careless superimposition of unnecessary paint that in spite of a great
richness of colour and a certain suggestion of truth, they are not apt
to hold one one's affection very long. They are sincere, I admit, but
careless in technique. There is no doubt about it, because heavy paint
and bare pieces of canvas will not make durable pictures. Birge Harrison
is disappointing in two pastels which seem too chromo-like, too
mechanical, to carry their point.

Gallery 44.

This collection is not at all without interest, but with few exceptions
the pictures in it are not strong enough to hold their own with so many
good things abounding elsewhere. Ralph Clarkson's portrait, Bartlett's
schoolyard, Perrine's technically unique landscape, are all meritorious.

Gallery 43.

Frederic M. DuMond's "Sea Carvings" in the corner, and Nahl's decorative
composition attract, each in its way, while in another corner a badly
skyed portrait by Hinkle is scarcely given a chance.

Gallery 74.

It will be necessary to make a little journey over to the inner side of
the arch of the building to continue and finish the art of modern
America. In this small Gallery, adjoining Sargent's, nothing stirring
happens. Landscapes predominate, with varying interest, but nothing with
any style or unity of expression presents itself, with the exception of
Carl Oscar Borg's "Campagna Romana" and a fine sky over the door by
William J. Kaula. The landscapes of G. W. Sotter and Will S. Robinson