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Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/catalogueofloaneOOpatt 
 
Catalogue 
 
 of Ik 
 
 Loan Exhibition 
 
 of Important Worlds 
 
 ty 
 
 George Inness 
 Alexander lV\)ant 
 Ralph Blakelock 
 
 Held at the Chicago Galleries of Moullon & Ricl(ells 
 March Tenth to March Twenty-Second - MCMXUI 
 
 With An Apfirecialion of the Life 
 and IVorks oj These Masters by 
 
 James IVilliam Pattison 
 Elliot! Daingerfield 
 George W. Stevens 
 Harriett Monroe 
 
This Bool^ Is Dedicated 
 
 to those who perceive the beauty of American 
 Art, and appreciate the genius of its maimers; 
 who believe there is no Art in the Dwrld which 
 better expresses the sentiment of landscape in 
 all its moods; who perceive that the exact 
 painting of individual objects is of less impor- 
 tance than the massing together of larger 
 parts; that the light which envelops all things, 
 that the atmosphere which permeates them, 
 and the trembling vibration which suggests 
 life is the reality of landscape; that George 
 Inness, A. H. Wyant and Ralph Blakelock 
 were the men who best appreciated these great 
 truths and the greatest exponents of them. 
 
 MOUL TON and RiCKETTS 
 
Born 1825 
 Died 1894 
 
 George Inness, N. A. 
 
 An Appreciation 
 
 By Elliot! Daingerfield 
 
 HE constantly growins^ interest in the work of George Inness, the wider 
 
 and better understanding of the master's aims in his art, and the splendid 
 
 awakening to our patriotic privilege in claiming him as our very own, seem 
 warrant enough, if warrant were needed, for giving again and again to this public 
 all the information and thought of him that one can assemble. We shall, ere long, 
 acclaim him, as Holland her Rembrandt, Spain her Velasquez, or France her 
 Corot, and with equal justice of claim. In his art there is nothing ephermeral. 
 It is sound in its logic, based, as all great art must be, upon knowledge, and bears 
 in its bosom the deep secret of Nature's beauty as he saw and understood it. 
 Somewhere I have said that we shall not know the Art of Inness unless we place 
 
ourselves squarely on the platform of his religious convictions, because it was 
 through the influence of his deeply religious nature that he could eliminate the 
 gross, could put aside all clamor or vainglory in technique and seek the spiritual 
 which is the intent and the success of his highest effort. Yet not for a moment 
 must any student of his work believe there was disdain for technical achievement, 
 or haphazard in his execution. Such an opinion would be very far from the 
 truth. 
 
 He was forever seeking to settle "principles" of treatment that he might be 
 quite free for the higher expression, and further, one may point to certain of the 
 earlier things and ask if in the art of any master there is more certainty of touch, 
 more excellence of drawing, or more bravura of brush handling than these works 
 show. That he chose to broaden it later, chose to fill great planes with simple 
 tones, chose to find the secret of plumed elm or gnarled oak with a rul) of color, 
 is precisely the reason we must see the master in such work. 
 
 "How," asked a painter one day, "Can you make a foreground so full of 
 detail, so suggestive of growth, of weeds and grass and all the thousand things 
 which the rest of us have to do separately and in detail, and you achieve with 
 what is little more than a rub of color?" "I have a method of handling my brush 
 that is all my own," replied the old master. If then you are only interested in 
 technique, you must look in (George Inness for a technique that is all his own. 
 Nowhere else will you find it, and it is not of the schools. 
 
 Contrast, which is drama, tone which is feeling, color which is religion — the 
 all in all when made to express form — light which is immortality, these are to be 
 found in the art of George Inness. 
 
 Freedom! was ever man more free than he? Can we look, unmoved, with 
 this great doctrine in our hearts, at a storm swept canvas of his? Does he not 
 bend the trees to his will and fling vast curtains of cloud across a scene which 
 but a moment later he makes to glow with the warmth and glory of sunshine ? 
 
 A Spiritualist ? Yes, and sometimes a Spiritist, because he was always an 
 investigator. Why else did he spend long days and destroy picture upon picture 
 to verify for himself the theory he had adduced, that the greatness of color must 
 be found in the middle tone? 
 
 That he could not for long conform to any particular creed or method of 
 religion was because of his impatience with restraint. Xor was he always con- 
 sistent. \Vhat emotional artist ever is? 
 
 If (leorge Inness could have set down in rule formula the thmgs he dreamed 
 of, and did express in his painting, a miracle would have been accomplished. 
 We should, then, to hear his message, to love his work in the right way, listen 
 for what he has to say to us in that work, and we shall breathe the flower 
 filled atmosphere of the Spring, we shall see the orchards in blossom, and the 
 passing days will bring us the full leaf of green, June-green Summer, and pres- 
 ently the thunder will roll over the hills, the clouds stoop low. and darkness steal 
 upon the land — until indeed the master hand breaks again the empyrean blue and 
 bathes a dripping world in sunshine. We shall go into the deep and silent places 
 of the woods, make acquaintance with giants of the forest, and steal upon the shy 
 heron in his haunt. More, much more has he given us, and the long note in his 
 art as in his life is Sincerity. He pronounced anathema upon all sham or wicked 
 effrontery, and gave intense love to the beauty of nature, whicli he interjireted 
 and made permanent in splendid art. 
 
J \7 A Appreciation 
 
 vjcorge inness^ ly./i. By james mn iam Pattison 
 
 I F HAS been written that Inness became attached to Swedcnborgian faith in 
 "later years." It was, however, at an earlier period than this indicates. 
 Through the influence of his stepmother, he joined the Baptists very early 
 in life, when scarcely more than a boy. But this society dropped him because 
 of nonconformity with the strict practices, and his independent way of think- 
 ing. Among the Baptists, of that day, there could be no exercise of inde- 
 pendent thought. In fact, he was already, at that early time, carried away 
 by the beauties of Swedenborg's doctrines, especially the charming theories 
 regarding the relationships of colors. He attempted to weave these captivat- 
 ing ideas into his pictures. One of his troubles was to realize the theories 
 while attempting to render Nature truthfully. The Lord did not always 
 sustain the pretty schemes of the religionists. It was in midlife, about twenty 
 years after the opening of his audit existence, that an efl:'ort was made to give 
 him an opportunity to fully express his many-times announced theories. A 
 party of his friends, impressed by the artist's earnestness, pledged a sum of 
 money amounting to $10,000, which he was to freely use, during one year, 
 for the production of any sort of pictures to illustrate Swedcnborgian theories. 
 
