The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1883-11-08
THE BRUSH AND EASEL.
The Art Loan Exhibition Ready for
the PubIic's Inspection.
Notable Works in OIL and Water cOIors-A
Creditable Display of Fine Arts-List
of Water COlOrs.

Indianapolis Art Association, Ia English 8 block,
ended, and last night the gas was lighted to see
what reflections would be cast upon them, and
how they would stand the test. The light was
good for the greater part of the collection. but
number OF pictures suffered from unfavorable
positions, and few changes win have to be
made. The first of the four rooms In which the
exhibit is held is to be used as a reception room
merely. 1t is costly arranged and music, both
vocal andinstrumental, will form part of each
evenings entertainment. Tonight the formal
opening of the exhibit will take place, and
on Friday evening it will be under
full headway and open to the public
through the month AS the purpose and
motive OF this exhibit is wholly in the
interest OF the community and for its benefit
generous support and full attendance should
be accorded by the public. The project has more
than local interest. and really concerns the
citizens of the State at large. The collection of
pictures is not only large, but rare and fine, hav-
ing been selected with artistic and cOnscien-
tious discrimination.
FOREIGN LoAN-wATER-CoL0Rs-
The water-colOr department is entitled TO more
than the brief notice given it yesterday. F.
Hopkinson Smith furnishes more pieces than
any other artist His "Market-place in Seville"
No. 127, is gray in tone, with bright touches of
color and a dash of sunlight. The "Grand Canal,
Venice" No 14O, is in a quiet key and pleasing
general effect No. 156is an sold Moorish Street
in Seville" and No. 2O3 "a Summer Morning in
Venice" ''Watng at the Door, No. 1913, is a
scene in Venice The old brick walls are full of
color, and the artist gives a beautiful effect of
light thrown across the water through a break
in the buildings. Everything in the picture is
subservient to this feature and intended to lead
up to it. The "Old Well of the. Alhambra," No,
204 is in the artists characteristic style. There
is a tent-covered well in the foreground, and the
figures grouped about it charmingly pic
turesque. Tae sunlight effect through the tent
is good. The towering walls of the Alhambra in
the background heighten the eff CT intended to
be produced by the well. which is the strength
of the picture
Robert Blum shows two pictures. venetian
Bays" No. 1919, and "A Morning at Venice" No.
LA. Both are good. In the first the texture of
the wall is admirable and the water actually
looks wet.
A NJ Turner's peasant GIRL" No. 1877, is a
wel-drawn figure. This sketch is broad and
simple in its treatment, with fine effects of light
and shade.
Percival DeLuse, No. 1873, "Waiting," shows a
lady recllning-a well-Gressed summer idler. The
lady is in a thoughtful mood, with woods and
water to weave into her reverie. streak of
sunlight in the distance makes the picture.
A. E. Steiner, young Chicago artist, mem
'The Propeller Peerless" No. 179. 1t is a bit
right out of Chicago river, and shows propeller
on gray wintry Day VI 1t is Gle clearly sketched
w. s. Buckn's "Od Willows" No. 154, is, in
treatment. broad and simple. The water foliage
and shadows are all nicely done.
No. 1875, by AgrarOt, is "a Lady of Va
lencIa," and No. 200, i'll the style, is "After
the Opera" in which there good effects of
light ana color.
VanEten's "A Corner of a Nursery" No 1s1,
is treated in a broad, easy manner, without ap-
parent labor. It Is backyard scene in the
country, faithful bit of nature, chickens, ducks
and turkeys, with apple trees that are as honest
rhe remainder of the picture.
No. $50, is by Mcdowell, and shows o wash
erwoman, mulatto, seated, and with her knotty
fingers clasped around bundle, waiting for
Her Money" All the accessories, the willow
clOthes-basket the row of sad-irons, ETC., are
well placed.
.sOn Marshall Creek" No. 100, Harry Fem.
artist, is a good subject, aud there is much that
is good i'll the picture, though the general treat
ment is not as vigorous as II should be.
Near the Sea-" No. 191, by Sartaln, is Is sketch
of salt water in the distance, rough, broken
foreground. The style is gray and the sketch is
a strong one.
Number LAG, Twilight on Mott Haven Canal"
by McCOrd, Is fine, even with the ohtrusive blue
cloud. The distance is well developed, and the
weather is brought into IL so that one can catch
the atmosphere from the picture. and see just
what kind of weather Is in it.
"Showers on the Prairie" No. 49, nv Annie c.
Shaw, shows fine cloud aud distance effects.
X. H. Greatorex, "PeOnies" No 129, is done
in bold, broad. dashing manner, and Will re-
celve the appreciation of discriminating critics.
"HOllyhocks" is in the same free and judicious
manner.
Number 20, "a Quiet Evening in Illinois,"
is by Mary A. Wright, rising woman. It is not
in her best manner, but, nevertheless, credit
able bit of work.
"a Summer Afternoon on the Shores of Lake
Erie" No. 90. Prosper L. Senat, will attract
much attention.
One OF the best of EdWarls,s water.eolors ia |
his water Carrier" No. l04. It's beauty lies in
its action The arm of the buxom young woman |
that carries the bucket shows that it has weight
upon IT, and the pose of the figure implies mo-
ton. The distance is also well put in.
Number 100, "On Van CORTLAND Lake." by |
John Mazz 'novich, is done in dashy manner. |
and well DONE 1t is brook scene, and the |
name given it has no appropriateness.
"By the Summer Sea-" No. 105, J. Symin gton. |
The figure or the young woman in the fore |
ground is we'll drawn, but suggestive of sitting |
in a photograph gallery. The rocks trim
and orderly.
satterlee shows three studies of sturdy Dutch !
girls; No l06 is the "seaweed Gatherer.' No. |
10Y "A Saa Maiden" and No. 1872 waiting for
E. L. 8. Adams sends DORA" Agnes D. Abbott. |
ION a. June Morning" and ..Dantelions" W. c. |
Bauer Bauer ,cIifrs at MSntauk," Sunset" North
Clark, three good pictures,"A Street in Quimper |
France" "Eventide" and "An Old Interior" |
Charles H. Eaton, early Autumn" and even |
ing shadows;" Henry Farrer, Twilight" !
"MOonrlse i'll New York Bay" "Restfal Eve" |
The Day is Ending" Harry Fenn,. The Land
Ing" ION Buttermik Channel" "The Old |
Ferry" Evening near Fishing Village"
Lottie Guffins "Wild Roses" PARTED in her
characteristic manner, needs no card to tell its |
author; Arthur Parton shows "Covernook
Meadows" and ga Shady Bank Arthur Quart
lev shows several dlstlnctively good Things, |
Down by the Shore" "The Wreck" "On the |
Beach at zanvoord" aud "Venice:" Octave Sa- |
mier. ''By the RiversIde;' James ID. Smillir,
"Causeway from Marblehead Neck to MaHlaEd"
n. s j. Smile, "After the Song" Percy Moran,
a. Head" and SAT the Fountain;" Alfred Kap-
pes, I'm First Attempt" ana Muffin but Trou-
BILE"
FINE OIL PAINTINGS
The highest priced painting in the collection is |
No. IL, king Arthur's Castle at TintageI, Corn
wall" by W. T. Richards, of Phtladel phia So.
$50 Next in Price is No. 16, Sunlight gu the
Sea-" by j. C. Nicon So, 600 Then comes the
"Pass of Glencoe" No 49, by Thomas Moran,
held at 81 500; No 10, 'rhe Marabout's Lion"
by Iernma Eerris 81 300. No G. "Sanctn Nj arin -