Panel on Cypress Wood—Japanese Scene 
Panels Painted on Cypress Wood 
By SAMUEL HOWE 
T WO interesting panels were shown at The 
Architectural League Exhibition last winter 
which are well worth noting. They are wall 
decorations painted on cypress wood. Mr. Russell 
Hewlett of New York City is the designer and the 
painter. The material of one is of water-color— 
used thin and kept very transparent and outlined 
with conte crayon. The other is of oil color also 
used thin. In this case the thinning is done by the 
addition of spirits of turpentine. It is outlined 
with conte crayon and the painting is very flat and 
broad. 
Advantage has been taken of the grain of the wood. 
It is made to enter into the scheme of things most 
effectually. The mountain in the Japanese scene 
and a portion of the foreground, where the wood is 
innocent of applied color of any kind, have a singularly 
luminous effect. The markings near the gate posts 
in the panel here shown reveal a subtle charm. This 
surely is getting to the spirit of the old masters who 
avail themselves of almost any means to get the end 
in view. 
There is a certain naive quality about the 
whole composition and a repose that speaks well 
for the thought given to the arrangement of the 
masses and a practical lookout for the peculiar charm 
of the wood itself. The artist is willing to have 
the markings of Nature show and welcomes them, 
Nature seeming to smile back, being glad to form a 
portion of the story. This comradeship is delightful. 
Note the quick bright touches in the blossom of the 
fruit tree as its delicate markings contrast with the 
somber face of the big cypresses boldly standing out 
against the sky; the careful drawing of the archi¬ 
tectural features forming a serious connecting link 
between house and garden, and the general atmos¬ 
phere of the whole scene. There is so much sug¬ 
gestiveness about it all in spite of its limited pallet, 
its earnestness and its strength. A coat of dead- 
lack varnish covers the panel. 
Why cannot more attention be given to this kind 
of work ? Why not oil and acid stains as well as 
paint with perhaps an outline cut deep and broad in 
which wax of some bright color shall form a note. 
There are doubtless many processes by which more 
color can be given to our rooms, preserving at the 
same time a delicacy and subtlety as well as a strength 
which is so well worth while. A certain skilful 
manipulation of the grain wherein some of the softer 
portion of the wood is removed with a chisel before 
staining to secure a change of texture may be desira¬ 
ble on some occasions. 
From rough sketches also examined it appears 
that these panels form a part only of the decoration 
of a room which requires some eight or ten to com¬ 
plete the story. And, in spite of the individuality 
and strength of each section its especial interest 
and story is not complete without the whole viewed 
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