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DREIER
DOROTHEA A
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THE
DOROTHEA A. DREIER
EXHIBITION
FOREWORD AND CATALOGUE
BY
CHRISTIAN BRINTON
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ak | Me
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DOROTHEA A. DREIER
By Walter Shirlaw
REVERIE
]
[
FOREWORD
Die Zeit ist eine blihende Flur,
Ein grosses Lebendiges ist die Natur,
Und alles ist Frucht, und alles ist Samen.
T is to the enduring glory of the Renaissance that it frankly
recognized the position of woman alike in life, letters, and
art. As early as the thirteenth century the University of
Bologna opened its doors to Betisia Gozzadini, who successfully
attended its courses, albeit clad as a boy, like Plato’s pupil
Axiothea. And similarly, the French Academie Royale, from
1663 onward, admitted women artists to membership, the first to
be accorded such distinGion having been Catherine Duchemin,
wife of the sculptor Girardon. In the Athens of Plato, Italy of the
Rebirth, France of the radiant Grand Siecle— wherever in brief
the spirit of genuine liberalism prevails—woman occupies her
rightful place. And what is true of society is likewise true of
family, that eloquent microcosm of the larger social order.
It was in an atmosphere of freedom and advancement, intel-
lectual and artistic, that grew to maturity the subject of the present
monograph, a personality rare in singleness of purpose, in ardent
Lon
unity of aim. Though an individualist, yet to a significant degree
was she the product of family tradition and the ideals of a pro-
gressive domestic environment. Dorothea A. Dreier was born in
Brooklyn, December 8, 1870. Her father had come to America
from Bremen in 1849, bringing with him not a little of that spirit
_of social democracy so characteristic of the thriving Freistadt on
the Weser. And not only was her father in many respects typical.
of his native Bremen, but equally so was the faithful family nurse
“Nene,” who occupied a position of importance in the house-
hold during some forty years of service. This racy individual left
the Stamp of her virile, forthright personality upon each of the
children in succession. It was therefore not strange that it should
have been in the Holland of simple, stolid Dutch huisvrouwen
— who were not unlike her old nurse « Nené”— where the art of
Dorothea Dreier eventually disclosed that which was deepest and
most enduring. Holland became in large measure her artistic
foster home, and to the interpretation of Dutch life and character
she devoted her rapidly affirming talents. |
To have produced her initial series of Dutch paintings was a
significant achievement. Yet its significance cannot rightly be
gauged unless one knows something of the personality of the
artist and of her particular point of view towards her work. Al-
[10]
ways in class was she the freest and broadest in vision and
handling. From the outset she displayed a salutary independence
of spirit that made her efforts Stand apart from those of the other
Students. None of the softness and sentimentality adjudged typi-
cal of the feminine temperament mark her early attempts. Rapidly
noting essential elements only, she succeeded after her own fash-
ion in suggesting the fundamental realities of line, colour, form,
and movement. It was the possession of qualities such as these
that eventually enabled Miss Dreier to translate life as she saw it
into terms of true plastic representation.
Her predecessors in Holland, including George Hitchcock
and his talented pupils, among whom may be noted Florence
Upton, chose as a rule the brighter side of Dutch life—the var-
iegated bloom of a springtime tulip field, gaily tinted living-
room, or gleaming kitchen. Liebermann sounded a soberer
note, as did likewise Gari Melchers, but for the majority Holland
was light and lyric or quaintly picturesque. Not so with Dorothea
Dreier. Among the humble weavers of Laren she found material
after her own heart. Here, in grey-toned interior, permeated with
the insidious dust and lint from ceaselessly plying loom, she made
sketch upon sketch. She studied these veritable human machines
in their every aspect and attitude, recording that which to her
[11]
was most typical. Something of the hopeless monotony of toil,
the poignant resignation one meets for example in the miners of
Constantin Meunier, chara¢terize these expressive panels. Yet for
the broad synthesis of Meunier we here have a restless intensity
that recalls Vincent van Gogh. In spirit Dorothea Dreier was
modern and subjective, whereas Meunier, despite his proletarian
sympathies, harks back to the serenity of the classic age. Her
first Dutch series marks for its author not alone a characteristic
individual development; it forms a distinctive contribution to
contemporary American painting.
