The San Francisco call., 1908-07-19


endoW one and cause il TO be placed in
some convenient downtown location,
where businessmen could drop in for
half an hours rest and pleasure, and
where the works OF our painters could
be viewed en- masse as IL We're? There
Is hardly one OF the smaller western
towns which has not its local gallery
of varying degrees of repute, and with
every advantage and every reason for
Its establishment. why should san
Francisco be without the results Of
broad and enlightening general art ed
ucstion2"
Why, indeed? There are several
places where one may view works Of
art but they are practically inacces-
sible TO the busy man. There is the
gallery at the park museum, which 10
all intents and purposes Is empty nan
the time. There is the gallery at Del
Monte, where good collection Of work
BY our best painters hangs, which IS
viewed mainly by tourists or those san
Franciscans who are able 10 get down
there for q week end. There Is the
Institute Of Art in California street
which necessitates climbing TWO Of the
steepest hills in the city and which Is
not overcrowded with visitors or
artistic tendencies or otherwise. There
IS q gallery al Piedmont park 10 reach
which takes almost an entire day, IN
pictures in all three rooms, and there
are & few fne art shops which from
time 70 time display few canvases BY
the younger men. But there is no gal
lery where the collected works OF the
artist body might be placed or where
e large and successful exhibition might
be given The establishment OF such
gallery in the heart OF the city in a
proper building with proper lighting.
background and accessories would re-
ceive instant and free support from
that portion OF the community which
realizes that art is one OF the few
things which are always inspiring,
which tend toward the highest there
Is, and which, giving a broader. clearer
rision OF the heart OF man. leads toward
the ideal which is the unconscious aim
u every worker in the world.
Eugen Neuhaus, who has been in
Sacramento for five weeks, has returned
70 his city studio, bringing with him
3 large number OF studies and sketches
OF the river country. which he intends
20 work Up in large canvases. Sew
eral OF these he has already completed,
two being OF particular interest. The
larger picture is that Of the old Car
mel road and the composition is Won
uerfuLy interesting. The picture is
convincing in its handling. The road
winds along at one side OF q grove OF
trees, bordered by a fence. against
which COW stands lazily grazing.
Etretching into distance the road
passes z cluster OF white adobe houses.
on whose glistening walls the sun
shines. forming q high note in the pic
ture5 while the dark massed trees at one
SIDE and the prevailing low tones of
the ground ard woodland impress one
with their business and balance. The
v-Fr -
places this Carmel road picture in the
front Of Neuhaus' recent work, which
shows constant growth and insight. An
other landscape, with cattle grazing on
e wide stretch OF level grass, with
much the same charm and conception
and execution, resembles the broad, fat
character or the Holland landscapes,
and is invested with much peace and
calm A third work shows the old
cemetery at Sacramento. IN this the
treatment IS wonderfully good. the
solidity OF the earth on which rests
e monument Of long past days, being
so apparent through the skillful
handling, that the cracks and hollows
Of the ground are suggested, though
not in reality apparent. A number
OF smaller studies are most interest
ing and give promise Of something good
when completed. Neuhaus believes
firmly that a painters individuality
should permeate his work. Otherwise.
however fine his technical skill. the
picture may be a mere mechanical re-
production, with the eXactitude Of
dead copy.
John A Gamble is here from his
Santa Barbara studio and viii do some
work al the Davis studio in Scott street
while visiting the city. The work on
which he has been engaged in the
southern part OF the state is vastly
different from his admirable pictures
OF the poppy fields and lupin covered
slopes which have brought him such
renown, being large studies Of the
Santa Barbara oaks. he finds these
oak studies most interesting, though
he works at them in an entirely new
style and with new technique. A
Photograph Of one OF these oak pic
tGres gives e cloudy morning, the en-
tire landscape in the midst OF a soft,
aerial floating grayness, while masses
OF oaks are siihouetted against the
sky Another shows the oaks from a
different viewpoint and is in rich col
oring the effect being beautiful and
scenic in the extreme A picture by
Gamble. 70 be seen at COurvOisiers Is
that OF an exquisitely tender and deli
cate conception Of the hills near a deep
canyon. The hillside is picked out by
IRREGULAR sweeps OF luminous blue
iupin, and the brilliant, quivering yell
low Of the poppy has a delicate in
tensity which attracts the eye. Tree
clumps are interspersed here and there,
and their fat tops, on which the light
falls with marvellous clearness. give
an fndescribable effect Of luminosity
and softness 10 the green masses A
canyon separates this slope from an
opposite one which IS treated in yell
lowish brown tones. Back OF the hills
IS a range OF mountains exquisitely
modelled with deep blue shadows in the
hollows Of the ridge, while the light
falls with great softness on the jutting
peaks. There is such a Joyousness,
freshness and ineffable purity about
this picture that one would like to see
the Joyous god Pan with his pipe Of
reeds and goatskin mantle straying
dafntIly over the scene bathed in the
same clear luminosity which pervades
mountain and hill
At the same art shop is new can
vas by Maynard Dixon, who has sent
n on from his New York studio II is
3 water color. handled in his usual
able and powerful style, and depicts
the interior OF a corral A vaquero-a
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