past with the littleness of the present, and exhorting artists of to-day
to turn to those of yesterday for examples of that humble reverence
whose expression transforms a mere picture into a work of art.
"Look at Millet!" they exclaim; "here is an artist truly great because
humble-minded."
And we do indeed look in wonder and bow down in admiration
before this man who kept through life the simplicity and sincerity of
childhood, whom powerful influence could not pervert, whom scorn
and suffering could not crush, whom praise at last could not spoil.
Yet faith in the power God had given him to do his work, that very
quality which armed him with such unyielding strength, is only too
frequently mistaken for self-conceit. Millet himself, in spite of his
retiring disposition, was denounced during his lifetime as pretentious,
stiff-necked, and obstinate.
The public seldom calls by its right name that true humility of the
genuine artist which consists in reverence for art. This reverence for
art includes reverence for nature, and shows itself in earnest, never-
ending study of nature's changing forms. From one who feels this
reverence, no affectation of humility can disguise the conceit of that
false artist who imagines himself capable of expressing art's message
ON SO-CALLED CONCEIT IN ARTISTS 1 3
without schooling himself in the language which she speaks. Such
conceit as this is surpassed only by that of the careless critic who,
ignorant of the first principles of art, does not hesitate to pronounce
upon the work of those who have spent their lives in her service.
Yet, however humble art's loyal servant may be in his devotion
to her, he may lack that fineness of fiber which shrinks from publicity;
and it is not strange that he should sometimes take what means he can
to make others believe in his worthiness. Indeed, as we read the sad
lives of many of those who have made the history of art, we cannot
but wish that some who were born with eyes to see, with the brain
to select, combine, and create, with the hand to record, might have
been born also with a lusty pair of lungs and the power to make good
use of them. If the despised and neglected Prudhon could have
lifted up his head and stalked abroad and cried with a loud voice,
''Behold! I am great," perchance he might have won appreciation
sooner, have found free outlet for his joyous nature, instead of being
starved in misery, and have left behind him treasures far more
numerous.
There are indeed some who do great work which the world is
eager to applaud, yet it is not often that flattery bestows her attention
upon art's favorites. Titian, the pride of the Venetians; Rubens, the
life-long pet of fortune; Velasquez, the companion of kings; Sargent,
the wonder of both the knowing and the ignorant — such names as
these, and there are none too many, make us glad to recall that even
the children of genius may win worldly happiness.
But he whose generation is not prepared to welcome him must
needs be made of stern stuff if he would keep his work from becoming
a weak compromise between what he demands of himself and what
others demand of him. He must stand like a rock when the storm
beats upon his head, and if, like a rock, he becomes hard and cold,
who shall dare to blame him? There is but a step from self-respect
to pride, and he whom all condemn may find comfort in the belief
that he is wiser than all.
If, however, the artist is condemned only by those who, never
having trained themselves to observe the appearances of nature, are
wanting in the foundation for the understanding of art; if, on the
other hand, he has won sympathy and appreciation from his fellow-
craftsmen (which every painter knows is the richest reward that can
be offered to him); if, in addition to this, his keen and critical eye
perceives the superficiality of those whom his condemners delight to
honor, it is small wonder that he should wrap himself in the mantle
of contempt for the public, and resolve to work only for those
he believes worth working for. His contempt, which is mistaken for
conceit, may become his safeguard. In painting, as in all else, the
fable of the old man, his son, and the ass aptly illustrates the folly
of those who attempt to please everybody.
14 BRUSH AND PENCIL
One sees on all sides the wreck of rich talent in men who have
deliberately turned themselves into picture-selling, money-making - ,
popularity-winning machines, even when the pot-boiler has ceased
to be a necessity with them. They have been "humble-minded"
enough to value the opinion of the public rather than their own, but
have not possessed sufficient genuine humility to refrain from degrad-
ing art.
From men like these one turns with relief even to the arrogant
and aggressive Courbet, losing no opportunity to force his opinions
down the throats of the people, roughly overturning the standards
of predecessors and contemporaries and proclaiming himself greater
than all, earnestly and incessantly toiling with all his strength to do
what in him lay, and then striding forth to advertise the sound fruits
of his toil as a circus manager might advertise his show. Haply,
Courbet believed his reckless boasts — or came to believe them
through constant repetition — yet he knew, as Whistler knows, that
one must demand much in this world to be accorded little, and that
those who cannot judge are prone to take a man at his own valuation.
Even the giant Courbet groaned at last in despair, "They are baiting
me to death; I can do no more. To work one must have peace
of spirit."
"To work one must have peace of spirit." If these words are
true, we may well be thankful when the artist has attained the peace
of spirit which comes through faith in God's great gift to him, even
though the flame of that faith be fanned by the wind of opposition
into the fire of self-conceit. Cornelia E. Green.
NEWCOMB POTTERY
NEWCOMB POTTERY
In the advance which artistic handicraft has made throughout the
country the art of pottery has played a conspicuous part. The ready
adaptability of clay to artistic use, the beauty and permanency
of vitreous color, and the satis-
factory completeness of the re-
sult, make pottery a subject of
most tempting promise to the
artist. It seems possible in this
craft, in which no one comes
between the artist and his com-
pleted work, to achieve a more
individual and thorough ex-
pression of his idea than in
many crafts in which the design
is alt he is called upon to furnish.
The much prized individual
touch, seen only when the ma-
chine is absent, the unity of pur-
vewcomb pottery pose exhibited from inception
to finish where the designer is
also the workman who carries the idea to its completion, is shown
more frequently in pottery than perhaps in most other handicrafts.
These thoughts can, of course, only be suggested in those studio
workshops in which commercial bulk of output is not the first aim.
The main current of industrial production must doubtless always
be otherwise, but a number of American pottery manufacturers
NEWCOMB POTTERY
BRUSH AND PENCIL
16
have achieved success while holding art as their guiding principle.
Rookwood, Dedham, Gruby, and many others are celebrated, each
in its own way, for peculiar excellence of design and color which
give to their productions universal value and interest.
Perhaps the youngest of the group of American art potteries is the
Newcomb, the subject of this notice. It is the outgrowth of peculiar
circumstances, having had its origin in the uncommercial atmosphere
of the art department of a college for women in New Orleans. The
desire and teaching of the school was to show that art may fitly
be expressed in the design of objects of common use as well as in the
painting of pictures. Gradually the idea of a studio-workshop evolved
which should be a means of furnishing profitable employment of the
NEWCOMB POTTERY
freest and most individual character to those fitted for and desirous
of pursuing art as a means of livelihood. The enterprise, directed as
it is toward developing indigenous qualities, deals solely with material
at hand. The clay is quarried in neighboring territory. The sub-
jects of design are drawn from familiar surroundings. From the
careful fostering of this idea of locality has sprung a characteristic
product of genuine value. The industry has by no means attained the
full stature of its possibilities, but its character is mature, and the col-
lector may discern at a glance the personal note.
The dominant color is greenish blue, although red, yellow, and
black are often present.
Underglaze decoration, either in slip upon wet clay or upon the
biscuit, is the rule, but design sometimes ends with the form, the
RECENT EXHIBITIONS IN NEW YORK 17
color being supplied in the glaze, which is varied and blended
by the heat of the furnace.
The optimist for American art sees in such application of art to
industry a future of increasing worth and dignity for its unwritten
history.
RECENT EXHIBITIONS IN NEW YORK.
