Los Angeles herald., 1905-06-04
LESSONS IN THE
RUSK|N EXHIBIT.
HOLDERS OF REJECTION SLIPS
COMPARE WORK
MERITS OF LUCKY PICTURES
Among the seventy-Three Judged
Worthy Are Some Landscapes
of Unusual Value and Few
Good Portraits
MERITS OF LUCKY PICTURES

In the week. since the Ruskin Art
club opened the doors of it's annual
exhibition in the Newmark gallery OF
the Blanchard building so much critl-
cism has been heaped upon the jury
that comparatively little attention has
been paid to the pictures which have
passed the exacting judges.
The collection as it hangs today is
of much interest, for it contains twen-
ty-five or thirty paintings of rare
worth. There are seventy-three pic
lures on the walls, which Mr.. Blanch-
ard has covered with a hideous ma
genta reminiscent of the cotton flannel
backgrounds much in favor at the
county fairs of a quarter of a century
ago. These seventy-three pictures are
all that passed the jury and 176 were
submitted. The idea suggests itself that
some of the artists who received rejec-
tion slips may have encouraged the
choice of the magenta hangings, but
that thought is unfair. The unlucky
artists have been too busy comparing
their unappreciated works to harbor
any plans for retaliation. Theirs has
been the state of mind into which
Ruskin fell when, filled with disgust
at the artistic Indifference of the pub
lie, he went to the British museum to
look at the stuffed penguins until he
could become cool and calm.
Cold Comfort for Rejected
Alas! there are no stuffed penguins
in Los Angeles, and artists not repre-
sented in the exhibition must become
cool and calm by studying the good
points of the seventy-three pictures,
twenty-five of which are from the
brushes of members of the jury. How
ever, no reflection should attach to
these figures, for the twenty-five can
vases represent what is best in the
local art world. The judges had the
courage of their convictions, and they
have succeeded in presenting paintings
worth seeing. If they have also sue
ceeded in producing disappointment,
envy, jealousy, heart burnings and
other heart emotions they are doubt
less willing to suffer for arts sake.
Two pictures exhibited at the St.
Louis exposition naturally attract first
attention in the Newmark gallery.
These are Granville Redmond's Cali
fornia Landscape" and Benjamin C.
Browns Mount Lowe at Sunset" )"
Both these pictures have in them the
truest feeling, the finest touch of po-
etry and the broadcast conception of
nature. Both are simple in compost
tion; both are remarkable in color val
ues. Here the similarity ends. The
"California Landscape" is vigorous
piece of work. 1t is an example of the
best skill in the reproduction of
natures tranquil scenes. There is at
that seems to stir the
branches of the trees. On the smaller
canvas shown by Mr.. Redmond there
perimentation-a leaning to the mono
type effects-but in this big picture he
fully reveals his splendid capabilities
as a colorist.
Mt. Lowe at Sunset
Mr.. Browns Mount Lowe at Sun
set" is a picture long to be remem-
bered, for the artist has painted the
pink glow of evening-that glory of
fading crimson that transforms the
at the close of day. This
evening glow is something that only
a man who has arrived might dare to
paint. That Mr. Brown has caught
the magic of the illunined hills with
out accentuating or eXaggerating the
color effects proves his right to a high
place among landscape painters.
But he has done something more than
tC obtain the luminosity of color that
is the first elusive charm in the picture.
The majesty of the mountains and the
silence of coming night are there. An
other of Mr.. Browns pictures, mt. San
Bernardino from Smiley Heights" is a
fine example of his work. This is badly
hung in a corner
Fernand Lundgren is represented by
several pictures that show him to be
a painter of versatile talents but first
must be noticed his Moonlight on
Desert-Arizona." This is a remark
able achievement which boldly chal-
lenges criticism, but when one studies
ii one must fall completely under its
spell. us the moonlight in the desert
blue-a brilliant blue?" one asks and
then it is suddenly realized that the
color of the desert when the moon
shines on it is dazzling-yes, it may
be blue. But the color is not the most
remarkable thing about this picture
It's composition-the handling of the
the great eXpanse of sky
in which the stars, outshone by the
moon, are vaguely scents mastery.
The horizon line, where the deeper
blues of sky and sky and earth fade,
Is the touch that reveals the artists
power.
Mr.. WachteIs Pictures