IMAGE EVALUATION TEST TARGET (MT-3) 1.0 1.1 UitTA 12.5 Ui IM |Z2 lU 14.0 K& m 1 m III 1.4 1.6 ^ 6" ». HiotograjJiic Sciences Corporation 23 WiST MAIN STREET WEBSTER, N.Y. I4SS0 (716)«72-4S03 CIHM/ICMH Microfiche Series. CIHJVI/ICfVIH Collection de microfiches. Canadian institute for Historicai IMicroreproductions / institut Canadian de microreproductions hittoriquas \ \ Technical and Bibliographic Notas/Motss tachniquas at bibliographiquas Tha Instituta hcs attamptad to obtain tha bast original copy availabia for filming. Faaturas of this copy vyhich may ba bibliographically uniqua, which may altar any of tha imagas in tha raproduction. or which may significantly changa tha usual mathod of filming, ara chackad balow. |~~| Colourati covars/ 1^1 Couvartura da coulaur p~| Covars damagad/ D D D a n D Couvartura andommagAa Covars rastorad and/or laminatad/ Couvartura rastauria at/ou palKculte I — I Covar titia missing/ La titra da couvartura manqua rn Colourad maps/ Cartas gAographiquas an coulaur Colourad init (i.a. othar than biua or black)/ Encra da coulaur (i.a. autra qua blaua ou noira) Colourad platas and/or illustrations/ Plancnaa at/ou illustrations an coulaur Bound with othar matarial/ Raiii avac d'autras documants Tight binding may causa shadows or distortion along intarior margin/ La rs iiura sarrte paut causar da I'ombra ou da la distoraion la long da la marga intiriaura Blank laavas addad during rastoration may appaar within tha taxt. Whanavar possibla. thasa hava baan omittad from filming/ 11 sa paut qua cartainas pagas blanchas ajoutias lors d'una rastauration apparaiasant dana la taxta. mais, lorsqua cala Atait possibla, cas pagaa n'ont pas iti f ilmias. Additional commants:/ Commentairas supplimantaires: This Item is filmad at tha reduction ratio chackad balow/ L'Instltut a microfilm^ la maillaur examplaira qu'il lui a it* possibla da sa procurar. Las details cS4 cat axamplaira qui sont paut-Atra uniquas du point da vua bibliographiqua, qui pauvent modifier una imaga raproduita, ou qui pauvant axigar una modification dans la mithoda normala da filmaga sont indiqute ci-dassous. r~~| Colourad pagas/ D Pagaa da coulaur Pagas damaged/ Pagas andommagias Pagas restored and/oi Pagas restaurias at/ou palliculies r~1 Pagas damaged/ r~l Pages restored and/or laminated/ Tha toth Q Pagas discoloured, stained or foxed/ Pages dicoiories, tacheties ou piquies rj] Pagas detached/ L^ Pages ditachiea 0Showthrough/ Transparence □ Quality of print varies/ Qualiti inigala de I'impression □ includes supplementary material/ Comprand du material suppiimentaira □ Only edition available/ Seula Mition disponible Tha poaa ofth fllmii Origi bagii thali sion, other first sion, or illi Theii shall TINUI whici Maps differ entire begin right ) requir meth< Pages wholly or partially obscured by errata slips, tissues, etc., have been refilmed to ensure the best possible image/ Les ^ges totalement ou partieilement obscurcies par un feuiilet d'errata, une pelure, etc., ont iti filmies i nouveau de fapon d obtenir la meilleure image possible. Ce do 10X )cum ant e St rii me a 14X u tau X da r*du ctlon 18X indl( :|ue c l>dea sous 22X 26X 30X y 12X 16X aox 24X 28X 32X L ilair* IS ditailt quM du It modifi«r liger una la filmaga Th« copy filmad hara haa baan raproduead thanka to tha ganaroaity of: Ralph PialunI Ml Library Mount Alliaon Unitfanity Tha imagaa appaaring hara ara tha baat quality poaaibia conaidaring tha condition and iagibility of tha original copy and in icaaping with tha filming contract apacificationa. L'axamplaira filmA f ut raproduit grica A la giniroait* da: Ralph Piotord Ball Library Mount Alliion Univanlty Laa Imagaa auh/antaa ont 4t4 raproduitaa avac la plua grand aoln, compta tanu da la condition at da la nattat* da l'axamplaira filmA, at an conformity avac laa conditiona du contrat da filmaga. 1/ luAas Original copiaa in printad papar covara ara filmad baginning with tha front covar and anding on tha laat paga with a printad or illuatratad impraa- aion, or tha back covar whan approprlata. All othar original copiaa ara filmad baginning on tha f irat paga with a printad or illuatratad Impraa- aion, and anding on tha laat paea with a printad or illuatratad impraaaion. Laa axampiairaa originaux dont la couvartura an papiar aat ImprimAa aont fiimAa an commandant par la pramiar plat at an tarminant aoit par la darnlAra paga qui comporta una ampralnta d'impraaaion ou d'llluatration, aolt par la aacond plat, aalon la.caa. Toua laa autraa axampiairaa originaux aont fllmte an commanpant par la pramiAra paga qui comporta una ampralnta d'impraaaion ou d'illuatration at an tarminant par la darnlAra paga qui comporta una taila ampralnta. Tha last racordad frama on aach microficha shall contain tha aymboi — ^> (moaning "CON- TINUED"), or tha aymboi V (maaning "END"), whichavar appliaa. Un daa aymbolaa auivanta apparattra aur la darnlAra imaga da chaqua microficha, aalon la caa: la aymboia — »* algnifia "A SUIVRE", la aymbola V algnifia "FIN". lira Mapa, plataa. charta, ate, may ba filmad at diffarant raduction ratios. Thosa too larga to ba antlraly included In ona axpoaura ara filmad baginning In tha uppar laft hand corrar, laft to right and top to bottom, aa many framas aa raquirad. Tha following diagrams iliustrata tha mathod: f.'9s cartas, planchaa, tablaaux, ate, pauvant Atra flim6« A daa taux da reduction diffiranta. Loraqua la documant aat trop grand pour Atra raproduit an un aaul ciichA, II aat fiimA A partir da I'angia aupAriaur gaucha, da gaucha A droita, at da haut an baa, an pranant la nombra d'Imagaa nAcaaaaira. Laa diagrammaa auivanta iliuatrant la mAthoda. by errata led to int me pelure, apon A 1 2 3 32X 1 2 3 4 5 6 Mount Allison University Memorial Library HATTIE BLACK PATERSON FUND 190750 ' I No. 67.— Roses.— Mary Hlester Reid, A.R.O.A. NOTES ON APPRECIATION OF ART AND ON ART IN ONTARIO WITH REMARKS ON THE EXHIBITION OF THE ONTARIO SOCIETY OF ARTISTS MDCCCXCVIII NNUAL EXHIBITIONS of pictures have undoubtedly sometimes a serious value. In cities like Toronto, for example, where there is as yet no adequate permanent collection of pictures,^ they form indeed the only means of * The only permanent collection in Toronto is the collection, made some forty years ago, of inferior copies of works of Ola Masters, in the galleries of the Education Department. A few of these might be selected for preservation and the rest might with great atdrantage be sold. The wall space would be much more efficaciously occupied by good photographs, in an orderly M 644o OSS" f^3 making the public aware of what is being accom- plished in the production of works of Art. Yet exhibitions have their doubtful side. The gal- leries in which they are held are not always suitable for the exhibition of pictures. A paint- ing which hung in a good light might enhance the reputation of the artist, when hung in a bad light may destroy it. The hanging committee, too, does not always perform its functions effi- ciently ; there is frequently a tendency to hang only the works of the clique which happens to command a majority of votes in the committee, and to reject anything that is unusual or original ; or, on the other hand, to hang without discrimi- nation everything that is offered. From a closer view, exhibitions have further questionable influences. The desire to paint for exhibition, and incidentally for sale, leads inevit- tbiy to catering for what is assumed to be the ;.! this vague demand utter inability to recognize the something better when it is offered. With- out taking too optimistic a view of the progress of appreciation of Art, one may not hazard much by suggesting that by the prevalence of exhi- bitions, and by other means, more people are getting to know more about painting. It is true .that one still sees such announcements in the windows of the print sellers, as " Hand Painted Oil Picture $i"; and that one finds such pro- ductions in the houses of people not destitute of intelligence nor even of a certain kind of culture. It is true also that most people estimate a picture not in terms of its artistic qualities, but according as it arouses a certain sentiment or according as it is related in their minds to some train of association. There is nothing in this attitude to indicate exceptional barbarism. It is simply the naive view of Art entertained everywhere and among all people who, having been strenu- ously occupied with the exigencies of living, have not had the aptitude, the time, nor the training to think seriously about Art or indeed about anything else. The artist, however, who himself belongs to this class and who regards the non-producing but consuming general public as consisting wholly of it, may greatJy deceive himself. However small may be the number of persons in a given community who are able to exercise discriminating judgnr-ent upon works of Art, they are not without influen:e. For this reason it is probably true that really great and fine work will sooner or later be recognized, in spite of prejudice and antagonistic self-interest, and in spite of the inability or disinclination of the general public to take the trouble to under- . stand it. For there are some who do not grudge this trouble ; and perhaps there are more of these now than there used to be. At least it may be said that the chances of recognition of really good work are probably greater now than here- tofore. Yet " a little knowledge is a dangerous thing/' and the placid acceptance by uncritical people of anything which