A Collection of Paintings Representing the Glasgow School Artists Of

Home , Arthur Melville, Edvard Petersen, George (Blackadder), Glasgow School, Michael Ancher, Vilhelm Kyhn

THE GLASGOW SCHOOL ARTISTS OF DENMARK AND SOME OTHERS

THE ART INSTITUTE OF CHICAGO NOV. 19 TO DEC. 22, 1895 THE ART INSTITUTE Lake Front, opposite Ada;ns Street, Chicago A COLLECTION OF PAINTINGS

REPRESENTING

THE GLASGOW SCHOOL ARTISTS OF DENNIARK AND SOME OTHERS

THE ART INSTITUTE OF CHICAGO MD CCCXCV TRUSTEES OF THE ART INSTITUTE OF CHICAGO 1895-6

CHARLES L. HUTCHINSON, WILLIAM T. BAKER, EDWARD E. AYER, NATHANIEL K . FAIRBANK, JAMES H. DOLE, ALBERT A. SPJ

OFFICERS

CHARLES L. HUTCHINSON, JAMES H. DOLE, President. V£ce- President. LYMAN J. GAGE, N. H. CARPENTER, Treasurer. Secretary. W . M. R . FRENCH, Director.

EXECUTIVE COMMITTEE

CHARLES L. HUTCHINSON, CHARLES D. HAMILL, JAMES H. DOLE, JOHN C. BLACK, ALBERT A. SPRAGUE, MARTIN A. RYERSON, WILLIAM T. BAKER. THE ART INSTITUTE OF CHICAGO was incorporated May 24, 1879, for the purpose of maintaining a Museum and School of Art. The building erected for the use of both departments of the Institute in the year 1892 is on the Lake Front, at the foot of Adams street. The collections exhibited in this building are indicated in the following pages. They are open to the public every week day from 9 to 5, and Sundays from 1 to s. Admission is free to members and their families at all times, and free to a ll upon Wednesdays, Saturdays and Sundays. The Art School includes departments of Drawing, Painting, Sculpture, Decorative Designing and Architecture. All fri ends of the Art Institute are invited to become members. Annual members pay a fee of ten dollars for the year. Governing Members pay ten dollars a year, and an initiation fee of one hundred dollars. All members are entitled, with their families and visiting friends, to admission to all exhibitions, receptions and public lectures and entertainments of the Institute, and to the use of the reference library upon art. DESIGNATION OF GALLERIES

SEE PLAN

MAIN FLOOR

ROOM I, Elbridge G. Hall Collection of Sculpture, Egyptian and Assyrian. ROOM z, (Corridor) - Same, Asia Minor, and Early Greek. ROOM 3, Same. Age of Pheidias. ROOM 4, Same, Later Greek. .KOOM 5, Same, Roman. RooM 6, (Corridor; - - Same, Renaissance. ROOM 7, 0 ffice of the Director. ROOM 8, (Hall) Elbridge G. Hall Collection, Modern. ROOM 9, - Office of the Secretary. RooM ro, Elbridge G. Hall Collection, Modern. ROOM II, (Corridor) Historical Collection of French Sculpture and Architecture. ROOM Iz, Same. ROOM IJ, (Corridor) Same. RooM f4, Temporary Lecture Room. RooM I 5, - Library and Mrs. D. K. Pearsons Collection of Braun Photographs. ROOMS I6 to 24 are in the part not yet built. PROPOSED IS CAST GALLERY

14 13 2 3

12 10 4

PARTS IN LINE NOT YET BUILT. FIRST FLOOR PLAN. DESIGNATION OF GALLERIES

SEE PLAN

SECOND FLOOR

ROOM 25, Annual RooM 26, - Exhibition if ROOM 27, Oil Paintings and RooM 28, - - Sculpture. RooM 29, (Corridor) Century Drawings. RooM 30, - - The Antiquarians; Decorative Art Collection. ROOM 31, - Higinbotham Collection of Naples Bronzes, ROOM 32, - Greek and Egyptian Antiquities. ROOM 33, (Corridor) Ryerson-Hutchinson Collection o( Metal Work. ROOM 34, Committee Room. ROOM 35, (Hall) Sculpture. ROOM 36, - Committee Room. RooM 37, (Corridor) Braun Photographs and Sculpture. ROOM 38, Henry Field Memorial Collection. ROOM 39· - ROOM 40, Oil Paintings lent by A. A. Munger. ROOM 41, - Same. ROOM 42, Old Dutch Masters. ROOM 43, - - Oil Paintings. ROOM 44, (Corridor) Braun Photographs and Sculpture. ROOM 45. - Glasgow Paintings and Danish Paintings. ROOMS 46 to 53 are in the part not yet built. =

46 45

40 35 L 4

PARTS IN LINE NOT YET BUILT. i 34 llj SECOND FLOOR PLAN. PREFATORY

ATthe present time no group of artists, in this country or abroad, is attracting a larger measure of attention than that known as the "Glasgow School," and, under the circumstances, it is very gratifying to be able to present this first organized exhibit of paintings by the men of this school that has been brought to America. With the exception of three artists, George Henry, Stuart Park and D. Y. Cameron, who had no works at command which could be sent-much to the regret of the management of the exhibit - every painter iden- tified with this new movement is represented adequately and comprehensively. Most of the men work in oil, water color or pastel, as the mood or the characteristics of the subject seem to demand, and nearly every one contributes work in each of these media. The "Glasgow School" is of comparatively recent origin, and most of its n1embers are young men. Some of them are entirely self-taught; others have studied in foreign schools without losing their individua lity-their sturdy Scotch person- ality and feeling. Some of them have exhibited for a number of years at the R oyal Academy (London), others have been represented in the Salons- usually in the Champ de Mars-but the school, as a school, only has been represented adequately, during recent years, at Munich. It made its debut, really, at the last exhibition held at the Grosvenor Gallery, London, in r8go, where it attracted the attention and respect of enlight- ened people, including the directors of the Munich Exhibition. The same year the Glasgow men were invited to exhibit in Munich. They accepted the invitation, and their pictures were received with great favor at the Bavarian capital, many I2 The Art Institute of Chicago.