 Inness being thus relieved of the trammels of poverty worked with ex- 
 altation and greater freedom. He secured three large canvasses, and designed 
 on them mystical subjects: "The Valley of the Shadow of Death," "The New 
 Jerusalem," and another which I never saw and know nothing of. "The Val- 
 ley of the Shadow of Death" grew out of his own fancy, as he found no model 
 for it in Nature. The larger part of the canvas was occupied by huge masses 
 of gray rock and bluish purple clouds, piling up on either side of a narrow 
 passage which penetrated the confused mass dov/n hill. Down in the depth 
 a solitary figure, in white, was disappearing to involve itself in "The Shadow 
 of l^eath." He frequently repeated that phrase — "Not Death, you know, but 
 the Shadow of Death." 
 
 Did he make masterpieces of these i)ictures? No. Inness was your true 
 "Impressionist." While taking all sorts of liberties with the Nature he saw 
 and painted so superbly, he could only express himself well when he had 
 actually seen it. He had to have the inspiration of a true impulse, an actual 
 impression in order to start the workings of his imagination. For these great 
 allegories he could find no actual motive. His pathos became bathos, and 
 the colors which he intended to be clear were killed down by overworking. 
 It was a case of a man mistaking the nature of his genius. 
 
 As we study Inness' exquisite ]iaintings. nothing is more evident than 
 their truth to Nature. His earliest work was in a certain degree "hard." It 
 was wonderfully true and often tender; but rarely lovable. But as we all 
 know the hardness disappeared and very soon his pictures were enveloped 
 in poetry as the hills are in glorious mystery, nor do any of us regret that the 
 artist's Swedcnborgianism, however much he may have loved it, was, for the 
 major part of his life, but little manifest. 
 
GEORGE INNESS — "Path Thru Florida 
 Pines," Size 42 x 32.— raintcd in 1<S'H. In a 
 
 ])ictur(.> of this sort we see Inness far aloni;- in 
 tlie path which leads to greatness. In liis 
 entire oiit])Ut of iiaintinjjs it is rare to tind 
 sucli breadth of treatment, hirgeness of out- 
 doors, and fine combinations of lines. 'Tlie 
 picture certainly is a threat master])icce. 
 
 — Loaned by the ()\vncr. 
 
i 
 
Plate II 
 
 GEORGE INNESS— "Home of the Heron." 
 
 Size 42 X 36. The picture is in the artist's best 
 ])eriod ; it was painted in 1891. All the facts 
 are ])lain!y rendered while the mystery of the 
 woodland is delightfully maintained. Sunshine 
 falls upon the monumental tree trunk and scat- 
 ters itself about on many objects. This light is 
 repeated in the sparkling autumnal foliage and 
 upon a dignified heron, standing upon a fallen 
 log amid a tangle of flowering weeds. 
 
 — Loaned by J. G. Siiydacker, Chicago. > 
 
) 
 
Plate III 
 
 GEORGE INNESS — "Summer— Montclair," 
 
 Size 42 \ 3i. — I'lic artist's home was in a coun- 
 try with fine trees, jriving u])ri<'ht lines and 
 luxuriant folia<je. Not disturbed bv compli- 
 cated composition, the artist could tjive atten- 
 tion to that which he did best ; to refined color, 
 to looseness of touch and mystery in form, to 
 poetical treatment, hardly ecpialed by any 
 painter. —Loaned by S. C. Scott^n. Chicago. 
 
GEORGE INNESS— "Return to the Farm." 
 
 Si/.f 3<S X 20. One of the artist's rare figure 
 subjects, til is old man is characterful. A ray 
 of sunshine falls redly and afifectionately on his 
 shoulder, a caressing greeting. His old. faded 
 blue trousers and no-colored coat suggests the 
 general arrangement of vibrating tints of simi- 
 lar quality, from the indescribable blue of tlie 
 low toned sky, througli several greens and 
 earth cf)lors ; even the flesli in kee])ing with 
 them. — Loaned by .S. C. Srottcn, Chii-a.tro. 
 
1t 
 
GEORGE INNESS— "Medway, Mass." Size 
 20 X 30. Painted in 1869. This view over wide 
 extensive landscai)e is certainly full of interest 
 as it is full of actualities ; and evidently a s])eci- 
 fic locality and not a c()ni])osition. The jrrccns 
 of midsummer are wonderfully well manatjed, 
 and literal truth marks every inch of the laud- 
 scape. While the painter did not indulge hini- 
 self with the mysticisms of his later paintin,<js, 
 the atmosphere and Vi^ht of the summer time 
 are well rendered. 
 
 —Loaned by Ira M. Cobe. ChicaRo. 
 
GEORGE INNESS— "A Sunny Autumn 
 Day," Size 32x42. Painted in 1892. A bril- 
 liant autumn day, a line of wliite clouds tra- 
 verses the sky, and next to it a bank of au- 
 tumnal trees, beside a long- strip of brilliant 
 green, beyond a dark green meadow ; superb 
 trees in autumn color, red on the right and 
 broken yellow and bronze color on the left. 
 
 —Loaned hy Mrs. Chauncey J. Blair. 
 
GEORGE INNESS— "The Coming Storm," 
 Size 25x30. Painted in 1873. This dark, stormy 
 sky shows spots of a slaty blue in the open- 
 ings. Against this dark sky the trees are in 
 great variety of greens, brilliantly lighted l)y 
 low sun. The flat foreground is neutral and 
 mellow. 
 
 — Loaned by Ralph Cudney. 
 
GEORGE INNESS— "Late Afternoon." Size 
 27 X 22. It is a low toned paintint^, made in 
 Summer, but reduced to rich tones. The sun- 
 light faces through the middle of a meadow not 
 far off and catches on the principal tree trunk. 
 The correct drawing of these trees gives an 
 excellent effect, and mellow color was never 
 made better. 
 
 — Loaned by J. G. Sn\ dnckcr, Chicago. 
 
I'latc IX 
 
 GEORGE INNESS— "Early Summer," Size 18 
 X 30 — Painted in 1880. Inncss was very fond 
 of studyinfT an effect wliich artists are likely 
 to avoid — the intense p^reens of early Summer. 
 There are few artists who can compete with 
 him in rendering this problem. The coolness 
 and restfulness of these green i^ictures make 
 them very acceptable. In tlic midst of all this 
 youth the old man trudges along clumsily. 
 
 — Loaned by Hackley Art Gallery. 
 
