Evening star. [volume] (Washington, D.C.) 1854-1972, 1914-03-21
EXHIBITION Of ART
IN PORTRAIT FORM
Collection of Twenty-Five
Paintings in New National
Museum Building.
ON PRIVATE VIEW TONIGHT,
OPEN TO PUBLIC MONDAY
Work of Twenty Artists Is Repre-
sented-Display Is to Continue
Four Weeks.

A special exhibition of portraits by
members OF the National Association OF
Portrait Painters opens this evening with
a private view in the National Gallery
of Art, which at present rs quartered in
the National Museums new bull ling
This exhibition comprises twenty-fiv
paintings representing the work of twenty
artists. The collection is displayed in the
main gallery, wherein the more important
canvases of the Evans collection have
previously been exhibited. and with ample
space and good hanging makes an i'm
pressive showing.
There is perhaps 10 subject as interest
ing as pertraiture. AS well known
writer has put it. the game We are all
most interested in is life. and for this
reason We watch with keenest interest
our fellow-beings. the real actors on the
real stage. Portraits have the fascination
of both humanity and realism. They are,
If they attain their intention human doc
uments, each a unit, individual and alter
able.
Rarely are two people found alike in
character or in physiognomy. Nor do
features alone constitute likeness-a froz-
en- image is not portrait. The flashing
of intellect and emotion create express
sion. and in expression lies the key to
portraiture. The painter of portraits who
would excel has therefore no simple task.
He. or she. must not only be able to paint
skillfully. but must be gifted with insight.
And. finally. to attain greatness portrait
FAINTER must be capable of doing more
than this-he must be master of his me-
dunn and must render his individual i'm
preston with consummate art. No Won
der, then, that high in the ranks of paint
ing pOrtraiture is given a place.
Often today one hears it said that the
great masters are all of the past; that
We have no painters today who can COM
pare with those who lived in the golden
days of the renaissance or in later days
N England. But We cannot tell-perspec-
live is necessary to correct judgment
We do know, however, that there are to-
da: painters who in the eyes of some
well qualified to judge stand high even in
comparison with the best in the history
of art. One of these is Cecilia Beaux, an
other is John W. Alexander. Both are
represented, and admirably. in this por-
trait exhibition.
Portrait of Mrs. W. Mel. Ritter.
Miss Beaux's contribution is a portrait
Of Mrs. William Mel. Ritter a lady with
soft gray hair and delicately modelled fea-
lures, wearing a white satin gown, who
is shown seated upon a red settee with
Fer little japanese dog beside her. The
light comes from the rear and touches
as with golden finger the back of her
hair, her shoulder and the lower edge Of
her gown. The figure does not seem
posed. nothing in the composition or the
expression suggests tension or affecta-
ton; there is complete naturalnesS and
repose. The sitter obviously has thoughts;
she is alive, and though she is restfully
seated, she could undoubtedly arise.
So much for the personality of the por-
trait The accessories. so called. are no
less significant. The color scheme should
be remarked. each separate note has been
purposely weighed and placed The gown
is remarkably rendered, having not only
just the right texture and tone. but even
the correct suggestion of weight. falling
in soft smooth folds over the knees and
on to the floor. There Is none who paints
white in quantity as Miss Beaux does.
Finally there is the little dog. SO fiat
upon the bench. SO silent and quiet, but
with his amazingly alert eye watching
all that goes on. And here this lady of
distinguished bearing, this tiny dog and
odd settee are brought together in a
delightful composition. surrounded with
air. made into picture-a picture mas
terfuily painted and essentially OF our
own time This is painting worthy of
a place in a national gallery OF art.
Of Different Type.
Very different in style. yet in its way
no less notable. is John w. Alexander's
portrait of Alexander c. Humphreys,
president of the Stevens Institute of
Technology. He is painted almost in
profile standing in his doctors robes
against a perfectly simple, gray back
ground. There is no shimmerfng satin
here. no furniture or surroundings to
create interest and lend colorful charm.
I.l ytrr.I
iulpressively is 4 personality expressed
Mr.. Alexander has learned. beyond the
majority, the art of elimination, and has
the ability, have few, of making a
broad, fiat surface interesting and sig
nificant. He does not pile on his color
as do many, but rather lets it sink into
his canvas, but the result is one which
only ne can obtain, an effect of soldlty
and at the same time atmosphere, which
in a measure almost typifies spirituality
the seen and the unseen
Dr. Humphreys head is InarvelouSly
simply painted, but in eXpressiVeness
nothing remains to be asked. Though one
did not know. it would be easy to sur
mise that here was man of intellectu-
atty force and determination. coupled
with esthetic tastes and love Of scholarly
pursuits. From the purely technical
standpoint attention may also be called
TO the excellent rendering of the gown, its
broad simple treatment, the transparency
of the shadows. and the skillful introduc-
ton of the bit of white. placing the hand.
and reviving the interest in that part of
the canvas, which might otherwise have
been counted -superluous.
Other Noteworthy Products.
On the same wall on which these two
portraits are hung is one by Ellen EN-
met Rand of the late NJ Gilbert, which
cannot fail to attract favorable atten-
ton. The coloring is rich and strong.
and as a whole the work has excellent
tone, but it is the expression more than
either color or quality which calls for re-
mark and admiration. Here is interpret
ed definite personality. NJ. Gilbert is
neither foolish nor wise. neither merry
nor sad. but a mixture of ALL quite indi-
vidual, quite unusual. And the hands are
no less Indicative of character than the
face. They. too. suggest sensitive vital
ity. hghtness and capability-they are far
better painted than one often sees hands
today and they go a long way toward
making the portrait.
Lydia Field Emmett, who is perhaps
best known for her portraits of children
contributes to this exhibition an excellen,
portrait of "a Lady," one past youth, bu,
with eyes full of sparkling merriment and
youthful yivacity This lady is pictured
seated with her right hand in her lap and