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The International studio
Charles Holme, Guy Eglinton, Peyton Boswell, William
Bernard McCormick, Henry James Whigham
From t\ic Library of the
Fogg ^uscum of An
Harvard University
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THE INTERNATIONAL
STUDIO AN ILLUSTRATED
MAGAZINE OF FINE AND
APPLIED ART
VOLUME THIRTY-NINE
COMPRISING NOVEMBER AND DECEMBER, 1909
JANUARY AND FEBRUARY, 1910
NUMBERS 153 TO 156
NEW YORK OFFICES OF THE INTER-
NATIONAL STUDIO
JOHN LANE COMPANY, 110-114 WEST 32d ST.
MCMX
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November, igog
THE INTERNATIONAL STUDIO
The International Studio
Copyright^ igog^ by John Lant Company
Plates
CONTENTS, NOVEMBER, 1909
JAMES McNeill whistler
CsEMORNE Gardens
See page ii
ANTOINE WATTEAU
L'ESCARPOLETTE
See page 15
ADOLPHE MONTICELLI
Fete Champetre
See page 21
JAMES PRYDE
The Deui-Mondaine
See page 25
ARNOLD MITCHELL
Perspecti\'e Sketch op a House at
Troon, Ayrshire
See page 47
ELLEN L. GRAZEBROOK
Thx Vegetable Market, Cassel, N.
France
See page ss
DUTCH PICTURES IN THE HUDSON-FULTON EXHIBITION AT THE
METROPOLITAN MUSEUM 0F:;ART iii
Seven Illustrations.
CONTEMPORARY AMERICAN LANDSCAPE PAINTING
Twelve Illustrations. By L. Mechlin 3
A PICTURE COLLECTOR»S EXPERIMENT By T. Martin Wood 14
Sixteen Illustrations.
MIL BRANGWYN'S TEMPERA FRIEZE AT THE NEW LONDON OFFICE OF
THE GRAND TRUNK RAILWAY 31
Twelve Illustrations.
AN ILLUSTRATOR OF CELTIC ROMANCE: JOHN P. CAMPBELL
Nine Illustrations By R. A. DaWSOn, A.R«C.A. 37
RECENT DESIGNS IN DOMESTIC ARCHITECTURE 43
Fourteen Illustrations
STUDIO TALK (From Odr Own Correspondents) 52
Forty-three Illustrations.
ART SCHOOL NOTES:
LONDON 80
HAIDA, BOHEMIA 81
Two Illustrations.
REVIEWS AND NOTICES 82
THE LAY FIGURE: ON THE TRAINING OF THE CRAFTSMAN 84
THE COCKCROFT COTTAGE AT EAST HAMPTON, LONG ISLAND xi
Seven Illustrations,
IN THE GALLERIES xv
Four Illustrations.
DECORATION BY FRED DANA MARSH IN THE HOUSE OF AN AMATEUR
PRINTER xviii
Five Illustrations.
WILKES-BARRE COURT HOUSE DECORATIONS xx
Four Illustrations
JAPANESE LACQUER xxii
One Illustration.
THE FALL ART BOOKS xxiii
Three Illustrations.
Guo^k
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THE INTERNATIONAL STUDIO November, igog
I CHARLES SCRIBNER'S SONS, 153 Fifth Avenne, NEW YORK |
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INTERNATION
vol \XX1X. No. :m
D
; f( }i PIC rrici- i\ rMi r;. i^
r .1
I
i WK loan ixhi'-it! .n JiriMiv^rd in tr.*; M- ir- : ,t
tan \I' - ('Mm .*f Art, N»-\ N'or".. a- [mti « T !^ •• H :
•.'bij.li i- I nrnnuaioralix«- of tM* p<Ti'Mi in »'»!. •
Ilcnrv Tl-.'J.^on Hvod nin' tlv. ountiy u'kIt vl^ ■«
a'>pi IS iieenl'T*'«l tln^ ri.tT '' n'* h hear' bi- n •.