The exhibition of the American Water-Color Society was held this
year in the smaller ballroom of the Waldorf-Astoria Hotel. It was
an unfortunate selection, for the room did not lend itself to a display
of pictures and the space was cramped. As a consequence of the
small quarters only a modest number of works by outsiders was
accepted, and the show was by no means up to the average of previous
years. The archaic custom of rights of membership permitting soci-
etaires to send six works without examination of the jury worked
the usual damage, and old-timers whose only claim to membership
was good-fellowship, whose art was never worthy, and who have fallen
by the wayside with the years, were in the usual evidence with many
examples that gave a dreary aspect to the walls.
The Evans prize was awarded to B. West Clinedinst, a dexterous
handler of his medium, for a picture ("Long Ago") of an old man
and child. With due respect for the excellence of this work and the
reputation of Mr. Clinedinst, who is known as an able illustrator, there
were other works that came much nearer the standards usually set for
prize-winning pictures. Louis Loeb, with a rarely beautiful head
of a young woman, Rosina Emmet Sherwood; Albert Sterner, with
a charming figure of a woman in an artistic interior; Arthur 1. Keller,
with a novel composition of two girls in a library, clever to a degree
1 8 BRUSH AND PENCIL
and delightful in color, and Mr. Blumenschein, with an Indian picture,
were all generally considered to have had more of the qualities of art
and seriousness in their drawings and to have more deserved the award.
The attendance was fairly large, and the sales mildly satisfactory.
There have been attempts made from time to time to reorganize this
old society and to inject some modern notions, so that the exhibitions
shall depart from the conventional, but without much success. Last
season several heated meetings were held, and a compromise was
made in selecting a larger jury. The main fault, however, lies in the
privileges of the members themselves. When many of these incom-
petents are permitted to send six works, which must be hung, it will
be seen that the display is doomed in advance, and when the show
is a small one, as was the case this year, these indifferent drawings
become all the more conspicuous.
The Architectural League exhibition improves each season, and
if there be any criticism it is that the jury is too catholic in permitting
exhibits of various kinds, many of which cannot by any stretch
of the conscience be properly classified among decorations for the
house or public building. For example, it is difficult to see just how
book-covers, posters, and designs for music pages can be included
in an architectural display. The result is that the show reaches such
proportions the visitor is unable to get more than a vague idea
of it in one visit. This year there were less stained-glass designs and
not so many decorative panels as usual, but the architects sent more
attractive drawings and plans than previously, and the public found
much to interest them in the beautiful models of buildings made
in plaster, the drawings for the great California University, and the
many new private and public structures that are to be erected. Robert
Blum's original sketches for the decoration of the frieze of the Men-
delssohn Music Hall attracted much attention for their grace and
charm of color, line, and invention. Andrew Carnegie's new house
on Fifth Avenue, the new Custom House for New York, the Depart-
ment of Justice at Washington, and the additions to the New York
Stock Exchange were among the prominent designs shown.
The mutations of popular taste in art were shown in the sale of the
collection of pictures belonging to the late Judge Henry Hilton, hung
at the American Art Galleries and sold later at Chickering Hall.
Judge Hilton, it will be remembered, was the lifelong friend and
legal adviser of the late A. T. Stewart, the famous millionaire dry-
goods merchant. His pictures and bric-et-brac were collected about
the same time with those of his friend, and many of them came from
Mr. Stewart's gallery, being bought at his death. They were of the
then fashionable surface kind, with the story-telling incident, the
clever manipulation of pigment and dexterous drawing. Frenchmen,
RECENT EXHIBITIONS IN NEW YORK 19
Italians, and Spaniards were the mainstays, with a sprinkling of Ger-
mans, and at the time they were the best and most expensive the
dealers 1 shops afforded. A few really good things were included,
however, and the exhibition and sale were attended with considerable
interest. An important Meissonier, which cost the owner $24,000,
went for Si 8,000, and all the others showed a falling off, though they
brought more than the most conservative prophet had supposed they
would sell for. But a glance at the gallery seemed to take one out
of the world of to-day and go back a score of years. There were
pictures in the costumes of the sixties, with the weird hats, dresses,
and furbelows of the women, the curious stovepipes and coats of the
men, and the customs and manners of a quaint period when the
Grecian bend was the thing for the female and croquet the game par
excellence.
Elihu Vedder, just back from his studio in Rome, held an exhibi-
tion at the gallery of S. P. Avery, where he showed several works
in oil, water-color, drawings and studies, bas-reliefs, and statuary.
There was little new to chronicle, save in the examples of modeling,
but even here he revamped familiar themes, and in giving a touch
of color, recalled his well-known tonal effects of somewhat dark and
leaden pigment. However, all that Mr. Vedder does is worthy
of serious consideration, and the various studies for decoration, for
illustration, and genre work were full of intellectual qualities, well
drawn and ably composed. In a decorative and allegorical way,
though, the man is much the best, for then he has generally something
of greater interest to say, and if his manner is easily recognizable, at
least his utterances are well put and always with considerable dignity.
Several one-man exhibitions have taken place, notably some por-
trait work by Harry Siddons Mowbray, at Knoedler's gallery, where
were shown several small panels of great detail and good color; Carroll
Beckwith showed many drawings, touched up in color, with a pastel
or two, at the Wunderlich gallery, and Everett Shinn a number
of illustrations and compositions at the galleries of Boussod, Valadon
& Co. Mr. Shinn shows the unmistakable influence of Raffaelli
all through his drawings, both in color and line, and naturally the
work is just that much the weaker, for holding to the mannerisms
of the Frenchman, he has completely sunk his individuality. This
is always a pity, and it seems to us quite unnecessary. A man cannot
thus imitate another and hope to take a foremost position; with
so much natural endowment, Mr. Shinn might easily occupy a field
quite his own.
A memorial exhibition of the work of the late John Leslie Breck
was held at the gallery of the National Arts Club, in West Thirty-
20 BRUSH AND PENCIL
fourth Street, where half a hundred sketches and pictures were seen.
Mr. Breck's lamentable death a year ago cut short a promising career,
as these works show. His sketches made in Giverny were of course
seriously dominated by the work of Monet, and those done away from
this influence, where the young man let his own personality come
to the front, were much the best. Some pictures made in Venice
showed an appreciation of beautiful color, and were wrought out with
much charm, while others made in New England gave a personal
view of his native land quite refreshing. With the start and the
promise apparent in the exhibited canvases, it is quite evident
Mr. Breck, had he lived, would have gone far in a landscape way.
Another impressionistic painter whose work bears the influence of the
Giverny school is Theodore E. Butler, an American, and a son-in-
law of the great French painter, Monet. Mr. Butler showed fifty
canvases at the galleries of Durand-Ruel, and demonstrated that for
impressionism pure and simple he was the most advanced of his coun-
trymen, though in the end it is doubtful if he has not entirely spoiled
a fine career. These pictures out-Moneted Monet; there was
no attempt to do aught but blindly follow the master, and at the same
time add even more spottiness and cruder color. It seems incredible
to the average spectator that a man could deliberately sit down in cold
blood and paint pictures so unmistakably in the fashion of another
man, and who could be content to utterly lose his individuality
in copying the mannerism of another painter. Yet this is what
Mr. Butler* has done with appalling fearlessness. There are some
sketches done in America, of the harbor of New York, the Brooklyn
bridge, and other well-known localities. If they look to Mr. Butler
as he has painted them, it can only be said that the vision of the rest
of humanity is abnormal, and happily so, for as the artist represents
them they are far from being attractive.
