International studio . .In his twelve portraits, the same number shown ashort time ago by Ben Ah Haggin, one feels amore even and balanced, if less superficially bril-liant, development than in Haggins work—a de-velopment which must give Halmi an establishedplace in the ranks of the better portrait the same dates Miss Hariette A. Clarksminiatures were also shown at Knoedlers, thesetwo exhibitions being followed from the ist to the15th of April by twenty-five fantastic and ultra-chromatic impressions from the brush of HenryGolden Dearth and fifteen splendid little paintingsof New
International studio . .In his twelve portraits, the same number shown ashort time ago by Ben Ah Haggin, one feels amore even and balanced, if less superficially bril-liant, development than in Haggins work—a de-velopment which must give Halmi an establishedplace in the ranks of the better portrait the same dates Miss Hariette A. Clarksminiatures were also shown at Knoedlers, thesetwo exhibitions being followed from the ist to the15th of April by twenty-five fantastic and ultra-chromatic impressions from the brush of HenryGolden Dearth and fifteen splendid little paintingsof New York by Charles Hoffbauer, together withhis great decorative painting. The Triumph of aCoiidotliere. Mr. Dearth, as was noticed at thelast Pennsylvania Academy Exhibition, has takenup figure painting, and is showing here some can-vases as paradoxical in paint as Chesterton is inphilosophy. Mr. Hoffbauer has captured andtranscribed the spirit of New York at night—ofthe unreal aurora borealis of electricity in Times. Courtesy of M. Knoedler & Co. PORTRAIT OF MRS. C. H. TANGEMANN BY ARTHlRL. H.\LMI Square—and his impressions are too good to callnocturnes or arrangements, for they aresimply, yet subtly, the records of a trained eyeand a skillful brush, applied to an ever-picturesqueand fascinating theme. If the Knoedler Gallerieshold any further exhibitions these may include ashowing of recent portraits by Dana Pond. At Montross Galleries the fifteenth annual exhi-bition of the Ten American Painters held thecenter of the stage until the 6th of April. Evenupon a very thoughtful comparison (which paint-ers inevitably invite, howe\er odious, by showingin groups) it seemed that Robert Reid carried off /;; the Galleries
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