iinri t'.«' otht,- <•'* ulii' h '- a-.^oc iatr.l wirli .\"^t"i .i
.1 tlv imt^ of Rol crt F'.!t >ii aru' M^ fndii c . , r i: •
'! hf ihuK '•! -C'lion iudu'lrs a rcn.irl.ai.lt i.m
V illfi :i'*n «'i iht' industrial art^, daiin;^ tVoin t'l. i.. •
tarlif-* (\*l<.")ial tinic- in Now l'!ii/'ar;«l ,ui'! \f\ ♦. ^. r
Am^finl 'Ti !'• the time f)f Fulton'- (i« ith ^ >t ti r -r .•â–
ii:<ln>triaj oxl^hitir-n tlu Lollertion t.f K,rr.i';j;'c vv - - :" .:-
ik->:(r.i»»Ml in <»ir OctoixT i-Mic. In liu ♦<',! '. hl' jr.;
jK'^ii- >rjo'^ n a n'{)re. fTitati\c i^roiii> of :m^ i â– ' t K. i ,
in:- '• .n«-d to the Museum lor the li...i"-n >» ti<n i-j r
oi tfn* exhihilion. Tlie entire colit'i i:'i[i i^ t-i re- •.,...:
nuo!i .n \ifnv for .-•<'m»- time, the <l.ae oi , !• . in'; /'./
hf \w^ : \ed a* jin-^ent n-> \.i\( -Tilx-r 15. I* 1 1
ijlr. ht.,.*-'- r. Th;.i rl'.e |)eri''d of th^ exfr'l iii.-:.
I)e f\tende«t and thr d. tr of I't-ini: J.e i^o^Jp. .., I
The i;r(M -» ol |»a.:'[jfi'> >» ( un-d iir i «' ih d .01
-ccti >n demoii.^trtitt'' in ^iriM/.^j t^M-iou thr oj.p. r
ltinit\' wli'li \meri(t» .i'T'»rd.- l<)-'i;!v o! ili-j-irati'.'.
|iV or'i'iua! e\ani|)le- !i e 'jreat .irl . f .li^e I>' * h \a!i KuVMla*', ^
painter-^ of the seventeenth tn 'i-rv. S« -ne ri^to'i- j" ift-di'^n l'...t *
,'>hm^'nt nviv, j)(Tha;>'>, he frU in l'"';ro]K'. m «rt ir As mcuntniri ^*
cle^ that it wa.-^ |)os>ihle to .•'^.se^.:;!e in \( v N'ork hiin, ^^i- vork â– â–
one hundred and forty-tive [:airjhr:.'s 0} t'^-e iir-l !n-5.ijin.iti\e tx- .
importance representini^ ih'..- period, an-.-ivj th(**n ili- pai'iter. .-»• ■'
thirt) four Renibran'lt-, t\\enty Iran.> llal> and connned hi'-» m .' •
t"ive V'ermeers Kvcn after this Ji.iwin'; oiily ah.Mt ineiis van i!v •• ! h
one-half f)f the numhcr of th( Reni*)iaT-.wi^ in and pMrtMii -
Amerira are exhihiteiJ, with., peilia[», l\\<.' tliirds of di. j)!ayN, pi r • -
the numf)er of work.s hy Fran^ FlaU. Hohhenia aii«l 'J'tie Ren lit' '
Cuyp. t.'/n i> .\n c •■•
The period during nhif h all t!i^ norlvN exhibited i)en')d «)f ^rre:«i. :
'o «i- ! : i'. 1 i
n.'.n [;.'
j'a.ir fr'«ni '.*
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• J n'.i.'tT'i of "!
w h -t an.::]'.
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INTERNATIONAL
STUDIO •
VOL. XXXIX. No. 153
Copyright, 1909, by John Laiu Company
NOVEMBER, 1909
D
UTCH PICTURES IN THE HUD-
SON-FULTON EXHIBITION AT
THE METROPOLITAN MU-
SEUM OF ART
The loan exhibition arranged in the Metropoli-
tan Museum of Art, New York, as part of the Hud-
son-Fulton Celebration consists of two parts, one of
which is commemorative of the period in which
Henry Hudson lived and the country under whose
auspices he entered the river which bears his name,
and the other of which is associated with America
in the time of Robert Fulton and his predecessors.
The Hudson section includes a remarkable loan
collection of the industrial arts, dating from the
earliest Colonial times in New England and New
Amsterdam to the time of Fulton's death. Of the
industrial exhibition the collection of furniture was
described in our October issue. In the following
pages is shown a representative group of the paint-
ings loaned to the Museum for the Hudson section
of the exhibition. The entire collection is to re-
main on view for some time, the date of closing
being fixed at present as November 15. It is possi-
ble, however, that the period of the exhibition may
be extended and the date of closing be postponed.