GEORGE INNESS— "Moonrise, Montclair," 
 
 Size 30x45 — It is a charming display of what 
 can be done with one tone; a peculiar brown 
 tint has been very thinly rubbed all over the 
 canvas. The thickness and thinness of the 
 paint serving to define trees and houses, sky 
 and meadow, sheep and figure. This continued 
 brown tone is relieved by a blue si)ot in tlie 
 middle of the sky, continuing along the hor- 
 —Loaned by R. C. Vose, Boston. 
 
Plan- XI 
 
 GEORGE IN NESS— "Milton on the Hudson." 
 
 Size 20 X 30. A quiet gray green June picture, 
 low gray sky with vague clouds ; the greenish, 
 lighted strip of near ground whispers very ten- 
 derly and all the cast .-shadows caress the 
 ground affectionately. Without any violent 
 light or shade it recalls luminous summerday, 
 when the light is diffused throughout all the 
 soothing picture. 
 
 — Loaned by L. C. Ea.stman, Clinton, la. 
 
GEORGE INNESS— "Sunset on the Coast— 
 Etretat," Size 18;/' x 26 — This picture shows 
 us the cliffs at Etretat, France, where the 
 sea lias (gradually eaten away the softest 
 stone, leaving the harder forming an arch, and 
 beyond it a rock needle. When the tide comes 
 in all this foreground will be under water. The 
 lower sky is brilliant with sunset colors. 
 
 — Loaned by R. C. Vose. Boston. 
 
GEORGE INNESS— "Approaching Storm," 
 
 Size 11x14 — The weird \'\<rht wliich precedes 
 the comiii<T storm, when the last rays of the 
 sun catch the still, unclouded trees, gives op- 
 portunity for the making of a true picture. 
 There is something intensely poetical in tlie 
 eflfect the artist has here secured. 
 
 — Loaned by the Owner. 
 
GEORGE INNESS— "Evening Glow." Size 
 24 X 18. I'aiiited in 1883. In sentiment this 
 picture strikingly suggests a painting made for 
 color contrasts rather than actualities of land- 
 scai)e incident. There is just enough form and 
 just enough light and shade to make tlie sky 
 glow and give value to its evening efifect. This 
 proves the artist's high calling, inasmuch as it 
 is not scenery l)ut artistic treatment. 
 
 — Loaned hy G. IT. Buck. \'c\v York. 
 
GEORGE INNESS— "Morning Mists," Size 
 20 X 30.— Painted in 1887. The picture is all 
 grey. The round sun near tlie horizon accents 
 the center of the picture. Tliere is a group of 
 boats, their dark hulls of the same quality of 
 grey ; some have light sails and others dark. 
 The only contrast in all this tone is a Ijit of 
 mysterious warm colored sky. All is beauti- 
 fully handled. 
 
 — Loaned by S. C. Scottcn, Chicago. 
 
Plate XVI 
 
 GEORGE INNES S— "Landscape." Size 
 12 X 16. Inness has painted a level country 
 witli long, horizontal lines ; the suggestions of 
 distant farms are very interesting, including 
 the windmill in middistance. The foreground 
 suggests a waterway, its edges broken and 
 marshy, except one side built into a raised tow- 
 path, where a boat is moored. The expansive 
 sky is fretted by moist clouds, mysterious and 
 full of light. 
 
 — Loaned by Frank B. .Stnne. Chicago. 
 
GEORGE INNESS— "Spring Showers," Size 
 42x32 — Scarcely any of tliis artist's pictures 
 are more mysterious than this one. The fresh 
 greens of sprins^ foliaj^e are dclitjhtfully ren- 
 dered, beinc; clear but still fjray. The grass in 
 front is low toned and neutral. There is a 
 sense of wetness in every part. Xo brij^ht col- 
 ors an])ear on the canvas. 
 
 — Loaned by Ralph Cudncy. 
 
Plate XVIII 
 
 « 
 
 GEORGE INNESS— "Glowing Sun." Painted 
 in 1894. Size 24x36. The picture is not as 
 dark as tlie plioto suggests; pale yellowish sun 
 is surrounded by brilliant red, the same color 
 edging all the clouds. The red permeates tlie 
 distance and echoes in the warm foreground. 
 The trees are neutral green. 
 
 — Loaned hy Ralpli Ciidney. 
 
GEORGE INNESS— "The Two Rainbows." 
 
 Size 20 X 30. Painted in 1893. This effect of 
 wet trees, brilliantly sunlighted and working? 
 pale against a rainy sky, was a favorite with 
 Inness at a certain period. As the sun is at our 
 backs, the white house and ])ale branches gleam 
 brilliantly. » In the vapory sky rainbows softly 
 show themselves. 
 
 — Loaned by the ()wnei. 
 
i 
 
 GEORGE I N N E S S— "Albano-Italy." Size 
 11 X 15^. No painter of literalism could have 
 invented this dreamland, and niayhe that In- 
 ness was very much himself wiiile paintimx 
 Italy. His jjreat merit was his al)ilitv to jiaint 
 actual scenes so deli.qiitfully idealized that tliey 
 please our ])oetical instincts. 
 
 — Loaned by G. II. Buck. Xcw York. 
 
Plate XXI 
 
 GEORGE INNES S— "June," Size '^xli. 
 Painted in 1891. This little picture somewhat 
 recalls similar scenes by Corot. There are 
 varied <;'reen trees, a mellow-toned ^rcen mead- 
 ow, and a thatched cottage. The sky is liLjht 
 and cool and neutral. 
 
 — Loaiu'd liy tlic Owner. 
 
Plate XXII 
 
 GEORGE INNESS— "Pequonic River," Size 
 IS X 26. — raintcd in 1876. The i)icture is one 
 of Inness' studies of early June foliage and, of 
 course, shows a variety of tints of ([uite i)ure 
 g-reen, and the same is reflected in the water. 
 The little strip of foreground strand is also 
 cool, and all these colors harmonize with a 
 broken bhie sky running into pale salmon- 
 colored liglits. —Loaned by the Owner. 
 
GEORGE INNESS— "Twilight," Size 18x 
 24. Painted in 1887. The entire picture is a 
 series of low-toned, broken screens — very mel- 
 low ; some bright reddish spots in the sky gives 
 this a delightful effect of twilight. 
 
 — Loaned by Ralph Cudney. 
 
ALEXANDER H. WYANT 
 
An Apprecialion Born 1836 
 
 By George W. Steoem Deid 1892 
 
 Alexander H. Wyant, N. A. 
 
