ART EXHIBIT

An exhibition of landscape paintings and etchings by Everett L. Warner, of paintings and studies in pencil and water color by John La Farge and of original magazine illustrations by eighteen other artists was held in Robinson Hall, under the auspices of the Department of Fine Arts, from January 8 to 17, 1917.

In addition to these pictures generously loaned by artists and publishers there were also shown a few of the acquisitions recently presented to the permanent collection of the Department of Fine Arts. A group of photographs showed not only the Tuck Drive at its completion in 1915 and the same locality before the transformation had begun but also other and still more recent work of the landscape architect Bremer W. Pond, Dartmouth 'O7.

Some recent gifts to the print collection seen here for the first time were a full length portrait of Webster engraved by C. E. Wagstaff and Joseph Andrews, and presented by Mrs. G. C. Owen of Portland, Maine; a portrait of Longfellow, one of four mezzotints by John Sartain presented by the heirs of the late Frederick Chase. There has also been received an etching of the Cathedral of Florence, dated 1812, given by Professor J. K. Lord.

Through the generosity of an alumnus the Department was able to purchase from the exhibit a masterly example of pencil drawing by Lester G. Hornby, an etching, "Montreuil Mills" by Everett L. Warner, and an engraving and its original wood block by Timothy Cole. It is by such gifts and purchases that the department will ultimately acquire a print collection of value both for artistic merit and usefulness as material for study by classes in fine arts.

The "Art Show," as the undergraduates called it, was in conception and realization an exhibition of thirty-two works by Everett L. Warner, the distinguished American landscape painter and etcher, and really gave an excellent impression of the artist's style from his delicate and refined use of line, in etching to his harmonious color work in his huge canvas "Brooklyn Bridge, a medalled painting which came from the Panama-Pacific Exposition. For Mr. Warner has won recognition not only from New York to San Francisco but also from Buenos Aires to Paris. Here one could leisurely enjoy his interpretations of New England village and hillside, of New York streets and parks, and of Dalmatian sky and shore, and in them all there was not only skill of brush and truth of rendering but also a stimulating vigor of workmanship, a strong yet sensitive appreciation of color together with true poetic feeling.

The originals of recent magazine illustrations bore such names as Flagg, Peixotto, Taylor, Wright, Birch, Hornby, and Oakley, and were good examples of the use of the different mediums, charcoal, pen and ink, wash, black and white oil, colored oil, water color, and other materials. These illustrations were for the most part obtained from the publishers; but to complete the representation of various types of pictures used in magazines and to increase the already high standard of the exhibit, special invitations to show their work at Hanover were sent to Lester G. Hornby and to Thornton Oakley, two of the most artistic interpreters of local color, of the spirit of place, of all American artists. Mr. Hornby responded generously by sending five of the choicest works ever shown in Robinson Hall, a dry point, an etching, a water color, and two pencil drawings which formed a charming addition to the show.

Thornton Oakley not only sent three of his masterly charcoal interpretations of modern American industry and two of his splendid water colors of oriental life but also came and gave a lecture on "American Illustration" with lantern slides. Knowing his work one was not surprised to find that his conception of illustration was vastly more than mere facility of hand but "the clear expression of a thought." He gave his audience a new and higher ideal of what an illustration should be.