of them finding sale. Following is a quotation from the Neueste Nachrichten, Munich (August z8, r89o): In the past, in Germany, the word art certainly never has been mentioned in connection with Glasgow. Yet, truly, among the fur- naces of the Northern manufacturing town a generation of artists has been developed, in the short space of half a lifetime, which is well qualified to arouse admiration, or, in the minds of those who will not admire, at least astonishment. How could this take place in the utmost quietness- up there in the North- in such a vanishing space of time ; we might say" over night"? What strong, peculiarly vigorous natures these must be, who, in the seclusion of their homes, in scarce fifteen years, have achieved a work-a fact--for the achievement of which, in other cases, under the most favorable circumstances, a long series of decades were necessary? And, really, it is a complete and perfect work they have accomplished; it is, in very truth, a School of Glasgow which exists, proofs of which are now being admired by us in the Glass Palace in Munich. It is not that some few dozen painters have set up studios there and happen all to paint good pictures. They are clo~ely akin to. each other; however different they may be, one feeling, one aim, one power unites them; they have sprung from the same source. This spontaneous growth of so important a school of painting is, perhaps, without precedent in the history of Art. * ~- * The Scottish painter works for the love of his art. Often regardless and indifferent whether what he does will be a picture in the accepted sense, he seizes some momentary impression of Nature, or gives artistic expression in colors to some stirring of his imagination. He works almost always broadly, easily and with great rapidity, because what has been felt so suddenly must also quickly be put into shape. A surprising sense of splendor and power of color-of a real, glowing passion for color-is peculiar to the Scotch painters. * * ·" Neither the English painter nor the Scottish is a realist; reflection- necessity-has drawn the attention of the former from Nature ; the latter has been led by the great power of his own individuality, which feels the impulse to give something from his own treasures of imagination and stored-up impressions-something more than the mere copy of inanimate Nature. And the fact that the Glasgow masters, nevertheless, particularly as landscape painters, have the merit of being eminently natural, proves the greatness of their tal. ent, proves that they are destined for great things, and that their appearance is not that of a meteor in the art-heaven, but an event of lasting glory. The Art Institute of Chicago.

Every year since 189o, the Glasgow painters have been represented more generally at Munich than elsewhere- dur- ing the past two years in the "Secession" exhibition. The men of the Glasgow School are especially noteworthy for their strength and refinement in color, their keen appreciation of values, and the feeling for decorative qualities which they involve in their work. They are not copyists of Nature; from Nature they obtain impressions and suggestions, and upon these they graft much of themselves- and the result is their very own! They are neither realists, romanticists, ideal- ists, impressionists or symbolists, but partake, in a measure, of all- and yet remain themselves- related in serious endeavor, in feeling, and, to some extent, in expression- yet each an individual ! In this connection one may be pardoned-perhaps thanked -for quoting an expression concerning the Glasgow School, from an article on "The Scottish School of Painting" in Blackwood's Magazine for March, 1895 : Of late years the most vital art movement in Scotland has been in the west. Although the coterie of painters known at "the Glasgow school" does not include all the artistic talent in that city, the name, in virtue of combination and unity of purpose amongst the members, has become a convenient descriptive term. The influences which have c:.lled it into being are complex ; but the most powerful undoubtedly are Whistler's exquisite art (which blends so subtly the great traditions of the past and the wonderful decorative arts of the Far East) and the training several of the Glasgow men received in Paris, though from the pictures alone it is impossible to say who these have been. Desire for form as the basis of art, appreciation of the value of true tone and of the charm of decorative effect, increased regard for unity of effect- these are directions in which the new impulses have made themselves felt, and they are such as make for the purely artistic motive and the pictorial expression of thought. The talent of these men is incontest- able; they possess great technical power and fine feeling for beauty and character. The end of art is the pictorial expression of thought and emotion : the beauty inherent in Nature awaits the illumining vision and skill of The Art .Institute o.f Chicago.

the artist to reveal it. In pursuit of this he will respect Nature and her external form the more ; for to convey his individual insight he must use the symbols Nature has made common to us all. But he must also mingle with her material forms the leaven of his thought. It is because these twin qualities of form and spirit are combined in a truly remarkable degree in the work of several contemporary painters, that we have designated this present the most poetic moment in the history of Scottish art. In Harper's Magazine for February, r895, Eliza beth Rob- ins Pennell has an interesting paper on "Art in Glasgow," in the course of which she writes : And now it is from Glasgow and not from the Scottish Academy and schools of London, that modern British art has received its strongest impetus ; it is to Glasgow one now looks for that art's most brilliant achievements. Of the Glasgow School, the members represented here in Chicago are JAM ES GuTHRIE, R. MACAULAY STEVENSON, E. A. HORNEL, ARTHUR MELVILLE, E. A. vVALTON, JosEPH CRAWHALL, JR., JAMES pATERSON, ALEXANDER ROCHE, WHITELAW HAMILTON, DAviD GAU LD , T. MILLIE Dow, W. Y. MAcGREGOR, WILLIAM KENNEDY, JoHN LAVERY, GEORGE PIRIE, J. E . CHRISTIE, GRO SVENOR THOMAS, w. H . P. NICHOL- SON, T. CoRSON MoRTON, WILLIAM MouNCE Y, J. REID MuR- RAY and HARRINGTON MANN. * * * At the World's Columbian Exposition the Art Exhibit of the Scandinavian countries attracted marked attention. It was novel- unlike that of other and more familiar countries; it was tremendously forceful, and evidently honest, and_it had in it human qualities that appealed to our people. Not many of these pictures bore the impress of the studio ; nearly all were direct transcriptions from Nature and life-often almost startling in their realism, and often, also, charming in thei r sentiment and poetic feeling. The great merit of these paint- The Art Institute of Chicago. IJ

