Gallery 93.

Twachtman.

It is not a far cry to Twachtman, who presents a peculiar combination of
Whistlerian tonality with the methods of the modern impressionist. His
work is relatively high in key, and devoid of any colour resembling
black. The covered skies of early morning, before the breaking through
of the sun, are his chief motives. Snow plays also an important part in
his work, which is most suggestive in the tender beauty of the few
values and colours it is composed of. There is absolutely nothing of the
sensational about his work. To most people of not sufficient interest on
first acquaintance, on better familiarity they yield to the serious
student and sympathetic lover of nature unlimited pleasure. His poetry
is of the true sort, and in finished work like "October", "View on the
Brette", "Bridge in Spring", and "Greenwich Hills", he rises to a very
high level.

Manship's small statuettes are very effective features of this gallery.
Their linear decorative architectural quality has put Manship into the
front rank of our younger men, and he will have no trouble to
maintain his place.

Gallery 89.

Tarbell.

In an adjoining gallery, Edmund Tarbell is much more striking, in a
number of canvases containing certain qualities, which easily account
for the great popularity he justly enjoys as one of the best of our