bears the name of paint must inevitably retard the growth of Art, as much as the positive rejection of what is good. The merely commercial person, the producer of pot boilers, may, therefore, flourish for a while and may even be regarded as eminent ; but sooner or later the chances are that he will be found out, while the obscure artist who has been painting not for sale, but for stock, no one being willing to invest in his work, all at once attracts wide attention by some manifest masterpiece, and the commercial artist sinks under the com- petition never to rise again. This has been repeatedly experienced in centres of artistic production. The genuine artist has the best of the game in the long run. On the other hand, the public has a certain responsibility. While the artist waits for this recognition he may starve, and the starvation of Art is symptomatic of a general low level of vitality in a country, and is contributory to further dimunition of vitality. The stimulation to the nervous system of fine colour and fine form is of course the rationale of most kinds of play as well as of many kinds of work. The race course and the picture gallery alike have stimulating influences of different sorts. So also, indeed, have all our immediate or remote surroundings. They contribute to our vitality or they depress us consciously or unconsciously. < < v-,/fc^(^ 1' V. '"'7//' c^ -* . H»9 . ^m,_ Ko. 1.— The Slvenlnff Star.— aeor^e A. Held, R.O.A. i ! The connection between the cultivation of Art and energetic social and individual life is, indeed^ too obvious to need insistence.* It is, therefore, of great practical importance that the public should not only encourage the production of works of Art, but should also see that it gets them, should see, in short, that the spurious article is rejected and the genuine article bought and paid for, so that the genuine article may continue to be produced. But can " every man be his own Art critic " ? As matter of fact he is so already ; what is wanted is merely more knowledge and experience in order that his naive, uncritical judgment may be replaced by the discriminating judgment which in its highest form it is the special business of the ideal critic to apply. If the " man in the street " is ever to be able to form an independent and valuable judgment upon works of Art, he must take the trouble to understand them. " Seeing is not believing," unless we have the " seeing eye " and the " understanding heart." Nor is it altogether easy to grasp the meaning of a picture which is above the level of the com- monplace, any more than it is easy to grasp the meaning of a fine poem, a fine musical composi- tion, or a complicated piece of mechanism. If we want to understand them we have to take trouble to do so, or go by without understanding them. The popular demand, which in the nature of things can never be met, is that everything should be put so plainly that " he who runs may read." The appropriate answer to this is, " If you want to read why do you run ; if you want '^Cf. the suggestive discussion of this point, by Ch. Guyau, " L'Art au point de vue Sociologique." Paris, 1889. No. 14.— Hugh Ryan, SIsq.— B. Wyly Grier, B.O.A. to run why do you read ? " There is no demo- cratic road to learning any more than there is a royal one. While the serious understanding of a picture or of anything else requires con- iniii irrn- ini centrated application, it is a mistake to suppose that the functions of art'stic production and of artistic appreciation, (the latter being the appro- priate use of the artistic product, the effectual consumption of it, in other words), are apart from other tonctions of liie. Artistic production is simply the best kind of production, whatever the process or whatever the raw material may be; and artistic, that is, effectual consumption, is simply the best kind of consumption whatever the product may be. Thus there is an artistic production and an artistic consumption of a steam engine as there is an artistic production and con- sumption of a picture. There is an appropriate or skilful use of the steam engine either by way of observation and intelligent understanding of it, or of employing it. There is a futile way of staring at a steam engine without knowing any- thing about it, and there is a positively dan- gerous way of attempting to work it without understanding it. Similarly there is an unintel- ligent observation of a picture or of a statue, and an intelligent observation of it. Unfortunately pictures or statues are not given to explode under the rustic hands of people who unskilfully use them. The power of intelligent observation and skill in using a steam engine cannot be acquired with- out aptitude, time, opportunity and patience : nor can the power of intelligent observation of pictures be acquired saving under the same conditions. It seems expedient tc restate these common- places apropos of the present position of Art in Ontario. The material to work upon is here ; what is necessary is that the field should be cul- tivated. Nothing is, however, after all, more 8 ' * i i i No. 40.