Modernism, as such, was virtually unknown to the general
public in 1908, the year these canvases were completed. Gauguin
was still accounted a barbarian, van Gogh’s work was being shown
to a few amateurs in a tiny shop just off the Place de la Madeleine,
and the sagacious Ambroise Vollard was having difficulty con-
vincing anyone that Cézanne was worthy of serious consider-
ation. Neither Fauves, Cubists, nor Futurists had thus far formed
themselves into homogeneous bodies for the delectation of society
in general. Whilst the programme of modernism was gathering
momentum, the artist who chose to work out new problems
along individual and progressive lines was forced to do so alone,
unaided by any sort of sustaining group movement. It is this fac&t
[12]
that makes the Dutch paintings of Dorothea Dreier so consid-
erable an achievement. They in a measure bridge over the period
between such a canvas as Liebermann’s Cobbler Shop and the
Stressful individualism of van Gogh. In point of artistic evolution
they may be characterized as post-Impressionistic, and it is among
the post-Impressionists where their author rightly belongs.
Like Vincent van Gogh, or Paula Modersohn-Becker, Miss
Dreier came from a home that had much of the truly burgerlich,
though more spiritual freedom than one currently meets in such
a Spacious mansion as the family residence at 6 Montague Ter-
race. The house was the scene of many a congenial gathering in
which there was never the least hint of class consciousness. All
were on a basis of wholesome equality. Nor was the note of na-
tive American simplicity in any degree lacking, for the daughters
attended the Brackett School, where they came into contact with
precepts and principles refreshingly Emersonian in their whole-
some individuality of vision.
And thus amid surroundings at once substantial and imbued
with genuine cultural impulse, awakened to conscious effort the
creative aspiration of Dorothea A. Dreier. Her father drew well
when a young man, mainly landscape subjects in gouache, and
one of the family’s prized possessions was a fine Oswald Achen-
[13]
bach. As a child Dorothea used to watch from the windows of
her home the lights of myriad-eyed Manhattan, and, following
a certain amount of preliminary training, began her artistic studies
in the pseudo-Venetian palace in East Twenty-third Street, then
serving as the local habitat of the National Academy of Design.
Her first regular instructor was the late John H. Twachtman, who
though a spirited soul, kept his pupil a year or more drawing
heads, hands, and feet from casts, mostly above life size.
Yet it was not Twachtman, nor debonair Chase, nor the ton-
alistic Charles H. Davis, who specifically influenced her develop-
ment. The preceptor who contributed most to her advancement
was Walter Shirlaw, with whom she studied in the classes of the
Brooklyn Art League in the historic Ovington Studios. Shirlaw’s
wide technical experience, his independence of thought, and
breadth of taste proved a genuine help to both Dorothea Dreier
and her sister Katherine. He was one of the rare men of his time
who instructed his pupils in the principles of art rather than in
personal or professional mannerisms.
While much was absorbed in class, despite the drudgery of
drawing from the customary fatigating casts, it was the successive
summer visits to Europe that proved the chief source of artistic
stimulus to the aspiring sisters. The mute yet eloquent lessons
bia]
gleaned from the master canvases in the galleries and museums
of Belgium, Holland, Germany, Austria, Italy, France, Spain, and
England, were at this period their veritable evangel. And grad-
ually these trips, which began under the guidance of the admir-
able Miss May E. Robinson, became extended sojourns mainly
in Holland, where, as has been noted, Dorothea Dreier’s aesthetic
nature found its predestined setting.
Supplementing the early paintings executed at Laren, most of
which consisted of interiors depicting the life of work-weary
weaver or industrious huisvrouw, are the outdoor scenes from
Noordwyk Binnen. They are free though vigorous in spirit, blos-
soming garden and winding avenue of elms here assuming an
appeal more interpretative than actualistic. Dating from 1912,
the year the sisters attended the memorable modernist art exhi-
bition at Cologne, they indicate a decided technical advance,
a distinct Striving for that sense of structural form which under-
lies mere outward and visible semblance. |
No one in fact could have visited that unforgettable display,
locally known as Der Sonderbund, without imbibing fresh cour-
age and independence. The modern movement was presented
upon this occasion as never before or since. The great pioneers and
protagonists were seen in full strength, van Gogh leading the list
[15]
with no less than one hundred and eight of his most important
paintings, besides twenty drawings. And what was particularly sig-
nificant regarding this exhibition was the fact that it proved mod-
ernism was not an exclusively French manifestation. The move-
ment in reality revealed itself as a deep-rooted spiritual as well as
aesthetic resurgence affecting virtually every European country—
a symptomatic struggle for self-expression.
Although admiring this convincing vindication of the newer
tendencies in current art, Miss Dreier did not plunge into the
movement to the sacrifice of her innate equipoise. Travel, study,
and constantly renewed effort mark the interval, as the scene of
her activities shifts many times during the ensuing years — now to
Holland, now Switzerland, now the pulsing luminosity of New
York, again the crisp clarity of the Adirondacks or the White
Mountains. In Saranac, however, her entire outlook, both per-
sonal and professional, underwent a transformation, a distin
sublimation, due to a serious illness that never conquered her
spirit until the final call.
