File:Frederick Arthur Bridgman - Algerian Woman.jpg

Identifier: artartistsofourt06cook (find matches)
Title: Art and artists of our time
Year: 1888 (1880s)
Authors: Cook, Clarence, 1828-1900
Subjects: Painting Painters
Publisher: New York, S. Hess
Contributing Library: Brandeis University Libraries
Digitizing Sponsor: Boston Library Consortium Member Libraries

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stic trait. But it must also be admitted that since his earlier time Mr. Bridgman hasproduced but few pictures rightly to be so called. He has been lavish of sketches and studies,and has carried us with him as a guide on many an interesting journey, but after so muchstudy, and so much experience gained, the public thinks itself entitled to more solid results.It would seem as if in time we must receive such at the hands of so accomplished a craftsmanas Mr. Bridgman. Thomas W. Dewing was born in Boston and studied his art in Paris with Lefebvre andBoulanger. He has exhibited chiefly at the Society of American Artists, although he hassent some of his best work to the National Academy of Design, where a few years ago hissmall picture of a lady in a yellow dress was received by all the younger artists with greatenthusiasm. His work as a rule is of a decorative character, and his themes are, perhaps, notintended to be very strictly analyzed. In the picture here copied, Mr. Dewing would seem
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ALGERIAN WOMEN.FROM THE ORIGINAL PAINTING BY FREDERICK A. BRIDGMAN. BY PERMISSION OF THE AMERICAN ART ASSOCIATION. ART AND ARTISTS OF OUR TIME. 287 to have been moved by Alma Tademas art, as Mr. Blaslifield has been in the one we gave ofhis, but both Mr. Dewing and Mr. Blashfield are more in love with beauty than Alma Tademais, and are far less in love than he with archgeology. Just what Mr. Dewing means by thiscomposition it would be hard to say. Probably he meant nothing more than to express asummer-feeling of out-of-door warmth and ease in an idling world, where melons and poppiesgrow together, and white peacocks keep step to the fiutings of long-limbed maidens recliningon snch marble benches as never were, save inan architects dream. Fkederick S. Church paints fancies ofanother sort, and the public seems never wearyof the coinage of his fertile brain. Here aresea-horses dashing through the breakers; herea dark-skinned Nubian beanty holds a rose atthe nose of a mummy, and bids her

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