Weekly journal-miner., 1922-10-25
By KATE T. CORY

hibit by the Metropolitan Museum Of Art, New York City.
 As will be seen. many of them are representatives of the earlier schools of painting in our country-pioneerS of their day who went abroad to the . art centers and schools in France, Belgium and elsewhere and brought back with them the teachings and theories then current in the leading art schools of the time.
 Thus our own art development in the wake of these and other trail Blazers of their day.
 Ideals have changed, as is evidenced in some of, the later schools repre- sented in this and previous exhibits held here Less attention is given to detail and more to the fundamentals of form and construction on which the details go as finished.
 Color is seen more brilliantly now and yet what could depict the late afternoon light more chamingly than Anton Mauve's "Restful Sheep and Shepherd,' representatives of which are familiar to us all.
 Among the foreign painters, Mauve, Breton. Cazin, Clairin, Lenbach, are all well known names of the best schools ill Europe Mary Cassett and Mrs Charlotte Conan are two of the older leading women painters of our country.
 The pictures are titled to empha size the dates Of the shools to which they belong, and so if we study them from this point of view we will get something of an idea of the history and development Of art in America and how it changed as the various schools or movements gave place to others
 The most recent fortunately per haps. it has not yet been shown here), aims briefly at expressing the inner meaning rather than the per. lection of exterior, but as a school, there seems to be much floundering, and uncertainty as to what that inner meaning is, and until they have a clearer understanding of themselves, we may well be content with those pictures that give us beautiful DOT trayal of the external and such glim- ses of the inner meanings as can be intercepted by normal, rational minds and without distrusting ourselves un- duly trying to see them sidwayS or up side down, to get the message they are waiting to convey.
 Everyone will be interested to sec the. original of the peaceful, loveablc sheep picture we all are so familiar with in reproduction. We can feel the movement of the flock, the little ones trundiing on behind; and one little tireliEg that had given out the shepherd is carrying in his arms.
 The big snow scene by Leonard Ochtman with its stream full of the and the bare trees. In the distance Is the kind of picture we should like oyer our mantcl in August
 Georges ]. V. Clairin's "Moorish SentineI' presents us with splendid specimen of a Moor, true in every detail; and what a lovely contrast IS his tawny red tunic with the richer red of the rug behind him.
 Edward Moran, the eldest of that famed family of painters, shows us a spirited marine with a ship ill the foreground which has just lighted her port and starboard lanterns, the red and green of them glowing challenge to the approaching night, and the lightship close by already has her beacons lit to point the way to the mariner.
 An interesting study in perspective is Lewis Cohen's Bridge Of San Martin, Toledo" Jules Breton, whose Song of the Lark has lifted us all for the moment to the sky, Is repre- scented here by a girl mending nets near the sea It IS colorful and strong in construction. The sheer lacy quality of the cap is a bit of subtle painting.
 Sheer muslin iS again a feature ill Franz von Lenbach's Portrait of Young Woman though not so satiS- lying in treatment, but in fact IS dwarfed in importance by the lady'S eyes which have already brought to her feet one of Prcscott's usually sobcr-minded citizens Mr. Couse as usual presents his Indians to us re- cumbent
 Martin Rico shows us an enticing 5lit of Spanish architecture with its balconies and fountain in the fore ground. Sanford K. Gifford's Lake Maggjore shows to lis i'll Arizona who specialize in sunsets how they appear in Italy over a body of placid water The painting of the rocky shore at the left Is somewhat hard, but the glow between if and the distant coast line is very real.
 Mary Cassatt's Mediation" will bear careful study. The head is easily poised and well painted, and the shoulders in their soft lilac cover ing are splendidly realized in form. Charlotte Conan, another Of Amer ica'S foremost women painters Of the generation just passing, shows us an eastern landscape with lush grass, undulating off to the distance under clearing sky. F. D. Millet's Cosy Corner" furnishes a beautiful eX- ample of texture in the young girls gown and laces-but one could enjoy the nook with her a little more fully had she seemed a little more com- fortable herself.