Studio internazionale . re-mained insuperabile da pittore anyliving. Prima di lasciare il pro-ince di portraiture nota essere preso di Zornssiat somiglianza di MR Car-negie completato la scorsa primavera, un'analisi tipicamente fluente e spiritosa di prestazioni senza rivelatori di carattere abbagliante manualità manipolativa. AnotherSwedish artista, Gustav Fjaestad, fresco fromContinental trionfi, vince più durevole interessecon un decorativamente concepito e sottilmente ob-servito paesaggio invernale con acqua corrente. Invero che la Norvegia dovrebbe essere rappresentata dal professor Halfdan Strom senza l'assistenza

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International studio . he re-mains unsurpassed by anyliving painter. Before leaving the prov-ince of portraiture noticemust be taken of Zornsseated likeness of Mr. Car-negie completed last Spring, a typically fluent and spirit-ed performance revealingless analysis of characterthan dazzling manipulative dexterity. AnotherSwedish artist, Gustav Fjaestad, fresh fromContinental triumphs, wins more lasting interestwith a decoratively conceived and subtly ob-served Winter landscape with running water. Itis unfortunate that Norway should be representedby Professor Halfdan Strom without the assist-ance of such men as Erik Werenskjold, EduardMunch and Henrik Lund, but we may consider-ately leave the Scandinavians until next seasonwhen we shall haxe them in all their unspoiled-igor and crisp, clear-eyed vision of native typeand scene. However imposing such an array of canvases, culled with evident care and discrimination fromwidely divergent sources, it may be questioned BY LAIRA KNIGHT International Art at Pittsbnrsh. Awarded Medal (Silver) of ihe ^eiond LiasA FRESHENING GALE BY PAUL DOUGHERTY whether an exhibition carried out in similar spiritis in the highest degree effective. An attempt, and a manifestly sincere, worthy and liberal one, has here been made to give an idea of currentEuropean and American esthetic production. Itis, however, not impossible that the Carnegie In-stitute, like many another organization of itskind, may suffer from the very perfection of itsadministrative mechanism. Art today is by nomeans stationarj. Its complexion is changingfrom year to year—from month to month al-most—and its method of public presentation mustsubmit to corresponding changes. Painters aremore and more breaking up into distinctly markedgroups, and each of these several groups is fol-lowing out a different line of development. In order to afford a clear, concise notion of whatis taking place in the modern world of pictorialand plastic expression it is not sufEcient to offerfor o

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