are quite sufficient to maintain this great stylist, whom many believe
the towering giant of the profession. One thing is evident from this
work - that for surety of touch and technical directness he stands
practically alone, though he does not possess the deliberate ease in
which Duveneck rejoices. Sargent's "John Hay" and "Henry James" are
absolutely exhaustive as character studies. His "Nubian Girl", however,
is woody, no matter how interesting in posture. In nothing does he
disclose his marvelous precision of technique so completely as in some
of the outdoor studies, like the "Syrian Goats" and the "Spanish
Stable". There is nothing like them in the exhibition anywhere, and
these two things alone make up for what is really not a comprehensive
display of one of the greatest of modern living painters. However, a man
whose standard of excellence is relatively very even does not need a
large representation.

Gallery 90.

Keith.

In two other small galleries of similar size three California painters
have their inning. While all these are of different caliber, they have
something in common which ties them closely together. It seems peculiar
that a country famed for its sunshine should produce men like Keith,
Mathews,, and McComas, who surely do reflect a rather somber atmosphere,
in a type of work which must be called tonal and arbitrary rather than
naturalistic.

Keith's collection, with the mass of modern landscape all around, and
even compared with other followers of the Barbizon school, seems
somewhat somber, as compared with the vital buoyancy of Redfield and