KERAKQC STUDIO 
,8; 
true architectural problem and to have managed well the 
patterns employed and to have secured good color. 
The use of the word "architectural" in connection with 
Keramics is to my mind correct, and all the laws applicable to 
the one must govern the other. But some one may say that 
Mr. Aulich's work is charming, though he does not treat his 
pieces architecturally. This comes pretty near to driving me 
into the corner because the statement is true. However, I 
observe that this gentleman knows his art, and has good taste 
and produces fine color, which virtues are a better cloak than 
charity. If he were to apply a little architecture also, I 
think it would be very fine, as is so manifest in that same 
Dutch work borrowed from the Chinese, and indeed in the 
Oriental work in its purity. Mr. Aulich paints fruit pictures, 
not on canvas but on porcelain, and he takes excellent advant- 
age of the stuff he works with. 
I find that marks of honorable mention have been placed 
against the names of Mrs. Randall, Miss Yeoman, Miss Green, 
Mrs. McCreery and Mrs Clark. Altogether this is the finest 
exhibition that the club has ever given. 
# •? 
BROOKLYN EXHIBITION 
THE Brooklyn Society of Mineral Painters held its annual ex- 
hibition at the Pouch mansion of that city, December 5th 
and 6th. There were thirty exhibitors, a beautiful place for 
exhibition, a fine light and work that improves with each 
year. The members are all inclined to the floral decorations, 
and there was nothing that impressed one as delightfully orig- 
inal nor of an individual stamp, but there were many beautiful 
pieces, and fine manipulation of color. All the exhibitions 
this year show less of the amateurish features and more of 
the professional. 
There was a tendency towards more simplicity in the 
treatment of flowers, and we noticed that more have taken 
advantage of the decorative effect, of allowing the lines to 
come from the bottom where a tall form was used, and on 
which were applied blossoms having long stems and leaves. 
Mrs. Osgood's narcissus vase is a striking illustration of 
this decorative principle. Her handling of greens was partic- 
ularly good on this piece and also on her green salad plates, 
with a wide band of delicate green on the rim and the floral 
design coming within the green band. 
Miss Montfort had a few pieces exhibited, — small plates, 
very simple in treatment, but a good, clean cut, finished style 
about them. 
Mrs. Prince had a charming set of after dinner coffee cups, 
in turquoise blue, decorated in conventional design of gold 
and white enamel, with the base of cup (which had been 
divided by the potter) in black with a delicate design of gold 
and red enamel. She utilized the form very correctly, and 
the decoration showed thought and study. 
Mrs. Tuttle exhibited a pitcher in ruby, with gold drag- 
ons, very decorative in effect, but it would have been better 
if some bronze had been introduced into the gold. Her roses 
were well painted. 
Miss I. C. Johnson showed originality in her mushroom 
set, one could see she has studied nature. Frank Muni has 
the true decorative spirit and his enamel and paste work was 
the best there. We would like to mention others, but with so 
many exhibitions it is impossible to do so. The exhibition 
was a success financially and we congratulate the club upon its 
management and hope to see next year more of the designs 
carried out conventionally. 
DESIGN OF GRAPES FOR TANKARD 
Jeanne M. Stewart 
AFTER making a careful sketch, paint in the bunch of 
Tokays to the right in Banding Blue, Aulich's Pompa- 
dour or Blood Red, Lemon Yellow, Yellow Brown and Chest- 
nut Brown. Keep colors clear and transparent, using a thin 
wash of Banding Blue to represent the "bloom" or lightest 
tone in study. 
Banding Blue, Brunswick Black and Ruby Purple may be 
used in the blue grapes, Yellow Green in a very thin wash, 
Lemon Yellow and Shading Green in white grapes with a 
touch of Pompadour in those most prominent. 
Use Yellow, Olive, Blue, Shading and Brown Greens in 
leaves, with Egg Yellow, Yellow Red. Pompadour and Chest- 
nut Brown in prominent leaf. 
Stems in Yellow Green, Chestnut Brown and Pompadour. 
Shadows in same but lighter colors. Lay in the background 
in second fire in tone shading from Ivory Yellow to the dark 
greens or browns at base. Accent shadows, and work out 
detail with same colors as in first fire. 
In third fire strengthen background and shadows under 
prominent leaves and on shadow side of bunches of grapes, 
using a tone of Banding Blue, Brunswick Black, Ruby Purple 
and Aulich's Pompadour over blue grapes, Chestnut Brown 
and Pompadour over red and grey for flowers over white ones. 
*• -f 
GRAPES IN WATER COLOR 
Rlioda Holmes Niclwlls 
WHAT a beautiful opportunity for color effect is suggested 
by the arrangement of grapes. The bloom of the rich 
purple bunch comes in contact with the soft green of the leaf 
and then passes on to a rich red fruit with darker green leaves. 
In the right hand corner is a bunch of delicate pale green 
grapes, inclined to a little yellow in the more mellow tones. 
The fruit can be combined and rearranged in many differ- 
ent ways, for water color work. The background or general 
tone of the Jar should be of different shades of buff, broken 
here and there with a suggestive tone of the grape. The deep 
tone at the base of the Tankard should be a low toned purple 
carrying the color of the grapes down without exactly repeat- 
ing the color. The colors to use in the purple grapes are French 
Blue, Alizarin Crimson, breaking the color here and there 
with a little Hooker's Green. To give the bloom Cobalt 
Blue will generally answer. If the painting is already too dark 
for that, Chinese White dragged rapidly over will help the effect. 
The student must remember to have some grapes without a 
brilliant high light. They could not have high light and color 
at the same time. For the red grapes the same colors can be 
used, increasing the Alizarin Crimson. For the green grapes 
use Hooker's Green No. 2, a little Yellow Ochre, Cobalt Blue, a 
little Rose Madder. For the leaves use Hooker's Green No. 
2 and No. 1, Rose Madder, plenty of water and a little Cobalt 
Blue. The stems of the grapes are a yellow green. They re- 
quire to be sharply cut out to give them value and yet not too 
regular. For the ground work use Yellow Ochre, raw Sienna, 
Rose Madder and occasionally a little Blue. The base of the 
Tankard should be redder than the upper band and the top of 
the handle be redder than the lower part. The taste of the 
student will have to come into play not to make the change 
too great between the purple and the red. The smooth 
Whatman's paper, 70 pounds weight will be the best adapted 
to the subject. 
