The San Francisco call., 1908-12-06
/ N { h e A r c w o r I d
By Lucy b. Jerome

- y ~ ~~--~I 3.
A the city is rebuilt, and more
"A agreeable and commodious quar-
4 \ ters offer themselves for the use
of artists, many of the fraternity
avail themselves of the opportunities.
AS a result the art center is again find
ing its way down town. When the new
studio building about to be erected
under the auspices of Miss Lolita Per-
rine, corner of Bush and Powell streets,
is complete it will be nucleus for
painters, sculptors, etchers and all
of the artist colony who desire to find
quarters there
The building will be arranged es-
pecially for the needs of artist work
ers, and will contain in addition to
twenty apartments, a large circular
exhibition gallery on the ground floor
where, it is intended a permanent
exhibition of the work of the local
artists viii be maintained The first
of the year Will see the greater part
of the colony established either in the
new studio building or in the older
and more familiar haunts of Mont
gomery and Kearny streets This cen
tralizing of locations will Nbe welcomed
by visitors at the studios,~ who are
often deferred from going to them on
account of the inaccessibility of the
different studios or the distance of one
from another.
One of the artists who has recently
moved into studio in California street
is Eugen Neuhaus. The lofty room with
skylight, totally devoid of windows,
is eXcellently arranged for q work
room, and the light is of the grayish
sort, particularly adapted to the view
ing of pictures. No cross lights and no
glarlng effects are here and the result
or the picture is decidedly pleasing
dozen new canvases are scattered
about, for Neuhaus is an interchangeable
worker and never seems to tire. Scenes
from Monterey, Carmel, life along the
| coast; an old mission, It's cleaning
red tiled roof striking note of color
In the soft grayness of the room, an
old, shadowed cemetery at Sacramento,
the brilliant blue of the sea. the lu-
minous radiance of tinted sky. the
majestic splendor of a sunset sky, the
peace and quiet of cattle feeding by
woodland strean-these seem to at
tain a new beauty when. viewed in
their new surroundings. It is to be
| hoped that this artist will exhibit his
paintings collectively some time.
Earl Cummings has. in conjunction
with Arthur Putnam, built his own
studio in the rear of his home in Clay
street. This studio is a typical sculp-
tors studio. Bare, large and work
nanlike. Uttered with casts and statu-
ary in all stages of completion, it has
distinctive air. A most character
lstlc and fine piece of modelling on
which Cummings has been engaged is
that of the figure of youth seated on
the summit of a-sphere whose gaze
intent with wonder and awakening
consciousness, is bent on a smaller
sphere surmounted by figure which
ne holds In his outstretched hand, evil
IDENTIFY the fruit of his labor The ex-
preston on the face of the youth is
remarkable, showing as it does so
clearly the contending emotions strug-
gnng Tor mastery, and the complete
unconsclousness of self as indicated in
the pose is an example of CONQUEST
over difficult subject Though mod
eled as yet only in the clay the figure
seems thrilling with life This design
is called Sculpture" and If modelled
In marble will be q beautiful and stril-
ing conception. The selection of a
rounded base instead of a square has
enhanced the difficulties of modelling.
a beautiful womans head modelled
IN Carrara marble-the purest and fin
est known-stands on a pedestal near
Sculpture, and is a singular emhodi-
ment or purity. The head rises from
a solid block OF marble. and the hair
ripping away from the brow is lost.
as II were, in the folds of a cold white
marble hood. This effect. used with
much success by the great sculptor
Rodin. calls the imaginative faculties
| into play.
Many original and pleasing designs
are seen at the Arts and Crafts exhi-
bItion at its rooms in California street
where novelties in all branches of