Here Blumenschein's large Indian compositions are of decorative character. They are well composed and dramatic. The "Peace Maker" is big in feeling. Typically American and very unusual are Colin Campbell Cooper's New York street perspectives. His originality as a painter is well demonstrated by this choice, which must have taken much courage at a time when American subjects were more or less despised. Richard Millers "Pink Lady" does not look a bit convincing, cleverly as it is painted; it is not interesting enough in the large surfaces of overnaturalistic pink flesh. Half that size would have been just enough for this canvas, which is chiefly a concession to the modern mania for painting large exhibition pictures to attract attention by their size alone. Groll's desert pictures are disappointing. They have neither interesting colour nor sufficient atmosphere to come up to the standard of this typical desert painter.
Gallery 46.
There is a lovely note in this gallery, contributed by Ruger Donoho's garden scenes. Most unusual in subject, they are full of life, vibrant with colour, and altogether very delightful, a most pleasant change from the ordinary run of subjects. Frank Dumond's work on another wall (B) excels in a pleasant mannerism. His work is most thoughtful and well studied. The two smallest of his paintings are perfect gems in every way - well balanced by two small tender canvases of southern Europe by Mrs. Dumond (on the opposite wall). Two portraits in this gallery, Inez Addams' "Daphne" and Adolphe Borie's "Spring," should not be slighted. Borie's is very strong, and one of the best portraits on exhibition. Alongside of it is a winter landscape by Ernest Albert, which, while a little timid, is nevertheless poetic and more convincing than others of that type near by.
Gallery 45.
Charles Morris Young's art is so refreshing, so spontaneous in every way, that it catches one's eye immediately on passing on into this room. His work deserves recognition for more than one reason. His handling of paint is fresh and clear and a direct aiming for a final expression of what he wants to convey. Any one of the six subjects is well handled. They give one the feeling of the artist's thorough understanding of his material. His own "House in Winter" and the "Red Mill" reach the high-water mark of landscape painting in the exhibition. Griffin's pictures, on another wall, so openly disregard technical rules in their careless superimposition of unnecessary paint that in spite of a great richness of colour and a certain suggestion of truth, they are not apt to hold one one's affection very long. They are sincere, I admit, but careless in technique. There is no doubt about it, because heavy paint and bare pieces of canvas will not make durable pictures. Birge Harrison is disappointing in two pastels which seem too chromo-like, too mechanical, to carry their point.
Gallery 44.
This collection is not at all without interest, but with few exceptions the pictures in it are not strong enough to hold their own with so many good things abounding elsewhere. Ralph Clarkson's portrait, Bartlett's schoolyard, Perrine's technically unique landscape, are all meritorious.
Gallery 43.
Frederic M. DuMond's "Sea Carvings" in the corner, and Nahl's decorative composition attract, each in its way, while in another corner a badly skyed portrait by Hinkle is scarcely given a chance.
Gallery 74.