Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-12-02

setting sun illunine the rugged tops of the
canyon peaks. The sky is the leaden blue
of the desert and Its color finds re-eeho in
the valleys mist 1t is impression. the
effect of a moment transcribed from mem
DRY. 1t is extraordinarily simple. scarcely
more than q suggestion, and yet it conveys
definite thought. There is mystery in the
shadows, but not uncertain doubt. The
painter coulprehended the forms which he
purposeiy made obscure. AT that time, and
under those conditions. every Observers at
tentfon would be directed to the sunlit cliffs
and as in Nature so il will be found in the
painters Interpretation. But beyond this
the color is charming; the values admirably
sustained. From the standpoint of medium
1t does not perhaps declare itself; but me-
dunn, it must be remembered, is only
means to an end, and should at all times
be subordnated to result. 1t is undoubt-
eddy one of the most mastery works that
Mr.. Powell has produced and well merits
its honor.
Four or five other water colors have been
sold at the same exhibition. Not many, 1t is
true, out of the seventy or more purchas-
able, but an improvement upon past sea-
sons. Why these local exhibitions are not
more popular and more generally patroniZed
it is little difficult to understand. They
are manifestly worthy and not abstruse
The pictures which compose them are sub
stantially good, and, what is more, cheap
cheaper by far than much of the CONNER
cal work which finds ready market. The
problem presents itself not as public duty,
but a private privilege; there is no reason
why local artists should be patronized If
their work is not up to the standard, but
there is every reason why they should be
when it is That a picture to be good must
be costly or bear a famous signature IS a
fallacy. There are degrees of merit; va
riety in kind. Some of the unpretentious
works make most pleasant companions;
some of the least expensive pictures wear
better than the relatively dear ones. An
artist does not produce with commercial
intent unless he is driven to 1t by neces-
sty, but his measure of success must be
determined by public demand, and hence
sales must be regarded an indication of
public sentiment When half a dozen jap
aneSe artists held an exhibition in the
same gallery few years ago they realized
between one and two thousand dollars.
Their pictures were, it will be remembered,
exceedingly pictorial and technically clever,
but so are these. Why, then, the distinc-
ton?
Much interest is being manifested in art
circles over the possible outcome of Mr.
Freer's offer to the Smithsonian 1nstitu-
ton of his famous art collection-an offer
which when made last January created
sensation in all the American art centers.
Mr.. Freer was one of Whistlers art exec
utors but his collection embraces not only
many of that great mans most celebrated
works, but also choice and rare oriental
ceramics and art objects, and group of
notable canvases by American artists OF
high repute 1t is a collection which any
city might be proud to own and for which
many are solicitous. To see it many art
lovers have crossed two continents, and
from it the organizers of prominent loan
exhibitions both in this country and abroad
have drawn valuable material. To have 1t
permanently in Washington would not only
be a boon to the local artists, but to the
city. The national capital should be the
national art center and this would exert a
strong influence toward that end. And yet