The San Francisco call., 1908-04-12

F-e"@As a number OF canvaseS By
different local painters. and being asked
. 10 express himself Herewith.
It seems to be the aim OF a num-
Der Of painters" he went on. TO
form an idea OF what nature should
l'ook Ike, or to trans5gure her accord
Ing % their mood, and then say that
IS WHIST they see. Why. Il isn't what
they sse, when atmospheres that never
existed. and IN which e live person
couldn't breathe for an instant. are
painted as the real thing IN nature
and supposed 10 be q faithful transcript
'tion Of what some painter saw. There
:isQ't such a thing as beauty, TIL ad-
nit That is, the beauty lies IN what
person sees. One man viii see an
ocean scene, and says. Aren't the
ragged, curling edges Of the waves
fs2sgnihcenrz and the next man will
say Well, I can't for the life OF me
see anything IN ragged line OF white
toarn 10 cause enthusiasm but Just look
an The cloud shadows. There's superb
effects for you: but foam. pshavvr And
81 it goes. But OF course there are
always certain effects which TO por-
tray accurately must be as everybody
sees them. For instance, the sky is
always blue, trees are more or less
green, and the moon is. as most people
see lt white il is for the painter TO
recognize what colors will produce the
effect noted ia nature by the average
observer. and 70 paint so that any
one seeing landscape by him shall
know at once what il represents. and
oe able 10 recognize the fidelity Of the
work II one sees a yellow atmosphere
so thick that no one could live IN IL,
must be be content with the assertion
that that is the way the artist saw
tt- We ali know the look of sun
light On grass. but il man paints
brown sunlight are we bound 10 ac-
claim IL as the real thing7 Nature
should not be rendered IN detail but
sne should be painted as she is: not
as some man sees it or thinks ne sees
her often the simpler the picture the
higher the art Simplicity is complex.
IT means knowing and using all that
there is 10 know, and then having the
VIII TO eliminate two-thirds Of it I
would rather succeed in painting grass
ripples on g sunshiny day, and feel
that I would like TO throw myself down
on that grass slope. and know that
other people were given the same i'm
preston, than 10 paint galleries of
D ictures not one OF which awakens a
responsive thrill of association or
memory Art is art, but in landscape
painting she should be also nature"
Frank j. Van SlOun, who has several
pictures on exhibition at the art in
TO be gone q year His work in land
scape is particularly strong and vivid
and is spoken OF very favorably by
older men IN his studio in Pierce
street Van Sloun has some striking
examples OF etching, both dry point
and acid. One Of the former is an
etching copy Of the famous HiIle Bobbe
.of Franz Halls, fine specimen of
whose work is IN the park museum.
The lille Bobbe shows a woman's face
with strong Dutch cast In the etch-
Ing by Van SlOun the lines Of the face
COX as Z hewn out so powerful and
full OF character are they The strong
lv marked lineaments are finely
brought out By few massive lines
and the color is good. the black and
bite being well contrasted. The Sc
we're lines Of the mouth and brow have
carven effect and the whole face Is
one OF immense vigor and underlying
strength. There are several other
-etchfngs. one in particular being very
elective night scene in the park
A number OF Interesting studies, ere
atlons of pure fancy. are scattered
about the room. which are Of great
fnterest Although Van Sloun has de-
voted some time OF the eight years he
has spent in New York TO landscape.
II Is 10 the figure work that he in
tends 10 devote his main effort While
the famous figure painter. and has had
work on exhibition both in Philadel-
phta and New York The eastern
critics have been very kind to him
and good things are predicted for his
future work.
Florence Manor. the young sculp-
tress. whose plaster frieze. The Flight
of April IS" is attracting such atten-
ton at the art institute, has a delight
fuliy unique studio IN Union street,
built for her by her father. with her
aid It stands well back from the
street and consists OF q single room
with q large mirrow artfully arranged
al one end so as 70 give the idea Of
double space. A rock path leads to the
sliding doors, through clumps Of fr.
pine and cypress sprouts. which the
artist Is trying to coax into trees. and
which she intends in time TO utilize
in making real forest effects" as she
puts Il. In the room are dozens OF
casts and pictures, some Of the former
6raped IN wet cloths. showing that
work is progressing on them. and some
IN state Of completion. Another
frieze which has been completed some
time shows a band OF nude children,
their little white bodies cleaning in
all the unstudied and graceful poses Of
children at play. The studies for this
sUOrk were maze al the l2dAlE- ANrtAtl
home. where Miss Manor used TO go
10 help battle the children and IN this
way, unsupported BY them, make the
stsldfes which she afterward repro
duoed with Iifeiike fidelity. The idea
expressed in the frieze is charming
enc and the childish gestures and at
fitudes enchanting. Next 10 II comes
g large head OF Elisha Brooks and
underneath. on a shelf. stands q copy
Of the wonderful statue known as the
rnuscled man. A number OF heads and
ideal conceptions, together with several
memorial designs. occupy nearly ali the
space IN the big room IS perfect
working place Miss Manor is cousin
OF Mary Curtis Richardson. who has
encouraged her in her work, and comes
honestly by her talent, her great
grandfather having been an artist
II maturity brings TO this young
.soulptress the power TO execute IN
proportion 70 her power Of conception
the world may some day hear OF her
The suggestion that the park museum
should have a room for the work or
local artists alone has recently been
made and the suggestion carried 70 the