-Twlllfifht of Life.-Sydney S. Tully, A.R.O.A. remarkable than the quantity and on the whole, the quality of artistic production in this Province. This clearly implies a certain fairly high level of public appreciation. Indeed one may infer the existence of an artistic strain in the people. The quantity and quality of artistic production is remarkable because there are many disadvantageous conditions which have fortu- nately been insufficient to prevent, although they may have retarded and diminished the growth of Art. These disadvantageous conditions, may briefly be recorded as being first, the unpaintable character of the continental atmosphere, and also of much of the landscape and of almost all domestic interiors. As a result we have few landscape painters of the first rank, — (In this rank, however, we must regard Mr. Homer Watson, as easily the first of Canadian landscape painters, resident in Canada, who has conquered many of the difficulties that form an impas- sable barrier to most of the others) — and no genre painter of any high rank, the genre pic- tures of Mr. G. A. Reid though his most popular, being by no means his best works. As a result of these and other conditions the artists of Ontario have become portrait or figure painters, or have done their best landscape and genre paintings in the Province of Quebec or elsewhere out of Ontario. The growth of Art in Ontario is remarkable also, when one considers the scanti- ness of the material encouragement of it, and the blindness of that encouragement when it is extended; and when one considers that the majority of the people are too busily occupied with what appear to them to be more urgent affairs, and that they have no leisure and not much money to devote to Art. The growth of Art in Ontario, is probably to be attributed to the artistic strain which impels a large number of our young men and women to devote themselves to Art because they cannot , 10 'if , No. 80.— The Stour flowing through Canterbury.- O. M. Manley, A R.O.A. II , i'*r^' ■ t^H^fO^tfir^-: .-i^stM?'"' MP »" fl ■rin= I I aiwn, iiiiWit;j help it, and to the influence of the artistic move- ment in the United States. Very many Canadian artists who acquired their rudimentary knowledge of Art in Ontario, have gone to New York to practise their profession as landscape painters or as illustrators in the magazines. Others follow- ing the example of American artists have gone to Paris for study and then have returned to establish themselves in their own country. While it is no doubt true that a large number of those who send pictures to the exhibitions, and who describe themselves as artists, have little in common with Art, the number of those who have the artistic impulse strongly developed is sufficiently large to make a group which one day must be generally recognized as representing as a whole a vigorous though not an original artistic movement. At present this group, not by any means com- mitted to any particular method, nor entitled to be called a school, nor even consolidated in any way whatever, suffers under the pressure of the painter "of commerce.*' The Annual Exhibition of the Royal Academy of Arts, held this year in Toronto, was sharply criticised by a writer in one of the daily newspapers on the ground that most of the paintings exhibited were common- place commercial products. There was much truth in the criticism, although perhaps, it was put with unnecessary brusqueness. The fact was that the exhibition of the Academy was largely composed of the works of the "fossil school." The paintings of many of those who exhibited vital contact with the world of Art, were either skied or floored or rejected, some notable artists being altogether unrepre- sented. Notwithstanding all this, however, there 13 <>m m ■m;^M> .*. '■ .'■■'' No. 128.-A Quiet Pool.-W. D. Blatchly. 13 i^-'^i^.h^f^f^ji^Jfy^'*^! ;-a^ifc-j ^iLii^^iB:^ ' /i^mHiHllH 7* -*f*- -'If'-' HOfwIH ^ v';'-:;4v^^f*( - : J^-.-^v^^' ^.i''^^^■^^^-vW^- :J^. . v.-x;. r-i^:- ■ -■■-:■ .- -, ^■' •.* , . -i:-,-?^:.- ' •- ■■ ■ :■■-■• ^ • .^i^ • ... .^. . No. 2®.— Near Akron, Ohio.