Evening star., 1899-04-01

ing. The light in the picture falls from
above and a little behind the figure, the
favorite method of illumination which the
artist has employed in all her best works,
and the figure. clad in flowing white robe,
is full of grace and serious beauty.
In landscape there are many noteworthy
contributions, and among these Hobart
Nichols picture showing an autumn moon
rise must be accorded d leading place. He
has never exhibited anything which re-
vealed such careful study of every part.
and yet he has succeeded in bringing all
the separate parts into a harmonious rela-
tiOn. and has produced a composition which
possesses unity and perfect balance. 1t is
painted in a subdued scheme of color, but
there is rare beauty in the cool grayish
tones which run through the entire picture,
and taken all in all it is the most import
ant work that Mr.. Nichols has yet shown.
Some of his rapid productions often have a
charm that is more fascinating than the
more labored effects of his most serious
works, and many will doubtless admire a
bit of canal scenery in which the simmer
of sunlight and the sense of atmosphere
and distance are rendered with unusual
skill.
Works From Local EaseIs.
Max Weyl is represented by no less than
eight canvases, and while they are
varying merit, all have his customary rich
beauty of color, and the best of them
reach a very high level. His largest pic
ture which hangs in one of the places of
honor in the central gallery, is an evening
motive from the Warm Springs region in
Virginia, and it reveals truth to nature
that is in marked contrast to the more
! idealistic character of many of his land
scapes Now and then the artists observ-
| ance of aerial perspective is a little faulty,
! but he rarely fails to suggest linear per-
| spectiye with fidelity, and in this picture
| the ground is painted in broad, fiat planes
| which recede admirably, giving fine sense
! of openness and space to the composition.
| For Mr. Weyl, the coloring is rather sub
| dued a born colorist, he has with the ex-
perience of years become more skilled
| one and far from employing a more bril-
liant palette, he has shown a constant ten
| dency toward restraint and growing
! fondness for more subtle harmonies of
! color.
Another artist from whom we always ex-
pect able work in landscape is Edmund
! Clarence Messer, and though he has placed
on view nothing so striking his picture
in the loan exhibition last spring, he has
contributed several canvases that will find
favor with connoisSeurs. Mr. MeSser's work
is not popular with all, for ne will not
stoop to win Philistine approval by intro
ducng pretty details into his compositions
over his artistic veto. or by choosing sub
| jects simply because they are commonly
| looked on as attractive and sa1able TAX
| ing this high ground and refusing to make
/ any compromises. he does not expect to
| please the majority, but he finds in the
| good opinion of his brother artists and the
I appreciation of people of cultivation and
| taste an esteem that is more to be desired
| than mere popularity. His tiny picture "A
| Loudoun Hillside" is a finely-balanced
| composition, full of poetry and artistic feel
| ing. and the paintings entitled Morning
| Hours and "A French Farm are charm-
| ing in their silvery gray tones. In the lat
| ter picture the relation of the distant fea-
| lures of the landscape and the foreground
/ is observed with an eye for the persDectiye
of color as well as of tone values, and it