ings was their truth to Nature, as Nature shows herself in Denmark, Sweden and Norway, and as she appears to the people ·of these countries. The Danish exhibit at Chicago was particularly interesting, and, remembering this, the opportunity offered to bring over this year a small but repre- sentative collection of paintings by the leading Danish artists was embraced with pleasure. No painter in Europe is more widely known or more highly esteemed for his exceptional abilities than KROYER, who is the recognized head of the' Danish School, and there are no more sincere men to be found the wor.ld over than the Danish artists, as a class. Although many of the Danish painters have been under the direct and effective influence of French art, their peculiar national characteristics in no way have been effaced. They have not allowed themselves to be submerged by the foreign influence. They have, moreover, sought their subjects, for the most part, at home, and this also has tended to give their art a distinctively national flavor. The Danish painters represented in this exhibition are G . ACHEN, MICHAEL ANCHER, JoH. ANTON BILKVIsT, F. H . BRANDT, HANS DALL, N. v. DORPH, PAUL FISCHER, EDMA FRi:iLICH, LoRENZ FRi:iLICH, GuDMUNDSEN HoLMGREEN, JosEPH THEODOR HANSEN, OTTO HAsLuND, ANNA HEER- FORDT, M. HENRIQUES, SoPHIE HoLTEN, HENRIK JESPERSON, VIGGO J oHANSEN, PETER SEVERIN KRi:iYER, OscAR MATTHIE- SEN, :t\JELS PETERSEN MOLS, CHR. MCELSTED, ANN A SOFIE PETERSEN, EDVARD PETERSEN, GOTFRED RODE, C. SCHLICHT- ING-CARLSEN, AGNES SLOTT-MCEL LER, HANS SCHMIDTH, PAU- LINE THOMSEN, }ENS FERDINAND YVILLUMSE N and CHRISTIAN ZACHO. ILLUSTRATIONS E. A. BORNEL (GLASGO\V SCHOOL) A STUDY, NAGASAKI, JAPAN JAMES GUTHRIE (GLASGOW SCHOOL) CONSTANCE E. A. '\VALTON (GL ASGOW SCHOOL) ALICE JOSEPH CRAWHALL, JR. ( GLASGO'V SCHOOL) THE AVIARY DAVI D GAULD (GL ASGOW SCHOOL) EDITH R. MACAULAY STEVENSON ( GLASGOW SCHOOL) BV THE MILL POND J. \VHITELA'W HAMILTON (GLASGO\V SCI-IDOL) VENICE EDWARD A. HORNEL (GLASGO'W SCHOOL) ON THE BALCONY, YOKOH AMA T. I\IILLIE DO'V (GLASGOVV SCHOOL) THE ENCHANT ED VVOOD ALEXANDER ROCHE (GLASGOW SCHOOL) SPRING JAMES PATERSON (GLASGO'V S CHOOL) CASTLEFAIRN ARTHUR MELVILLE (GLASGOW SCHOOL ) AN ARAB PROCESSION-TANGIER. VIGGO JOHANSEN (DENMARK) CHILDREN AT THEIR EVENING 'VORK, PETER S. KROYER (DENMARK) SUMMER. SOFIE HOLTE N (DENMARK) FONSOK- MARRIAGE EDVARD PETERSEN (DE~l\IARK) THE RISING 1\:tOON-T,VILI G HT FRITZ THAULOW (NORWAY) RIVER IN NORMANDY- WINTER JEAN FRAN~OIS RAFFAELLI (FRANCE) EDINBURGH EUGENE BOUDIN (FRANCE) CORVETTE RUSSE A. H ERVIER (FRANCE) LANDSCAPE NEAR BARBIZON J. M'NEIL W HISTLER (UNITED STATES) MOTHER AND CHILD DAGNAN-BOUVERET (FRANCE) LA PETNTURE CATALOGUE

ALL WORKS ARE IN OIL EXCEPT SUCH AS ARE OTHERWISE DESIGNATED. PRICES OF WORKS WHICH ARE FOR SALE MAY BE OBTAINED AT THE CATALOGUE DESK. NO WORKS CAN BE REMOVED FROM THE GALLERIES BEFORE THE CLOSE OF THE EXPOSITION.

THE GLASGOW SCHOOL

CRAWHALL, JOSEPH, JR.-Glasgow, Scotland. Born, Newcastle- on-Tyne, England. Pupil of Aime Morot. Me.dal at Munich. Crawhall certainly has created a style ; but very secondary is this compared to the unerring rightness with which his design is placed in the space it· is to decorate, with the ever changing beauty of the design itself, with the mar· velous precision and absolutely invaluable quality of each touch that calls the design into being! For these qualities, we venture to say, he has no living equal. His work fitly may be described as epigrammatic.-ALEXANDER REID. -Catalogue of the collected zoorks ofJoseph Crawhall, Jr. THE AVIARY, CLIFTON. (Water Color.) Lent by William Burrell, Esq., Glasgow. (Illustration.) 2 THE RABBIT. (Water Color.) Lent by George Burrell, Esq., Glasgow. 3 KEMPTON PARK. (Water Color.) 4 A FALSE SCENT. (Water Color.) 5 THE MASTER OF THE HOUNDS. (Water Color.) 6 SUNLIGHT. (Water Color.) 7 HOMEWARD. (Water Color.) 8 THE FLORISTS' WINDOW. (Water Color.) The Art Institute of Chicago.

CHRISTIE, J. E .-Glasgow, Scotland. Born, Guardbridge, Fife, Scotland. Pupil of William Stewart, Paisley, Scotland ; W. A. Bouguereau, Paris, and the South Kensington and Royal Academy Schools, London. Gold Medals, South Kensington and Royal Academy. Member of the New English Art Club, London; Glas- gow Institute of Fine Arts, and Paisley Fine Arts Institute. 9 THE AWAKENING OF GULLIVER ON THE ISLAND OF LILI- PUT. 10 A SEA URCHIN. II THE RED FISHERMAN.

