studio in an afternoon fog. Homer's colour is always disappointing, even
in his best, but his sense of design and a certain simple restriction to
a few essentials make up his chief claim upon distinction. Dennis
Bunker's "Lady with a Mirror" would scarcely be believed to belong to
the older period of American art. One of the finest pictures ever
produced by an American painter, it yields a most unusual degree of
artistic pleasure. There is real distinction about this picture, not
only in the graceful idealization of the lady, but also in the refined
colour scheme. Currier's art is very much like Duveneck's, an
observation which is made emphatic by the fact that each one's
masterpiece is a whistling boy, of great simplicity. After a discussion
of Duveneck's work, Currier's artistic antecedents will easily be
established, so no more need be said of his work.

Gallery 85.

Across the hall more of our academic school of painters are grouped.
There is George de Forest Brush, the painter of the "Boston Madonna", in
some of his earlier illustrative canvases and a very fine pre-Raphaelite
"Andromeda". Brush is so contradictory at times that this small group is
quite insufficient to do him full justice. Horatio Walker clings
persistently to his conviction of the supremacy of the older methods,
without giving any indication of contact with modern art. His
superiority depends largely upon the human-interest stories he tells
with wonderful breadth and sympathetic understanding. Charles W.
Hawthorne's canvases seem fumbled rather than painted. They are very
hesitating in a technical way and are not sufficiently endowed with
interest to grip one.

Gallery 57.