The group of paintings secured for the Hudson
section demonstrates in striking fashion the oppor-
tunity which America affords to-day of illustrating
by original examples the great art of the Dutch
painters of the seventeenth century. Some aston-
ishment may, perhaps, be felt in European art cir-
cles that it was possible to assemble in New York
one hundred and forty-five paintings of the first
importance representing this period, among them
thirty-four Rembrandts, twenty Frans Hals and
five Vermeers. Even after this showing only about
one-half of the number of the Rembrandts in
America are exhibited, with, perhaps, two-thirds of
the number of works by Frans Hals, Hobbema and
Cuyp.
The period during which all the works exhibited
were painted covers only some thirty years. The
number of true masters who arose in Holland dur-
ing this short time is astonishing. It happened that
three generations of masters overlapped to contrib-
ute to this flowering interval. Frans Hals was bom
in 1584, but his development was unusually late.
Jan Vermeer was bom in 1632 and died early.
During the period of the first generation some time
was necessary for the development and establish-
ment of a national art. At the other extreme the
native painting fell under the influence of the
French school, which overwhelmed it in 1670.
Rembrandt's output covers the whole period.
Vermeer, whose productive period falls chiefly
between 1656 and 1675, shows a progressive style
together with a perfection of surface which ap-
proaches the French influence. Not more than
thirty-six of his works are known, a restricted out-
put as compared with the other masters or with
Rembrandt, who left six hundred and fifty. Ver-
meer employed few colors, and in shadows, with a
modem touch, avoided the characteristic browns.
But the most modem of the group, no doubt, was
Frans Hals, whose animated stroke made him a
supreme delineator of character. He is, probably,
more fully represented in America than any other
Dutch artist and the works shown in the exhibition
date from his best period, 1635 to 1655. Jacob
van Ruisdael, nephew of the older master, Salomon
van Ruysdael, brought landscape to the highest
perfection that it reached in Rembrandt's period.
As mountain scenery was probably unfamiliar to
him, his work in such subjects shows remarkable
imaginative power. Aelbert Cuyp, known as a cat-
tle painter, studied his landscapes more simply and
confined himself to the moods of sunset. Bartholo-
meus van der Heist is best known for his portraits
and portrait groups. Next to Rembrandt, Jan Steen
displays, perhaps, the richest inventive faculty.
The Rembrandt from the W. K. Vanderbilt collec-
tion is' an outstanding example of the master's
period of greatest vivacity and animatioi.
m
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LtiU by Mr. J, Pierponl Morgan, New York, to the Metropolitan Museum Hudson-FuUom Exhibition
WOMAN WRITING A LETTER
BY JOHANNES VERMEER VAN DELFT
[1632-1675]
A lady in morning toilet, wearing a yellow jacket trimmed with ermine,
sits writing at a blue-covered table on which are writing materials, a
casket and a string of pearls. She is leaning forward and turns to look at
the spectator. She has pearl earrings, and bows in her hair. The chair
back b ornamented with gilded lions' heads. A large dark map, only
partly visible, hangs on the greenish-gray walL The light falls on the
canvas from the left, strongly illumining the head and bust of the lady.
Canvas: H., x8i inches; W., 14! inches. Burger, No. 40; Harvard, No.
43 ; Hobtede de Groot, No. 36. Sale (probably), Amsterdam, 1696 ; sale.
Dr. Luchtmans, Rotterdam, x8i6; sale (probably), J. Kamermans, Rot-
terdam, xSas; sale, H. Reydoa and others, Amsterdam, 187a; sale of
Comte F. de Robiano, Brussels, 1837.
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Lent h Mr, W, K, VmdmhiU, New York, to the MetropoUtam Musmm HudMm-FuUon Exhibition
Three-quarters length. Standing. A man about fifty, with gray
mustache and imperial. He wears pearls in his ears and a high« light-
colored turban, fastmed with gold ornaments and adorned with a clasp
and a pendent horsetail. He b dressed in a volumhious embroidered
cloak, and over it a many-colored, fringed shawl. A golden ornament on
hia breast. Hb left hand, concealed by his cloak, is hOd on his hip; his
right hand grasps a stick. Signed on the lower right: R. H. L., 1632.
Caniras: H^ 59 mches; W., 47! inches. Smith, No. aSs; Vosmaer, pp.
116, 495; Dutuit, p. ss. No. 36s; Bode R,, No. 14s; Khus. d. K., p. lao. THE NOBLE SLAV
Collection of Paul Methuen, Corsham; collection of Kmg William U of «^ ^ T?vri>T> A xmT
Holland, sold m 1850; collection of Tomline, OrweU Park; coUecUon of ^ * Ki!.MUKAXMU 1
Mr. McKay Twombly. New York. [1606 ( ?)-l669]
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Lent by the Hon. Robert W. de Forest, New York, to the Metropolitan Museum Hudson-Fulton Exhibition
Half-length figiire, turned slightly to the right, the hands not visible.