It is refreshing to turn from these remarkable things to an exhibi-
tion of the work of Thomas W. Dewing, held at the Montross gallery,
where thirty works were seen, covering a considerable period of years,
and showing a steady, healthy progress. The lovely portrait of Mrs.
Stanford White, the "Girl at the Piano," the various decorative panels
and small portraits, full of detail, yet kept broad, exquisite in color,
and daintily drawn, are all works to be recalled with keen pleasure,
and are artistic to a degree. Mr. Dewing's art is distinguished;
he gives to his lightest touch a grace and a personality that are irre-
sistible, and to all there is the decorative spirit unusually developed.
The pictures came from various owners about the country, and repre-
sented the best of the life-work of the man up to the present time.
Two important portraits by John S. Sargent, destined for the
Harvard Club, were seen at the gallery of M. Knoedler & Co., and
THE AMERICAN SOCIETY OF MINIATURE PAINTERS 21
were respectively of the Minister to England, Joseph H. Choate, and
James C. Carter. Both were exceedingly able, the latter being more
satisfactory, if less showy. To the likeness of Mr. Choate there was
an unfortunate expression to the mouth, which had a droop not of the
happiest, though otherwise there was the dash Sargent gives to all
he does. Mr. Carter's portrait, in its quiet, refined color, simple
modeling, and astonishingly direct workmanship, showed the Ameri-
can Royal Academician at his best ; and if it did not quite approach the
distinction of the famous Wertheimer portrait, it must be remembered
that an artist cannot keep himself at concert pitch always. But
Mr. Sargent's art has matured and developed in a remarkable way,
until he must be acknowledged to-day as quite without a superior
among the portraitists of the world, and indeed he is already entitled
to a place with the greatest of the painters of all time. We are per-
haps a little too near to get a proper perspective on him, but with
time he will surely get his due, and receive that unqualified approba-
tion which a living man rarely, if ever, obtains.
THE AMERICAN SOCIETY OF MINIATURE
PAINTERS
Since the time of Durand, who
lived and painted portraits in An-
napolis prior to 1 759, miniatures
have held a conspicuous place of
estimation in American art. Scarce-
ly a Colonial" family of any impor-
tance passed without leaving one or
more of these precious heirlooms in
portraiture which have more than
kept green the memory of such art-
ists as the Peales, Trumbull, Stuart,
West, and Copley; and while all
other branches of the arts have re-
ceived much encouragement, and
have been duly fostered by strong
organizations such as the National
Academy, American miniaturists
have struggled along up to now
without sufficient recognition either
at home or abroad. Feeling the
need of an appreciation which such a society might be supposed
to command, the American Society of Miniature Painters was
instituted in March, 1899, by William J. Baer, Alice Beckington,
22
BRUSH AND PENCIL
Lydia Field Emmet, Lucia Fairchild Fuller, Laura Coombs Hills,
Isaac A. Josephi, John A. MacDougall, Theodora W. Thayer, Virginia
Reynolds, and William J. Whittemore, in New York City. Naturally
it was believed that an annual salon should be held, where the work
of all American miniaturists, passed by a competent jury, might
become known to the public; and thus the first annual exhibition of
this young society was brought about in January of this year in the
new galleries of Messrs. M.
Knoedler & Company, New
York City.
Mr. Josephi is accredited
with the conception of the
society, of which he is the
first president, although he
met with much opposition in
his tenacious efforts to effect
an organization, even among
the very miniaturists who
finally became charter mem-
bers, because some of these
same artists could not be
convinced for a long time
that there was any real need
of an American society of
miniaturists, and they felt
quite equal to holding their
own. However, when the
full scope of the project was
brought to their comprehen-
sion they could not fail to
realize the benefits to be de-
rived from their cooperation,
benefits affecting the future
as well as the present state
painters of appreciation of the minia-
ture as a work of art Per-
haps Mr. Baer, the first secretary of the society, held out the longest;
but finally he became a member, and entered into the work of the
society with a fervor characteristic of his undertakings. Indeed,
much of the "logical" success of the exhibition was due to his per-
sonal efforts.
First of all, a blessing should rest upon the heads of the members
of the hanging committee, who put everything on the line — nor did
they do it to keep the peace! The spacious exhibition- room was
large enough to permit such an arrangement, but not so large as to
make one feel that he had come to a haystack to look for a needle or
THE AMERICAN SOCIETY OF MINIATURE PAINTERS 23
two. No one seems to know why no catalogue followed the elaborate
prospectus and application blanks, and those persons who "souvenir"
in and out of Fifth Avenue galleries found nothing but impressions to
take away with them; but they must have been grateful, for these im-
pressions could not have been other than most agreeable, as this ex-
hibition was excel-
lent and well worth
the while. There
was but one posi-
tively distressing
thing to be seen —
and here one is
saved, by lack of
having a catalogue,
to chronicle it pre-
cisely; yet it is not
uncharitable to say
that it was a por-
trait of a lady, prob-
ably by her sister,
and it hung on the
east wall near H. V,
Swope's "Girl in
Pink." This latter
miniature was de-
lightfully fresh in its
handling and quite
away from the con-
ventional. Helen
Kirch ner's attempts
in this direction had
absolute merit, but
they showed too
much sketchiness —
that is, a sketchi-
ness which showed
a lack of develop-
ment. On the other
hand, Mr. Josephi exhibited two miniatures, one of a man in sitting
posture and the other a portrait head, which were quite as pleasing
as anything else he had to show, although they were designated
"sketches." Mr. Josephi's "Portrait of a Lady" was the object as
well as the subject of much controversy. This certainly did look very
much like a fashion-plate, well drawn, of course; and some miniaturists
insisted that it was by far too modern for their art's limitations, while
others insisted that their art had no limitations. Both sides seem to
24 BRUSH AND PENCIL
be wrong, and one suggests in all friendliness that the art of the
miniaturist is greatest in portraiture; wherefore promiscuous ladies,
lacking identity though attired in the mode, do not constitute inter-
esting enough subjects to make themselves great in art. Even the
greatest painters are wary of them. Mr. Josephi spent much time and
study in a group called "The Letter." Here we have a picture on
ivory, and as such it is unusual; but we should always forget ivory,
and when we do in this instance, it leaves nothing remarkable to us.
Mr. Josephi's enthusiastic liberalism is commendable, of course, but
more so in its theory than in the practice of it which he has put forth.
Nevertheless, his miniatures please the multitude. Miss Beckington's
work reveals a feeling for the impressionistic, and a charming applica-
tion of it, as in the portraits of Mr. Richard Hovey and Mr. Bliss
Carman, which are handled in a brilliant manner, although they lack
that which the knowledge of the apparent source of their inspiration
gives them. Next to these, Miss Beckington's portrait of Mrs.
Buford is to be noted. It is the best example of this artist's work,
all considered. Mrs. Reynolds, the only exhibitor from Chicago, had
an excellent picture, "The Smoker," very strong in its qualities; and
-#,
v.
J
THE AMERICAN SOCIETY OF MINIATURE PAINTERS 25
Carl Weidner's "gray dawn" portrait effects and his portrait of Mrs.
Weidner are about the best miniatures he has executed. The minia-
tures of John Lucas were remarkable in their sprightliness. The
"Head of a Boy," by A. Klots, was especially good, and Mr. Mac-
Dougall showed some very creditable things.
The work of Mr. Baer is so widely known that a great deal of
interest immediately centered on the wall where his miniatures were
hung. Their even excellence is the outcome of Mr. Baer's academic
ideas on the subject of miniatures, and his flesh tints are exquisite.