 ALEXANDER H. WYANT, revered as he was during life by those who felt 
 the mastery of his art, has with the passing of the years been accorded a 
 more and more exalted position in the galaxy of masters whose art will 
 endure for all time. 
 
 The record of each generation striving to make its contribution to the sum 
 of man's achievement, is illumined by only a few rare masters in each branch of 
 human endeavor such as a Chaucer or a Shakespeare in literature, a Mozart or a 
 Wagner in music, a Hals or a Whistler in art, and so it is out of the multifarious 
 activities of his time, Wyant stands forth as one who in his work will live for all 
 time that is to come. 
 
 With other masters cast in a similar mold he sprang into life, as did Minerva, 
 fully accoutered. Environment during his early life contributed nothing to his 
 genius, for until he was twenty years of age, it had not been his privilege to look 
 upon anything that could be called a work of art. His first visit to a city of any 
 considerable size brought him before a canvas by Inness, who at once became his 
 inspiration and later his friend and admirer. 
 
 With the prescience oftimes accompanying genius. Wyant when he went 
 abroad to study, chaffed under what was to him the unnecessary ciceronage of a 
 teacher, and as did also the master Millet, he soon forsook the ateliers steeped in 
 tradition, and set off by himself untrammeled bv precedent or convention, free 
 to give full expression to those talents with which he was even then so completely 
 equipped. 
 
 The tender aspects of nature in the .Adirondacks ; at the edge of the <leep 
 wood or trembling on the peaceful meadow stretches of his native land, were to 
 him all sufficient to supplv the themes on which he builded his master-works. In 
 the landscape, with his new understanding, he saw revealed those poetic beauties 
 and felt those subtle harmonies that for ages had failed to impress themselves 
 upon the consciousness of painters. Such was the clarity of his mind and sight 
 that these truths observed by him and recorded with such masterfulness are dis- 
 cernible now, even to those of us who ordinarily hear not the horns of Elfland 
 blowing. 
 
 He has been called, together with Inness, the father of .American landscape 
 painting, but he was and is, even more than father, for his genius and his influence 
 are not encumbered by time or by international boundaries. In him there was 
 none of the crudity of an inventor, the uncertainty of an explorer or the timidity 
 of an innovator for in iiis art we discern at once, and so will those of all times 
 be altlc to discern, the repose of strength, the grace of mastery and the siniplicitv 
 of truth. 
 
Alexander H, Wyant, N. A. By James IVilliam Pattisno 
 
 WYANT commenced his study of art under the influence of the Hudson 
 River School ; also some of his work bears the stamp of certain paint- 
 ers of France, members of the, so-called, Barbizon group. When 
 matured, his painting was not like any of these. Among the Americans of 
 this period none struck a new note excepting Inness, Wyant and Martin; 
 Blakelock appearing at a later date. To make pictures in any prevailing 
 fashion may call for talent, good execution and taste ; but these are not the 
 marks of original genius. To commence with painting in the fashion and 
 then gradually change for the better and higher is the mark of genius, so 
 acknowledged the world over. At the lime we speak of, the elder Hart was 
 painting individual facts most frequently in autumnal colors. His trees 
 certainly bore good leaves, and in his complicated foregrounds a botanist 
 could find all necessary specimens. The bark of his tree trunks was pain- 
 fully perfect and the stones on the hillside invited the geologist's hammer. 
 So did his clouds. Whatever the time of the year his color was rather hot, 
 but it was all in the fashion. His younger brother was almost exactly like 
 him, but affected colors approaching coldness. Bierstadt had been to the 
 Rocky Mountains — with a military escort — and brought back majestic peaks 
 seamed with details, to keep company with marvelous foregrounds of fern, 
 sticks and stones all as interesting as the mountain ; so that the art critics 
 wrote glowing descriptions of the foregrounds rather than of the peaks. 
 Sanford R. Gifford painted prettily and interestingly, but not in a large way. 
 
 Commencing in this style, Wyant gradually developed a sense of space, 
 studied for its own sake, painted with grey tones rather than with gay pig- 
 ments. In his liveliest work the colors are lively but never smothered in 
 over-richness; when grey, never falling into cold or black tones. His fore- 
 grounds became simple, suggesting confusion but reduced to surface, noth- 
 ing in them was permitted to attract attention. In the old Hudson River 
 painting, a tree was an object standing against the sky. With Wyant a tree 
 was a part of a broad scheme, more often painted into the sky than on it, and 
 the same thing we see often in the landscapes of Inness and Blakelock. In 
 Wyant's picture every part was inter-dependent, not independent and sep- 
 arate. Above all was his color, always peaceful, never garish, always to be 
 dreamed over, never to be struggled with. 
 
 Wyant's pictures are not collections of facts, but abstractions, a flowing 
 together of forms and tones for the sake of decorative efifect, each tone 
 leading to another, each dependent on the other, each a part of another. 
 Perhaps he painted a scene; always things floated in air, and this was more 
 important than the story of the scene; and these are the elements of poetry. 
 
Plate XXIV 
 
 A. H. W Y A N T— "W i n o n a Falls." Size 
 28,y2 X 22/2. I'aintcd in 1877. 'I his landscape 
 was painted at a period when tlic artist was a 
 student of facts, and every item in tlie land- 
 scape is detailed with wcjndcrful faithfulness. 
 All the world seems to be in love with this 
 beautiful i)icture, because of its interestin;.^ sub- 
 ject and the master touch in its execution. 1 
 iiavc rarely seen a work more universally be- 
 loved. — Loaned hy the Owner. 
 
A. H. WYANT— "Adirondack Woods," Size 
 48 X 36 — The faithful drawing of these woods 
 and the broken foreground suggest that the 
 scene was painted from nature, at least it is 
 very like an actual transcript, so gracefully 
 composed that we find pleasure in its lines as 
 well as the beautiful tone and the attractive- 
 ness of the place. The color is cool and sooth- 
 ing, though so strong. 
 
 — Loaned by Ira M. Cobe, ChicaRci. 
 
Plate XXVI 
 
 A. H. W Y A N T — "Mountain Lake." Size 
 32 x48. It is seldom tliat we sec, from Wyant's 
 easel, an extensive mountain scene. Carefully 
 studied as to details the vast space and nobil- 
 ity of mountain form, and the mystery of in- 
 terveniufj atmosplierc, arc beautifully studied. 
 Solemnity and disunity reign over the land. 
 The f^enius of Wyant has reduced tlic asi)eri- 
 ties of actuality to poetry. 
 
 — Loaned by the Owner. 
 
