A The Poland Spring Art Exhibition N art critic, writing in 1901 of the development of American art, declared that there were far too many artists in the United States to admit of a healthy condition of the national art, and furthermore, that the quality of the work put out by the majority of these painters was decidedly inferior. As a matter of fact, there is a recorded list of about 3,000 artists, including painters, sculptors and illustrators, residing for the most part, in the cities of New York, Boston, Philadelphia and Chicago. Whether or not we agree with the art critic's conclusions, it is certain. that a nation that can produce and maintain so large a number of artists is not so wholly given over to a crude materialism and so lacking in aesthetic ideals as it is the fashion in many quarters to assume is true of the United States. And if there be wanting additional proofs that the fine arts in America are not being permitted to languish, it might be said that there are at present over 150 organizations for the encouragement of art, including art galleries, museums, libraries, arts and crafts societies, and leagues for civic improvement, 50 of these societies being located in New York City, unquestionably the art centre of the country. There are about 230 schools of art, including schools and colleges that have an art department, and 41 art magazines. For the season of 1903-4, 55 art exhibitions were scheduled to take place. It also may be interesting to know in connection with this subject that for the years 1900-1901-1902-1903, III paintings were sold in America. for $5,000 and over, the highest price being $50,000, which was paid for a "Holy Family" by Rubens. A Titian drew the next lowest price, $42,000. These figures are given as representing the high-water mark of American appreciation of art-not native, however, be it noticed. Undoubtedly, the most hopeful sign in connection with the art development of America is the increasing number of art exhibitions and the generally high quality of the work shown. Surely, if the masses of our people are to be educated to a love, or at least an appreciation, of the ideal and the beautiful, there is no more fruitful way of accomplishing this result than by the frequent exhibition of the best work of our modern sculptors and painters. Winter and spring exhibitions held under the auspices of art societies and institutes are of frequent occurrence in our large cities. There is, however, with an unimportant exception, only one annual summer exhibition of art held in the United States, that at the gallery of the Maine State Building at Poland Spring, South Poland, Maine. A summer exhibition of art is so great a rarity as to have sufficient distinction for that reason alone, but that held at Poland Spring, from June to October, is unique in many ways, and of an artistic importance equal if not superior to many metropolitan exhibits. First, it is the only exhibition ever held in the State of Maine. Second, it is the only ex hibition which is a permanent feature in connection with a large summer hotel; and third, it is maintained under unusual difficulties in the way of transportation, and at great expense. Imagine an exhibition of the representative work of New York and Boston artists being held for ten consecutive seasons on the top of a hill "way back in the woods," remote from cities, and removed from the railroad station by several miles! Furthermore, it is a strictly private enterprise-and all the more creditable on that account-an inspiration of the Ricker family, proprietors of one of the most important hotel interests in the United States. And because of the generosity and the high ideals of this family, a collection of the best examples of modern American art is yearly made accessible not only to the wealthy patrons. of a fashionable Spa, but to the people of rural communities within a radius of 30 or 40 miles, into whose restricted lives it brings perhaps their single note of aesthetic pleasure, and an influence that cannot fail to be educational and uplifting. In size and attractiveness, in the quality of the work shown, and the prominence of artists represented, the exhibition of 1904 is regarded as the culmination of all previous efforts. This has been due almost wholly to the energy and rare good judgment displayed by Miss Nettie M. Ricker, the prime mover in the undertaking. It was Miss Ricker who personally visited the studios of New York and Boston artists, soliciting their participation and selecting their work, an arduous undertaking attended by many trials and vexations, and calling for unlimited patience and an enthusiasm such as is only felt by a true art amateur. It will thus be seen that the Poland art exhibition is unique in still another respect. It has been collected by one individual, and has not suffered from the disadvantage of a jury of selection. There is no work exempt because its creator is "on the jury." There are no pictures hung advantageously because a certain man's work is always well hung owing to his position in the world. There are no dreary portraits accepted because the sitters are important people, not to be overlooked -in a word, there is absolutely no special favor shown to any one person or picture. The carping outsider who says he can tell exactly who the jury and their friends are by looking at the pictures "hung on the line" has no chance in this particular case to make so spiteful but ordinarily true a remark. The exhibition has the further distinction of being in the midst of delightful, romantic and historic surroundings. To reach it, the transient visitor, who alights from the train at Danville Junction, must take an exhilarating five-mile drive up-hill, over a beautifully diversified