WOMAN IN ART
Venice in 1924. In the present year, 1927, Mrs. Hale has been elected an associate member of the National Academy of Design, another honorary degree in her upward career.
"A Twilight Sonata" would be dulcet music to the ear, but what to the eye is a maiden sitting alone in the open? Absorbing the glory of sunset and afterglow, her thoughts are weaving a reverie the while. An artist of poetic feeling has come upon her unseen and conveyed to canvas the silhouette of the shapely head against the fading of the twilight sky.
Other works by Lillian Genth prove that she is an artist of poetic interpretation. "Adagio," another musical tempo by name, assures one of something alluring and restful to eye and thought. "Adagio" and "Depth of the Woods" represent Miss Genth in the National Gallery in Washington, D. C. 'Springtime" is as bright and poyous in color and technique as needs be. It is property of the Metropolitan Museum of Art, New York. "The Lark," minus the song, cheers the Engineers' Club in New York; and "The Song Bird" is in Carnegie Institute, Pittsburgh. "A Pastoral" is in Brooklyn, "Venice" and "Norrmandy" may be seen in the Philadelphia Arts Club, and in a dozen other art centers the work of this artist is on view.
In the winter of 1926-27, Miss Genth, combining pleasure and art, took her sketching kit to record the scenes and motifs to be gleaned in Northern Africa. Her harvest was great in paintings, sketches, color schemes, and experiences. It was an extraordinary trip for a woman to venture upon alone, but for Miss Genth it proved safe and successful, owing to her courage, perseverance, and level head.
Many of her pictures represent the veiled women of Algiers, Tunis, and Morocco, in street, mosque, or doorway. The statuesque appearance of their white-draped figures, seen against the intricate carving and rich mosaic walls, form a most attractive orientalism. Bedouin girls and Arab merchants are interesting as humans, and as couleur ardet. More of her canvas work will be seen later.
The preparation for the manifold paintings by Lillian Genth began in the Pennsylvania School of Design for Women, under Elliott Dangerfield, and was continued in Paris under James McNeal Whistler. Miss Genth is an associate of the National Academy since 1908, and of the Fellowship of the Pennsylvania Academy of Fine Arts; she is also a member of the Royal Society of Artists of London. Many prizes have resulted for her work: the Mary Smith Prize from the Pennsylvania Academy, 1904; the Shaw Memorial, 1908; the bronze medal, Buenos Aires Exposition, 1910; the Hallgarten Prize, National Academy of Design, 1911; and others.
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