44 
KERAMIC STUDIO 
HE recent exhibition at the Chicago Art 
Institute, of the National League of 
Mineral Painters, was by far the most 
interesting that the League has given. 
It was larger, for one reason, more clubs 
being represented, and there was a decided improvement and 
advancement in the work of all the clubs. Although much 
of the work was badly placed, and the white drapery in the 
cases marred the general appearance of the exhibition, still it 
was the most dignified exhibition the League has given. 
Each club had its own jury before the work was sent to 
Chicago, and there was another jury from the Art Institute to 
pass upon everything that was brought there. Criticisms were 
conscientiously given, and many pieces rejected— not one club 
escaped — so all the more reason have the members to con- 
gratulate themselves that the exhibition was so large and that 
a standard has been established. Most of the work rejected 
was figure painting. We are happy to state this, for it shows 
the folly of trying to do pretentious figure painting, without 
the necessary drilling and training in drawing. 
The exhibition was held in the Art Institute, with paint- 
ings of old masters upon the wall, as well as those from 
modern painters, who have spent years and years in the study 
and drawing of the human form. Is it not presumptuous for 
a student, who has had a dozen or two lessons, to bring work, 
mere copies at that, which is faulty in every respect, and ask 
for recognition in that same room ? This will teach a lesson 
that is well worth consideration before sending work to Paris. 
The jury then will draw the line a little closer, and nothing 
but the best and choicest will be selected. This is the greatest 
step towards advancement that the League has yet made. 
We would say also, that the extremely large pieces are 
most difficult to'handle, there being greater danger of break- 
ing. They do not seem to attract the eye any more than 
smaller pieces, and certainly the chance of sale is smaller. At 
this exhibition we have noticed that the smaller pieces seem 
to attract the most attention, and we wondered if it was be- 
cause the effect of the zvhole decoration could be seen better. 
The cases with the dark backgrounds showed the china to 
much better advantage. (These little hints are for the clubs 
contemplating exhibitions.) 
The work of the Chicago Club, with few exceptions, was 
inclined towards the influence of Mr. Aulich — some of it beau- 
tifully painted, and others falling short, of course. Mrs. 
Cross, the former president of the Club had a case filled with 
glass, decorated in different styles. Some of her color effects 
were particularly attractive, especially in the flight of birds. 
Her technique was extremely good in all her raised gold and 
enamel decorations. 
Mr. Aulich's painting and handling of grapes was remark- 
ably fine and his work was enhanced by superb firing (by Miss 
Hatch). Every one knows his roses — they could be recog- 
nized all about the room, or throughout the whole exhibition. 
Mrs. Crane handles flowers well. Her Narcissus vase was 
more like the Fry method, and was extremely well done and 
most beautifully fired. She was fortunate in selling this choice 
piece. The box with yellow pansies was good, the yellows 
being transparent and clean, but it was a great mistake to use 
white enamel on the vase with dandelions, as the decoration 
was soft, resembling underglaze — only these light spots were 
prominent. 
Miss Van Hise shows Mr. Aulich's training and is a most 
clever exponent of his method. 
Miss Phillips exhibited a charming teapot in Chinese de- 
sign, of green and pink enamel, and her cups and saucers were 
all extremely attractive both in design and technique. 
Mrs. Frazee exhibited a case full of interesting work, both 
in conventional design and figure work. Her two small figure 
vases — one in shades of green and the other in dull grey blues 
and violet were artistic, and closely resembled the work from 
the Doulton works. Her conventional work was particularly 
attractive, both in design and execution. The Arabian teapot 
was one of the best pieces in the room. It was an intricate 
mingling of blue, green, dark blue, and brown, the whole being 
restful and charming. 
Miss Topping, whose case was next, displayed only con- 
ventional decorations, and one could not but feel the fascina- 
tion of it, and the intense desire to possess these beautiful 
pieces. There was a delightful bit of color in a little red vase 
— just the scarlet tone, with a simple Chinese design in gold 
forming a band -just that one spot of vivid red looked well in 
the case of Oriental designs. Her rose jar, Chinese motif, was 
extremely well executed, as also was the chafing dish bowl, 
although much more simple in design. The rose jar in Persian 
motif was in soft greys, violet, blues and green. Her case con- 
tained only choice things showing study and perseverance, 
with results extremely satisfactory and quiet. 
Carolyn D. Tyler exhibited a case of interesting minia- 
tures on porcelain, and Miss Huerman's portrait of a lad with 
straw hat was remarkably well executed, and looks as if it 
must be a speaking likeness. 
Mrs. McCreery showed a variety of styles of decoration. 
A small incense burner in Oriental design was clever, but the 
decoration of the tall jar was not particularly well adapted to 
