Every evening, Wilmington daily commercial., 1920-04-13
intuition and a fidelity that make it

intuition and fidelity that make il q
thing to be desired
OF both Numbers 66 and 73 il must in
justice. be said that they are exceedingly
we'll painted, ,ut are yet lncking in charm
The former Farms in the Hill Country
is by Helen Mccarthy and has been
premiated elsewhere; the latter, 'The Old
Saw MILL" by Chauncey +. Ryder, is
largely taken up by very blank wall,
though the foreground OF the log-hlled
mill pond and the woods and tree at left
and right, arc full of painter craft.
A strong trec-scapc, "TheEdge of the
Woods" by Hugh W. Breckenridge,
shows much feeling for the qualities OF
sunlight and shade as these fall on foliage
and bark and although the effect of the
accompanying rigidity of composition
which seems inseparable from the subject
has TO consciously be overcome, as IN
Others of the pictures shown.
'.After rain," by Herbert ID. Stitt, No.
IS, and Back Road in January" by
Henry A. Rand, are both faithful tram
scripts of their subjects, though not great
ly shot through with romance.
'Buttonwood Farm" by n. c. Wyeth,
No. 50, is loan from the Reading
Museum, and an excellent example Of this
artist S virile methods.
Another example of broad brush work
effect, where the juxtaposed strokes of
color modify one another in their effect on
the eye in place OF being blended into
definite pigment values on the palette, is
the Sunny Morning" of Charles Rosen,
No. So.
Among the portraits, which are next to
the landscapes numerically, the first to
attract attention, will be that of Pierre s.
du Pont, by Clawson S. Hammitt, which
is treated with the artists customary
fidelity. Madame" No. 10, by Wayne
Adams, has much character A child por-
trait, No. %, by Orville W. Poets, COM
bines childish naivete with a decorative
treatment of background and costume.
Heroine of an Unwntten Poem," by
Ethel Barksdale, No. as, is crisp and char
acterful
Pearl White" by Grace Evans, No.
Il, is pleasing in pose and color. Mont
ezuma,' by Frank T. Sohoonover, is an
conceived and elaborated type
of costume portrait, intended for an
Portrait of Miss Palmer, +"
by 5. Nj. Palmer, is full of character; it is
Number ~
4 very torrid -treatment characterizes
the Robert Henri canvas Little Girl of
the Southwest" which must have been
inspired by most unusual model; the
painting of the flesh is fairly Juicy" in
texture.
Another picture by this artist, No. 81,
JEAN is the winner of the prize award
for the best portrait.
The pose OF "Suzette' by Nina b.
Ward. No. 81, is very commendable,
though the handling is rather heavy.
Mandarin Beads, however, by Isabel
II. Cartwright, is full of brightness and
tone-an unusually companionable and
"livahle" portrait.
The Spirit of Fairy Tales" charm
ing conception of Katharine Pyle, number
63 in the catalogue, is figure piece rather
than a portrait, and is very sympatheti-
cally handled.
The category must not be closed with
out calling attention-sif that be necss-
sary--to No Al. by Charles II. Hawthorn
The subject is a Nantucketer bv adoption
the wife Of 'Portugee' fisherman; and
ness of the Spanish style OF painting, and
is adjudged prize for the best painting,
because of its directness, no doubt.
Among the still life subjects are 10 be
noted the E" X ang-Hsi and Quincess, by
Dimes Carlsen NO. 53), an elaborate
over design by Ethel f. Belts, and Nos
los and 40. two small panels, in water
olor apparently, which show much more
lepth and tone than usually associated
With that medium. These are by Zip
'orah Topkls
For sheer rush and dash, that outdoes
Turner at his best. The Destroyer
'atrol," by 1t. Commander Henry
holds the attention.
AS matter Of interest, from its un-
lsualness, may be mentioned the large
anvas "Anger," No. 81, by Walter |
fer; Mexican group in PRAYER before a |
rucifix of crude contrivance
Another dashing subject is the Water |
Bottle of Gayle Hoskins, No 10; a |
french picture of tense interest, the |