Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-02-24

individual with characteristics peculiar
to herself or himself-people who live and
are capable of change.
1t has been said that Miss Beaux dig
mites those she portrays, but it is certain
that she does not attribute to her sit
emily their own. Undoubtedly she seeks
the best in each and her work has in
telIectual quality which lends 1t special
distinction, but, above all things. 1t Is
.yeracious. Her portraits are not car1ca-
lures, neither are they composite records,
but are frank statements of Significant,
vital facts She paints just what she
sees, taking care to see CORRECTLY
Miss BeauX uses a broad. full brush,
allowing her color to flow freely, but her
method is very simple and never labored.
Judging from appearances one would
suppose that her effects were obtained
by first intent, so direct and spontaneous
is the treatment. This. however, is not
so. In almost every instance her paint
ings are persistently studied, simplicity
being the goal toward which she works.
Were it not SO, though, the spOntaneity
of her works might still charm, but their
stability be lost 1t is the fact that these
paintings are carried to a definite con-
clusion with complete unity that gives
them their force and distinction.
Studied Art in Paris
Miss Beaux was born in Philadelphia
and studied first in that city under Will
lam Sartain, and then in Paris in the
Julian and Lazar schools. She has at
tanned success. however. almost entirely
through her own efforts, using without
scorn the means closest at hand to make
livelihood, while steadily pressing for
ward and casting each aside as in the
process of advance it became useless.
At first she did certain work for the
hon time IN
she painted china, produced crayon por-
traits, taught, doing each thing to the
best of her ability, studying and applying
each bit of acquired knowledge, not PAM
pering her talent. but never Decorating
it with poor product.
In this lay to some extent the secret of
her success. Certainly she arrived COM
paratively soon on a plane of exceptional
accomplishment, from which she has gone
steady onward. In 1896 she exhibited a
group of paintings in the Paris Salon
which took the French critics by storm
and won her the honor of associate men,
bership in the Societe Rationale des
Beaux Arts. Among the paintings shown
Woman and 'The Dreamer" both of
which are included in the present exhi-
bition. The former is a portrait study
OF an old lady in a white gown seated
beside small table in room thorough
ly suggestive Of New England simplicity
AN old lady whom one would feel glad
to honor, one who has added years with
grace and gentle dignity. The treatment
of white in this picture Is noteworthy, as
1t is again in 1.-The Dreamer" q portrait
study of a young girl gazing out into
the world from the seclusion of an arm
chair, with wide-open. thoughtful, but
unseeing eyeS-a girl in whose face one
reads the tokens Of unusual Intellectual
ity.
also known as 1.-THE Dancing Girls" was
painted only few years later and still
holds its own with her best. Hanging
as a center on the north wall Of the gal
lery it is seen directly upon entrance and
the display.
These are the daughters Of the late
Richard Watson Glider and they are most
delightfully."- portrayed, the elder guiding
the younger in the first steps Of a dance
1t is lovely in color, gentle in senti-
ment and reticent in treatment, painting
which has enduring WORTH In 1t is DEM
Onstrated, perhaps for the first time, the
painters belief in the theory. strength
at the center and flexibility at the cir
fiuenced her productions.
There are two other portraits of the
Glider girls in this exhibition, both of
which have been painted comparatively
recently. One is entitled 1.-The Fledg-
ling" and shows a young girl swathed
in white drapery holding a little bird in
her hands-a mornings sketch, amazing
ly clever and yet exquisitely refined. The
other bears the title The Silver Box"
and shows the sitter in black gown
with a white chiffon scarf thrown over
her shoulder, and against rich red bro
cade curtain. In her hand she holds a
silver box, which gives just the CLINT of
color needed as keynote to the scheme.
of the canvases exhibited. Shannon at
his best has done nothing better. The
color is splendid, the modelling firm, the
Treatment direct, and withaf the painting
is pervaded with subtle personality.
Imaginative Insight and Design.
Near this, to the left, hangs the por-
trait of Mr.. Glider, painted a few years
before his death and familiar through re-
production. Here one sees imaginative
insight and design brought powerfully
into play, for while the pictorial element
is potent it is dominated by q penetrative
Interpretation of character. 1t lis the
poet, the thinker. the man of lofty visions
Miss Beaux has portrayed. rather than
the successful editor, the man Of aler
| mind and ready sympathy. The visible
form in this instance has engaged her
attention less than the mentality OF the
sitter-a sense of the reality and nobility
Of the spirit.
Beyond. still to the right, is a portrait
of Mrs. Glider, a small canvas very sym
pathetically rendered. shoYing not only
excellent Characterization. but fine hand.
| ling of light.
Conspicuous on this wall, not only by its
size. but its brilliancy of execution. is 9
full-length portrait Of Miss Dorothy Per.
| kins. who is represented in q picturesque
gown Of changeable yellow and blue-greeI
| silk against q glorious partly cloudet
summer sky. The effect of out-of-doors
| is admirably given and the suggestion Of
| freshness in nature nicely comedies witt
that of youth. The figure is sprightly an,
essentially vital, but holds its position
| well within the frame: very virile. It II
also extremely feminine. and while thu
color scheme is delicate 1t is, at the same
/ time, striking.
In quite a different vein. but no les!
successful. is the portrait Of a 'Mothel
and Child lent by Mrs. Thomas G
Bennett. In this note should be taken no
only Of the expressive pastures Of the twt
| figures. but OF the remarkable rendering
of textures. the beauty of the whole ct
feet. Miss Beauxs style is rarely suaye
but 1t is in this Instance very graceful.
OF all the portraits In this exhibition
none, however. has more distinction thar
that Of little Helen Amory, tiny girl o
five or six years OF age, pictured In {
little yellow kimono and sandals, stand