fheim. As etched, we miss the
massiveness, the rich, vivid colour, yet it is a plate of distinction.

Among his portraits are the Hon. Daniel S. Lamont, Senator "Billy"
Mason, the Hon. John Hay, Mr. and Mrs. Atherton Curtis, and several
big-wigs of several nations. An oil-painting is an impressionistic
affair, showing some overblown girls dressing after their bath. The
sun flecks their shoulders, but otherwise seems rather inclined to
retire modestly. Evidently not the midnight sun.

We have barely indicated the beauties in which the virile spirit of
Anders Zorn comes out at you from the wall--a healthy, large-hearted,
girted Swede is this man with the Z.

BRANGWYN

The name of Frank Brangwyn may fall upon unresponsive ears; yet he has
a Continental reputation and is easily the foremost English
impressionist. New York has seen but little of his work; if we mistake
not, there was a large piece of his, a Gipsy Tinker in the open air,
hung several seasons ago at the Pennsylvania Academy of Fine Arts. Mr.
Kennedy shows extraordinary etchings of his at the Wunderlich
Galleries. We call them extraordinary not alone because of their size,
but also because Brangwyn is practically the first among latter-day
artists to apply boldly to etching the methods of the impressionists.
Etching in its essential nature is an impressionistic art. We do not
mean to assert that Brangwyn uses the dot or dash or broken dabs in
his plates, for the very good reason that he is working in black and
white; nevertheless a glance at his plates will show you a new way of
conquering old prejudices. Whistler it was who railed at large
etchings. He was not far wrong. In the hands of the majority of
etchers a large plate is an abomination, diffused in interest, coarse
of line; but Brangwyn is not to be considered among this majority. He
is a big fellow in everything. Besides, Whistler was using the
familiar argument, _pro doma sua_. The same may be said of Poe, who
simply would not hear of a long poem (shades of Milton!) or of Chopin,
who lost his way in the sonata form, though coming out in the gorgeous
tropical land, the thither side of sonatas and other tonal animals.

Because Catullus and Sappho did not write epics that is no reason why
Dante should not. It is the old story of the tailless fox. Brangwyn as
well as Anders Zorn has been called a rough-and-ready artist. For
exquisite tone and pattern we must go to Whistler and his school.
B