Evening star. [volume] (Washington, D.C.) 1854-1972, 1926-02-28
BY LEILA MECHLIN.


Benson. which opened in Cor
I don Dunthorne's Gallery, 1905
Connecticut avenue, a week
ago. and continues to March 8, is es-
sentially an event of note. Mr.. Ben
son is one of our foremost American
artists. and as painter in oils. water
colorist and etcher few outrank him.
The Corcoran Galley of Art has in
the past shown groups of Mr. Benson S
water Colors, but the collection now on
view is the most comprehensive of his
work in this medium that we in Wash
ington have had the privilege OF see
ing, and it consists of recent works.
Any showing of Mr. Bensons water
ColOrS is of necessity comnoSed of re-
cent work. inaSmuch as his water
colorS sell almost as fast as he can
produce them. The reason for this is
not far to seek. Not only is Mr.. Ben
son a brilliant technician, but he
chooses attractive subjects. One may
safely surmiSe that he paints and
etcheS primarily because he is filled
with joy by what he sees and has an
irresistible desire to share that joy
with others. 1t is in comparatively
recent years that he has taken to
water color painting, but his pictures
show complete command of his me-
dunn He uses clear color and a full
white paper to show through. His
manner is most direct; there is no evil
dence of fumbling. In some instances
he has chosen to render eXtraordi-
narily difficult themes-such, for in.
stance. as THE Suice"
Most of the paintings shown at this
time are landscapes. but not all. Two
are exquisite still life studies, full of
atmosphere and permanent interest.
Is a hp1lTn gnN-oo1f ma n
in boat. reminiscent of his sports
man etchings. The landscapes cover
a variety of subjects. found in not
one but various places. Most engag-
ing is a SNOWY Hill" an exquisite
Winter picture, done without over
emphasis. but evident strength. Close
by hangs a lovely transcription of a
Water Garden" pool in the midst
of foliage, dotted with white pond
lilies, a moving rendition OF bit Of
Na'ures loveliness seen in seclusion.
On the opposite wall hangs an inter
eSting marine, "Iarbor Bar, Nassau"
done with greater breadth and equal
assurance. a charming collection
water color painting at its best.
The etchings, 80 in number. are up
stairs, and include some of Mr.. Ben
sons best known plates. Here is ma
terial that will appeal to the real
predictions of days in the open.
Even the uninitiated cannot fail to
find in these works more than n hint
of what the sportsman finds in the
big outdoors, the freedom of the air,
the graceful flight Of birds, wild fowl,
the hush and glory of sunrise and sun
set. There are a few early plates. for
instance, Moonlight" two figures on
the deck of a vessel looking out upon
moonlit sea; "Old Squaws," ''Incom-
ing Geese" Ripping Water"
William Howe Downes, the well
known Boston art critic, once ascribed
Mr.. Benson's extraordinary success
Ia etching to two causes-first, the In
trinSic artistic merit of his work, and.
second. the sporting interest of the
subjects. Neither one of these causes
alone" he says. would have been
great enough to account for the phe-
nomenal vogue for these works
throughout the country" Mr.. Ben
sons first experiments in the process
of etching were made while he was
student at the School of the Museum
of Fine Arts. Boston, in 1882, and his
first subject was made as an illustra-
ton for little magazine published
by the students. 1t was a view of
Salem Harbor. Strangely enough. he
did not etCh from that time until 1912.
In 1917 an illustrated and descriptive
catalogue of his etched work was pub
lished by the Museum of Fine Arts,
department of prints. and by that
time a large number of plates had
been produced Nineteen fifteen was
a. most prolific year, having to its
credit upward of so etchings and dry
points. Each year since has seen a
new quota, and never diminution of
power.
A year or so ago one of the great
art publishers of England determined
TO bring out a series of reproductions
of the works of the leading modern
etchers. such. for instance. as Zorn.
Brangwyn and Sir Frank short. Ben
son was the one American included in
the series.
Much has been written of Mr. Ben
sons etchings of birds and wild fowl.
Some have likened them to the Japa-
nese. but Mr. Benson's method is
essentially his own: he has made his
subject. Malcolm c. Salaman, one of
the leading English authorities on
etchngs and etchers. has said: NO
artist of the Western World has a
surer eye than Mr.. Benson for bird
on the wing; indeed, we must look
among the synthetic drawings of the
Far East for any graphic suggestion
truth and beauty. For the sense of
design controls always his pictorial
conception. the poise or motion of
wings appealing to his vision with,
seemingly, accidents of happy rhythm,
while his dra wing in it's Spontaneity
and subtletN is responsive to his obser-
walton of the tension or movement of
every part of the birds body" citing
three of his works as illustration
Summer Yellowlegs. incoming
Geese" and Ripping Water" two Of
which are included in the present eXh-
bition. n goes on to say: 'Nolitation
indeed. i'm one form or another.
whether of single birds or bevies. over
the water of sea. river or marShland.
is the motive of many of Mr.. Benson
finest plates, yet his felicity Of design
IS never at fault for a variety that
suggests ever the etcher's inn
promptu." Undoubtedly il is the sug-
gestion Of spontaneity, the i'm