The color of every one of his miniatures is in accord; and those artists
who storm at "the photographic minuteness" in any miniaturist's
manner may well look upon Mr. Baer's miniatures and be silenced,
Perhaps his conservatism may appear extreme to the carelessly
enthusiastic ones, yet the healthful beauty and vigor of it all is more
than merely commendable.
"The Burgomeister," by Mr. Whittemore, had much strength and
a wonderful color. It was most happily framed in an old scrolle
which Mr. Whittemore picked up in Sienna, and this is mentioned as
showing the importance of having miniatures properly framed, a thing
26 BRUSH AND PENCIL
which cannot be said to have been universally borne in mind at this
salon — indeed, some of Mr. Josephi's miniatures were "killed" by
their careless and crude mountings.
One turns with delight to the contemplation of any works depict-
ing childhood. None of us have forgotten our days in the golden
age, and Miss Emmet constantly brings back to us the most delight-
ful memories of girlhood and of boyhood and of babyhood in her
wonderful miniatures. Miss Emmet's color is exquisite, and her
daring but positive use of vermilion is unusual. Nearly every one
of her miniatures might be called a flower of portraiture, for these
£ BURGOHEISTER, BY W. J. WHITTEMORE
dainty things suggest gardens of lilies and lilacs. Miss Thayer shows
a wee miniature of a wee speck of humanity, a baby's head painted
in a cloud of sweet mist, as it were; and her other miniatures are
successful.
Mrs. Fuller's achievements are achievements, and there could not
be a more charming portrait of a boy than the one exhibited, which
was splendidly painted, soft and rich in color, and of a simplicity equal
to a drawing by Boutet de Monvel, withal of greater depth. It seems
quite in place here to mention the fact that this miniature has the
double success of being not only a good picture, but as well a good
likeness, two qualities which bring portraiture to perfection.
THE AMERICAN SOCIETY OF MINIATURE PAINTERS 27
And now one comes to the three miniatures which were the
greatest things of the exhibition — for miniatures can be great: large
portrait of an auburn-haired lady in gray ("Fire Opal," I am told, is
the title of this ivory painting), "Study of a Head," and the "Por-
trait of Master Donald Moffat." Taking everything into considera-
tion, one has the right to say that this last miniature (all were
by Miss Hills) was the chef d'ceuvre of the exhibition. The "Fire
Opal" was quite as good in its way, but not so unique, although it
was really a marvel in the art, while the "Study of a Head," with
the stunning red bow, held every one's admiration.
When one comes to discuss such an exhibition by contemporaries,
it will be seen that all historical allusion is useless and the anecdotal
is denied. Nevertheless, this is written to bring the attention of
miniaturists and collectors to the first exhibition of the sort that has
ever been held in America. Gardner C. Teall.
SVEND SVENDSEN
Mr. Svend Svendsen was born in Christiania, Norway, in 1865, and
has for a number of years made his home in Chicago. Several trips
to Norway have furnished him opportunities for painting the winter
beauties of his native land, and these pictures have made up most
of his annual exhibitions, which he has held in Thurber's galleries,
in Chicago. His work is original, bold, and effective, the prevailing
characterstics being the sunset glow on the snow and trees, with long
WINTER LANDSCAPE, BY SVEND SVENDSEN
purple shadows. His exhibition, which was held in March, shows
other motives painted in a manner which demonstrates a broadening
choice of subject and more maturity of style.
Mr. Svendsen improves with each annual showing, and his pictures
are finding permanent places in good collections, both public and
private. His work has received many honors in the West, and
is becoming more and more popular, with artists as well as the public.
His recent exhibition included some twenty canvases; "The Glare
of the Camp-Fire" was one of the best, showing simply the ruddy
light losing itself in the gloom of the forest.
FRANK L. WRrGHT, ARCHITECT
A NEW MOVEMENT IN AMERICAN ARCHITEC-
TURE. II.
GLASS
It is said that iron is the key to the building situation, that iron
first shows the demand for building material.
On the artistic side of building, glass is the key. In the early
stages of a vital style it shows a purity of purpose and simplicity of
scheme far ahead of the baser materials. Its ease of manipulation
gives it the advantage of being seized upon by a mind seeking a means
of expression, while color and brilliancy attract attention to its pos-
sibilities as a medium for original thought.
BRUSH AND PENCIL
On the other hand, it is the first to feel
the degeneracy of a style. Its necessarily
pronounced drawing, the outlining of its
parts, shows at once careless draughts-
manship, and the brilliant contrasts in
color become crude and grotesque when
serious thought forsakes it.
Nothing shows the level reached by
architecture to-day so surely as the "art
glass" (horrid adjective!), which, imitating
every form ever made in stone, wood, or
metal, stares us out of countenance. Con-
sider the logic which causes an architect
to put saints and angels with impossible
heads and limbs in the windows of his
Romanesque church because he thinks that
he must imitate the work of a semi-savage
who did not know how to draw. The
mediaeval designer did the best he could,
and it was all his.
No material placed in a building is of
greater importance. From the exterior we look for the openings, for
from them we get the expression of the building, exactly as looking
at a face we seek at once the eye. From the interior, instinct draws
R. DEAN, ARCHITECT
RICHARD E. SCHMIDT, ARCHITECT
our eyes toward the openings; we see the windows first, and the light
constantly brings us back when we turn away.
The new movement in London, Munich, and Chicago — I say Chi- .
cago, for if other cities in the United States have any movement their
catalogues and architectural journals do not advise us of it — finds its
AMERICAN ARCHITECTURE— GLASS
tt
greatest expression in its glass. The
spontaneity and honesty of growth of
the movement is assured by the ab-
solute difference of the schools — as
different as the people who inhabit
the cities, as different as one face
from another. Of foreign architec-
ture we are not treating, but in Chi-
cago much has been done.
Owing to limited space, as well
as the difficulty of photographing and
reproducing glass, a few examples
must suffice. They show great variety
in treatment, from almost natural
forms to conventionalization so severe
that the original form is lost and only
the character remains. In some
cases no especial form produced the
motive, but only a type of form, or
perhaps a feeling of growth without
the semblance of natural forms. Glass
lends itself charmingly to this last
thought; the extremely brittle, crys-
tal character of the material cries out
against naturalism and leads one to
sharp and severe outline. One of
the characteristics of the school is
the desire to produce a decorative
effect without the aid of light passing
through the window. In our mode
of life much of our time is spent at
home in the evening, when the or-
dinary stained-glass window looks
dead and uninteresting. Very dec-
orative effects are obtained by means
of gold and opaque glass in black
and white. These are used in small
pieces in such a manner that as dark
spots they enhance rather than de-
stroy the value of the window by
day. In some a rich effect is ob-
tained by burning gold on the sur-
face of clear glass. By night this has the appearance of solid gold,
while by day the gold, being deposited in minute particles, lets the
light through, giving a soft, purple-gray tone. By burning on colored
glass any desired tone may be obtained. This work is only in its,
FRANK L. WRIGH-
34
BRUSH AND PENCIL
infancy, but bids fair to de-
velop into very good re-
sults.
The photographs shown
are taken directly from the
windows, isochromatic
plates and a ray filter hav-
ing been used, so that, al-
though the colors are not
given, the color values are
fairly good. In all, the
color scheme is very sim-
ple, the desire being to give
a decorative effect. In
some cases no stained glass
is used, the window being
of clear glass, picked out with gold and white. The tendency of the
school seems to lie in this direction of simplicity, and we may hope
. D. SHAW, ARCHITECT
E R. DEAN, ARCHITECT
for results which will remove the prejudice against this glorious
material — a prejudice brought about by its degeneracy.