Previously she had painted almost exclusively in full oils, em-
ploying fairly vigorous impasto. At this period of her develop-
ment she turned to pastel and to water-colour, finding in the
delicate suggestion of the one, and the fluid responsiveness of
[ 16 ]
the other, congenial media for the expression of her particular
mood. Hitherto her work had based itself more upon analysis than
upon synthesis, but for the time being the latter won precedence
over the former. The Flamingoes, executed in pastel, are decora-
tive and fanciful, whilst distinétly emotional and imaginative are
the imposing views of White Mountain range in summer and
autumn. The latter occupy a position of unique importance in
the artist’s progressive evolution. Unity of impression, the
elimination of the nonessential,and genuine breadth and simplicity
of vision are here in evidence. One cannot survey these sweep-
ing panoramas of native scene without realizing they possess the
magic of that which is created, rather than the dull fidelity of that
which is merely observed and recorded.
Upon her return from Europe in 1920 Miss Dreier again con-
centrated her energies upon a single theme, as had been the case
with the Weavers of Laren. It was not Holland; it was her own
country which upon this occasion afforded the requisite stimulus.
In the series of paintings devoted to New York she achieved
another forward step. Painted from the windows of her suite in
the Hotel Seville, these vibrant panels reflect the pictorial essence
of a quarter where the new ruthlessly impinges upon the mellow
and picturesque. The view looking west on Twenty-ninth Street
[17 |
including the Little Church Around the Corner, snugly tucked
between encroaching skyscrapers, was a favourite motif, and one
that in a measure dominates the series. Each appropriately local-
ized, yet together forming a homogeneous ensemble, the paint-
ings of New York reveal the artist singing in colour, line, and
freely handled form that song of Manhattan which Whitman
alone has been able to articulate — that chant which is at once the
proud paean of materialism and a challenge to the human spirit.
Upon settling at Riverdale, where she occupied the fine old
Delafield mansion, there begins another sharply differentiated
phase of Miss Dreier’s work. It proved the climax, as it did the
close, of her professional activity. Into the cycle of Hudson River
Studies, and the completion of certain compositions begun in |
Geneva, she concentrated the essence of her artistic message. To
the synthetic note which characterizes the Adirondack and White
Mountain series are here added, in increased measure, the vigor-
ous impasto and bold brush-work of the Dutch and New York
subjects. For unity of vision and structural strength these Stark
stretches of palisade and frozen river surpass anything the artist
had previously attempted. As however is the case with the gen-
uinely creative temperament, her mood frequently changed, and
to the austerity of winter landscape was added the animation of
[18]
Genevan flower market and glinting sail boat dotting the surface
of the lake. The bright, variegated Flower Market, reproduced
upon the cover, proved in faét her last considerable canvas, her
final gift of visible beauty to the world.
As you sutvey in congenial perspective the offering of Doro-
thea A. Dreier, you cannot fail to be impressed with its abiding
earnestness of intent. Whatever defects this work may betray,
however it may fall short of its author’s own definite standard,
it never descends to the trite or the trivial. Miss Dreier began
her career at a period when the majority of her contemporaries,
especially those of her own sex, were engaged in the gentle art
of making pictures. The fact that a subject was pleasing and attrac:
tive was considered ample excuse for transferring it to canvas.
Tonalism, upon which American taste had been nurtured since
the vogue of the Barbizon and Dutch masters, had been largely
succeeded by Impressionism, which, with most of our artists,
merely became a species of tonalism in a lighter, higher key.
Instead of remaining smooth, surfaces were broken. In place of
perpetuating the popular elegiac brown, prevailing tints became
mauve or violet. The appeal in each case was the same. It was
still the appeal of sentiment. Apparently it did not occur either
to painter or to the public that aesthetic expression might be a
[19 ]
matter of dynamic creative intensity, as well as a genteel
stimulus to one’s feeling for the so-called beautiful.
Art progresses not in uniform sequence, but through a series
of sharply defined reactions. The antidote to Impressionism was
shortly disclosed in the aims and activities of the post-Impression-
ist group. Impressionism is analytical. Post-Impressionism and its
allied manifestations are synthetic. Satiated with mere outward
appearance and cheap pictorial illusionism, the newer men went
below the surface. From beneath the gossamer shimmer spread
over the face of nature by the master of Giverny, they revived with
almost ruthless zest the eternal verities of form, structure, and
actual substance. Vibration gave place to volume. Yet the approach
to this rediscovered objectivity was distinétly subjective and indi-
vidualistic. Therein lay its strength—and its potency.
It is midway between the delicacy of Impressionism and the
more rigorous achievements of the modernists that Dorothea A.
