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A WORD WITH THE WOMEN.

Since nearly all of the students of the Omaha Art school are women, it is not out of place to speak of that institution in this column. Considerable work from the
students is exhibited at the art loan exhibit, most of it the outer rooms among the
water colors. it hangs in the midst of a motley collection of pictures, painted by men of many schools. It cannot, fittingly, be compared with the work of these men,
because their work, whether it is good or bad, is finished, whereas these studies do not pretend to be compositions, but only the means for acquiring technique. they bear the same relation to a picture that a sampler does to an embroidered canvas,
or the [joluts?] and mouldings of the manual training school do to a cabinet. And it is as studies, therefore, and not as pictures, that they must be judged.

As such it is possible to give them very high praise. It is apparent that the work
done there is honest and thorough. The pupil who attends the Omaha Art school is
not allowed to do as he pleases, but is made to walk the difficult road of true learning. The students are taught drawing- a good deal more than can be said of
some of the painters whose work hangs upon the wall in conspicuous places.

The landscapes painted by these young art scholars are Nebraska Landscapes- that
is to say, they paint what they see and not what some one else sees. Moreover, these
landscapes have all the peculiarities of this region, and their truth might easily be
doubted by one from another section of the country. This is another proof of their
faithfulness. The still life is, some of it, really fine. There is none exhibited which is beneath criticism. The work from life is very good indeed, and some of it exceptionally effective. All is broad, terse and clear in treatment.

Some of the work, such as that of Mrs. Clement Chase, for example, shows refined
and discriminating taste as well as good technique. Mr. Frank Shill is ambitious in his work, but needs touch study. Miss Clara Ruth has been exceedingly modest in her exhibitions, but as far as she goes is excellent. Miss Evans has some work of
which any artist might well be proud. One little interior done this summer out as
Mr. Parker's studio is of beautiful quality and tone- an example of smooth and careful work. All of her work is attractive and individual, "By the [Nishua?]" "A Summer Afternoon" and "Parker's Meadow" having particularly good feeling. The chrysanthemums of Miss [?] Irene Burrows, while not harmonious as a composition, are well handled. Miss Chloe Brown has only two little studies, but both are good. Miss [?]shows the same quiet, but thorough training. Mark Poliack has a fancy which helps him in his work and makes him show promise of being an individual artist someday. There are others, besides a number who have studied with the school, but who cannot be considered its pupils, because their style was formed before they came, and the association with the school has been brief.

As said before, the standard of criticism in such work must be that which deals with studies, and not with pictures. To be sure, Miss Evans' work is entitled to the consideration due pictures, but since she is closely related with the school she has
been mentioned among the students for convenience sake,