Evening star. [volume] (Washington, D.C.) 1854-1972, 1907-02-09

der's characteristic figure study entitled
1.-The Butterfly, a young girl in green
gown watching a fiuttering little insect.
Again the observer notes the grace of long
flowing lines and the effect of broad, fiat
manipulation. Instead of laying on his
pigment, as do other artists, Mr.. Alexander,
by the use of a fluid mixture, literally dyes
his canvas and in this way gives to his
work somewhat the appearance of tapestry
and relieves 1t of the SAVIOR Of paint. His
color is little harsher than commonly here,
but his handling is none the less skillful or
individual.
A double portrait of William NJ. Chase
hangs little beyond and proves contrast
and a foil. 1.-The Sisters have much to
commend them from the standpoint of por-
traiture, but Mr.. Chase has done better
work than this. He has another painting of
still life in this exhibition, but one less cred
liable, and landscape, 1.-The Deserted
work and delightful color relations. When
a painter is as able as Mr.. Chase good work
may reasonably be demanded Of him, but
when crticising one should not fail to take
into account the contributions he has made
through his pupils. or to remember that his
best may have gone into his teaching.
Because an artist achieves some special
feat 1t is not necessary that he should for
ever restrict himself to one performance,
and yet it is true that sky-scraper picture
by Mr.. Colin Campbell Cooper would have
been more satisfactory to the majority of
persons than the genre, Morning" which
"a on 1.-The line To interpret the beauti-
full Is the artists prerogative, and to dis
cover 1t amid the commonplace occasionally
his privilege. In this regard the hated sky
scraper is essentially Mr.. Cooper's property,
for he of all others first saw and made pat
ent its pictorial charm. "Pittsburg," which
has been placed above and to the right of
his indoor domestic scene, is more of this
type, though the theme itself yields better
to generalization than specific interpreta-
ton.
Landscape by Deartn.
And here is landscape by Henry Golden
Dearth one whose work Is not commonly
seen In current exhibition-a tonalist and
an accomplished painter. 1.-The Village of
Monterey shows experience in handling
and maturity of ideal. which grant 1t kim
ship with the older most worthy paintings.
It Is a picture lacking freshness perhaps,
but possessing richness, which would be
truly at ease in noble company. Possibly
one may prefer the second example of Mr..
Dearth's work. THE Harbor," which hangs
in gallery &C." but in point of merit 1t
would be difficult to make choice.
Method is as varied as theme, apparently
Where one works with a dry brush. others
apply the paint with lavish flow, and where
some are delightfully."- terse in utterance
others render their works with affectionate
dalliance. Such one, presumably, Is Doug
las Vo!k, and rarely will a canvas be found
more conservative and studied than his
Maid Marion" which, while reticent of it's
charms. abundantly rewards attention.
Observing Shannons suave and delightful
portrait study of Girl in Brown" and
Duvenecks solidly painted portrait of his
mother, the visitor passes into gallery B,
where the Sargent group and the Funk por-
trait are apt to entirely engage the atten-
ton. Here is a landscape Evening" by
Louis Paul Dessar, which should claim
through its merits division of interest;
and others by Bogert which. if less import
ant. are still notable. And here, moreover Is
Carl Melchers' 'Brabanconne," little Hol-