12 BUBBLES.

DOW, T. MILLIE-Glasgow, Scotland. Millie Dow's pictures are admirable examples of art in which pictorial beauty and subject.ive interest are happily united.-Blackwood's Magazine, March, 1895· 13 THE ENCHANTED WOOD. (Illustration.) 14 AUTUMN MOONRISE. 15 ROSES. 16 PEONY ROSES. (Water Color.)

GAULD, DAVID-Glasgow, Scotland. One of the strongest painters among the younger men of the Glasgow school. His pictures are remarkable for abnospheric quality, for fine color and just values. 17 A DRYAD. 18 PASTURE LAND. 19 A WOOD NYMPH.

20 SPRING IN THE PARK.

21 COWS AND LANDSCAPE .

22 EDITH. (Illustration.) 23 CHANGING PASTURES. 24 BROADWAY, OXFORD. (Water Color.) 25 CHELTENHAM. (Water Color.) 7J,e Art Institute of Chicago.

GUTHRIE, JAMES-Glasgow, Scotland. Born,Greenock, Scotland. Honorable Merition, Salon, Paris, I889. Medal (3d Class), I891. Medals at Munich and at Berlin. Member of the Royal Scottish Academy; Royal Scottish Water Color Society; Societe Nationale des Beaux Arts, Paris, and Honorary Member of the Bavarian Royal Academy, Munich. James Guthrie always has painted exceedingly well. His best and most characteristic work is always informed by a strong grasp on reality. -Guthrie has touched the graver issues of life profoundly in some of his pictures ; and, in others, principally in pastel (of which he is a master), he has displayed excellent taste in handling its lighter and more trivial moods.-Blackwood' s Maga- z ine, March, 1895· 26 PORTRAIT OF DR. GARDINER. 27 CONSTANCE. (Portrait of Miss Wilson.) (Illustration.) 28 PASTORAL. 29 A STREET IN 0BAN-N!GHT. 30 SHORE WORKERS. (Pastel.) 31 LAWN TENNIS. (Pastel.) 32 JESSIE. (Pastel.) 33 STIRLING CASTLE. (Pastel.) 34 THE STONE PILE. (Pastel.)

HAMILTON, J. WHITELAW-Glasgow, Scotland. Born, Glasgow. Pupil of Dagnan Bouveret and Aime Morot, Paris. l\fember of the Royal Scottish Water Color Society. · 35 A pASTORAL. 36 VENICE. (Illustration.) 37 SCOTTISH FISHING HAVEN. 38 THE CLIFFS OF BERWICKSHIRE. 39 PIAZZA DEI SIGNORIA, VERONA.

HORNEL, E: A.-Gla::gow, Scotland. Born at Bacchus Marsh, Aus- tralia, o[ Scotch parents. Studied painting with William Mouncey, Edinburgh,and later at the Antwerp Academy, under. Verht. Horne! is concerned exclusively with Nature's coloi-; or rather, to speak more accurately, let us say simply with l::olor itsHf. Thesong that his art sings 66 The Art .Institute of ChicaJ;O.

is to the glory of color, of its beauty and its charm, of its power to delight the eye as nothing e1se in earth or air can possibly delight it. His pictures undoubtedly show some suggestions of natural scenes, but their emphasis- their essential significance, their true raison d'etre never lies in such suggestions. While art often has much immediate reference to Nature, it may, some· times, have very little indeed, and yet not cease to be delightful and excellent art. It is not of the beautiful color of that hillside that Mr. Hornel's art tells us, nor of the melting blue of that sky, but simply of the beauty of color itself, and of its; infinite combinatious.-The Scottish Leader, Glasgow, November 2, 1&}3: 40 MAY DAY. 41 A STUDY-NAGASAKI, JAPAN. (Illustration.) 42 THE BALCONY-YOKOHAMA, J APAN. (Illustration.) 43 A STREET SCENE-TOKYO, JAPAN. 44 THE GOATHERD. 45 A SPRING IDYL. 46 BATTLEDORE AND SHUTTLECOCK. 47 CHILDREN AT PLAY. 48 A PaSTORAL.

KENNEDY, WILLIAM-Glasgow, Scotland. 49 HEAD OF A GIRL. so STIRLING CASTLE. 51 THE DESERTER. 52 MILKING TIME. 53 AFTERNOON IN CAMP.

LAVERY, JOHN-Glasgow, Scotland. Born, Belfast, Ireland. Pupil of W. A. Bouguereau and Tony Robert Fleury, Paris. Medal, Salon, Paris, 1888. Elegance of arrangement and style, and a fine appreciation of the charm and grace of women are characteristic of John Lavery's work.-Blackwood1S Magazine, February, 1895. Lavery is a landscape painter of the greatest importance, and a water color painter who, in technique and truth of representation, presentsuswith.pictures that are dazzling.-Neueste Nachri~hten, Munich, 1890. 54 THE BRIDGE AT GREZ, FRANCE. .The Art i nstitute o.f Chicago.

MAC GREGOR, W. Y.-Glasgow. Member of the Royal Scottish Water Color Society, Glasgow. It is as a landscape painter that Mr. McGregor has won his reputation. Water color is his favorite ntediutn. If his achieven1ent be less in actual amouut of production than that of his fellow artists, it must not be forgotten that without h.im, perhaps, there would have been no school or group - that is, without him the chief source of Glasgow's present a rtistic strength and inftuenc~ might have beenn1issing.-MRS. PENNELL, in Harpei"'S llfagaz ine, February, 1895· 55 ON THE STOUR. (Water Color.) 56 MARKET PLACE, SO UTH AFRICA. 57 AFTERGLOW, SOUTH AFRICA. (Water Color.) S8 SPANISH STREET. 59 SHOREHAM. (Pastel.) 6o SAN SEBASTIAN. 61 RENTERINI, SPAIN. (Pastel.)

