overlooked. On wall D an important winter landscape by Schofield reminds
one forcibly of the many excellent painters of ice and snow we have in
this country. They are really the backbone of our American outdoor
artists, and all of them, with the exception of Gardner Symons, can be
found in the exhibition. To this group, beside Redfield and Schofield,
before mentioned, belong Charles Morris Young, John F. Carlson, Charles
Rosen, and others. Leon Kroll's "River Industries" and "Weehawken
Terminal," on the second line, are so typically American in subject that
they would have been unacceptable to the public here twenty years ago.

Gallery 67.

This large room continues to hold the attention of the visitor by more
excellent specimens of present-day art. Dougherty's marines as well as
Waugh's very precise, somewhat metallic seascapes have been referred to
before. Dougherty's group of four pictures is augmented by two Spanish
canvases by Lewis Cohen, of which the one to the right is far more
convincing than the other. They are somewhat artificial in colour. Emil
Carlsen's only contribution, a fine open sea, has a quality all its own.
The feeling of pattern in sky and water surface, combined with great
delicacy and suggestion of absolute truthfulness, gives it a quality
quite apart from the energetic art of Waugh, Ritschel, and Dougherty.
John F. Carlson always has style to his work, a certain unaffected,
noble simplicity, well brought out in three sympathetic pictures
grouped near the Emil Carlsen marine. Adding to the conspicuousness of
that wall, Charles H. Davis and Leonard Ochtman hold their own in their
important setting. The only two figure pictures in this neighborhood are
particularly lovely in colour and design, and R. P. R. Neilson deserves
much praise for having struck a unique note conspicuous among the many
commonplace portraits of the present day. Wendt's "Land of Heart's