Evening journal., 1915-11-01

Francis Newton, New York; Thorn
ton Oakley, Violet Oakley, Philadel-
phia.
Samuel M Palmer, Philadelphia;
Maxfeld Parrish, Vermont; Henry J.
Peck Rhode Island; Louise Perritt,
Ernest c. Peixotto, Herman Pfeiffer.
Katharine Gassaway Pierson, New
] York; Katharine Pyle. Ellen Thomp-
son Pyle, Wilmington; Harriet Rich
ards, Connecticut; Frances Rogers,
New York; Robert e. Robinson,
Wilkesbarre; Theodore L. Rosen. viii
mington; Olive Rush, Walter Russell,
New York
Frank 4. Schoonover. Wilmington;
Remington Schuyler. New York; e.
Roscoe Shrader; Thornton Skidmore.
! Henry J. Soulen, New York: Jessie
Wilcox Smith, Philadelphia; Sarah
Katharine Smith, New York; Howard
y. Smith Boston; Wuanita Smith,
Alice Barber Stephens, Philadelphia;
Frank Stick. Wisconsin; Herbert
Stitt, Maryland: C. Clyde Squires.
New York.
Leslie Thrasher, Wilmington; Har.
/ ry z. Townsend, New York; Allen
Tupper True, Colorado; Griswold Ty-
ing, Boston.
Herman c. Wall, New York; sarah
| S. Stilwell Weber, Philadelphia: w.
Francis Weed, Connecticut; Walter
Whitehead New York: Edward A.
Wilson. Wilmington. N. Converse
Wyeth, Pennsylvania.
On the opening night and all dur
| ing the week, when the exhibition will
be open afternoons and evenings.
every visitor can vote for the picture
that he likes best. and thus help the
artist to win the prize Of 500 offered
by Mrs. 7. Coleman DUPONT for the
most popular picture.
! Wednesday afternoon boy students
OF the Wilmington High School will
be guests of the Fine Arts Society at
the exhibition, and Thursday after
noon the High School girls will be
invited TO the exhibition. and on both
these occasions members of the so
ciety will be present.
orville Houghton Peets. an artist Of
wide prominence. has written the fol-
lowing about the Wilmington art
show:
There are few art movements in
America that have been inspired from
purely American sources.
Its Americanism has always been to
me the most interesting characteristic
of the Howard Pyle influence. and
while there is no doubt room for de-
Velopment every effort should con-
slider this very precious racial element
and look TO its furtherance.
In France at different times. l have
had as pupils former students of How
ard Pyle, who have como to me prin-
cipally for technical suggestions.
Some of them we're older and more
experienced painters than /. and it
wac often question with me whether
I did not receive as an American
painter, more valuable advice from
them than l was able to give them in
my professional capacity.
In whatever respect one might
criticize. and ! shall suggest a direc-
tion in which l think progress could
be made. it is not possible to say too
strong word in favor of safeguard
ing the Howard Pyle influence in all
its essentials of good craftsmanship
in its sanity and dignity. and above all
in its strong American flavor.
There is a growing inclination to
doubt the responsibility of linseed in
b. tiA1 QcA hSnlik VI Ii1luAtc.
If we expose crude lineed oil to sun
light for sufficient time it becomes
clear and almost colorless. Does il
seem logical then that il should cause
darkening in pictures long exposed to
light? Most often il is some resinous
varnish or the chemical action of the
air or the improper mixing Of chemi-
cal colors that causes the trouble.
The use of slow drying colors has
done much to develop the modern
tendency to paint very thickly and to
lay it on in a "gob" rather than paint
ing it on, as the pressure of the brush
would be enough to cause a mixture of
the two if il were not thickly charged.
This "gobby" style. while not always
popular with the general public, has
been used in producing some splendid
paintings"
Another modern style consists
largely in scumbling on canvas with
decided grain. Mr.. Richard Miller
uses this method often to good advan-
tage The effect is often pleasing but
a whole canvas painted in this way
might lack a feeling directness.
Most of the old masters liked a
strong drier. Rubens used one so
rapid that his pupils had trouble with
it and a portrait by Van Dyke, which
we know to have been painted in one
. day. shows passages which had dried
+ enough to allow a glaze to be put on
that did not mix at all with the un-
derpainting. Time and the fine crackle
Of the paint have dulled their sur
= faces in a way we have great trouble
, to initiate.
We in America have inherited all
methods and manners and there re-
mains only the no small task Of max
ing proper use of. them.
An artist who is at odds with his
medium and makes it do his work by
force of will or energy is rarely able
to hide the fact that his is an unwil-
ing servant and if we take literally the
7 Morris definition that art is work. done
with pleasure. the result may not be
art-frequently in fact, is not.
Il When we are in entire sympathy
with our medium. whatever II may be
; oil, water color. etching, charcoal
j, or pen and ink we are led on joyously.
., we do not have to drive and as things
go easily we gain sort of momentum
a that carries us beyond our former linn
Y it's. we feel almost as If art we're try
ing to disclose its secrets to us and It
i is in this way and not by mass OF
y reasoning or argument that art really
develops.