The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1894-12-02

the space is occupied by Mr.. HarwooG
who seems to have devoted most of his
energies during the past year to pre-
paration for this event. His most am
bilious work is seen in a. pair of good
big pictures painted outdoors along tine
shores of Utah Lake. In air. iigh: and
soft delicate color they equal anything
he has ever done OF the two we prefer
No. 80, The Mounds on the West Shore
1t has a / the good qualities of the other
and contains besides a poetical feeling
that is usually absent from this artist s
| pictures. He often has good drawing,
nearly always beautiful color, usually
plenty of air and luminosity, but rarely
any poetry in his work. Among the
other pictures of this same artist, there
is a little one marked D, called Showers
that we liked very much, and quite a
number of his smaller Yorkshire veri-
table gems. With the holidays APP
preaching, there should not one of these
remain unsold at the end of the exhibit
ton. Mr.. Harwood Is essentially a
landscape painter. His portraits show
that, for though they do not lack in
likeness, they fall far short of our ideals
of portraiture. 1t is well, in this part
of the country. for one to have several
strings to his bow, but while his land
scape string is strong and safe, the
is almost equally skilful in his water
colors though more uneven in this
branch of art. Several of his works are
really admirable, notably No. SO, The
Old Bridge at Calder's. and No. "a, The
Valley from the East Bench, while there
is one, No. 80, Pont Aven a small but
intricate subject that is as fine as any
thing that ever left his brush and
would be prize in any collection.
Some oil paintings by a sojourning
artist, Mr.. j. c. Cowles, attract much
attention and favorable comment.
They are in a different vein from those
of any of our local painters. No so
is called Woodland Mists. In this the
painter has given that very difficult
and subtle quality-the yelled feeling
of the sad autumn woods. It is an
ideal translation from nature. Over
moses of rich, dead, wet leaves and
messy rocks and still pools, the eye is
carried to depths of perspective among
great forest trees enveloped in mist
until their forms become suggested
masses. A few dry leaves hang ten
aciously from the great messy beach
and yellow birch tree trunks in the
foreground, while others float idly in
the still water at their roots. 1t is
essentially a painters painting and ar
lists alone can fully appreciate the
feeling and dignity of sentiment that
seems to yibrate throughout the work
combined with breadth and vigor of
touch and deep knowledge of the
character and anatomy of trees that
can only be obtained by long study in
the forests. 1t is most charming in
poetic feeling, color and tone. Painted
late in the autumn also is his rustic
Forest Pool. No. 81, and it partakes
much Of the character of ''Mists,"
though its perspective is more pro-
nounced. 1t is fine in tone and
quality.
Midsummer in the Adirondacks, ,"
his largest picture, No. 20, is a different
phase of the great forests of northern
New York. Dashes of vivid midday
sunlight filter through and intermin-
gle with the dark blue greens, creating
subtle gradations of August foliage.
This work holds together as a mass
in manner that proves the most ar
duous and exhaustive study from ma
ture. The composition, as we'll as the
coloring, is extremely fine and the
work is most excellent in its unity of
effect and definite consistent strength
of color. A green forest interior is
recognized by artists as one Of the
most difficult studies from nature to
put on canvass.
Mr.. John Hafen, now a member of
the S. U. A, is in evidence with some
i of the best work he has ever done. Pic
| lures of cattle in the fields is his best
( chosen line though he occasionally
/; takes a jaunt in other directions. For
instance, he has a rather pretentious