The International Studio /June 1915 . s spontaneity gives it a232 quality all its own. But we may say of the finish^version that it is almost impossible to think \another modern canvas in which a quality of pain|that Whistler identified with work direct frounature is employed imaginatively with only arindirect reference to actuality. The collection contains one of Charles Rickettmost important pictures, The Death of CleopaUIn a lofty hall Cleopatra falls, pressing the asp t,her breast, while two women hasten to supp<her. The scene is removed from actuality—hnot to the stage; it is represent
The International Studio /June 1915 . s spontaneity gives it a232 quality all its own. But we may say of the finish^version that it is almost impossible to think \another modern canvas in which a quality of pain|that Whistler identified with work direct frounature is employed imaginatively with only arindirect reference to actuality. The collection contains one of Charles Rickettmost important pictures, The Death of CleopaUIn a lofty hall Cleopatra falls, pressing the asp t,her breast, while two women hasten to supp<her. The scene is removed from actuality—hnot to the stage; it is represented in a placeof shadows, where the Queens uncovered fleshalready seems to glow with supernatural light. In the art of both Ricketts and Shannon we findtruth to nature reverenced chiefly because of theminds dependence on nature for its imagery. Buttheir paintings logic. The experiencethey reveal is more than visual, many impressionsmeet in them almost mystically received. Besides the room decorated by the late Char!,.. GIRL IN WHITE BY J. E. BLANCHE
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