The times. [volume] (Washington [D.C.]) 1897-1901, 1900-08-12

UDon Art Workers--Tbe Fine Cat
nlogue of Hobart II. Nichols.
The August moon last week was beauti-
fui enough to make one forget the heat If
he could only get into the country. AS
| there is no moonlight in town since the
advent of electric light one has to go to
the country to find it. In town it was
| just sizzle and mop with esthetic medi-
| tations. The changes from torrid heat to
perfect summer weather are so frequent
in this latitude that the friend OF Wash
| ington in summer knows that it is de-
lightful climate. The previous week was
| ideal. It was a delight then TO wander up
and down the river with a camp chair,
| portfolio, and rketching umbrella. The
| bits worth painting never seemed SO album
| dant and one found it difficult to see why
painter should chase up to the noun
| tains or to the seashore for subjects. But
last weelc-oh, gracious. l have spent
some hot summers In some hot studios and
| in some hot places, but that weather last
week broke all records. Even out of doors
/ in the shade of great oaks by the Potomac
l worked with a brush in one hand and a
| towel in the other. 1t Is a curious fact
that to the enthusiast there is a certain
exhilaration and enjoyment in working in
this Turkish bath atmosphere. II ones
diet has been properly looked after and
his general health is satisfactory TIE heat
is not disturbing. / once heard a very
prominent New York landscape painter,
| whose name l do not give only because the
incident might be considered discreditable
to him. say that he never tried to paint
through July and August. 1T is too hot, -
said he. Il put in my time up IN the
Catskills swinging in a hammock and
reading novels" And the fact that a
green picture by him is almost curiosity
Is proof enough of the truth of his state
iuent. But how he must work when fall
comes is perfectly apparent to all vino
know his wonderful pictures of autumn
and winter effects. The method of work
and point of view varies with different
mea. 1t is largely matter OF tempera-
ment.
Some watch for the time of year they
love most and plant themselves before the
landscape that is to their liking and sigh
regretfully when they see the frost put
ting a note of brown into their green sym
phonies. These artists are the mimics.
They are thrown from the track and are
hopelessly snarled up when nature betrays
an inclination to change her garment.
There are others-a wiser few-who take
snap shots at nature and grasp the Jewel
she wears IN her fllet, leaving those less
knowing to divide the gown among them
selves as they please. These are the poets
who are always on the alert for those
finer things in nature out of which t'-y
weave lasting art of deeper personal qia1-
fty than It is given TO the uniDitiated 10
understand.
Inniss was one OF these and 1t was out
In the open last week when the moons
serene face flooded the landscape along the
river with the divinest light that ever was
on land or sea. that l seemed TO be abroad
in a picture shown at Fischer's last win
ter-''The Spirit of Night 1t was called
a great example by Inniss. The artists
here were mad over it. Messer reyeled in
its beauty, Weyl's enjoyment was so deep
1t amounted to alteration, Brooke declared
1t was a rare Inniss with the finest full
moon he ever saw in a picture, while
Holmes, who is perhaps the most critical
and fastidious OF our local landscape paint
ers, and one of the most intellectual Of
our artists, betrayed an amount of enthu-
siastic enjoyment in this wonderful pic
ture that was inspiring to the fortunate
listener. Holmes is slow to thaw out, but
when he does, there is no uncertain sound
in his words. II ! am not mistaken, he de-
CldfeG I lue UleSL landscape ne ever saw.
Let me describe the picture-a canvas of
only three by four feet. The composition
was simplicity itself. and SO high in key
as to seem almost like daylight 1t was
also free from extreme blue whites and
cold violets which the impressiouists are
apt to find in moonlight. In a broad fell
of clear blue sky the white moon shore
LUMINOSITY. A mass of dark trees fiji 4
a third of the middle on the right side of
the canvas / say dark, but 1t only seemed
to be dark because it was mysterious. and
vague in outline. -he lower third Of the
canvas was an ordinary green common,
where boys love to play on the edge Of
a village. Across this was a path, some
smoldering brush. and the underlined fig
ure of man. At the left the horizon was
broken by uncertain forms OF trees and
outlying houses A glow through the trees
showed the lights of the little hamlet
Inniss is quoted as saying somewhere
that he had no heart to paint a landscape
which did not show the presence of man,
and SO 1t is very rare to find a picture
which has not houses, fields, clearings,
fences. and figures somewhere in the pic
ture, and usually they are more full of
these suggestive things than most men can
make interesting. There was to this pic
ture a mellowness and charm past any
power to convey in words, and 1t is too
bad that It was permitted to leave the city
But one may console himself that 1t is
giving endless pleasure somewhere In its
triumphant journey, wherever it may be,
and finding new admirers, as It is sure to
do till the end of time.
/ am curious to see the catalogue CT the
art exhibit of the American section at the
Paris Exposition, for this permanent fea-
ture OF the show was gotten up under the
editorial direction of Mr.. II Hobart Mich
oils, assistant to the art director, one Of
our local landscape painters, prominent
member of the Society OF Washington Ar
fists, and for time its secretary. Mr..
Nichols, / am told had also charge Of the
decoration of the galleries In the American
section, and wisely fashioned them after
the very effective and agreeable green bur-
lap surface viii; stenciled border in dark
olive. The woodwork is ebOnized after a
manner which it will be remembered was
a feature of the recently abandoned gall
leries of the society on Connecticut Ave
nue.. The S. W. A. initials, forming dec
orat3se monogram two feet deep, are the
central ornament, repeated at intervals I'm
the frieze. Mr. Nichols has retained this
motive making a similar device by intro
ducing ~ in the place of W." making
the monogram appropriately ~. s. A."
This scheme was original, believe, with
our home artists. and Mr.. Nichols had an
important hand In Its creation This fine
color arrangement and design was the adj
miration of all at the inaugural exhibition
OF loaned pictures when the galleries were
first opened some years ago.
II Is pleasant TO add that Mr.. KurtZ Mr. ,