She wears a blubh-gray silk dress« trimmed with gold and silver lace and
broad lace collar. Pearls at her throat and in her hair, which is brushed
PORTRAIT OF A LADY plainly back and falls m rhiglets on either side. A dark-green curtahi
BY BARTHOLOMEUS VAN DER HELST ^«*^!*^°""^ Brownish-gray background on the right. Canvas:
H., lit mches; W., lot mches. About 1660. Formerly ascribed to
[161 3 (?)-l67o] Terborch. Rightly attributed to Van der Heist by Hofstede de Groot.
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Lent by Mr. Henry C. Frick, New York, to the Metropolitan Museum Hudson-Fulton Exhibition
Above a rocky, wooded hill at the right is seen the spire of a church. A
rushing motmtain stream emerges from the right and turns to the left in
the foreground, where it forms a cascade. A shepherd leads his flock
across a rustic bridge which spans the stream. At the left some fallen
tree trunks. Blue hills along the distant horizon. Dark clouds gather
in the blue sky. Signed on a rock in the center, / v Ruisdael. Canvas :
H., 39] inches; W., 34 inches. Smith, No. aaa. Collection of Baron
Lockhorst, i8a6; collection of Earl of Onslow, England.
A WATERFALL
BY JACOB VAN RUISDAEL
[1630 (?)-i682]
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Lent by Mr. Charles M. Schwab, New York, to the Metropolitan Museum Hudson-FuUon ExhUntion
THE DRAINED CASK
BY JAN STEEN
[1626-1679]
A group of figures in a tavern. In the center the stooping figure of a
woman in a red dress with a blue jacket, who hdds a boid, wUle on the
right a man in a gray-Uue cloak tilts a cask to drain its contents; at the
end of the cask an old woman strikes it with her shoe. Seated at the table
at the left is a man with a red hat, holding a stein in hb hand, and behind
him two men in green clothes, eagerly watching the wine as it flows slowly
fromthecask. At the left a third man lights hb pipe at the table. Inthe
background an open door through which is visible the evening sky. Ona
wooden partition at the left of the background the inscription: **Tis
dromgh voor d* mads Aef is doot den tap lopt op i<«)ti ent d* verbruyde
krouf is vaets," Signed on the cask, /. 5/cm. Canvas: EL, 54 inches;
W., 40 faiches; Smith Suppl., No. 70; Westrheene, No. 95; Hofstede de
Groot, No. 603. Collection of M. P. Caauw, Leyden. 1 768 ; coUection of
E. Higginson, Salmarsh Castle, Kent, x84a; collection of the Marqufa de
la Rocbebouiseau, Paris, 1873; collection of M. E. Martinet, Paris, 1896.
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LefU by Mrs. CoUis P. HwUingUm, Nov York, to the MetropoUlan Museum Hudson-Puiton ExhibUion
Three-quarters length. Standing, turned to the right, the right hand
resting on the hip, with the pakn turned outward, the gloved left hand
holding the right glove against the chest. He wears a black costume, a
large lace-trimmed collar and a felt hat. Signed on the right of the fore-
ground: Adat Svae AnP 1643, with the monogram P. H. Canvas: H.,
46i niches; W., 35} inches. Moes, No. 137.
PORTRAIT OF A MAN
BY FRANS HALS
[1584-1666]
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THE STUDIO
C
ONTEMPORARY AMERICAN
LANDSCAPE PAINTING. BY
L. MECHLIN.
If it is true, as Barrie has suggested in his
" Margaret Ogilv)'," that the end and aim of all
art is to open the eyes of those who will look to
beautiful thoughts and beautiful things, then it
must be admitted that the landscape painters of
America are artists indeed. Primarily they are
discoverers and interpreters — men passionately
loving nature and striving through their works to
impart to others their emotions ; not as others
have done, but in a way distinctively their own.
They have not always succeeded, nor invariably
done well. Being thrown almost inevitably upon
their own resources, their expression has at times
been crude and immature ; but it has been frank,
sincere and true, and this has given it distinction.
And, furthermore, their pictures have been painted
largely without regard for the market, without
intent to please, and while in many instances they
have been found lacking in pictorial interest they
have not failed to carry conviction.
