Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-03-07
OF the entire sale were s96 $50. an average Of
about $500 apiece for the LOO canvases.

of the entire sale were sae.53o, an average Of
about $500 apiece for the 155 canvases.
g
The prize winners in the Pennsylvania
Academy exhibition. which closed last Sat
urday. were: John 8. Sargent, the gold
medal of honor; Frank Benson the Lippin-
colt prize for his painting. entitled Sun
light" Miss Jessie wilcox Smith. the Mary
Smith prize for the group OF water colors
painted for reproduction in the Christmas
number of the Scribner's Magazine. entitled
IA Mothers Day." Edward w. Redfeid.
the Temple gold medal for a winter land
scape. and w. Elmer Schoield. the Sesnan
gold medal for a landscape.
The Art Association Of Dallas. Texas. Is
reported to have purchased FIVE notable
paintings as a nucleus for fine arts mu-
scum. the first In the south. which It pur-
poses to establish in that city.
The second and third lectures in the
course on Japanese art were given by Prof.
FenolIosa on Tuesday and Thursday even
ings of this week. In the one delivered on
Tuesday, the lecturer. after tracing the
derivation Of the eastern art, gave a
graphic analysis of the distinguishing quail
ties of the five great periods of Japanese
art. building against the background of the
first lecture, which presented the physical.
chronological and aesthetic aspect OF the
nation. chronological and historical scat
folding, upon which the individual charac-
teristics of the art were developed and
could be studied. These five periods were
as so many great waves, which rose and
fell, cresting, as it were. during the sew
enth, ninth, twelfth, fifteenth and elgh-
teenth centuries A. D. The first arose from
a similar wave In Corea, the second swept
over from China, and corresponded, in a
measure. to the European era of the re-
Nuisance, whereas the third was purely
japanese; the fourth again originated in
China, while the fifth once more was en-
tirely Japanese. Religious sculpture. show
ing both Syrian and Grecian influence,
characterized the first epoch, and religious
painting the second: genre compositions ex-
hibiting action, the violent transition OF
motion and confusion occasioned by the
meeting of opposing forces marks the work
of the third, while the fourth and fifth are
respectively charac .erized by idyllic land
scape drawing and the clever picturng Of
animal life. Each of these epochs was elab-
orately illustrated by many excellent Ste
reopticon slides, as well as by verbal descrip-
tions and expoStions of their significance
and historical setting.
On Thursday evening two lanterns were
used, as mat lecture was entirely given up
to a paralleling of the oriental and occi-
dental arts Chronological order was dis
regarded and paintings were placed against
paintings, sculptures against sculptures,
without reference to date, the desire being
not to institute comparison, but to demon
strate that the art of the east covered as
broad and diverse a field as that of the
west; for as all objects of an unfamiliar
class are apt to appear similar, so the COM
mon conception of the art of Japan erro-
neously restricts 1t TO a single style. For
nearly two hours works of the cid and mod
ern masters were flashed on the screen in
quick succession with astoundingfy par
allel works by japanese artists. In many
cases, while the mode of expression was
diverse, the underlying thought was mar
velously identical, and the impression the
eastern artist had arrived at the desired
end by much the shorter road was fire.
quently forced upon the observer.
To those who are already acquainted with
the eastern art and to those to whom 1t is
still unfamiliar these lectures are full Of
instruction and sustained interest. Nothing
could be more helpful in awaking the inter-
est of the listening public in art than just
such discourses, of which In the past this
city has had too few, and to the earnest
student they are real boon.