George R. Dean.
^1 - H 1 1 ■ f ■ ■ 1 •.
I FOR PARK IMPROVEMENT, BY BIRCH BURDETTE LONG
WOMKN IN MUNICIPAL ART
The Art and Literature Department of the Woman's Club decided,
some time since, to undertake as its permanent work such effort
toward the beautification of Chicago as seemed from time to time
possible and practicable.
As a first step in this direction, it availed itself of the opportunity
offered by the Architectural Club in a recent competition.
In this competition a prize was offered for the most acceptable
design for the embellishment of the small triangular park bounded
by North State and Rush Streets, opposite Bellevue Place.
The design submitted by Mr. Birch Burdette Long, and shown
in the accompanying illustration, was accepted by the department, the
originality of the design and its freedom from unrelated precedent
especially recommending it to the committee.
The cooperation of the city in planting and maintaining such
shrubs, trees, and vines as are necessary to the completion of the idea
has been secured, and it is the intention to start the work of construc-
tion soon.
It is the belief of the Woman's Club that the success of this
37
38 BRUSH AND PENCIL
initial effort toward the establishment and maintenance of beautiful
small parks will be but the first step toward similar work in more
densely populated districts, and that it will furnish an inspiring object-
lesson and a precedent for further accomplishment along such lines.
To make a charming garden spot surrounding the well-designed
shelter, and to accomplish this end for a comparatively small sum,
will be evidence to every passer-by of the feasibility and great desir-
ability of more such oases in the civic desert. It is this greater
object that the Woman's Club hopes to reach by means of this first
experiment, and the generous response of the Architectural Club
in placing the results of the competition at its disposal is heartily
appreciated.
It is hoped, in addition to the inspiration toward further effort
of this kind which this venture will afford, that it may also establish
a precedent for cooperation between different societies which shall
result in further benefit to the public. The study of concrete civic
problems and the effort toward their solution by such societies as the
Architectural Club gives much hope and promise for better things
in the future history of Chicago. Lucy Fitch Perkins.
SETTLEMENT ARCHITECTURE
Architecture, more than any other art, may reflect the changing
and growing requirements of a people. The effort for social service
known as the settlement movement is an expression of a need which
has sprung into our civilization within the last fifteen or twenty
years. We show the architectural expression of this need by illustrat-
ing the buildings of Hull House, University of Chicago Settlement,
the Chicago Commons, the Northwestern University Settlement, and
the David Swing Memorial.
The settlement movement is generally understood without being
closely denned, and its aims and purposes are best met when least
emphasis is placed upon its institutional aspect.
The housing of the various activities of these social centers pre-
sents to the architect a problem in the solution of which precedent
can play but a small part.
The requirements are varied, and belong neither to individuals nor
to a class, but include the social and educational well-being of all the
people in the community.
Its demands are preeminently democratic and genuine, as con-
40
BRUSH AND PENCIL
trasted with the luxury and whims which may find expression in other
kinds of building. In addition to such variety of requirements
as follow when the plans must include dwelling-places with complete
equipment, gymnasia, class-rooms, and even theaters, the means are
invariably limited. In this religious movement no money is put into
the embellishment of an architectural monument to stand through the
ages. The building is frankly and simply a means to a social end.
Its very limitations and the newness of the problems presented make
the settlement buildings more closely expressive of the life of the
present than— for instance, the church edifice, with its ecclesiastical
architecture handed down from previous ages. There is no precedent
to govern their architectural expression — these buildings must
be designed as a direct response to definite needs. This, we believe,
has ever been the starting-point of good architecture.
Of the settlements illustrated, none is complete, and two have not
yet been started. They are in various stages of completion and
equipment. Other centers are moving in the same lines, and it is the
hope of the Architectural Club to show in its Annual for 1901 the
additions and changes to these centers executed between now and
then, as well as those that are not represented at this time.
HOWARD SHAW, ARCHITECT
THE FARMHOUSE PROBLEM
For an architect there is no better way of spending the summer
holiday than a-wheel in a prosperous farming country, seeking inter-
esting examples of a domestic architecture in the rough. He must
expect little and be content to find his pleasure chiefly in the enjoy-
ment of woods and fields, for the average farmstead adds but a doubt-
ful charm to the landscape. Often, indeed, a near view will show
a habitation so brutally bald, ugly, forbidding, and neglected, in the
midst of such dismally and repellent surroundings that it may be said
of our own benighted heathen, still deaf to the gospel of beauty, that
they live in a land "where every prospect pleases, and only man
is vile."
Amid the freshness and beauty of the fair open country one cheer-
less or unsightly house seems, by contrast, more discreditable
to a highly civilized and progressive race than a whole row of them
in the city. But when in some rise or turn of road a picturesque and
homelike farmstead greets the eye, a grateful picture sinks into the
beholder's memory, not soon to be effaced. Unspoiled by the crude
latter-day vagaries of the village carpenter or the blighting influence
of the ready-made plan of commerce, house, barns, windmills, and
outbuildings are sometimes found happily placed as to site, and built
in seemingly haphazard yet sturdy and purposeful fashion, with wings,
perhaps, and other supplementary structures of later build for growing
needs. Enhancing the charm of such a home, one is likely to find
a broad sweep of green between the house and road, well-kept hedge-
rows separating lawn from orchard, orchard from field, and garden
from both, and tall trees, the last of a race of forest giants, towering
above roofs and chimneys, while flowering vines reach to eaves and
droop again in waving streamers.
43
%^:JS
46 BRUSH AND PENCIL
Upon studying such a type as this, found oftenest in New England,
where the sober traditions of colonial work still have a strong hold
upon the country builder, it will be seen that for the architect familiar
with all the cunning tricks of nice planning and in sympathy with
farm life an excellent beginning has already been made for one of his
ideal good farmhouses.
In northern New England, and here and there in the West where
New Englanders have settled, the typical farmhouse is a long, ram-
bling structure, with the sacred "parlor" and guest-room at one end
and the barn and workshop at the other. In northern regions, where
old-fashioned winters with deep drifting snows still reign, the conven-
ience and comfort of this type are obvious. Of course, a separate
and larger barn for stock is usually required, although examples may
be seen, where, through various sheds, a house is united with a great
barn, large enough for all purposes. The accompanying plan for a
northern farmhouse is designed to eliminate the most serious defects
found in even the best of these buildings. These defects, some of
which are due to perverted ways of living, are first, a connection
between kitchen and barn inadequately shut off against odors; second,
incomplete or inconvenient laundry, fuel, pantry, and other working
arrangements; third, lack of bathroom and sanitary conveniences;
fourth, and perhaps most serious of all, lack of a large, sunny,
attractive living-room in place of the frigid, old-fashioned state
parlor, held sacred to memorable occasions, such as weddings and
funerals. One needed feature, seldom provided, is a roomy entry set
apart for the male members of the household, in which they may
remove dirty boots and overalls and clean themselves up properly
before entering the kitchen or living-rooms. Often toilet and ward-
robe conveniences may be provided in the laundry.
In planning and placing a house in a sharply rolling country, such
advantage of the site may usually be taken to provide easy and con-
venient access to house and barn on two levels, giving an added charm
and picturesqueness to its various aspects seldom found in the level
prairie.