MANN, HARRINGTON-Glasgow, Scotland. 62 STUDY OF AN lTALLA.N GIRL. 63 LANDSCAPE.

MELVILLE, ARTHUR-London, England. A leading member of the Glasgow School. Arthur Melville was, perhaps, the first to appreciate the value of the new intpulse. His portraits are usually very fine in color and handling, while his m agnificently vivid and vital ·work in water-color occupies a quite unique position in contemporary art.-B!ack.zuood's Magaz ine, March, 1895. 64 THE ALHAMBRA, SPAIN. (Water Color.) 65 BAZAAR AT SARAGOSSA, SPAIN. (WaterColor.) 66 SAN GIORGIO, VENICE. (Water Color.) 67 SIROCCO . (Water Color.) 68 THE SOKO, TANGIER) MOROCCO. (WaterColor.) 69 AN ARAB PROCESSION. (Water Color.) (Illustration.}

MORTON, T. CORSAN-Glasgow, Scotland. 70 LAKE PASTURES. .Tize Art Institute o.f Chicago.

MOUNCEY, \V.-Glasgow. Born, Edinburgh, Scotland. Studied at Edinburgh. 7 I LANDSCAPE. 72 THE MILLPOND. 73 THE STORM.

MURRAY, jOHN REID-Glasgow, Scotland. 74 NOVEMBER.

NICHOLSON, W. H. P.-Glasgow, Scotland. 75 BRIDGE AND HORSE. (Water Color.) 76 PORTRAIT OF A BABY. (Water Color.)

PIRIE, GEORGE-Glasgow, Scotland. Born, Glasgow. Pupil of Boulanger, and Lefebvre, Paris. 77 THE CHASE. 78 WHo CoMES? 79 A COCK. So Fox HOUND. 81 COWBOY'S "NIGHT HORSE. 82 TEXAS BRONCHO.

PATERSON, JAMES-Moniave, Scotland. One of our most individual and poetic landscape painters is Mr. James Pat- erson. Seldom, if ever, concerning himself with what is termed the picturesque or romantic in scenery;attemp~ing no striking _p ictorial effects, Mr. Paterson nevertheless succeeds, and succeeds to adtniration, in his attempts to seek out and transfer to canvas some of the more fleeting of the more delicate aspects of Nature. * * Mr. Paterson's style cotnbines reticence, tenderness and truth- truth at once to Nature and to art.-Glasgow Citizen. 83 CASTLEFAIRN. (Illustration.) 84 BLACKNFST TARN. Ss MAXWELTON BRAES. 86 CHRYSANTHE:\1UM. (Water Color) The Art I nstitute o.f Chicago.

ROCHE, ALEXANDER- Glasgow, Scotland. Roche's feeling for beauty is -rare a nd exquisite. The tnaterial fron1 which he gathers so tnuch loveliness is not obviously attractive, and posseses little chann for the o rdinary eye. And what higher tribute could one pay an artist than in saying t hat h e had revealed beauty where "ve saw it not? The romantic spirit, the quaint and charming composition, the suntptuous color in which h e clothes his thought, render his pictures 1nemorable to a ll who really love

· Nature and beauty.- B lackwood's M agaz£ne1 Marc·h, 1t'95. 87 SPRING. (Illustration.) 88 LANDSCAPE. 89 A LITTLE SAB INE . 90 BUILDING THE CH URCH. 9 ! AMONG THE TREES. 92 ON THE YORKSHIRE COAST.

. STEVENSON, R. MACAULAY-(~lasgow, Scotland. Born, Glasgow. Gold Medal, Munich, I893; Diploma, Barcelona, I894. Member of the Glasgow Art Club; the Secession, Munich, and. Cercle Lit- teraire Artistique, Belgium. In I894 his painting, "The Fairies Pool," was purchased by the German Government for the National Gallery at Berlin. Another of his works was similarly bought for the National Gallery of Bohemia (Prague), and a third was acquired by the Municipal Gallery of Barcelona . Spain. The magic of poetic realism which Constable revealed to the Frenchtnen ot xS3o traveled thence to Holland,· and now again crossing the seas) it h as found a resting place in Scottish h earts. The t hought of these poet-painters is not tnore heau1 iful than t he expression ; the adjustment of means to end in their pictures is excellent, and in the higher qualities of landscape, theirs surpasses that of a ny similar g roup of painters iu Europe.- Blackwood's Magazine, March, 1895· 93 BY THE MILL POND . (Illustration.) 94 SOON AS THE EVENING SHADES PREVA IL, THE MOON TAKES UP THE WONDROUS TALE. 95 REVERIE. 96 OCTOBER EVENING. 97 SONG WITHOUT WORDS. 98 THE GLOAM IN' HOUR. 99 LANDSCAPE. The Art Institute of Chicago.

100 AN EVENING IN SPRING. (Water Color.) IOI RHAPSODIE. 102 LANDSCAPE, WITH TREES.

THOMAS, GROSVENOR-Glasgow, Scotland. Born, Sydney, Austra- · lia. Member of the Royal Society of Scottish Water Color Painters and of the Society of Scottish Artists, Glasgow. 103 THE MILL. 104 MOONRISE. 105 FLOWERS. 106 LANDSCAPE. 107 EVENING. 108 RICHMOND.

