The San Francisco call., 1908-10-25
l n GM e A r c w o r 1 d
By Lucy b. Jerome

them, but the charm of suggestion is
hardly pefceptible. Thoroughly honest
and consistent, his paintings of the Ar
royo Seco are models of faithful repro
ductions of the places portrayed and in
execution and handling they are admir-
able; they they lack the mystic quality
of the artist who reads himself into his
work. 1t is good work-this of st.
Clair; he has attempted and achieved
difficult things 1t takes power, under
standing and hard effort to produce
such pictures as those of the Arroyo
Seco Whether he can achieve better
things remains to be seen.
Full of the feeling and penetrat tion
which should pervade an artists work
is the sketch, "A Grey Morning. by ].
NJ Griffin. Singularly broad and pleas
ing in conception, the values are har-
monious and beautiful. Peace and
quiet charm fill the landscape-a slop-
ing hill, and tree or two-and the
light effects are well handled Two
others by the same artist, while not
so striking as the one mentioned. are
examples Of the same quality of work
In oil there are a number of good
things, though most of the names are
familiar. Willis Davis has two sketches
of the Matilda canyon and one of the
Monterey expresses that are good spec-
linens of this artists power to please.
Davis work is too well known to need
comment 1t is fine, sane and full of
vlrility. He had a studio at Santa
Barbara for some time past, but has
now returned to the city.
Neuhaus has three studies in tempera
Berkeley, Live Oaks, Berkeley hills
and Helvetia cemetery Sacramento.
While but roughly blocked sketches.
they possess the facility, strength and
Keen discrimination that characterizes
all his work. That Neuhaus is one of
the strongest men in the CITY there is
little doubt. He belongs to the younger
contingent. which includes Del Niue and
Percy Gray. both of whom work after
an entirely different fashion.
Alice Chittendeh has a number of
charming sketches of Normandy. Brit
tany and the Italian lakes; Caroline
Rixford Johnson shows several portrait
sketches, one of her later studies with
the title of My Friends being a group
of children In characteristicallv child
ish attitudes, one of whom holds kit-
ten on her lap. Eda St John Smitten
has few Of her lovely and delicate
studies OF Berkeley and Arthur Rest
has pleasing sketch or two of Green
brae scenes. In the etching cornar
Frank Van Sloun, now in New York.
has some good work including an etch-
ing of the famous Hille Bobbe of Franz
i113Sf HAiSiA usiS UGeH spoken OF be-
fore. The exhibit viii end November 6
Gutzon Borglum, the well known
sculptor, resident in New York. has
stirred up a hornets nest by his
structures concerning the originality
of American art IN a recent number ef
the Craftsman. His remarks on the
subject are at least original, even If
his work as Hugo Ballin declares. is
not, as witness this:
1--WE have cribbed every scroll and
form We build; our architects and
artists annually beat IT to Etlrope 10
gather ideas to restock their tdeaIess
plants at home.
The common spirit in sculpture and
architecture in America is at the tor
notch of medocrity.
I do not know of one work Of ST
Gaudens that was not commissioned.
that is, that was not suggested 10 hin,
and produced for another. Saint
Gaudens. master that he was. was
master workman. not creator.
You could no more take liberties
with Robins st. John or his head Of
Balzac, than you could picture Aneelo's
Moses munching an ear of green corn
or the Venus de Milo in hoops]xirts
can you not. however, count MANY
statues in cities which, through their
mediocre cemmonplaceness, would be