The morning journal-courier., 1908-03-05
PAINT CLUB HAS
 FINE CANYASES Eighth Annual Exhibition in This City Will Open
 to Members This
 Evening. G00O 0nhI CYuIPITC
GOOD LOCAL EXHIBITS
Review of Some of the Art Works on Display-NOted New England CTS Have Pictures of
 Merit Here.

ficially this evening with the private view to members, exhibitors and their friends and which will continue open to the public for three weeks begin nlnS to-morrow morning, seems a dis tlnct advance over previous exhibi- tons. The galleries as a whole have 6 more coherent appearance than ever before and examinations of individual pictures brings the conviction that in artistic and educational value the Paint and clay club is to take an inn portant place among our New Eng land exhibitions,
 The interest of the exhibition will center on d group of notable canyases from Boston, several of the best known of our Boston artists having contribu- ted characteristic examples of their work.
 In selecting the picture with which to begin. we have little hesitation in choosing Mir Joseph De Camps Tn the studio" a narrow but roomy canvas around which the pictures of the north wall are grouped. There Is little striv- ing for effect in the picture. We are asked to admire no violence Of virtuos- ity We merely look through the frame into the cool depth of the stu dio where a lady in violet poses quiet ly before the artist under the soft light of a window we can not sec. IL Is an echo of Velesquez Las Meni- nas' with a new, less imposing charm of it's own. "A Rehearsal in the Stu dio" by Edmund H. Tarbell is in strong contrast to the picture just de- scribcd Painted very loosely and in a high key, it still lacks nothing in quiet depletion of space and interior light. DeCamp obtains depth by shad- ow and mystery; Tarbell by soft light that finds it's way to the very cor ners. A second picture of MT. Tar bells, family group by the water, falls somewhat into modern incoher- ency. but attains brlliancy in it's simmer of sun and blue sea
 Two pictures of Frank W, Benson, The Sea Shell" and Twilight are
  tory. In Twilight the conception is rather stereotyoed and the reconcilia- ton of the two contrasting lights rath- CT lacking in finesse. The Sea Shell, of heroic mould and in the hands of child of equally tremendous propor- tions,-would be much the better pic ture if 1t were not for its magnifled scale.
 "The Hour Glass, of Miss Mary Ma comber, rather weakly emotional, IS still fine in its sombre delcacy.
 William Howard Hart's Spring, Quivering, a very lovely bit of out doors in tender greens and white, and F. Asher Devol's two vigorous can vases of the Boulevard St, Micher' and the "Pont Neuff' offer a poiquant of momentary vision of France and Paris. as seen through modern French impressionlsm, which will assuredly cause some slight nostalgia to once Parsians and present exlles.
 New England landscape is not as much in evidence as usual but there are several notable examples from l out of-town men. Walter Nettleton exhibits two characteristically vigor- ous canvases, "A Ray of Winter Sun shine" and "The Landmark" and l Will Hutchins in his Sunlight after Rain. Autumn" depicts with startling accuracy the moisture that fingers af- ter rain. His fields and trees fairly ' glisten with the wet as they recede in ! the blue distance under laden sky. other remarkable pictures by out-of- | town men are Philip Lttle's large oil | in the impressionistic style, w. Gran vile Smiths very dainty little sea 1 Shells" powerful sketch by the late Dennis Bunker, The Golden Hour by F. NJ. K. Rehn, November Woods | by David B. Walkley, Miss Alice Wet. more's charming study of a girl with 2 cat. three lively sketches by Henrik Wiggins. Will H. Howe, the cattle painter. Elliot E. Torrey and Edward D. Bradstreet.
 Among New Haven exhibitors, Prof John r. Weir takes a place of honol on the south wall with d large canva. of the "Chatean de Pierrefonds." I is a characteristic example of Profes sor Weir's appreciation of out-doo light. With all its quiet reserve we SC, the old chateau, across q roregrount of French kitchen gardens, througl an unmistakable simmer of Frencl sunlight
 Professor John H. Niemeyer cxhib it's three pictury-"The Green Gown,
 in which the flesh tones, luminous al
 most to transparency, are made stil
 purer by contrast to the richness Q
 the green dress; portrait of Nils
 Mansfield which is a masterpiece Q
 distinction, and landscape, the For
 St Andre" at Avignon. in which tn
 austere grandeur of southern hills an
 ruined masonry becomes truly impres
 sive in dull sun-bleached greys.
 In point of American landscape Nj
 C. A. Thompson takes the fcremos place in the exhibition with five char , acteristic canvases. His nocturn, l The Quinnipiae," in particular. wit its mystery of blue which ceases to h
 blue in the first pallor of night. is i every way remarkable picture.
 Mir J. | H. Downes shows two pic lures, of which Early Evening" most successful in its appreciation ( the transparency of night
 Of two portraits ef NIT. Herman Sc