A. H. WYANT— "Landscape." Size U) x 20. 
 In this jjleasing composition the surfaces arc 
 precise in finish, finely paraded and over all a 
 beautiful atmosphere. It is a most pleasing 
 picture in every respect and its color is ten- 
 derly softened by the artist's grey notes amid 
 the greens. It was painted in one of the artist's 
 beautiful moods. 
 
 — Loaned by I'aul Jumincl, Chicago. 
 
A. H. WYANT— "Landscape." Size 10 x 14. 
 A luminous, loosely ])aiutcd canvas; not s])c- 
 cific in colorino-, e.\ce|)t as the band of iand- 
 sca])c is admirable with j^reenish tints, broken 
 by darks and subdued gre} s gettinf^ greener in 
 front. The sky has no colors, except the su- 
 l)erb play of cool penetrability in fine finality. 
 
 — Loaned hy the (^vvtier. 
 
A. H. WYANT— "After Spring Shower." Size 
 22 X 30. In the picture a pale brciken sky 
 spreads itself ox er a sutjj>estively laid-in land- 
 scape, with a hand of clear dark tureens stretch- 
 ing across the niid-foregroiind. ( )n a cain as 
 of this size many objects may l)e introduced, 
 but Wyant has ke])t it all in reserxe and in 
 tender tints of i^rcx- and <;reen. It is a no])le 
 exam|)le of the artist's ])oetical paintinj^. 
 
 —Loaned hv W \' Kcllcy. 
 
A. H. WYANT— "The Marshes." Size 3f) x 5(). 
 \\ yant could make a lovaI)le i)icture, of impor- 
 tant dimensions, with loss material than almost 
 any other painter. We have here one of his 
 best and its quiet tones are distinctlv colorful. 
 These long, flowinj;- lines seem restful, and the 
 lakelet makes a fine center, under the luminous 
 sky. The soft medley of clouds also sus^tjcst 
 restfulness. 
 
 — Loaned by Edward I-'. Swift, Chicago. 
 
A. H. W Y A N T— " Silver Birches. " Size 
 20 X 16. 'rii.e well drawn forms of this tangle of 
 trunks and branches sngfjests that the canvas 
 went outdoors with the artist and the clever 
 use of subdued silver tints seems more accept- 
 able than bright colors. .All these little tonal 
 pictures, by W'vant, are high art. 
 
 — Loaned by S. C. Scotten, Chicago. 
 
A. H. W Y A N T— "After the Storm." Size 
 10 X 14. A marshy rcacli trembles vai^nely 
 next the foreground, and is l^ordered 1)y slight- 
 ly rising land with trees, where figures are 
 hinted at. y\ll these forms melt together ten- 
 derly and keep eonii)any with the cloucly sky. 
 Like all landsca])es hy W'yant, the eolors are 
 subdued, though produced with a variety of 
 pigments. 
 
 — Loaned by l-'rank C. Stone. C'liica.ii;o. 
 
Plate XXX 1 11 
 
 A, H. WYANT— "Fishing." Size 8'4 x lO-M- 
 Wyaiit painted many little pictures, experi- 
 ments in coU)r, or worked off to relieve his 
 feelin<js wlien an idea claimed attention. A 
 jjatcli of water, surroundecl by a smother of 
 herbage, furnishes an excuse to lay on his 
 brownish gray tones, and .some greens, uuvler 
 the luminous, inpalpable skies; and these bits 
 of tenderness are fine examples of his work. 
 
 — Loaned by S. C. Scottcn, Chicago. 
 
A. H. WYANT— "The Brook," Size 16x20— 
 This is a cool, delicate water color painting, 
 handled with trembling notes of many sorts 
 of green color, broken with cool earth tones; 
 a lovable soothing picture. 
 
 — Loaned by VV. O. Johnson, Chicago. 
 
A. H. WYANT— "Sunset." Size 10 x 8. The 
 (lashing bnishwork gives brilHant sparkle to 
 both land and sky. The rich note of sunset 
 color and its reflection in a little river is aug- 
 mented by darks carried quite around. Clever 
 handling produces sparkle. Nothing here is 
 materialistic — all suggests much, which was 
 the i)urpose of the artist. 
 
 ■ — Loaned hy J. G. Snydacker. Chicago. 
 
IMate XXXVI 
 
 A. H. WYANT— "Evening," Size 12x16— 
 This solidly and broadly painted snnset has a 
 brilliant strij) next to the horizt)n with a broken 
 sky of blues and greys overhead. The over- 
 cast foreground shows us dark greens and 
 earth tones. Wyant has laid this in witli a full 
 brush and bold modeling. N'aturally he has 
 made this a brilliant gem. 
 
 — Loaned by llnckley /\rt Gallery. 
 
riatc XXW II 
 
 A. H. WYANT— "Entrance to the Forest." 
 
 Size 18 X 25. Kach one of these noted artists. 
 Wyant, lilakelock and Inness. indul'jcd himself 
 in reducinfj all colors of nature to a selected 
 tonality. In this picture Wyant has schemed 
 in browns. In fact, it is a serious (]uestion 
 whether strict actualities would make the pic- 
 ture more accei)tahle. This is ])icture makinjj 
 and i)robal)ly leaves the artist free to express 
 sentimrnt rather than catalo.ijue facts. 
 
 — Lo;iiu'(l by Win. V. Kellcy. Cliicago. 
 
Plate XXXVIII 
 
 A. H. WYANT— "November Day," Size IS x 
 28 — Like all Wyants, this is not specific in col- 
 oring ; has a driving motion in its gray, storm 
 threatening sky, and the foreground is rugged 
 and weedy, the spots of naked soil interspersed 
 with greens of the peculiar color seen when a 
 storm is coming up, and they arc broken hy 
 tan tints. The woman's figure adds necessary 
 touches of white and brown. A sui)erb picture. 
 
 — Loaned b.v Ralph Ciuliiev, Chicago. 
 
A. H. WYANT— "Dawn," Size 11 x 17— Again 
 Wyant resorts to his sparkling effects, to Iiis 
 tangles of sliining foliage and tree trunks. He 
 did not intend that we should walk heavily 
 over these hills hut should stand waist deep 
 in sparkle and tremor and this indeed is poetry. 
 
 — Loaned hy Ral|jh Ciidney. Chicago. 
 
A. H. WYANT— "The Pines," Size 12x18— A 
 luminous little picture of a mountain slope in 
 cool greens, partly covered by a forest of 
 young pines, generally not dark. The near 
 part is a broken meadow ; a liglit, lively sky, of 
 silver gray, seems ready to weep a shower. 
 
