symphonies. His art is personal and must be studied at great length to
be fully appreciated. It expects a great deal of concentration, but one
willing to take the trouble will be amply rewarded by ever increasing
pleasure. The art of McLure Hamilton is more interesting in the power of
psychological characterization than in painting. His pictures are
painted thinly, more like watercolours than oils.

Gallery 48.

No noteworthy contribution is made here, unless one excepts the
academically clever portraits by Troccoli, a landscape by Vonnoh, and a
sumptuous bed of rhododendrons by Edward F. Rook. Two large "Grand
Cañons" again demonstrate the utter futility of trying to paint such
motives, which, in their success, depend entirely upon a feeling of
scale that is almost impossible to attain on a small canvas.

Gallery 47.

Here Blumenschein's large Indian compositions are of decorative
character. They are well composed and dramatic. The "Peace Maker" is big
in feeling. Typically American and very unusual are Colin Campbell
Cooper's New York street perspectives. His originality as a painter is
well demonstrated by this choice, which must have taken much courage at
a time when American subjects were more or less despised. Richard
Millers "Pink Lady" does not look a bit convincing, cleverly as it is
painted; it is not interesting enough in the large surfaces of
overnaturalistic pink flesh. Half that size would have been just enough
for this canvas, which is chiefly a concession to the modern mania for
painting large exhibition pictures to attract attention by their size
alone. Groll's desert pictures are disappointing. They have neither