This large central gallery averages unusually high in the large number
of excellent things it contains. Four big, well studied marines by
William Ritschel make one feel proud of the contribution they make to
the field of American marine painting. It is very hard to say which one
of our four well-represented marine painters, Carlsen, Waugh, Dougherty,
and Ritschel, is most captivating. However, a canvas like Ritschel's "In
the Shadow of the Cliffs" will always hold its own among the best.
Ritschel's work is easily recognized by this robust, healthy tone; it
reveals sound values and intimate study. One of Johansen's small
landscapes, and another one by H. M. Camp, on the second line of this
wall, grow in one's estimation on longer acquaintance. They are in fine
style and very big for their size, largely by reason of their monumental
skies. Howard Cushing's group in the center is full of skillfully
presented detail, without losing in breadth in the many different
subjects he paints. His portrait of a lady, in the center, is
distinguished in every way, not least so in expression.

Johansen's main group of pictures, all on one wall, stand for breadth
and intimate study alike. The Venetian square canvas in the middle is
one of the jewels of this exhibition. There is no end of distinctive
canvases in this gallery, as one must conclude on going over to the two
big Daniel Garbers, which are more of the typical American type than his
others in the group. The one on the right is a perfect unit of colour,
atmosphere, and pattern. In between, Spencer's backyard pictures reveal
a sympathetic younger painter who, for reason of his choice of
proletarian subjects, does not get the attention he more than deserves.
Most original in technique and charming in tone, they interest wherever
one meets them in the exhibition.

On the second line a delightful Speicher landscape should not be