and picturesque country. The magnificent panorama of lake and meadow and forest and mountain that lies outspread before him at the top of the hill will so distract the visitor's attention that he will temporarily forget that he climbed it primarily to view works of art rather than the work of nature; and if it should haply be at the sunset hour, the glories of distant sky and mountain will surely complete the charm. Having feasted his eyes on the beauties of nature, the visitor turns his steps toward the Maine State Building, in which the exhibition is held. This edifice, standing at the edge of a beautiful grove, is most unique and interesting on its own account, and one of which Poland Spring and its proprietors are justly proud. For it was the Ricker Brothers, who, after it had done its duty as Maine's contribution at the World's Fair of 1893, purchased it, had it taken apart, shipped and rebuilt here, as a "valuable State relic, and dedicated for a Library and Art Building, and as a Centennial Memorial of the original settlement of Poland Spring farm by the Ricker family." It is an imposing structure of granite and wood, consisting of a central tower and corner turrets, with numerous balconies and projecting bay windows. The interior is in the form of a large central rotunda, finely lighted and reaching almost to the roof. The first floor is used for library, reading room and museum purposes. On the third floor is the art gallery, divided into numerous alcoves, in which the pictures have been appropriately grouped and hung, under the personal superintendence of Mr. Frank Carlos Griffith, the director of the gallery, and librarian. A hasty look, comprehending the entire collection, will at once disclose the fact that it is of surprising attractiveness and interest; while a glance at the catalogue will reveal a list of very famous names in the world of art, such names, for instance, among painters as J. Alden Weir, John W. Alexander, Ben Foster, Louis Loeb, Childe Hassam, Frank W. Benson, F. Luis Mora, Charles H. Woodbury, Charles C. Curran, Carroll Beckwith, H. Bolton Jones, Louis Kronberg, Colin Campbell Cooper, H. H. Gallison, J. G. Brown, F. H. Tompkins, Abbott Graves, Mary L. Macomber and many others; while Bela L. Pratt, Samuel J. Kitson, Herbert Adams and others are in the list of sculptors represented. The exhibition comprises in all 144 works, of which 119 are pictures, and the rest are sculptures and miniatures. In a miscellaneous collection of paintings, the critic does not often find it a difficult matter to single out examples of superior workmanship. In this instance, however, space forbids the giving of particular mention to all deserving of it, and much really meritorious work must be apparently overlooked. The pessimist, quoted at the beginning of this article, might be tempted to reverse his opinion could he take a look at this gallery of recent specimens of American art. The element of "human interest" is curiously apparent here-that is, figure paintings and portraits seem to predominate over landscapes, and with the effect of a more immediate and stronger claim on the attention of the visitor. Indeed, the gallery seems alive with human presences. One of these paintings, instant in its appeal to the cosmopolite and the rustic, to the connoisseur and the unlearned in art alike, is F. Luis Mora's "Twilight." A young girl with a poetic, lovely face is sitting inan arm-chair, as if just aroused from a reverie, while the maid lights the lamp on the table at her side. The picture is full of romantic suggestion-the observer may see in it as much or as little as he likes; the pinkish glow of the lamp-light falling on the neck and diaphanous gown of the sitter has a startling effect of reality, and altogether the painting has a charm and a distinction which places it far above the ordinary. Another very striking contribution is a fulllength portrait of a young lady in black by E. L. Ipsen. The subject is most attractive and is painted with a great deal of spirit, and an evident enjoyment. There is nothing in it to suggest the hard work of "making a portrait," but the thought comes to mind that in his desire to avoid anything suggesting "mere prettiness," this rising young artist has perhaps sacrificed some. real beauty in the orignal. Still more striking is a picture conceived in quite a different vein, adding a vivid note of color to the gallery, Mr. Arthur M. Hazard's large canvas, "Fantasia." It is the lifesize portrait of a blonde. young woman in a light blue gown. She is rather petite, and charmingly plump, with a vivacous face; and the whole composi tion is brilliantly painted, the flesh tones especially carrying the effect of firmness and substance quite unusual. Seldom has Mr. Hazard given a better example of clever brush-work. Mr. Scott Clifton Carbee, like Whistler, has made the portrait of his mother his masterpiece, and it occupies a prominent place in this collection. Showing in its execution not only the technique of a skilful artist, but the understanding, sympathy and enthusiasm of a loving son, the result is a strong, dignified and faithful representation of serene and lovely old age, a composition A PERSIAN MERCHANT, By Mary N. Ri chardson. which, in its seriousness of purpose and tonal quality, conveys a suggestion of Rembrandt. Mr. F. H. Tompkins's well-known portrait of a distinguished brother artist, J. J. Enneking, also has a place here. Without ever having seen the original, the observer realizes that the artist has caught and reproduced with telling effect, the leading traits in his character and disposition. It is an interesting character portrait. Still another "character portrait" which stands out with peculiar prominence is Mr. Carroll Beck |