~F. MoGiUlvray Knowles, R.O.A. Mr. J. S. Gordon's " Rannoch Moor " (No. 12), and his other Moor, called " The Siesta " (No. 13), are two vigorous water colours. Mr. E. Wyly Grier, R.C.A., sends two por- traits, " Hugh Ryan, Esq." (No. 14), and " Robert Melvin, Esq." (No. 1 5).i Both of these are good — the first, a portrait of a business man of alder- manic type, is an excellent character study, leav- ing only a little to be desired as regards the flesh colour, which seems unduly forced. The por. ^ Replaced during the exhibition by a portrait of Nehemiah Merritt, Esq. 19 trait is, however, full of vitality. No. 15, though lacking in life, has more restraint. Miss Eleanor Douglas's " Midsummer Day " (No. 16), is a very admirable little landscape suggesting much reserve of power though one might wish that in passages it were less pasty. Miss Vickers' "Violets" (No. 17), is a good flower study, but it wants vim. Perhaps the violets were not fresh. Mr. Bell-Smith, R.C.A., contributes one land- scape and three sea pieces. It can hardly be said that Mr. Bell-Smith is at home on the ocean wave. " Twilight on the Ocean " (No. 20), is decidedly oleographic, while "Stormy Morning, Trinity 13ay, Saguenay " (No. 19), is, if one does not mistake, a studio picture from very slender notes. The extreme difficulty of rendering such a matter in paint is perhaps sufficient to deter most people from attempting to do so without great familiarity with the conditions. Mr. Bell- Smith's work has always, however, a certain interest from the mere facility of which they give evidence. Mr. C. W. Jeff"reys obtains a good decorative eff*ect in his water colour " Autumn Oak and Beech " (No. 22). Mr. W. E. Atkinson, A.R.C.A., exhibits three landscapes, all of them showing conspicuous advance over his previous work. Mr. Atkinson is at present painting in Scotland, although the influence of the Scotch painters has hardly begun to tell. " Freshet on the River Tavy " (No. 23), is a study of tumbling water, full of good colour and palpitating with energy. Nearly, although not quite so good, is his " Moorland Bridge, Devonshire" (No. 24). "Woodland Cottage" (No. 25), is a study of trees and sky — breezy and 20 good every way saving in the paucity of atmos- phere, and Devonshire does not possess a conti- nental one. Mr. F. McGillivray Knowles, R.C.A., is more <;ompetent .as a draughtsman than as a colourist, but his "Near Akron, Ohio" (No. 29), is deci- *^*, a..-— i*^ •»—-»-•_ -^.*» »•-." ' No. 116— In the Springtime.— Laura Muntz, ARO A. h in perspective, as in No. 56, e.^., in design and colour alike they are all deficient. Mr. G. Bruenech, A.R.C.A., has nothing new to tell in his " September Afternoon in the Lofoden Islands, Norway " (No. 62). If one may judge of the country from the frequency and sameness of Mr. Bruenech's afternoons in Norway, one would gather that it is the land where " it is always afternoon." Miss E. M. Martin, has not redeemed the promise of her picture of two years ago. Nos. 63 and 64 are alike deficient in interest. Mrs. Reid, A.R.C.A., sends six pieces mostly flowers. All of them are fine. Perhaps No. 67 is the best of the group. Mr. G. Hahn's " Sunny Cottage " (No. 74), a little study in bright colours, is admirable. Mr. R. S. Allan's " Light Literature " (No. 77), is an interior with figure on the whole very com- petently done. The scale of the picture is, how- ever, hardly justified by the management of the colour masses, or by the manipulation of the folds of the dress which occupy a large part of th»; space. The line of the folds has not been sufficiently thought out. Mr. C. M. Manley, A.R.C.A., sends five pieces, of which " The Ford at Fenworthy " (No. 81), is the largest. This is a cattle piece ; but it is hard to see how such cattle survived to appar- ent maturity. They have, if one may judge by external signs, no bones in their bodies. The small piece " Storm Clouds " (No. 82), is really more interesting and is done with more intelli- gence than the larger pieces Two groups of Ivory Miniatures, one by Miss E. Hemming, and the other by Miss H. D. Drummond, are of interest as showing that the 24 K revival of miniature painting has produced some results here. Mr. J. W. L. Forster, A.R.C.A., sends "Go Ye" (No. 84). This is apparently intended for a missionary meeting rather than for a picture ex- hibition. Of its artistic qualities nothing can be said. Had it been dated 1840, one might have regarded it as of historical interest. It has nothing in common with modern Art and very little with Ai-t of any period. Mr. J. M. Kidd's "Canadian Drover" (No. 88), and " Benediction in St. Sulpice," Paris (No. 89), are both extremely fine. No. 88 is admirable alike in composition, in drawing and in colour. The sheep are extremely well studied and the landscape is thoroughly weU thought out and skilfully rendered. No. 89, an interior, is entirely different in method. The composition there also is very good. The picture coheres well, and many passages are strikingly fine — notably the foreground on the