As the love of pure landscape is commonly a
token of ripened development, it is, perhaps, a
little perplexing to comprehend why America, an
exceedingly young, if precocious, nation, should
have made her largest contribution to the art of
the world in this particular field. Possibly, how-
ever, a reverent iqve of the outdoor wofid is the
pioneer's heritage — perchance youth has engendered
daring. Be that as it may, without doubt it is
true that the view-point of the American landscape
painters is, and has been almost from the first>
different from that of other landscape painters,,
inasmuch as it completely overlooks the immediate:
relationship of nature to man. John Richard
**THB GOLDEN AFTERNOON"
XXXIX No. 153.— November, 1909.
BY CHILDE H ASS AM
3
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Contemporary American Landscape Painting
LANDSCAPE
{Corcoran Gallery of Arty Washington)
BY ALEXANDER H. WYANT
Dennett said of Homer Martin's landscapes that
they looked as if no one but Ciod and the painter
had ever seen the places ; and this characteristic is
not peculiar to Martin's work alone. For this very
reason it is a question whether or not American
landscape paintings could be fully appreciated by
those unfamiliar with American landscape; but it
is thought that beneath their subjective truth lies
sufficient fundamental art to give them universal
appeal.
George Inness is called the father of American
landscape painting, because he was the first to
discover that art lay not so much in the thing
transcribed as in the transcription — that mere facts
were less worthy of preser\'ation than was their
significance; which is, in reality, the dividing line
between the old school and the new. But before
him came Durand and Cole, F. E. Church, Moran,
Bierstadt, Kensett, Casilear, and the other men of
the so-called " Hudson River School," who while
seeking truth along conventional paths paved a
broad roadway for those who followed. That art
is an inherent instinct, rather than a cultivated
taste, is manifoldly demonstrated in American
history, for with absolute spontaneity the little
flame burst forth simultaneously here and there in
remotely distant places in that broad land. And
not only did it awake, but it lived, under conditions
untoward to a degree almost incomprehensible.
In the early days of art in America men became
4
painters without having seen a single great picture,
without having known or associated with other
painters — and these days are not yet a century
dead I Where -else have such conditions been
paralleled? Where else has art been so severely
tested? Durand and Cole were both engravers
before they became painters, as indeed were the
majority of the early American landscape painters,
and their works while essentially conventional
and unreal were not utterly unworthy. They both
reproduced natural forms according to certain
fi.xed formulas, and Cole, not content with nature's
message, endeavoured to read into his pictures
a complicated allegorical meaning. Church,
Moran, and Bierstadt were fond of representing
upon canvas panoramic arrangements of dramatic
scenery, and thought that they were nationalizing
their art by transcribing distinctly American themes.
To them the grandiose was great — bigness a matter
of measurement, and while their capacity was puny
in comparison to their aims, they did divert atten-
tion from foreign ideals and were not inferior tech-
nicians. The group of men who made up the
Hudson River school got nearer the truth but did
not succeed in ridding themselves of the notion
that one day is as another, and that in nature
facts are unalterable.
To the influence of the Barbizon painters is at-
tributed the altered outlook of Inness, but whether
or not he learned his secret of Corot, his work is by
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Contemporary American Landscape Painting
no means imitative. Instead of seeking beauty
he saw it, and on every side. He painted broad
stretches of near-by open country lying steeped in
summer sunlight— such scenes as were to him
most familiar and appealing, and he made patent
their charm. His colour was rich and strong, and
he allowed it to flow freely from his brush. Some
of his canvases are over-painted, but they all have
definite meaning. Alexander H. Wyant, his con-
temporary, was perhaps an evener though a less
virile painter, and a better draughtsman. For him
grey days had more allurement than sunny ones,
and his works are found to have a lyric quality
which in a measure Inness's lack. Homer Martin,
of the three, was probably the most emotional but
least conscious of the beauty of his own land —
least single-hearted. All of these men, it must be
understood, developed gradually, and to some extent
groped their way, unconscious of the fact that they
were creating tradition. Their works stand to-day
alone, and represent a chapter which is concluded.
This brings us to present time, to the field of
contemporary effort wherein is spread before us an
almost bewildering array of the fruits of an early
season. Between the years 1879 and 1909 the
pages of history have been turned rapidly, and
records have grown old while they were yet in the
making. Within this period the French impres-
sionists have risen and declared a new creed, the
piein-air painters have advanced a doctrine, and
the tonalists have strengthened their ramparts ; in
America the voices have been heard and in some
measure heeded. American landscape painters, like