 — Loaned hj- l\alpli Cudney. 
 
A. H. WYANT— "A Woodland Tangle." Size 
 \3x7y2 — As we talk about these three men, 
 recurrinj^ examples of their pictures remind u? 
 of how much alike tliey were in sentiment. A 
 tangle of branches and foliage when the texture 
 of trees glides into the texture of overgrown 
 foreground cannot fail to make us a sparkling 
 picture. -Loaned by G. H. Buek, New York. 
 
Plate XLII 
 
 A. H. WYANT— "Evening," Size 14x20— 
 This far-reaching landscape rcjiresenting the 
 silent air of waning day witli delicate sky 
 tinged with red and yellow. The (|uict smokes 
 floating lazily and the shades of night creeping 
 gradually over everything is full of Wyant 
 poetry. The dark massive trees on the left 
 seems to be built into the mystery of night 
 and adds much to tiic sentiment of the hour. 
 
 — I.naned by the Owner. 
 
A. H. WYANT— "Spring Morning," Size 14 x 
 
 20 — The sky is extraordinary, its whitish parts 
 
 suggesting a shingling of clouds over the entire 
 
 heavens, with the slightest contrasts of light 
 
 and shade. A half-dchncd distance sits softly 
 
 in this sky, and varies little from it, which 
 
 glides upon loosely painted land of the usual 
 
 greens broken into Wvant grays. A charming 
 
 bit of poetry. 
 
 — Loaned by L. C. Eastman, Clinton. Iowa. 
 
Plate XLIV 
 
 A. H. WYANT— "November," Si/.e 16 x 
 On a canvas, fjroinuliny of sonu' nidetcrniinate 
 Sray tint, W'yant has dashed l)uld brushfuls of 
 whitish paint in llie most knowin'^. hnt the 
 wildest fashion, (h^awini^ supcrl) clouds. 'I'liis 
 same tint of underground answers for the dis- 
 tant hill, and shapes itself into trees, meadow 
 and bushes, gatherinsf dull «jreen on the slope 
 and sage green nearer; all in ca])ital sentiment. 
 
 — Loaned by Chas. P. Pinckard, Chicago. 
 
Plate XLV 
 
 A. H. WYANT— "The End of Day." Size 25 x 
 30 — How the massive forms in this picture im- 
 press us with the trancpiility of the liour. We 
 could scarcely imagine that Wyant could do 
 these solidities when he so often handled a 
 (lancing- lirush. The tonality is a series of re- 
 markably fine l)rownish tints. 
 
 — Loaned by Chas. P. Pinckard, Chicago. 
 
RALPH BLAKELOCK 
 
Ralph Blakelock 
 
 An Appreciation 
 By Harriet Monroe 
 
 RALPH BLAKELOCK, whom we class with those elder American masters, 
 Inness, Wyant and Martin, is scarcely yet an old man, and might still be 
 in the prime of his power but for his lamentable loss of mental health 
 nearly a score of years ago. 
 
 Born in 1847, the son of a Xew York physician, he resisted the family influ- 
 ence toward his father's profession and resolved to devote his life to painting and 
 music. In neither art, however, did he seek instruction, but prepared himself to 
 be a painter by a journey to the far west and life among the Indians. Probably 
 his experience was better than any art school for a man of his (|uality of mind.^ 
 In the scholastic sense he never learned to draw, or accjuired "the manual trick 
 of painting." But he ac(|uired something better — an original, intensely individual 
 style. He was indeed a combination of painter and musician. His sense of 
 nature's rhythms and harmonies was musical ; he seems to play them off on lutes 
 and lyres of vibrant color, lie reminds one more. ])erhaps, of Chopin than of 
 any painter ; in fact it might be interesting to trace kinship of temperament be- 
 tween these two great artists, these i)assionate dreamers driven to melancholy or 
 madness by the buffetings of fate and the intensity of their i)rou<l desire. 
 
 Blakelock was a mystic and a colorist, and the solitude of his intellectual life 
 turned his brooding thought to flame that burned him up at last. He lived and 
 painted with singular intensity, acquiring his art, building up his own techni(|ue — 
 for he had no training, experiencing beauty like a passion, and suffering deeply 
 over his efforts to express the mysterious splendor of the world. 
 
 Here was a soul so sensitive, fiery, highly wrought, that he could scarcely 
 be at home on earth. And the world, as usual, was .slow to understand him; the 
 pictures he worked over so long and lovingly it bought grudgingly. s])ending little 
 money and less .symjjathy. Perhaps the ])oor half-starved artist would have been 
 consoled could he have known that "The Pipe Oance." that masterpiece which 
 he sold for a few hundred dollars, would find its place at 'ast in his owii city's 
 museum and be valued at many hundred times what he received. 
 
 He dreamed and brooded over his pictures, painting and scra])ing out and 
 repainting, keeping them in his studio for years. Indeed, no public demand urged 
 him to hasten; he could indulge to the utmost that dangerous self-(|uestioning 
 mysticism which caused him to delay and destroy, and whicli finally sna])ped the 
 strings of his delicate instrument while he was still a comparatively young man. 
 
 The poetry of nature was his subject, a poetry which he embodied some- 
 times in trees, sometimes in flitting, dancing figures — Indian figures usually, be- 
 cause the red race quickened his imagination from the time of his earlv western 
 journey, and expressed to him, more directly than our own, the human relation 
 with nature. lUtt whether visibly peopled or not. Blakelock's wilderness was 
 always spirit-haunted. Kach tree and water-fall had its .special nymph for him, 
 as for the Circeks. and he makes us feel those mysterious presences in the shadows 
 of his imagination. 
 
An Apprecialion 
 
 By James IV illiam Paiiison 
 
 Ralph Blakelock 
 
 CTIV'ITY becomes work when inspired by the love of gain; when not paid 
 
 for, it is play. Sometimes paid activity is joyful work, the outcome of 
 
 ^ ^ heart feeling, and this is fortunate. Who enjoys his life of a fair after- 
 noon, the professional ball player, adapting his movements to set rules, or a 
 group of boys, full of young life, batting and running for the joy of motion, 
 never trammelled by umpires enforcing abstract rules? The one carries out his 
 game correctly and cleanly, the other only pretty well, incorrectly and raggedly. 
 But to whom comes the joy? Of course the hireling is proud of himself and 
 conscious of his rectitude ; but the free boy — give us the boy, always. Blakelock, 
 when painting, was only a boy. He had a consciousness about art, that it should 
 be Art and not artifice ; a landscape should not be a catalog of physical facts — 
 first a sky, then a distance, then a midland and, finally, a foreground. With him 
 a tree in the sky w^as but a spot of color ; enough like a tree to pass muster in the 
 judgment of charity, but so dragged into the colors of the sky as to be a part of 
 the sky. provided we be allowed to call that a sky whicli is halfway a part of a tree. 
 And on the other hand, the same tones which we call trees seem to be melting 
 away across a part that we call meadow. Then there is a gradation of tones 
 marching toward us, step by step, which we call foreground. In the midst of these 
 indefinite brush statements, there is probably a luminous reach that assuredly 
 suggests gleaming sky, and certain no very defined spots that may or may not 
 be figures moving about. I doubt verv much if Blakelock thought of anything but 
 the march of his coloring which suggested to him, daylight and distance. 
 
