| 187A 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, allows refined
and [discriminating] taste as well as good
technique. Mr. Frank Shill is ambitious
in his work, but needs touch study. Miss
[?] 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 care-
ful work. All of her work is attractive
and individual, "By the [?]" "A
Summer Afternoon" and "Parker's
[?]" having particularly good
feeling. The chrysanthemums of Miss
[?] Irene Burrows, while not harmoni-
ous 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 train-
ing. Mark Poliack has a fancy which
helps him in his work and makes him show
promise of being an individual artist some
day. 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, | 187A 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 draw-
ing- 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, allows refined
and [discriminating] taste as well as good
technique. Mr. Frank Shill is ambitious
in his work, but needs touch study. Miss
[?] 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 care-
ful work. All of her work is attractive
and individual, "By the [?]" "A
Summer Afternoon" and "Parker's
[?]" having particularly good
feeling. The chrysanthemums of Miss
[?] Irene Burrows, while not harmoni-
ous 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 train-
ing. Mark Poliack has a fancy which
helps him in his work and makes him show
promise of being an individual artist some
day. 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, |