right and the middle distance. Mr. R. W. Hudspeth has a fairly good study in "An Orchard" (No. 92). Professor Coleman's "Fortress Lake," B.C. (No. 93), is an admirable study of rocks. When one finds the skill of the geologist added to the skill of the painter, one expects to find rocks well done. Dr. Coleman's sketches of rocks are always easily the first at least as regards compe- tent representation of form and of characteristic structure. One may compare the conventional rendering of mountains in Mr. T. Mower Martin's No. 99, for example, with Professor Coleman's No. 93, in order to see the enormous advantage knowledge of rock structure gives over ignorance of it 25 I 11- :H' Miss Hagarty's "Dutch Woman and Baby" (No. loi), is an excellent interior in a subdued tone. " Portrait Study" (No. 102), is a vivacious study of bright pinks. Mr. R. F. Gagen, A.R.C.A., sends three water colours and three oils. One of the water colours, " When the Tide is Low " (No. 112), has been purchased by the Provincial Government. Miss Muntz, A.R.C.A., has in previous ex- hibitions distinguished herself by admirable studies in vivacious and well managed masses of colour. Her present contributions do not avail for the enhancement of her reputation. "In the Springtime" (No. 1 16), is the most important and the most disappointing. The dress of the figure is admirable, but the face and head are so much overpainted that they have become tight and hard. The painting might indeed have been done by two different people, so great is the dis- parity between the free and able management of the dress and the niggled and forced treatment of the face. Much better are the two small sketches — "Louis" (No. 117), and "The Young Musician " (No. 118). A study in green, " Rose " (No. 120), is excellent, and one in blue, "Mistletoe Seller" (No. 119), is also unquestionably good. Mr. W. D. Blatchly sends one large piece and three small ones — all water colours. The large one, "A Quiet Pool" (No. 123), has been bought by the Ontario Government. Of Mr. J. T. Rolph's half dozen pieces the best is perhaps " Bright Afternoon in October " (No. 127); but all of his drawings want atmosphere. "Portrait" (No. 134), by O. P. Staples is good ; but " Early Morning in June" (No. 135), is rather strident and fussy, while the other two subject pictures have little in them to excite interest. 26 » " Lake Shore Road " (No. 136), by Miss Win- deat, A. R. C. A., apart from a somewhat dubious perspective, is very pleasing, as is also " By the River" (No. 137). In Miss A. Carter's " Study of Pansies " (No. 138), the chiaroscuro is cleverly managed. "Portrait" (No. 139), by R. S. Allan, has good qualities. Some of the architectural sketches are ex- tremely interesting. Mr. S. A. H«..vard's pencil drawings of the Cathedrals of Amiens, Cou- tances and Evreux, and of some domestic archi- tecture in France and England are admirable. Messrs. Bond and Smith's, and Mr. W. A. Lang- ton*s architectural drawings are well worthy of special mention. The collection of smaller drawings and designs include several notable groups and suggest the possibility of having one day a black and white exhibition of the work of Ontario artists. Among these drawings are, for example, Mr. G. A. Reid's ■" Spanish Sketches " and the same artist's draw- ings for Mr. Bernard McEvoy's volume of poems. Miss Tully's " Head of a Girl" (No. 169), in pencil, is an excellent drawing ; so, also, is Mr. F. H. Brigden's (No. 167), and Mr. J. S. Gordon's ''Gloom " (No. 171), both in pen and ink. Of the Forty Minute Sketches by the Satur- day Evening Composition Club, perhaps special mention might be made of Mr. G. Hahn's ex- tremely clever drawings, although some of the other groups are also very good. With every desire to see the good points of every picture rather than what appear to me to be the bad or merely negative points, I have felt myself bound in candour to make some criti- cisms which may seem harsh upon pictures by \ 37 n artists whose work is well-known in Ontario. If, however, we are to have any progress either in artistic production or in public appreciation of it, we must be fastidious, and where we find mere repetition of well-worn commonplaces we must have leave to say so. It should perhaps be explained that these notes have been written in response to requests from several artists that some such record of the exhibition should be made. Some of the artists have been kind enough to make pen and ink drawings to serve as memoranda for purposes of illustration. The illustrations on pages 19 and 23 have been kindly lent by the Editor of " T/ie G/ode." n| 1 { ; i No. 112.— When the Tide is Low.— R. F. Gagren, A.R.O.A* /. ■ ii PRINTED BY ROWSELL AND HUTCHISON DATE DUE LIB 200- 8 - TR