Brooklyn Museum Quarterly . been, it represented on the whole no such unhealthy mental state as thesewould now claim. It was in fact an attitude of legitimate research and craftsman-curiosity concerning the means of art and their capacity for an enhanced ex-pressiveness. Anisfeld evidences in his work a great interest in the experimentsof the last decade or two. But he is not a purely experimental painter of abso-lutely abstract art theories and formuljg. Though, occasionally, one of his can-vases may pretend in its title at some literary idea, he is not an intellectual or amoralist, a learned
Brooklyn Museum Quarterly . been, it represented on the whole no such unhealthy mental state as thesewould now claim. It was in fact an attitude of legitimate research and craftsman-curiosity concerning the means of art and their capacity for an enhanced ex-pressiveness. Anisfeld evidences in his work a great interest in the experimentsof the last decade or two. But he is not a purely experimental painter of abso-lutely abstract art theories and formuljg. Though, occasionally, one of his can-vases may pretend in its title at some literary idea, he is not an intellectual or amoralist, a learned scholastic or a sermonising preacher. He is in truth a painter-poet who responds to the world as the weavers of Oriental rugs, the singers ofpure lyrics, the composers of symphonies respond to it. He translates his directimpressions, his memories, his moods into visions of loveliness. Those who wouldquarrel with a painters joyful paean to the glamour of an enchanted world, mayas well attack the Psalms themselves. . 20. LETTICE MITCHELL. By Blackburn Notes on Blackburn and His Portrait ofLettice Mitchell A PORTRAIT lately acquired by the Brooklyn Museumfor its early American collection brings vividly to mindone of the romances of American Art,—that is, if mystery ])eromance. Blackburn is a mystery: where and when he was born;^vhere and Allien he died; from ^\hence he came and whitherhe went; who taught him; even what was his given name,have as yet entirely evaded the prying eye of the only facts in Blackburns life which can be stated withcertainty are, that he painted portraits of New Englandworthies between the years 1754 and 1761 and that he signedand dated many of his works. These meagre facts are tobe gleaned within the frames of the portraits themselves, asthere is no other known record of his existence. Criticsspeculate upon his possible influence on the art of Copleyduring his life in Boston and of his journey to Portsmouth,when the sole evidence of his
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