 Also a catalog of the colors used might be made, but it would be very difficult, 
 in view of the fact that we have only a photograph to look at. Even the painting 
 itself scarcely gives us the secret of his colors. He so laid his colors that parts of 
 his sky had no sky colors at all. as we imagine that they should be. Why did he 
 make these strange compositions? Simply becatise a picture was to him a continu- 
 ous flow of forms and interlocking colors, not placed that this one might say "sky," 
 but to carry a continuous sweep of colors and forms around and around, never 
 halting, never failing, but always moving around and around. 
 
 Blakelock never intended to paint for us a scene, but just enough hints of a 
 scene to keep our attention. He painted a succession of lovable tones and graceful 
 lines ; almost nothing else. Indeed, this is your true picture, this only is Art. 
 
 Blakelock was par excellence a colorist. Like most rich colorists, he took 
 pains not to destrov the freshness of his tints bv too much manipulation. He may 
 have painted over and over many times, but never tormented the color. How he 
 did it I cannot tell, and I don't know anybody who can. but preserve it he did. 
 
 We love Blakelock's play-work because of its wantonness, its mystery, its 
 richness, its brilliancv and its poetry. Can a statement of separate actualities ever 
 move our hearts like this boy's — play sustained by the element of character 
 called ''Genius'" ? 
 
RALPH BLAKELOCK— "Seal Rock," Size 
 42x30 — This uprij^ht picture shows remarkahlv 
 gleaming light in tlic sky. a warm wliitc sur- 
 rounded by rose-tinted loose clouds, which 
 melt into the dark water, where the light sky 
 is reflected all the way down to masses of rock 
 populated by seals. All the picture is remark- 
 ably rich in color, and is one of his best. 
 
 — I.oaiifd by S. C. Scotten, Cliicago. 
 
RALPH BLAKELOCK— "Moonlight," Size 
 
 5|-j X 7^. — It is astonishin^j what an etToct of 
 light has been secured iicre by the sprightly 
 handling. Without showing colors the tone of 
 the picture is very beautiful, inclining to a 
 series of subdued greens, even through the 
 sky. The photograph is not cjuitc Irutliful be- 
 cause the glistening sjiots in the trees sliould 
 be more subdued. 
 
 — I-oaiied hy J C, .^iiydackcr, Chicago. 
 
RALPH BLAKELOCK— "The Last Rays," 
 
 Size 27 X 34. — This is another grand hurst of 
 light and surrounded by masses of trees ami 
 land in rich neutral colors which climb up on 
 c'ither side and cross over the top of the pic- 
 ture. There appear to be fallen leaves on a 
 part of the land. The color the artist used is 
 wonderfully vague and brilliant. 
 
 — Loaned hy J. Ci. Snydacker. Chicago. 
 
RALPH BLAKELOCK— "Pool in the Woods 
 — Autumn," Size 12x9. The lan(lscai)c is bril- 
 liant in color; sky a remarkable l)lue, melting 
 into warm white at horizon. Intense antnmnal 
 notes ot yellow and red make, in the center, a 
 forcible contrast. All thri)Ui;li tlie picture are 
 beautiful, hi<jhly colored notes. 
 
 — Loaned by Walden W. Shaw, Chicago. 
 
RALPH BLAKELOCK— "Spring- Rock 
 Cove," Size 2>7 x 27 — 'i liis is one of two pic- 
 tures almost exactly alike except that this ap- 
 pears to he painted from nature. The colors 
 are normal for late summer, there being no 
 bright colors whatsoever. There is a coolness 
 about this overshadowed spring, and the locali- 
 ty invites to repose. 
 
 — Loaned by the Owner. 
 
RALPH BLAKELOCK— "Autumn," Size 16 
 >^24 — In the middle of his career this artist 
 painted many pictures of tliis minutely detailed 
 style. They were wonderfully luminous, in- 
 tensely sui^gestive and in no way servile imi- 
 tations of actuality. It is (|uite possil)le to de- 
 clare this his best period. 
 
 —Loaned by .Albright Art Gallery. Buffalo. 
 
Plate LI I 
 
 RALPH BLAKELOCK— "The Ghost Dance. " 
 
 Size 21 X 39. — Like all this artist's presenta- 
 tions this is a Hoatinij tui;ether of forms and 
 colors to sui^f^cst light, space and mystery. It 
 is a series of vil^rating sjjots ; a mystery in 
 which we detect wild movements, but no indi- 
 vidual personages. 'The forms in the land- 
 scape are dancing an accouipaninieut to the fig- 
 ures. This ])ainting properly entitled "l)a\\ n,"" 
 but widely known as "The (Ihost Dance. " i-- 
 one of Blakelock's most famous pictures and 
 probably exemplifies his indi\idual vie\v])oint 
 more than any other single canvas. 
 
 — LoMiicd by ("lias. P. Piin-kanl. Chica.s»o. 
 
RALPH BLAKELOCK— "T h e Running 
 Brook," Size 10 x 10— The artist lias iiululj^ed 
 himself in cc)niI)iiiiii,L;- a series of dark jrreens. 
 From otit of the mystery and confusion steals 
 a tran(|uil ])rook and the sky ])eeps tliroiij^h the 
 trees in a c<K|uetisli wny. All over the land- 
 scape is a multitude of j^leaminj:;- dots whicli 
 add to the delicious confusion of a woodside. 
 
 — Loaned 1)) the Owner. 
 
RALPH BLAKELOCK— "L i g h t n i n g and 
 
 Storm," Size Hj,., x 12 — Here \vc have a typical 
 Blakelock. A confused land with only suf- 
 ficient form to explain the surface of the earth 
 and tones of the same, carried up into the sky 
 to surround the magnificent burst of ligiit on 
 the aj)proachinj^ masses of vapor. There is an 
 immensity of the space and a power in the a|)- 
 proach of the storm that make the picture dra- 
 matic. Most of all it is t^randly simple. 
 
