The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1903-02-14
IN ART CIRCLES

T. ]. Richardson's studio In the New !
York Life building is a busy place for
he has executed during the winter a large
number of commissions for art lovers
in New York, Philadelphia and Seattle.
lie Will be represented In several of the
eastern exhibitions and sent this week
his contribution to the exhibition In oils
at the Salmagundi club in New York
This is a club of 400 members, largely
artists, and at its exhibitions the MEM
bers send pictures of a uniform size
unframed, in the medium designated for
the exhibition. These are exhibited for
a week and are then sold at auction. The
oil sketches are 12x16. and Mr.. Richard
sons contribution was Venetian scene
IN the Zattera from near the famous old
Ruskin restaurant, a haunt Of artists
rather than tourists. The evening glow
gives chance for rich colorieg.
The first photo salon with it's beauti-
full collection OF artistic photographs will
close tomorrow evening at 8 O'Clock. 1t
is being held in the public library gallery
under the auspices OF the Minneapolis
Camera club and the Minneapolis So
ciety of Fine Arts. Among the 271 works
shown are prints whose value as well as
their artistic qualities. makes them rank
with paintings, The loan collection from
the Photo Secession of New York attracts
much attention including as it does a
number of prints of striking beauty and
painter-like qualities. Exceedingly inter
esting is Clarence Whites Morning Eff
feet with it's suggestion of q Japanese
print i'll it's distribution of spots of color
and it's fiat tones.
The group of Chicago artists show many
| things worth careful study, among them
several delicate landscapes by Edward L.
Bourke and group of strong. dark por-
traits with Rembrandt lighting. Arthur
! w. Wilde of Germantown. Pa. has a
oha1. oPf Sf1 nf
| line, having a charming poet quality. The
| landscape work from the Sweet studios
| portrays with much delicacy and feeling
some characteristic beauty spots about
the city. THE Lifting Fog" by S: III.
Parsons of st. Johns, Newfoundland, is
a fine piece Of work.
This is the season for steady and hard
| work in the studios, for except the SNOW
capists outdoor nature does not tempt
! the artists. Alexis Fournier is working on
several canvases, among them portrait
of the late F. II. Peavey one of his prin-
| cipal patrons and a man who was always
greatly interested in the unfolding Of the
| artists talents. Mr.. Fournier now, has
| pictures in the exhibition Of the Society
of Western Artists that began it's travels
last month in Chicago, in one Of the Chi
cago picture dealers galleries, and. in
other places. ~
H. n Gausta who is Mr.. Fourniers
studio neighbour, is at work on a portrait
| of Mr.. Fourier, in painters cap and coat,
| working at his easel that promises to be
one of the best things he has ever done.
!, It is admirable in pose, color and char
4 acterization, although not yet quite fin
| ished. Mr.. Gausta Is also at work on a
study Of himself and is painting Lake
| Louise and Victoria glacier as seen from
Laggan in the Canadian Rockies, for
which he made studies last summer.
J. F. Raffaelli and his associates have
had an exhibition Of great interest to
artists in Paris this winter. The -distinc-
tive feature of the exhibition was that
all of the pictures were executed by the
new process that has created quite COM
motion in the art world-les crayons Raj
faelli. According to the Paris World,
these crayons present somewhat the APP
pearnce of pastels.. but in reality consist
of a sort of solidifed oil and give on the
canvas the impression Of oil painting.
The advantage to the artist of this process
is many, first Of which is the immense
saving Of time. 1t does away with the
labor of preparing the colors on the
palette. and once thing is done there
is waiting for it to dry. The amount
of traps which an artist is obliged to
carry about with him on sketching tours
is reduced5sto minimum, since he has
= only to carry his box of crayons.'
Chartran, the famous French artist who
recently came to America to complete
some portrait orders, now has we'll under
way the picture commanded by the
French government to commemorate Vic
tor Hugo's apotheosis, which was cele-
brated in the Pantheon last year. There
{ will be 145 portraits on the canvas and
: Chartran conscientiously insists on spec
ial sittings at his studio for every per
son depicted. The subject will be boldly
treated. the light flooding the interior OF
the Pantheon neutralizing the black and
white array Of dignitaries in evening
2 dress. = rt sE=.:.s -.&. '~.-.s., ..
The most important exhibition Of one
mans work this season at the Art Insti
tute was the display of William Mesdag
, That Mesdag is one of the greatest
S marine painters is adequately demon
g, strated by the thirty pictures in the cur
rent exhibit. Many painters depict the
sea from the shore, but Mesdag paints
; the sea as a, realist. with all it's moving
actualities. With the best traits of the
Dutch school, strength and simplicity al
e lied with tender sentiment Mesdag may
= we'll be termed master of marine painters
. A feature of new importance at the Ar
Institute is the introduction Of a ki1r
under the direction Of r. F. Webb, a prac
teal potter. The innovation will undoubt
edly be Of great assistance to pupils, fo
= they can now learn ceramic art from it.
foundation, and they can create the OBJ
S iect, which eventually can be decorated
k by them if they so elect.