International studio . ihfulness to character and type,truthfulness of expression and of details,feature the performance, for ])erformance itis. The painter may derive from Velasquez, (ireco, or directly reflect Manet and thelater and contemporary Zuioaga, but if so hederives from and reflects masters who them-selves, while origitial and \-irile in the ex-treme, did not stray into by-paths in their ren-dition of form and color and light. The extra-ordinary strength of technique and expressionof Zuloaga himself is also shown in his full-length standing portrait of Mrs. John W. Gar-rett, done
International studio . ihfulness to character and type,truthfulness of expression and of details,feature the performance, for ])erformance itis. The painter may derive from Velasquez, (ireco, or directly reflect Manet and thelater and contemporary Zuioaga, but if so hederives from and reflects masters who them-selves, while origitial and \-irile in the ex-treme, did not stray into by-paths in their ren-dition of form and color and light. The extra-ordinary strength of technique and expressionof Zuloaga himself is also shown in his full-length standing portrait of Mrs. John W. Gar-rett, done in a low key of browns and and as a contrast, but as examples ofsane modern art. one may study with delightthe enchanted reveries wdiich best describesthe series of some twenty-two landscapes byRene Menard, (of which llie Golden Age,reproduced in this article, is perhaps the mosttypical), to which the Room of Honor is de-servedly given. These wide, deep valleys,sleeping beneath deep-foliaged trees and cov-. THE WALKER BROTHERSBY GEORGE J. COATES The Carnegie Institute Exhibition ered with the hibh greens of summer verdure,ringed around hy lofty mountains and throughwhich human forms and steeds of old Gre-cian days roam together, are so filled with thepoetry of classical days, so rich with bloom,so full of the fragrance of flowers and trees,as to inspire, and yet to strike the universalnote of sadness. This Menard room alone isworth the journey to Titisljurgh. Lucien Simon is also another able Frenchpainter who finds occasional inspiration forhis brush in classical themes, and his largerdecorative canvas Nausicaa at tl>t^ pitched in a higher key than that ofMenards work, and lighter in tone and more?joyous in feeling than the former, is remark-able for its drawing and composition. It isunnecessary, even if space and time permit,to note in any detail others of the fifty-threedistinctive French pictures, all of which de-mand study and attention. Some
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