The little field-stone farmhouse is another architect's ideal, having
no existing prototype, but suggested by the desire to show the neg-
lected but delightful possibilities of native materials, even in the hands
of rude workmen, as applied to an arrangement for simple yet good
and seemly living, with special provision for the enjoyment of al fresco
repasts in the summer upon the vine-roofed terrace which juts out
into a sharp slope overlooking a fair and fertile valley. Such homes
as these are not beyond the means of many a farmer. It is to be
hoped that a quickened desire for better housing and more beautiful
surroundings will in good time bring the farmhouse builder into sym-
pathetic touch with the true architect, who can and will give the
smallest problem his largest thought to benefit his fellow-men, if not
for gain. Robert C. Spencer, Jr.
THE EDITOR
A common criticism is made of our exhibitions, local as well
as national, that they are or may be good, but are not interesting.
What is meant by this general statement? What makes an exhibition
of art interesting? Do we understand by interesting the incidental,
the anecdotal genre subjects that appeal to natural curiosity and love
of clearly expressed details? Has our art swung so far to the other
side of the story -telling, sermon-preaching Charybdis on the one hand
to the Scylla of technique on the other hand? Shall we revert to the
religious art of the early Italians, the sentimental art of England
of fifty or more years ago, the American Hudson River school,
or throwing this all to one side, accept the point of view of Whistler
as an example of the modern school, and paint and enjoy for art's
sake the aesthetic problems of beauty in tone, themes which, appealing
through the eye, belong to the province of the purely pictorial? This
is the modern battle-ground of art. The artists with a wonderful
knowledge of the science of their art on the one hand are misunder-
stood by the uninitiated on the other hand, who cry for incident, for
story, for something with a point to it, for human interest, for heart
expression.
I believe the public want beauty, and some few of them know
what it is. Do our painters and sculptors create beauty, and do all
of them know what it is? Is it because there is so little beauty in the
world to-day that artists must be scientific in color and form, that
they must give back to the hungry public stones because they have
no bread? Much of our present-day art, for some reason, is not beau-
tiful ; much of it is not even interesting. Perhaps the public is partly
right. They are not interested in studio problems; they have a right
to demand pictures. Art is life. The Lest records of a people are
handed down to us through art expression. The inside of things
should be painted and modeled as well as the outside. Ideas, not
things, as we have said before, are what make any art great. The
human family is one through bonds of universal sympathy, not
through general scientific or intellectual thinking. Art is a universal
language when it appeals to this universal sympathy. Great art
always does this, and Tolstoi is right. St. Gaudens' masterly relief
on the Colonel Shaw monument in Boston is a good illustration. His
technique is magnificent, but with it he expresses the martyr's love
for an oppressed race, patriotism and heroism, so clearly that all may
read, admire, and be inspired. This monument is one of the grandest
tributes to posterity our American civilization at the end of the nine-
teenth century can boast. It rises to the plane of universal apprecia-
47
^
48 BRUSH AND PENCIL
tion. Such art is rare. There is nothing in painting or architecture
of the same period to compare with it in importance.
Many of our better painters, now occupied in mural decorating,
are thrashing over the chaff of bygone days. The subjects they
choose have no life in them. Shall we forever use Greek figures
to typify law and order, when we have such grand examples of the
.virtues and graces in the deeds of our own great men and women?
No history is richer in inspiring events for poetry, painting, and sculp-
ture than this greatest republic of modern times. The Colonial, the
Revolutionary, the early American, the Civil War, our prairie con-
quest, the unique problems of social life in city and country, our
extraordinary commercial and industrial activity, all furnish new
material. We are and have been establishing a kingdom where each
is ruler and where all have rights.
Is there nothing for art? Must our poets sing of the gods and
heroes of the past? Must our sculptors follow the canons of Canova,
who copied the Greeks? Must our architects keep on tracing the
orders of Vignole, forgetting that we are not Romans, but Americans,
with new uses for our buildings? Must our painters satisfy themselves
in learning only how to paint, and paint only scientific problems?
We have a gold mine of subject that is worthy the attention of our
best-trained men in every line of art. It is vital material, and the
public will not be slow to recognize it when it appears. Art for art's
sake is not enough. Art for heart's sake will speak to the whole
human race.
Note. — We are indebted to the Chicago Architectural Club for the material on
pages 37 to 48. The exhibition at the Art Institute of Chicago was of unusual in-
terest and variety. It will be followed early in April by a Photographic Salon under
the joint management of the Art Institute and the Chicago Society of Amateur
Photographers. Mr. W. B. Dyer will have an illustrated paper on the new move-
ment in the April issue of Brush and Pencil.
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Sarah Louise Arnold, Supervisor of Schools, Boston, says : —
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Four Kittens
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Can't You Talk ?
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T> Tr'TTTJ? J? Q TAT rT)T H J? <? birds, animals, minerals, fruits,
r IKj L U JXJZtO 11\ KjKJJ-^KJIXO ETCm PORTRAYED in natural colors
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9016
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9384
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93"
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9034
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9333 Whippoorwill
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9383 Towhee
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9301 Weasel (Ermine)
9309 Mink
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one
ects.
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The Art Institute of Chicago
SCHOOL OF DRAWING, PAINTING
ILLUSTRATION, ARCHITECTURE
SCULPTURE, DECORATIVE DESIGN
21st Year Opened October 2, 1899. Closes
"June 16, 1900. Students may enter any time
Special Classes Evenings and Saturdays
CJ*hp /trt Ttl itltUtf u tlle most comprehensive and probably the largest An School
A fJC ^L/t AfiMiiuic in thc Unjred States, numbering last year about 1,800 students
and 80 instructors. The tuition fee, covering all the privileges of the school, is £75 a year.
For further information, apply to
N. H. Carpenter,
Secretary Art Institute, Chicago
Wbin wrltlot to advvtttMrs. plu
a Brash and Panell.
ADVERTISING DEPARTMENT
EXHIBITION NOTES
Chicago —
The purchases of pictures made and prizes
awarded by clubs at the exhibition of Chi-
cago artists are as follows : Young Fort-
nightly prize, to Adolph Shulz; honorable
mention toAnna L.Stacy ; Catholic Woman's
League prize, F. C. Peyraud; honorable
mention to A. E. Albright and Anna Lynch.
The Chicago Woman's Aid Club bought
Edgar Cameron's "Glass- Blowers" ; the
Union League Club, C. F. Browne's "Moon-
light," Miss Blanke's "Bit of Beach," and
Janette Buckley's landscape ; the Klio Asso-
ciation, J. H. Vanderpoel's "In the Dairy";
the Arche Club, George Shultz's " Sunset";
the Englewood Woman's Club, Frederick
Mulhaupt's landscape; the Nike Club, a
landscape by Bertha Menzler, a water-color
by William Schmedtgen, and a charcoal
figure by Allen Philbrick; the Woman's
Club, E. J. Dressler's "After an Autumn
Shower" ; the Portia Club, a pastel landscape
by W. Moelley; the Evanston Woman's
club, a landscape by M. M. Chase; and the
Travel Class, a pastel landscape by H. C.
Paine.
The Commercial Artists' Association held
its first exhibition of drawings in March,
at 49 La Salle street. The exhibit contained
some 200 drawings by local artists and gave
a good idea of the present condition of com-
mercial art in and around Chicago.
The officers of the association are : Henry
A. Thiede, president; J. M. Doyle, vice-
president; W. F. Moses, secretary; A. T.
Williamson, treasurer, and H. A. Hooker,
sergeant at arms. Harry B. Grant, Adolph
Kadlowski, Thomas Rogers, Charles Hib-
beler, and Emii Kleboe are members of the
executive board.
The Chicago Architectural Club opened
its thirteenth annual exhibition in Chicago
March 20.