 — Loaned by the Owner. 
 
RALPH BLAKELOCK— "Wood Interior," 
 
 Size 16x2-1 — 'I'liis illustrates the xaricd treat- 
 ment by the painter of his landseapes. Instead 
 of the usual color masses thrown together for 
 the sake of effect, he has here \ ery little mas- 
 sing' and elaborate study of leafage. Such ])ic- 
 tures from his hand are very unusual. 'Die 
 general tone is brownish. 
 
 — Lo;inc(l liy tlic Owner. 
 
Plate lA I 
 
 RALPH BLAKELOC K— "Ecstasy" 
 
 Size 3U X 38. This is a picture of considerable 
 size. W'e are standing in the confusion of a 
 hilltop. The confused foreground is a very 
 warm brownish-yellow slope. From the val- 
 ley rises a mountain top of strange bluisli- 
 green, and gleaming over it and through these 
 trees the lovely warm-white sky. 
 
 — Loaned Hackley .\rt (iallcry 
 
RALPH BLAKELOCK— "Indian Summer," 
 
 Size 16x20 — The picture is made to glisten .'ind 
 shimmer by mimljorless dabs of paint all over 
 it, and is one of the mellowest in the collection. 
 The low-toned trees are warm green and dark 
 bottle-green, in a glowing light tmder a neutral 
 ^^y. — Loaned by I'ialph Cudney. 
 
RALPH BLAKELOCK— "A Woodland Sun- 
 set," Size 26 X 32. — It is a picture painted lor 
 the sake of color and li.trlit and is extraordinar- 
 ily brilliant. The entire surface is mottled with 
 rich colors, making a center of brilliancy 
 around which the forej2;round an.l tree colors 
 and top of the sky in their darkness form a 
 sort of frame. The trees seem to be i)ermcated 
 with light although they make the dark of the 
 picture. 
 
 — Loaned l)y Charles I'. I'inckard, C'liicaLfo. 
 
RALPH BLAKELOCK— "Morning," Size 12 
 X 17 — Tliis brij^lit. clear, yell< )\visli ])icture is 
 very well suggested hv the ])li()t()grai)li. 'The 
 trees and distance seem to swim in the lumi- 
 nosity and all the foliage trembles and sjjarkles. 
 The clever way in which the artist suggests 
 the rocky foreground without too much atten- 
 tion to actualities, helps the mystery of the 
 lighting. —Loaned by the Owner. 
 
I 
 
 t 
 
RALPH BLAKELOCK — "Startled Deer," 
 
 Size 11x13'/. — One nf tlie artist's richest red 
 autumnal colorins^s, the reddish tone creeping 
 through the entire sky, and all the Iandsca])e, 
 even tiie white deer, tinged with red. Corners 
 are low-toned and very rich. 
 
 — Loaned by the Owner. 
 
RALPH BLAKELOCK— " Indian Land- 
 scape," Size 9x18 — Another si)ecially ricli spot 
 of color, ])ermeate(l with reddish tones, which 
 even invade the sky, and course tliroug-h the 
 trees ri<;ht and left, ail relieved by a strip of 
 dull blue at the horizon and the cloudy sky at 
 the toj). —Loaned by the Owner. 
 
t 
 
RALPH BLAKELOCK— "Moonlight," Size 
 16x2^1 — This dream of night could hardly be 
 bettered. The very simple luminous sky seems 
 to pervade every part of the landscai)c. The 
 picture is an experiment in combinint:;- l)luisli- 
 green tones throughout the entire space. 
 
 — Lo.ined by the Owner. 
 
n.iic Lxiii 
 
 RALPH BLAKELOCK— "K a a t h e r s k i 1 1 
 Clove," Size 42 x 20 — The locality here studied 
 is well known to wanderers in Catskill Moun- 
 tains. The artist has given the place although 
 he has changed his mountains about to please 
 his own fancy. This makes much more of a 
 picture than the actual s])ot. The old bridge 
 existed forty years ago. The general tonality 
 is warm, being experiments with browns. 
 
 — Loaned h\ tlic Owner. 
 
RALPH BLAKELOCK— "The Camp Fire," 
 
 Size 6j/2 X 5>2 — This is another l)cautiful com- 
 bination of rich tone, heavy trees and a gleam- 
 ing sky behind. It is a note of great richness 
 and very exciting to the inagination. 
 
 Loaned liy tlif Owner. 
 
RALPH BLAKELOCK— "Early Moon," Size 
 16x23 — The simple atmosj)heic permeating 
 every part of tliis little canvas gives us a 
 strange feeling of restfulness. There is scarce- 
 ly anything here but luminosity and airy space 
 at this early evening moment. All forms are 
 blended and obscured but certain forms be- 
 come strangely visible. There is but one thing 
 can come to our minds, and that is the poetry 
 going through every part of the scene. 
 
 — Loaned by L. C. Eastman, Clinton, Iowa. 
 
RALPH BLAKELOCK— "Indians Camp- 
 ing," Size 16 X 2A — Ac^ain lilakclock lias made 
 concessions to the love of detail in pictures, 
 but the treatment is so simple and atmos])hcric 
 that we do not trouble ourselves aliout sim- 
 plicities. There are few I)rilliant colors but 
 much fine tone in the picture. The broad shin- 
 inq- sky serves to make the tent. Iialf lost in the 
 foliage, look inviting and restful. 
 
 — Loaned Uy the Owiut. 
 
RALPH BLAKELOCK— "The Golden 
 Hour," Size 8x 11 — \\ liat is better than a pic- 
 ture made simply to express a tonality and a 
 few forceful forms? if there is anything- that 
 we may thank I'.lakelock for it is his insistence 
 u])on simple jioetry and no interference by 
 c(jmmon place literalisms. 
 
 — Loaned 1)> d. W. Duck, New York. 
 
nil- t;il(f plraaurf in prrBPiitinn jum th 
 lit" Ihr liiaii r.vhiliit uf uinrkr. Iiii .iIuupb. 
 iiilakriiuli. Iirlft at our (Ehiraiju (Sallpripa' 
 munlli uf ifflarrl!. 1913. 
 
 (£lijrai|ii Ifliliiiaitlirr 
 
 Woura rpapprtfullg, 
 
 Hltntltun an^ iSirUptta 
 \rui IJorlt Jlariii Coiirimi