\VAL TON, E. A.-London, England. Honorable Mention, Salon, Paris, 1892. Associate of the Royal Scottish Academy, Member of the Royal Scottish Water Color Society, Glasgow, The subjective interest of E . A. Walton's landscapes generally is of the slightest, but the fervid glow of passion which anin1ates them is wOnderful! T'here is more than the visible beauty of Nature in his pictures; they are im- · hued with that infortning spirit which makes Nature tnore to us than mere inert n1atter. His imagihation is deep-rooted in the earth; the sap and sub- stance of growth and life seem to run through every landscape he paints. In a world-weary age, joy and lusty life is peculiarly refreshing, and Walton's is so fresh and spontaneous that it carries us out of ourselves. * * Walton is 1nore than a good-he is a great landscape painter. In portraiture, while never losing touch with Nature, he seen1s as tnuch preoccupied with beauty of color, tone a nd arrangetnent as with character, and this acute sensibility to beauty tnakes his pictures very fascinating.-Blackwood's llfagazine, March, 1895. 109 AUBURN. (Pastel.)

I 10 FLOWERGIRL. (Water Color.)

I I I LAMPLIGHT. (Water Color.)

I I2 ALICE. (Illustration.) Il3 HYDE PARK. (WaterColor)

I 14 STIRLING. (Water Color.)

I 15 GOATS. (Water Color.)

I r6 THE CATTLE SHED. (Water Color.) THE DANISH ARTISTS

ACHEN, G.-Copenhagen, Denmark. Born, Copenhagen. Pupil of Kroyer. Honorable Mention, Paris, 188y. Honorable Mention, Berlin, 1891. Medal, Copenhagen, 1890; Gold Medal (2d Class), Munich, 1892. Member of the Council of the Academy of Fine Arts, Copenhagen. Corresponding Member of -the Secession, Munich. 117 SUNLIT LANDSCAPE, WINDY DAY.

ANCHER, MICHAEL-The Scaw, Denmark. Born, Bornholm. Pupil of the Academy of Fine Arts, Copenhagen. Medal, Copenhagen Academy; Medal, Exposition Universelle, Paris, 1889; Medal (2d Class), Berlin, 1891; Medal (2d Class), Antwerp Exposition Univer- selle, 1894, Knight of the Order of the Dannebrog, p. p. Member _ of the Royal Academy of Fine Arts, Copenhagen. 118 JOLLY OLD PEOPLE.

BILKVIST, JoH. BENTZEN-Copenhagen. Born, Norway. Pupil of the Academy of Fine Arts and of Kroyer, Copenhagen. 119 DANISH LANDSCAPE, CLOUDY WEATHER.

BRANDT, F. H. -Copenhagen, Denmark. Born, Copenhagen. Pupil of V. Kyhn. 120 SVENDSEN'S HOUSE.

DALL, HANS- Copenhagen, Denmark. Pupil of the Academy of Fine Arts, Copenhagen. 121 A DAY IN SPRING; FREDERICKSBERG GARDENS, COPEN- HAGEN,

DORPH, N. V.-Copenhagen, Denmark. Born, at Haderslev, Den- mark. Pupil of the Academy of Fine Arts and of Kroyer, Copen- hagen. Honorable Mention, Berlin, 1891 ; Medal, World's Colum- bian Exposition, Chicago, 1893. 122 TWILIGHT. 123 MOONLIGHT. {Water Color.) The Art Institute of Chicago.

FISCllER, PAUL-Copenhagen, Denmark. 124 A YOUNG WOMAN.

FROLICH, LORENZ-Copenhagen, Denmark. Born, Copenhagen. Studied tinder various masters in Denmark, Italy · and France. Especially known as an historical painter and illustrator. Swedish Medal, literis et artibus. Medal, Salon, Paris, 1873. Member of the Academy of Fine Arst, Copenhagen. Chairman of the Com- mittee for the Exhibition of Danish Art in America. Knight of the ~rder of the Dannebrog. Councillor of State, etc. !25 NIGHT AND DREAMS. !26 COMING TO THE RESCUE. (Drawing.) !27 A FAMILY . OF CENTAURS. (Drawing.) 128 CHRIST AND THE GUILTY WOMAN. (Drawing.)

'FRULICH, WILHELMINA EDMA CORNELIA-Copenhagen, Den- mark. Born, Fontainebleau, France. Daughter of Prof. Lorenz Frolich. Pupil of Barrias and Alfred Stevens, Paris. 129 DEAD BIRD HANGING ON A WALL.

HAN SEN, JOSEPH THEODOR-Copenhagen, Denmark. Born, Ron- ders, D enmark. Medal, World's Columbian Exposition, Chicago, 1893. Member of the Committee for the Exhibition of Danish Art in America. 130 ROSENBORG PALACE, COPENHAGEN.

Hi\SLUND, OTTO-Valby, Denmark. Member of the Academy of Fine Arts, Copenhagen. 131 SUNSET.

HEERFORDT, ANNA (NEE OBELITZ)-Copenhagen, Denmark. Born, Fredensborg, Denmark. Pupil of 0. A. Hermansen. Mem- ber of the Artists' Association, Copenhagen. I32 BLACKBERRIES ON THE BUSH.

HENRIQUES, MARIE-Copenhagen, Denmark. 133 TWO WASHERWOMEN. The Art I11stitute o.f Clucago. 73

