The times. [volume] (Washington [D.C.]) 1897-1901, 1900-02-11
LOCAL ART In new YORK
What Is TO Be Seen at the Annual
Exhibitions.
The Importance OF Painters Seeing
the Latest and Best Work. Lnr-
ger showing by neutrality-suspicious.
Than by Those of Any Other city.
Miss Ferries succes--Othcr Efforts

No professional artist with spark OF
ambition can afford not 10 go to New York
at least once each year. aud that trip should
be made some time during the artistic sea
son. Washington is far from provincial,
hut the lessons one might learn at the Cor
coran Gallery and other important high
class art collections here are not enough.
Familiarity with the excellent things ac-
cessible in Washington robs them 10 some
extent of their instructive possibilities.
One must 90 to the great cities and refresh
his mind with the latest things TO fully
appreciate and comprehend the lessons that
may be learned from our great home pict
ures. Nature Is undoubtedly the first con-
Germ to an artist but it is not more impor-
tant than It glimpse annually. IL not oft
ener OF the best contemporaneous work.
This bit Of wisdom has long been the faith
of the writer but he never was sure OF
IT as on his recent return from New York
1t was but q flying "trip OF three days, and
one of those a Sunday but what an in
, spring experience,
Some painters live the year round in
New York without seeing as much. The
Philadelphia academy Exhibition. which
| included the Raphaelli paintings. was one
Of the most up-to-date and instructive col
Philadelphia Academy obtained also the
choicest things from the Carnegie Annual,
at Pittsburg and the consequence Is the
| Academy offers perhaps the finest cOl!ec-
| tiou of work by living artists ever shown
in America
Then there was the exhibition of the
| American Water Color Society al the
| Waldorf Astoria: the remarkable though
small King collection OF French MASTER
| Lot Col
| the Salmagundi Club exhibition OF work
! by members, the standard of which was
| notably high and last, but never least, the
| Metropolitan Museum with the recently
acquired famous example of Turner. called
Venice. bequeathed by the late Cornelius
| Vanderbilt.
AT the Philadelphia Exhibition there
was much-far too much--art OF that same
stereotyped character by men who have
| made regulations and are frantically clam
uring for buyers. yet Offering nothing but
weak repetitions of pictures which made
| them known Years ago. From these men
there is nothing To be learned unless 1t
| be that their works are danger signals,
/ and warning not 10 stick to one string
| because II happened at some remote time
| to have caught the public fancy. Over
| these pathetic things one drops a tear for
| good men gone wrong and passes on 10
| those serious. virile, and original things
which are the talk of the year. One can
spare space for but the briefest reference
| TO some OF these notable pictures. Cece-
liza Beaux's Mother and Daughter" which
| carried OFF the great prize at Pittsburg, Is
here IN company with masterful family
| group by George dc Forest Brush, an oval
canvas. perhaps six by eight feet. with a
| huge renaissance frame OF unvarnlshed
| carved wood.
This is very great picture by one OF
| the most individual and distinguished OF
| American painters. possessing the glory in
tone and color of the old masters and a
something greater which belongs to the
mcderns alone. This ambitious picture