Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-12-13
Effect of Sunlight in Dark Room.

Here the whole interest is dependent
upon the rendering of the effect OF sun
light. in dark room. The young woman
is graceful and attractive, but we prob
ably should not pause to look at her
twice if it were not for the shimmering
streaks of sunlight on her old-gold col
ored gown. Or again, for instance,
painting, by Davol, of d rocky bit of sea-
coast, which hangs in an adjacent gall
lery. The promontOry itself under gray
sky would be of little interest, except,
perhaps, to a geologist. but seen as the
painter has seen and Transcribed IL,
bathed in afternoon sunlight 1t has the
regal beauty of an oriental rug, the vivid
charm of a sudden revelation. This is
art.
In painting this picture Mr.. Davol has
tread securely the narrow path between
conservatism and eXaggeratiOn without
becoming commonplace. The rocks are
admirably rendered both as regards form
and texture, but the painter has not per-
mitted himself to become so absorbed In
the rendering as to forget technique.
Taft Picture by MacCameron.
In violent and interesting contrast is
the portrait of President Taft by Rob
ert MacCameron, which occupies the
place of honor in this same gallery. The
landscape by Davol is so colorful sc
vital, so spontaneOus-the portrait sc
colorless, dull and lifeless. 1t is wei
done. to be sure. and likeness, but II
lacks in sincerity and force. On the
whole, however. it has better right tC
recognition as work of art than Mr.
MacCamerons other contribution, a
group of three degenerate human beings
a man and his wife and daughter in q
French cafe. Like the picture included
in the Corco-an Gallery's previous exhi-
bition, "A Group of Friends or The
Absinthe Drinkers this picture may
have been painted as warning, but II
is certainly loathsOme theme and one
which to be pardOnable required mastery
handling.
Beauty is not essential to nobility In
art or in life-that is. not beauty as
commonly defined. There is certainly not
even comeliness in the features of the
blackened smith and his family painted
by Carl Melchers, but no picture in the
Corcoran Gallery's exhibition makes
stronger appeal. There IS a downright
ness about the painting. a genuineness in
the people pictured, that is not only COM
|. mendable, but convincing.
1t is, to be sure, the business of art to
reflect life. but the pIeasanter the life
the more agreeable the picture. There
are some fundamental things which can
not be cast aside. and it is these which
bind together all classes in common
humanity. Family relations is one OF
these things. love is another maternity
another. These Carl Melchers gives ex-
preston to in his paintings, and because
of this they have enduring significance
1t is the spirit of home, of domesticity
of refinement. which pervades his picture
entitled Penelope" to which the second
Clark prize was awarded: again i'm 1.-The
Smithy." has just been pointed out
| it is the simplicity of lie, the almost
Ipatriarchal attitude of the head CT the
household the nobility of the man who
| has labored with his hands, honestly
which gives significance; while, finally
| in THE Mother and Child is found, re.
| told in beautiful language. the story OF
tenderness. love and protection which
will never be outworn. OF the three pic.
lures the last is in many ways to be con-
sidered the masterpiece. 1t is a great
| picture from the standpoint of art, re-
gardless of sentiment.
Charles w. Hawthorne's Work.
Another painter who has seen beneath
the surface and rendered more than ssrm
is Charles w. Hawthorne. who is es.
pec.ally well represented in this exhibi.
ton. In the same gallery as 1.-The
Smithy' hangs painting by him of tw,
Cape Cod fishermen, young men, un,
calmly, but human and not untouched by
| the romance of the sea.
| Beyond, in one of the farther galleries
lis his painting entitled YOUTH" which