HOLMGREEN, GUDMUNDSEN-Copenhagen. Denmark. Born, Ronne, Denmark. Pupil of the Academy of Fine Arts, Copen- hagen, and of P. S. Kroyer. \Vas given the traveling stipend of the Academy of Fine Arts, 1895. Member of the Artists' Associa- tion of Copenhagen. 134 FISHERWOMEN AT THE GA\>!MELSTRAND, COPENHAGEN. HOLTEN, SOFIE -Copenhagen, Denmark. Pupil of Alfred SteYens, Paris. 135 FONSOK MARRIAGE . (lliustration.) A Norwegian custom observed on St. John's eve.-a village boy and g irl per- sonating bridegroon1 and bride. JESPERSON, HENRIK-Copenhagen, Denn41.rk. Born, Copenhagen. Awarded the Sodring Encouragement Prize, 1883 ; the Neuhausen Competition Prize, 1889, and the annual Medal of the Academy, 1895 . 136 NORWEGIAN LANDSCAPE NEAR THE FOSTEDALSBRO, OLDEN NORDFJORD. JOHANSEN, VIGGO-Copenhagen. Denmark. Born, Copenhagen. Pupil of the Academy of Fine Arts, Copenhagen. Aw_. rded the Thorwaldsen Exhibition Mt>dal, 1886. Honorable Mention, Salon, Paris, 1887; 1st-Class Medal, Exposition U niverselle, Paris, 1889; zd Class Medal, Munich, 1889; zd Class Medal, Berlin, 1891; Medal, World's Columbian Exposition, Chi· ago, 1893. Instructor in the Woman's Art School, Academy of Fine Arts, Copenhagen. Member of the Academy of Fine Arts and of its Council. Knight of the Dannebrog and of the Bavarian Order of St. Michael. 137 CHILDREN AT THEIR EVENIJSG WORK. (Illustration.) KROYER, PETER SEVERIN-Copenhagen, Denmark. Born, Slav- anger, Norway. Pupil of the Academy of Fine Arts, Copenhagen, and of Leon J. F. Bonnat, Paris. Exhibition Medal, Copenhagen. Medals, Salon, Paris, 1881 (3d Class); 1884 (zd Class). Grand Prix, 1889, Exposition Universelle, Paris. Gold Medals of the rsi Class at Berlin, Munich and London. Medal, World's Columbian Expo- sition, Chicago, r8c:13. Member of the Academies of Fine Arts at Copenhagen and Stockholm. Member of the Societe Nationale des Beaux Arts, Paris, and of the Secession, Munich. Knight of the Order of the Dannebrog, of the Bavarian Order of St. Michael. and of the Legion of Honor, France. 138 SUMMER. (Illustration ) 74 7he Art i nstitute o.f Chicago.

MATTHIESEN, OSCAR-Villa Cradock, Charlottenlund, Denmark. Born, Slesvig, Denmark. Pupil of the Academy of Fine Arts, Copenhagen. Gold Medal, Academy of Fine Arts, Copenhagen; 1st prize in competition for Historical Painting for the University of Copenhagen. Royal Commissioner of Fine Arts for Denmark at World's Columbian Exposition, Chicago, 1893. Secretary of the Committee for the Exhibition of Danish Art in America. 139 LANDSCAPE-FROM THE WEST COAST OF DEN MARK . 140 WINTER LANDSCAPE IN TH E NORTH OF FRANCE.

MOLS, NEILS PETERl3 EN-Copenhagen, Denmark. Born, Grun- strup, Skanderborg, Jutland. Pupil of the Academy of Fine Arts, Copenhagen. Silver Medal, Exposition U niverselle, Paris, 1889. Exhibition Medals, Copenhagen, 1893 and 1894. Medal, World's Columbian Exposition, Chicago, 1893. Medal, Antwerp Exposition Universelle, 1894. 141 A FARMHOUSE .

MOLSTED, CHRISTIAN-Dragor, Denmark. 142 THE H ARBOR OF DRAGOR, DENM AR K.

PETERSON, ANNA SOFIE-Copenhagen, Denmark. Born, Copen- hagen. Pupil of Viggo Johansen, Copenhagen, and Gustave Courtois, Paris. I43 GRANNY AT THE CRADLE. 144 HEAD OF A CHILD.

PETERSEN, EDVARD-Copenhagen, Denmark. Member of the Academy of Fine Arts, Copenhagen. 145 THE RISING MOON, TWILIGHT. (Illustration.)

RODE, GOTFRIED-Marienhab, Bagsvoerd, Lyngby, Denmark. Pupil of the Academy of Fine Arts, Copenhagen. Neuhausen Prize for Animal Painting, Copenhagen Academy. I46 COWS IN THE FIELD, SEPTEMBER. (Prize Picture.) The Art Itzstitule o.f C!u"cago. 75

SCHLICHTING-CARLSEN, C.-Copenhagen, Denmark. Born, at Hensborg, Denmark. Pupil of the Academy of Fine Arts, Copen- hagen. 147 SPRING DAY AT BREDE, DENMARK.

SLOTT-MOLLER, AGNES-Copenhagen, Denmark. Born, Copen- hagen. Pupil of Kroyer. Member the Independent Association of Painters, Copenhagen. q8 OAK TREES ON THE BEACH.

SMIDTH, HANS-Copenhagen, Denmark. Born, Nokskov, Den- mark. Pupil of Niels Simonsen. Awarded the Neuhausen Prize at the Academy of Fine Arts, Copenhagen. 149 VILLAGE IN THE EAST OF JUTLAND.

THOMSEN, PAULINE-Copenhagen, Denmark. Born, Roskilde, Denmark. Pupil of Vilhelm Kyhn. 150 A RYE FIELD.

WILLUMSEN,J. F.-Copenhagen. Denmark: Pupil of the Academy of Fine Arts and of Kroyer. Copenhagen. Honorable Mention, Exposition Universelle, Paris, 1889. Associate of the Societe Nationale des Beaux Arts, Paris, and Member of the Independent Association of Artists, Copenhagen. (SCULPTURE.) 151 EARTHENWARE VASE.

ZACHO, CHR.-Hillerod, Denmark. Pupil of the Academy of Fine Arts, Copenhagen. Honorable Mention, Exposition Universelle, Paris, 1889. Honorable Mention at Berlin, 1890. Medal at Copen- hagen. Member of Academy of Fine Arts, Copenhagen. 152 WATERING· PLACE AT THE RIVULET, SoBYGAARDSKOV, DEN- MARK. PAINTINGS OF VARIOUS SCHOOLS

ARTZ, DAVID ADOLF CONSTANT-(Deceased). Born, The Hague, Holland, 1837; died 1891. Pupil of the Amsterdam Academy, .and of Mallinger and Israels. Bronze Medal, Vienna, 1873· Hon- orable Mention, Salon, P aris, r88o. Gold Medal, International and Colonial Exhibition, Amsterdam, r883. Vice-President of the International Jury of Award, Exposition Universelle, Paris, !88g. Knight of the Oaken Crown, 1879. Chevalier of the Legion of Honor, r889. Member of the Societe Nationale des Beaux Arts, Paris. ''Like Israels, he is interested in human character and sentiment, and like Israels, h e has sought and found his tnaterial in the types and circumstances of his native enviroritnent. * * * At his best he is a good craftsman, with a real gift of color, feeling for light and air, and that directness of touch which marks the painter."-W. E. HENLEY. I 53 A DUTCH BABY.

