Weekly journal-miner., 1917-10-24
ART EXHIBIT AT FAIR WORTH
 STUDYING
MERITS AND DEMERITS OF THE FANTASIES DE- TAILED IN AN INTER ESTING MAN FER BY MISS KATE T. CORY.
(From Saturdays Daily) (By Kate T. Cory)

Don't tall to study the art exhibit at the fair. It IS rare indeed that we have the opportunity of seeing eN- amples of so many Of Americas fln- est painters.
 As you enter the door, look into the first alcove at the broadly painted canvas by Jonas Lie, No. l6. Stand close to the guarding rope and study the light and shade till you can al most sec the shadows shifting about on wonder hill, the cold greenish sky above of late afternoon-thcn look down at the water, stepping bacN . little: it is running and so wet, wet. It was painted so boldly and with such a rare stroke that one can scarcely realize the difficulty of the achievement
 At its left. No. 10, Mir. FricSckc, the winner of the grand prize at the San Francisco fair, presents riot of bril- liant flowers, and in the midst of them a lovely young woman Tn a striped gown. Mir Friescke's six subtle can vases at San Francisco, chief of which was the nude lying in the warm mel low shadows of an orchard tree, were
 
 than any other groups among the thousands that filled the l2l rooms of that greatest exhibit that America has ever known. While an American by birth and training he makes his home in Paris, or did before the war, but favors his native country with many of his choicest canvases.
 Turning 70 the end of the corridor, No. IS. by Edward w. Redhcld, also winner of innumerable honofs, shows large, broadly painted can vas, Valley In March" It is mas tcrly in its truth to perspective and color shades Observe that the slope of the immediate foreground desccnds dire ctly from the frame, as 1t reaches and includes the group of houses on the side hill, and yet the painting actually goes up the canvas almost to its center Think you not that master did that: And note the lacey tree near the center of the canvas almost leafless, but little more than branches, yet it has depth and breadth and Is perfectly separated from the purple receding hills behind it. These are but two of its many pcrfections. Study it well, # is worth it.
 In the like position in the further corridor Is Q large scascape by Fred cricK J. Waugh, No %. Sec it from the full length of the corridor. It portrays the lights of cold sea as you get it close to the waters, rather than the depths as you get them look ing down into them. Mir. Waugh is one of our leading marine painters, and is in the group hanging togcthc- on a wall in the Metropolitan Muscun of New York.
 Closely and in contrast is marine in moonlight by F. K. Rchn, No. 42 This is a water color, q wave just breaking beside the brilliant stream of moonlight.
 To the right of Mir. Waugh's marine is a canvas by Guy Wiggins, No. 2S -a city square in a blizzardly storm, the cabs and taxis and the venture, some wayiarcrS almost obscurcd in the binding storm. Ii again Is so true in workmanship that it brings once more to us the shivers of a walk in stormy day.
 In No. ,, John Carlson, another prize man, but we have many Of them in our list. shows us a beautiful, if not brilliant Winter landscape oi splendid distant stretches of fields ana lacey trees. One would not tire or its quiet beauty.
 Modern painters haze d way of nam ino their pictures from some seem ingly insignificant feature, which GUS tom was brought into vogue by Whistler with his Notes In Yellow. etc. An instance in our exhibit Is Singers "Old Church, Norway" No. ?, in which one looks twice for the church. His trees arc beautifully vital and his distinct high mountain peaks suggestive of OFT own noun fainous sky lines al their best.
 Marion Boyd Aliens portrait of a sculptor at her work, No. l, IS fine portrait of a dignifcd woman thumb ing the clay of an equestrian model. The lower quarter of the long canvas could have been dispensed with. or 1T left a soft bit of color, happening in the lower left quarter, would have been fortunate addition.
 In No. 2l, Chaunccy Rydcc has an interesting sheep picture, but too cvi- dently patterned from the French master Mauvc to deserve further mention.
 In No. 1+, Win. II. Howe shows a good group of cattle, but their dcs- tiny has condemned them to rather unintcreSting landscape.
 Harry Hoffman. No. l3, shows an interesting old bridge and castle in brilliant and satisfying composition, and nearby John F. Weir, No. ?, presents very sane little study of green tree and foreground with small white cottage The prevailing greens are SO we'll handled that they arc not monotonous, but why did John graft that crop of ruddy applies on his maple tree:
 Ben Foster. No. $, is most satis- fvirg in his Sidehill with warm, rest iul coloring and foliages.
 Charles Warren Eaton, No. Q, shows quiet scene relieved from monotony by bright entering sun beams. He shows. also, three char actcristic water colors oi moonlight