Compositions in Black and White by James Cady Ewell

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COMPOSITIONS IN BLACK AND WHITE BY JAMES CADY EWELL THE ART INSTITUTE OF CHICAGO MAY FIFTEEN TO JUNE FIFTEEN, 1919 AMES CADY EWELL, born Chicago, Illinois, May 28th, 1889. Studio: Fine Arts Building, Chicago. Mr. Ewell, a former pupil of the Art Institute School, J. received practically all of his art training in this insti- tution. He has also made extensive sketching tours of France, Italy, Switzerland, Morocco and the United States. Until the year 1917 Mr. Ewell devoted himself almost exclusively to water colors, participating in exhibitions by The American Water Color Society, The Chicago Artists, The Art Student's League and The American Architectural Society. During the ensuing two years Mr. Ewell has turned his entire attention to studies in design and composition, intro- ducing symbolism extensively. The intelligent use of symbols of the Far East is quite evident in this exhibition of what he sees fit to term, "Compositions in Black and White." These examples of his work-ranging in size from six to eight inches to as many feet-vary from simple self-explana- tory subjects to those having within them the intricate play of symbolism, which demands careful minute study to fully grasp their significance. Mr. Ewell has unbounded faith in the potencies and possibilities of his unique field and hopes through it to represent, in concrete and understandable form, ideas from the realms of the abstract. CATALOGUE 1 THE COMBAT 2 "LORDS OF THE FLAME" 3 SEA NYMPH 4 A NATURE SPIRIT 5 VANITY 6 SEA FOAM 7 THE HEART BOUGH 8 EUROPA 9 MAN AND TIGER 10 THE PIPER 11 AND AFTER DEATH; LIFE 12 DELUSIONS 13 DANCERS ON THE SHORE 14 THE CIRCUS 15 BALANCE 16 NECK AND NECK 17 CONTROL 18 THE BATHERS 19 BATTLES TO COME 20 "THERE ARE MORE THINGS IN HEAYEN AND EARTH .... " 21 THISTLE DOWN 22 THE FOOLISH AND THE WISE SERIES "THE SYMPHONY OF WOMAN" 23 VISION 24 SACRIFICE 25 ENDURANCE 26 DEVOTION ATTHE OPERA 27 MUSIC-Inspired by Lucien Muratore 28 LADY GODIVA-Inspired by Anna Fitziu as "Isabeau" 29 SAMPSON-Inspired by John O'Sullivan as "Sampson" .

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Notes 1 A LINCOLNSHIRE BOYHOOD 1. J. 0. Hoge, ed., 'Emily Tennyson's Narrative for her Sons', Texas Studies in Literature and Language XIV (1972), 96. 2. H. D. Rawnsley, Memories of the Tennysons (1900), p. 225. 3. See C. Tennyson and C. Ricks, 'Tennyson's "Mablethorpe"', Tennyson Research Bulletin II, iii (1974), 121-3 [hereafter TRB]. 4. A. Pollard, 'Three Horace Translations by Tennyson', TRB IV, i (1982), 16. 5. H. D. Paden, Tennyson in Egypt (1942), p. 103. 6. C. Tennyson and C. Ricks, 'Tennyson's "Mablethorpe"', p. 121. 7. This painting is still at Farringford. I am grateful to Dr Christopher Brown, Chief Curator of the National Gallery, for the attribution. 8. A. G. Weld, Glimpses of Tennyson (1903), p. 12. 9. J. Kolb, ed., The Letters of A. H. Hallam (1981), p. 457. 10. R. B. Martin, Tennyson: The Unquiet Heart (1980), p. 48. 11. E. A. Knies, ed., Tennyson at Aldworth: The Diary off. H. Mangles, (1984), p. 122. 2 CAMBRIDGE 1. C. Tennyson, Alfred Tennyson (1949), p. 55. 2. E. A. Knies, ed., Tennyson at Aldworth: The Diary of f. H. Mangles, p. 97. 3. S. T. Coleridge, Aids to Reflection, ed. D. Coleridge (7th edn, London, 1854), p. 155. 4. Arthur Hallam visited Coleridge at Highgate, but Tennyson, although invited, never went. Coleridge's rude remarks on Tennyson's han dling of metre would not have encouraged him. 5. Shelley's Adonais: A Critical Edition, ed. A. D. Knerr (New York, 1984), pp. 445-6. 6. H. B. Bryant, 'The African Genesis of Tennyson's "Timbuctoo"', TRB, III v (1981), 200.
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