4 2 
KERAMIC STUDIO 
The 
Galleries 
VISITOR IN NEW YORK. 
Durand-Ruel has the "Ten Painters" exhibi- 
tion now on. There are only nine this year, but 
the exhibit was most individual and inspiring. 
Robert Reid had three fine decorative panels in the blues he 
so much affects. They are entitled "Azalea," "Carina" and 
" Fleur de Lis," and are studies of the same woman in dif- 
ferent surroundings and lights. As the names suggest, one 
had a back ground of Azaleas, one holds a scarlet Carina in 
her hand, and one crouches down over a bed of Fleur de Lis. 
The bluish purple tone runs throughout. Twachtman has 
some landscapes that bring out all the latent poetry in one's 
soul, the spring landscape and the "Brook" have a delightfully 
hazy and suggestive feeling. Benson's "Morning in the 
Wood" is a study of two children in the shifting rays of sun- 
light through the trees; the outdoor color is charmingly true 
to nature. Childe Hassam contributes "Morning Mist," a 
mysterious effect of nude figures in the mist by the water 
side. 
© © e 
The If you inquire you will be told that the Amer- 
•c ft-,- i can artists' exhibition is poor this year. You 
Exhibitions .... . , , * , , ., . . 
will be told the same about any large exhibition 
any year, but do not let it trouble you. If you look around 
you will find plenty to learn and to admire. You must expect 
that out of so many pictures, few will be for the generation 
to come. 
It is surprising how much of the best figure work is done 
by women. It is especially noticeable in this exhibition, 
Cecelia Beaux, Rosina Emmet Sherwood, Lydia Emmet, Mary 
MaeMonnies compare more than favorably with the men 
and there are many not exhibiting this year who rank with 
the best. 
Every one is asking "What do you think of Dagnan 
Bouveret's 'Disciples at Emmaus ' "; the artists for technical 
reasons, the public from religious sentiment as to the propriety 
of the artist introducing himself and family in the picture. 
The visitor not being capable of settling the disputes will 
keep out of trouble by not discussing them. Sargent and 
Whistler contribute to the exhibition, but the visitor will 
confine herself to the pictures which give suggestions to the 
Decorator. Albert Herter has a fine study of color by fire 
light and twilight. His " Eve of St. Agnes" is most remark, 
able for the fine color in the woman's red gown on which the 
firelight plays, and the stained glass window behind in 
rich blues and greens with daylight showing 
through and fire light reflected on it. The 
black leaded effect is fine from a decorative 
stand point. This effect would be fine in 
china decoration, especially with lustres. 
Charles C. Curran has a study of White 
Turkeys which are interesting from the treat- 
ment of white in the sunlight, yellowish green 
in the shadow and violet in the half tones. 
In the treatment of white in a subdued light 
usually the half tones are bluish, the broad 
shadows greenish and the deepest touches 
violet. 
There was also a panel picture of moon- 
light on white lilies and a lightly draped figure 
that suggests an interesting treatment for a 
vase. 
There were many most interesting miniatures, but those 
of Laura Hills of Boston, and Lucia Fairchild Fuller of New 
York were by far the best. 
Miss Hills uses this year a great deal of pink in back- 
grounds. It would be a doubtful experiment for the beginner 
as would also her bold use of opaque white. Two interesting 
ivou'es are called respectively "The Gold Fish" and "St. 
Elizabeth." 
" The Gold Fish" is a girl with long red hair and pink 
and yellow drapery blown by the wind against a wavy back- 
ground of dark green and blue. The whole movement suggests 
the motion of water. The red hair blends softly into the 
flesh. "St. Elizabeth" is a sweet girl's head with a gold leaf 
halo about it. It is mounted on a tall and slender old brass 
standard and suggests a picture in a clock. 
The two most interesting ivories of Miss Fuller are "The 
Girl with a Hand Glass." A girl in a Japanese morning gown 
with hand glass, against a flat background effect with Japanese 
panel on the wall, and the "Girl Drying Her Foot." This 
last is exquisite. The girl is nude, leaning on a dainty white 
chair with pink brocade stripes, and drying herself after her 
morning bath. The figure is well drawn, the flesh delicate, 
the color clear. Note that the pink satin was violet in shade, 
yellowish in high lights and pink only in half-tones. 
Why do our decorators use landscapes so little for dec- 
oration? Or why do they not paint them on panels for fram- 
ing. There is no reason why as good and artistic work could 
not be executed this way as in oils or watercolor. Has any 
subscriber anything to say on this subject? The Society of 
Landscape Painters has just had its spring exhibition. The 
work of twelve men, each telling his story of nature in his 
own way. Have you no story to tell? If you have you can 
tell it in a much more enduring way on porcelain. Paint on 
panels for framing. Study the varied phases of nature and 
tell some newly discovered truth in a new way. Two men 
especially of this society have a most interesting way of seeing 
nature, Charles H. Davis of Mystic, Connecticut; and George 
H. Bogert of New York city. 
Mr. Davis sees many sides to nature and paints his 
story in a telling way ; his atmospheric effects are wonderfully 
fine. His work to the visitor's mind was the best in the exhi- 
bition. Mr. Bogart had some stunning little things in black 
frames, one especially "Sunset, Paris Plage," the sun setting 
on the beach. By-the-bye, black frames are very effective for 
porcelain panels. 