Boston —
Boston is to have an annual exhibition
entitled the "New Gallery," beginning next
autumn. Five well-known artists of that
city were selected to choose twentv other ar-
tists, who in turn elected seven jurors for the
first exhibition. After that the exhibitors of
the first will themselves elect the jury for
the succeeding exhibition. The first jury
will consist of: F. W. Benson, Frank
Duveneck, Wilton Lockwood, E. C. Tar-
bell, J. W. Twachtman, F. P. Vinton and J.
REMOVAL
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The Chicago
Season of
School of Art """ 9 °°
D R A WI N G
PRINT I NG
COMPOSITION
Charles E. Langley, Chief Instructor
Practical instruction given in Oil, Water Color,
Pastel, Sepia, Crayon, India Ink, Commercial
Portraiture, Book and Newspaper Illustrating, Pen
and Ink and Water Color Sketching, China
Painting, etc,
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CHANGE for MARCH, 1900
Tbis Book
is worth writing for if von are interested in the
study of" illustration. Sent free on application.
The School of Illustration
A Practical School — Day and Night Classes Open the Entire
Year. Pupils may enter at any lime.
INSTRUCTORS
". !!('! MK.
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MUkTIMEK IK.1NK. M.D Anatt
OK CAKI.l Caricatur, and Cartoon
tJUJBO \ Pen-and-ink Portrait
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HhGAK CAMERON \ Nude I
F. J. MULHAUPT )
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THE SCHOOL OF ILLUSTRATION
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Wh«n writing to
ADVERTISING DEPARTMENT
Aiden Weir. Original works in oil, water-
color, pastel and sculpture will be shown.
Minneapolis —
The dignity and importance of the Ameri-
can art exhibition which the Minneapolis So-
ciety of Fine Arts is arranging for March and
April, will make it one of the principal events
of the year in the esthetic life of the com-
munity. Responses have been received from
the artists who were asked to lend works, in
such a generous manner as to insure a fine
collection of over 100 paintings. The ex-
hibit will open March 26 and continue until
April 15, in the galley of the public library.
Mrs. C. W. Wells has been engaged by the
society to explain the pictures and remain in
the gallery to meet the inquiries of all visit-
Lincoln, Neb.—
The Haydon Art Club has been merged
into the Nebraska Art Association. The
aims of the new organization are broader
than those of the old one, the general plan
of the new one including the aims of the
older one and enlarging upon them. The
Nebraska Art Association will, as the name
implies, be a state society, and among its
members will be numbered eventually many
of the prominent persons interested in art
residing in the state.
New York —
The twenty-second annual exhibition of
the Society of American Artists opened at
the Fine Arts Galleries Saturday, March 24.
The jury's prize selections are: The Webb
prize of $300 for the best landscape by a
painter under 40 years of age has been
awarded to Mr. E. Elmer Schofield for his
"Autumn in Brittany." Mr. Schofield is a
stranger whose work has never before been
seen here. He recently returned from
Europe to his home in Pennsylvania. The
picture purchased under the terms of the
Shaw fund for $1,500 is one by Mr. Irving
R. Wiles. A young woman is represented
standing before a mirror arranging a yellow
rose in her hair.
The second annual exhibition of the So-
ciety of Landscape Painters will open in
New York in the American Art Galleries,
May 1.
The third annual exhibition of Ten Ameri-
can Painters was opened March 14th in New
York. The artists included in this group
are : T. W. Dewing, Edward Simmons,
Wtm wrltlnf to »ltT«1ll«n>. pIuh n
BAUSCH &LSMB]
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BRUSH AND PENCIL
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ADVERTISING DEPARTMENT
15
Robert Reid, J. H. Twachtman, Childe Has-
sam, Joseph Decamps, F. W. Benson, E. A.
Tarbell, Willard Metcalf, and J. Alden Weir.
The death of William Louis Sontag, a
well-known artist, occurred in New York.
He was born in Pittsburg in 1822, and en-
joyed a wide reputation as a landscape
painter, and was self-taught. He was one
of the oldest members of the National Acad-
emy, and was also a member of the Artists'
Fund and American Water Color Societies.
William H. Beard, famous as a painter of
animals, died at his home in New York City,
after an illness of several weeks. He was
born at Painesville, Ohio, on April 13, 1825.
Mr. Beard took to drawing in early child-
hood, his first models being the family dog
and cat. His early instruction was received
from his elder brother, James H. Beard, an
artist of repute, whom he followed to New
York, where his brush secured him sufficient
support to go to Europe in 1857. Among
his best known works are "Kittens and
Guinea Pigs" (1859), "Susanna and the El-
ders," "Swan and Owls" (i860), "Bears on a
Bender" (1862), "Bear Dance" (i860,
"March of Silenus" (1866), "Flaw in the
Title," "Fallen Landmark" (1867), "The
Good Shepherd and the Delectable Moun-
tains" (1869), "Diana and Her Nymphs,"
"Darwin Expounding His Theories,"
"Morning and Evening," "Raining Cats and
Dogs," "Dickens and His Characters"
(1871), "Lost Balloon," "Runaway Match"
(1876), "Divorce Court" (1877), "Bulls
and Bears in Wall Street" (1879), "Voices
of the Night" (1880), "Spreading the
Alarm" (1881), "In the Glen" (1882),
"Cattle Upon a Thousand Hills," "Eaves-
droppers," "Who's Afraid" (1884), "His
Majesty Receives," and "Office Seekers"
(1886). He published "Humor in Ani-
mals," a collection of his sketches, in 1885.
The $100,000 maintenance fund to care
for J. J. Albright's gift to Buffalo is as-
sured. Already $68,000 has been sub-
scribed, and those in charge believe they
know the sources whence the remaining:
$32,000 will be forthcoming.
Brooklyn —
Brooklyn is to have Tissot's famous
paintings representing the life of Christ.
At the last regular meeting of the Board of
Trustees of the Institute of Arts and Sci-
ences it was resolved to buy the collection.
The price is $60,000, of which $13,100 has
already been subscribed.
Artistic and Architectural
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ADVERTISING DEPARTMENT
17
Philadelphia —
The purchases of the Philadelphia Acad-
emy of the Fine Arts for the Temple col-
lection are, "Nicodemus Coming to Christ,"
by Henry O. Tanner, which received the
Walter Lippincott prize, and "The Cafe," by
John W. Alexander, who received the prize
in 1899. The attendance to the exhibition
was exceptionally large for Philadelphia,
43,992 visitors in forty-two days. Other
paintings sold were: "The Hillside," by
Robert Coleman Child ; "La Communiante,"
by James Wilson Morrice ; "Gray Day, Hol-
land," by Charles P. Gruppe; "At Nan-
tucket," by Frank C. Mathewson; "Octo-
ber," by Helen Shelton Smith ; "Evening at
Montreuil-sur-Mer," by A. D. Gihon; "A
Bad Pass, Coast of Algeria," by F. A. Bridg-
man ; "Autumn Twilight," by Leonard Ocht-
man ; "Morning," by Ernest Lawson ; "Win-
ter Morning," by T. C. Steele; "On the
Loire, France," by Charles Morris Young;
"Sunset in the Dunes," by John G. Saxton;
"A Bulletin Board," by Ellen Macauley;
"The Village," by Hugh H. Breckenridge.
