Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-03-10
A R T N 0 T E s.

There is now on exhibition IN the V. G.
Fischer galleries an interesting collection
of recent water colors by b. Hopkinson
Smith, who both painter and writer
has won well-merited distinction. Some
are Venetian pictures, others set forth
English scenes and not few portray bits
of old Stockholm. They are all done in
gouache, presumably on gray paper, in the
artists characteristic manner, with APP
parent ease, some simplicity and much di-
rectness. More finish Is observable than
formerly, but at the same time greater
breadth in handling. In most instances
the work is less sketchy than in an earlier
day, but equally as clever. IT Is not pro-
foundry serious but it is genuinely de-
Hghtful. The subjects are pleasing, the
colors attractive and the brushwork facile.
There IS geniality about them that is pc
culiarly alluring: franlIness that cannot
be gainsaid. The painter does not seem
to say: Behold how clever | am" but
rather: See what a nice place this world
is" He points out the charm of places
from an apparent desire TO share with
others his own delight, and he takes for
granted the intelligence and sympathy of
those who pause to look or to listen. His
Venetian pictures are not stflted or spec
tacular but Just Venice in her Vefy-day
clothes-sunny, picturesque and delight
fully familiar. His English scenes are
not odd. nor are his bits o Stockholm pc
culiar but rather quietly pictorial and
pleasantly unassuming. Doubtless one of
the most notable pictures in the collection
is "A Silver Morniils-stock which
shows a group of boats lazily getting UNI
der way while the gray mists veil the dis
tant city S towers. 1t is admirably drawn
and most sympathetically rendered, the
tones nicely modulated and the brush
strokes skilfIlly placed Quite different,
yet scarcely less cominendable. is The
Last of the Harvest, an English land
scape In which empha sis has been laid
upon detail in precisely the right place
and to Just sufficient extent to be both
artistic and pleasing. THE Edge of the
Forest and "Silence"-a wood-are both
clever and attractive, but less character
istic probably than "A Quiet Canal or
"A Passing Shower or IAN All Night
Stand" .'The Glory of Venice" and the
and rather remarkable, treatment of elab-
crate architectural features, while the
Wood CATERERS" sets forth an example
of uncommonly free and virile brushwork.
All are pictures which explain themselves,
and which declare unaided their interest
and their charm. While not Invariably
worthy, none is without Its measure OF
merit and though some fall below the
standard of the best, each displays. on
the part of the painter sincerity, artistic
feeling and complete mastery or material.
The exhibition Will continue through the
coming week.
In addition to the Hopkinson Smith water
colors there Is now on view In the Fischer
galleries landscape by Theophile de Book
of Holland, and 6. genre by Joseph BAH
of Paris which are very worthy of note
The de Book Is large canvas picturing,
beneath a gray, clouded sky, broad view
of open country. There lisa pool OF water
In the foreground, beside which some cattle
are standing; to the right rugged hilloek
abr Ky latIt n
meadows roll away like the sea- II Is
rather a dreary outlook. There has been
wind and rain, and the earth is storm-cut
and sodden. Possibly 1t is early spring,
certainly nature is not effulgent, and yet
withal the scene is not only impressive but
moving. The sky, with its driving Clouds
is peculiarly dramatic, and the landscape,
vigorously portrayed is full of significance.
There Is a feeling of trans ton combined
with conviction of permanepce. 1t Is
strong painting and a mastery one.
work deserving much honor.
The Ball is. also, well out of the ordinary
Two young women are seen seated at
window making lace, while third stands
by gossping or giving directions They
are of gentle type and quantity soWned
The subject matter is good, but Its manner
of portrayal is even better. 1t is not the
story alone which interests, but the de-
lightful harmonies of color and perfect
gradations of light. The drawing is excel
lent and the modelling faithful, but all con-
seriousness of the medium Is lost In the art
of the production. 1t has the quality or
tone found In the works of the old masters
and 1t arrives at distinction attained by
few modern paintings. Such genres are
indeed works of art rather than picture
stories They sound, moreover, new note
and Indicate fresh possibilities.
X
Five more remarkable paintings have been
added by Senator Clark this week to the
collection which he has loaned the Cor
coran Gallery of Art. One Is q Ruisdael,
one an "Old Crome,' another a Hoppner,
while the remaining two are by Teniers.
The first is a specially interesting example.
Ruisdaei, Il Will be remembered, was one
of the earliest Dutch artists who painted
landscape for Its own sake. He worked
flrst about Haarlem and later In the Van
Everdingen country, which, with its noun
tains, dark woods and rushing torrents,
known OF his life, save that he was not
appreciated and that he epdsd his days In
the almshouse The picture which now
represents him In Senator Claris collection
sets forth q tree-clad hillside outlined by
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