BOUDIN, EUGENE-Paris, France. Born, Honfleur (Calvados), France. Medals: Salon, Paris, 188r (3d Class); 1883 (2d Class). Gold Medal, Exposi'tion Universelle, Paris, r889. Chevalier of the Legion of Honor, 1892. Member of the Societe Nationale des Beaux· Arts. 154 CORVETTE RUSSE. (lllustration.) (This is the picture from which was painted the larger canvas purchased fron1 the artist by the French Govennnent, and now in the Gallery of the Lux(}1nbourg, Paris.)

CUUl'URE, THOMAS-(Deceas~d). Born, Senlis, Oise, 1815; died 1879. Pupil of Gras and of Paul Delaroche. Won the second Grand Prix de Rome in 1837·. Medals: Salon, Paris (3d Class), r844-rst Class, r847 and 1855; Legion of Honor, 1848. Painter of '' The Romans of the Decadence," now the property of the French Government. Couture contbined the classic and romantic inspirations, and he was notably realistic in his expn:ssion. He was a finished draughtsman and a colorist of wonderful charm. He was the master of Puvis-de-Chavannes and of the American artists, William M. Hunt and John La Farge. 155 HEAD OF A WOMAN. Tlze Art I nstitute o.f Clzicago. 77

DAGNAN-BOUVERET, PA SCAL ADOLPHE J EAN- Paris, France. Born, Paris. Medal, Salon, Paris, 1878 (3d Class); 188o (1st Class); Medal of Honor, 1889. Grand Prix, Exposition Universelle. Paris, 1889. Chevalier of the Legion of Honor, 1885; Officer of the same, !892 . Truthfulness, d irectness and simplicity are characteristics of his work.

156 LA PEINTURE. (Property of Messrs. Allard & Noel, Paris.) (Illustra tion.)

DEGAS, HILAIRE GERMAIN EDGAR - Paris, France. One of the very first painter_s to attach himself to the movetnentinaug urated by M an et was Hilaire Gennain Edgar Degas. Degas was born in Paris in 1834, and was a graduate of the sch ool of Ingres. He had painted in the Acadentic a nd in the Rontantic styles, but neither satisfied hitn a fter a time. H e appre- ciated the end Ma n et was striving to reach and he carried the work even fur~ ther.- RrCHARD M'irTHER.

157 WOMAN AT A \VINDOW.

HERVJER, A.-Paris. Born in France. W as the pupil and friend of Theodore Rousseau.

I 58 LANDSCAPE NEAR BARBI ZON . (Illustration. )

M U HRMAN , HENRY - London, England. 159 THE THAMES AT RICHMOND.

METTLING, Lours-Paris. Born at Dijon, France, of E nglish parents. Studied at !'Ecole des Beaux Arts, Lyons, and with Cab- anal, Paris. Honorable Mention, Salon, Paris, 1888, and at Expo- sition Universelle, Paris, 1889 . Member of Societe des Artistes Fran~ais. Mettling is a painter, pure and s imple. * * * H e is k eenly alive to the suggestions of light a nd atmosph er e, the pictorial q ua lity of facts, the capabili· ties of paint, and, in a word, to w hatever can display the especial powers of the mediunt in which h e works. His eye is quick. his hand uncommonly skillful, his judgtnent sound, his tnethod tnasterly, his style of a sober brilliance. A tnodern as Valasquez is modern , h e m ay be said to derive from that great mas· ter, and to b e n ot unworthy his descent.- W . E. HENLb.Y . .1 60 AN ITALIAN BOY. Tlze A1·t institute o.f Chicago.

RAFFAELLI, jEAN FRANyOIS-Paris, France. Born Paris. Hon- orable Mention, Salon, Paris, 1885. Gold Medal, Exposition Uni- verselle, Paris, 1889. Chevalier of the Legion of Honor, 1889. Member of the Societe Nationale des Beaux Arts. 161 EDINBURGH. (Illustration.)

THAULOW, FRITZ-Dieppe, France. Born, Christiania, Norway. Studied in Christiania, Carlsruhe and Paris. Gold Medals at Vienna and Munich; Diploma of Honor, Dresden. Chevalier of the Legion of Honor, France ; of the Order of Leopold, Belgium, a nd of St. Olaf, Norway. Member of the Societe Nationale des Beaux Arts, Paris, and of the Royal Academy of Munich. 162 RIVER IN NORMANDY-WINTER.

WHISTLER, JAMES McNEIL-Paris, France . . Born, Baltimore, Md. Medals: Salon, Paris, 1883 (3d Class); Gold Medal, Exposi- tion Universelle, Paris, Illll9; Gold Medal, Pennsylvania Academy of the Fine Arts, Philadelphia, 1893 ; MedaL World's Columbian Exposition, Chicago, 1893. Member of the Societe Nationale des Beaux Arts, Paris. Chevalier of the Legion of Honor, 1889; Officer of the same, 1891. His" Portrait of the Artist's Mother," purchased by the French Government for the Luxembourg Gallery; his" Por- trait of Thomas Carlyle," purchased by the Municipality of Glasgow, Scotland, for the Corporation Gallery. 163 MOTHER AND CHILD. (PasteL) (lllustration.) 164 THE SHELL. (PasteL) 165 BRITTANY. (PasteL)