The Darby School of Painting will open
its second season on May 1, 1900. The
school may be regarded as in sjme sense a
summer school for the students of the Penn-
sylvania Academy of the Fine Arts, inas-
much as its instructors, Mr. Thomas P. An-
schutz and Mr. Hugh H. Breckenridge, are
both members of the Academy faculty. The
studios of the school are readily accessible,
Darby being a residence suburb of Philadel-
phia, and at the same time are surrounded by
rural scenery affording limitless subjects for
outdoor study, within the radius of a five
minutes' walk.
The increased interest in the art of illus-
tration is shown by the growth of the School
of Illustration which, though started as an
experiment less than two years ago, may now
be considered as one of the important factors
in the development of art in the West. The
distinctive feature of the school is the "prac-
tical" quality of its instruction, as each in-
structor is not only experienced in the special
line of work which he is teaching, but is a
man well known in his profession. The
names of Leyendecker, Carqueville, Holme,
Gaspard and Cameron are familiar to art
lovers. A course in anatomy under the
direction of Dr. Mortimer Frank, of the Col-
lege of Physicians and Surgeons, and a
series of talks on photo-engraving by Joshua
Ramsdell are among the latest features in the
school's announcement.
Ernest A. Hamill, President
Charles L. Hutchinson, Vice-Pre&t.
D. A. Moulton, ad Vice-Prest.
Frank W. Smith, Cashier
The
Corn Exchange
National Bank
of Chicago
Capital
Surplus -
$1,000,000
1,000,000
DIRECTORS
Sidney A. Kent John H. D wight Charles H. Hulburd
Charles H. Schwab Edwin G. Foreman
Charles H. W acker Edward B. Butler
Ernest A. Hamill B. M. Frees
Charles Counselman Charles L. Hutchinson
WECLIR
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Thinkers
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and ANYONE wishing to collect
clippings on any subject, — business
pointers, material for lectures, sermons
or debates, — should read our booklet,
"The Uses of Press Clippings." Sent
to any address.
Consolidated Press Clipping Co.
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When writing to advertisers, please mention Brush and Pencil.
BRUSH AND PENCIL
THE MAGAZINE OF ART
i goo
It is the intention of the Editor and Publishers of The Magazine of Art to mark the issue
of the Volume that completes the Century with features of 5|iecia! interest. The policy of the past year
was so warmly approved by the great army of The Magazine of Art readers— for never was a year
more satisfactorily concluded— that it will, in the main, he maintained ; and certain important improve-
ments are being introduced in the Arrangement as well as in the Contents.
The Editor has great pleasure in announcing that by
Special Favor of her Majesty the Queen
her artistic treasures preserved in Buckingham Palace will
be illustrated and described.
The New Feature, whereby the [most interesting and
beautiful New Acquisitions at Our National Galleries and
Museums are published month by month, will be further
developed. This chapter, illustrating the steady growth of
the National Art-wealth, has already been recognized as an
invaluable record not elsewhere to be found. Inasmuch as
the text is written by experts the feature becomes author-
The section of the Art Movement receives special at-
tention. While it illustrates what is best in the Art of the
Day, and especially in respect to Decorative Art, an effort is
made to exclude that which only has exaggeration or affec-
tation to recommend it.
Art Lore and the Curiosities of Art afford the subject
of several hitrreslii.g papers already in type.
Art Collections of repute will be dealt with periodi-
cally as heretofore.
Articles are in preparal
our chief " Rising Artists,"
ready also on Painters of high i
n which deal with several of
s well as of Artists who have
t whose reputation has
already risen. Illustrated papers ;
heen unjustly clouded.
Art Sa'lcs— a suhject of absorbing interest to tl
fully dealt with than heretofore.
Many other subjects will be treated — notably o
received the attention thev deserved. The great Spec
be set before our readers by distinguished Experts.
In respect of Color Illustration, the new methods, which admit of almost absolute facsimile, will
enable us to place before the render not pictures only, but the representation of Objects of Art, with a
beauty and verisimilitude but a short while since unknown.
Articles will be as fully Illustrated as heretofore, and Tin-: Magazine of Art will retain its posi-
tion as the most beautifullv'and artistically illustrated publication devoted to the Arts— printed with all
the care that can be lavished upon it, and'decorated with Wood Engraving, Rembrandt Photogravure,
Etching, and such other processes as may most effectively be employed.
^W^"The exquisite beamy of the engravings i
letterpress, should carry the magazine into ever
"The Magazine of Art represents art a
other periodical." -Saturday Review.
The
1 OF Art, and the excellence of the
is appreciated." — Standard.
S of the day better than any
Price, 35 cents Monthly, $350 per year.
SPECIAL OFFER
CASSELL & COMPANY, Limited, London, Paris, Melbourne
7 and 9 West Eighteenth Street, New York
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i Brush and Pencil.
Burbank Indian Portraits
ARTISTIC INSTRUCTIVE
<
Mr. Burbank's Indian Portraits are painted from life, each one being a sep-
arate study. They faithfully portray the costumes and tribal characteristics of
the American Indians, and are valuable from the artistic as well^as from an
Historic standpoint,
SERIES "A"
Comprising 2 1 of Mr. Burbank's latest portraits painted this year, and the
best specimens of his work, will be ready for delivery December i,at the uniform
price of 50 cents each. These pictures will not be used in Brush & Pencil or
any other publication, and will be sold only by the stores and by the publishers.
They arc much larger than pictures previously published, being 9 j£ inches high,
of sufficient size to frame to best advantage. The following subjects are included:
No- Flesh — Ogalalla Sioux]
1.
2.
3-
4..
5-
6.
7.
S.
s-
10.
11.
Chief Ger6nimo — Apache 13.
Chief Black Coyote — Arapahoe 1 4.
Red Woman Squaw — Southern Cheyenne 15.
Chief Spotted Elk — Sioux 16.
Chief Stinking Bear — Sioux 17.
Chief Joseph — Nez Perces 1 8.
Chief Red Cloud — Ogalalla Sioux 19.
Standing Soldier — Sioux 20.
Chief Chief Killer — Southern Cheyenne 21.
Straight Crazy — Arapahoe
ARTIST'S PROOFS
She- Comes-Out- First — Ogalalla Sioux
Weasel Tail — Southern Cheyenne
Iron Crow — Ogalalla Sioux
Chief Little Wound— Ogalalla Sioux
No-Flesh — Sioux
Chief Stinking Bear — SiouxJ
Chief Red Cloud — Sioux
Shield — Sioux
Flush Tow— Polouse
Kicking Bear — Sioux
a
We have a limited number of Artist's Proofs of this new series "A," per-
sonally signed by the artist. These are limited to 50 each, and are the only signed
Burbank reproductions to be had. Price, #1.50 each.
Brush and Pencil has the exclusive right to reproduce Mr. Burbank 9 s
Portraits in color
SERIES "B"
This is the series of portraits first published and used in Brush fc? Pencil
during the last year. The size of these pictures is 5 x 7 inches. The following
are the subjects. Price, 25 cents each, postage paid, mounted on good quality
mats or unmounted.
22. Quin-Cha-Ke-Cha — Ute
23. Gi-Aum-E-Hon-O-Me-Tah — Kiowa
24. Chief Joseph — Nez Perces
25. Si-Yon-Wee-Teh-Ze-Sah— Zuni
26. Ger6nimo — Apache
27. Hong-ee — Moqui
28. Ko-Pe-Ley— Moqui*
29. Quen-Chow-a — Moqui
30. Siem-O-Nad-O — Mojavc
3 1 . Si- We-Kah— Pueblo
32. Zi- You- Wah— Moqui
3 3 • Wick- Ah-Te- Wah— Moqui
^he Brush & Pencil Publishing Co., 21 J Wabash Avenue, Chicago
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