Dreier finds her place in contemporary art. Whilst remaining
in frank sympathy with light, colour, and atmosphere, she is not
unmindful of the increasing prominence the study of abstract
form assumes in the work of the later men. Her course as a cre-
ative artist moves along lines at once normal and independent.
And not only does her work display independence of technique,
[ 20 ]
it evinces that same valued asset in choice of theme. Sentiment
for its own sake she frankly abjured, nor could anything be
farther from her intention than the perpetuation of the pretty or
the popular. Portraiture, and the emphasis upon physiognomy
and character as such, lay outside her sphere of interest. So also
did the traditional studio still-life with its unsteady tables decked
with portentous pears and significant sausages.
If the ablest of Miss Dreier’s Holland series, the Weavers of
Laren, recall in subject-matter Liebermann’s Cobbler Shop, now
in the Berlin National Gallery, they nevertheless reveal a deeper
psychological understanding of the Dutch temperment. They por-
tray these men and women as they actually are, bowed down by
the burden of toil and the conditions under which it is performed.
They never strike that note of comfortable studio convention
which one encounters in so many presentations of Netherland
life and scene.
It is equally true that certain of the Hudson River views
likewise suggest that sobriety of mood which the American
Abbott Thayer imprisoned in his Mount Monadnock landscape
recently added to the collection of the Metropolitan Museum. In
brief, a consistently maintained integrity of aim is the most typi-
cal feature of Miss Dreier’s contribution taken as a whole. The
[ 21]
deeper essence of nature and humanity alone attracted her, and
these simple, eternal elements she strove to express with all the
plastic and colouristic conviction at her command.
Among her American contemporaries one looks in vain for a
parallel, though in Europe one instantly recalls Paula Modersohn-
Becker, the gifted German pre-modernist who died just as she
was producing her finest things. Virtually the same age, they
shared many points in common. A Bremerin, as was Dorothea
Dreier by heritage, Paula Becker joined the artist colony of
Worpswede, where she married one of its leading figures, the
painter Otto Modersohn, and where she managed to work out
her own salvation much after the manner of her colleague overseas.
Both developed intensively, impelled by a similar spiritual as
well as aesthetic necessity. And both at the same fruitful phase of
activity were fated to relinquish a task, in each case, in so for as
it went, a complete personal expression. Their problem was in a
measure the same, and was solved with kindred courage and
surety. In a period of artistic transition they achieved that which
was not transitory.
CHRISTIAN BRINTON.
[ 22 ]
CATALOGUE
fans
rove. oy
a hae.
—_
N
We
OIL PAINTINGS
WEAVERS I |
Painted in Laren, Holland, 1908. Exhibited at the Société Anonyme,
1921, and the Worcester Art Museum, November-December, 1921.
Oil on canvas. Height 19% inches; width 29 inches. Unsigned.
WEAVERS II
Painted in Laren, Holland, 1908. Exhibited at the Societe Anonyme,
1921. Oil on canvas. Height 18 inches; width 25 inches. Unsigned.
WEAVER— MALE I
Painted in Laren, Holland, 1908. Exhibited at the Sociéte Anonyme,
1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned.
4 WEAVER—MALE II
Painted in Laren, Holland, 1908. Exhibited at the Societe Anonyme,
1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned.
Lent by the Worcester Art Museum.
WEAVER—FEMALE I
Painted in Laren, Holland, 1908. Exhibited at the Societé Anonyme,
1921. Oil on canvas. Height 174 inches; width 19 inches. Unsigned.
255)
6 WEAVER—FEMALE II
10
11
Painted in Laren, Holland, 1908. Exhibited at the Société Anonyme,
1921. Oil on canvas. Height 15% inches; width 19% inches. Unsigned.
Lent by the Museum of Fine Arts, Houston, Texas.
WEAVER —FEMALE III
Painted in Laren, Holland, 1908. Exhibited at the Societé Anonyme,
1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned.
DUTCH KITCHEN
Painted in Laren, Holland, 1908. Not hitherto exhibited. Oil on
Canvas. Height 22 inches; width 18 inches. Unsigned.
ROADWAY, NOORDWYK BINNEN
Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhibited.
Oil on canvas. Height 39% inches; width 27% inches. Unsigned.
ROSENHOEF, NOORDWYK BINNEN
Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhib-
ited. Oil on canvas. Height 39% inches; width 27% inches. Unsigned.
+
THE GARDEN, ROSENHOEF
Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhib-
ited. Oil on canvas. Height 3134 inches; width 23 34 inches. Unsigned.
[ 26 ]
EZ
13
14
15
16
17
NEW YORK I
Painted in New York, 1920. Exhibited at the Société Anonyme,
1921. Oil on canvas. Height 26 inches; width 20 inches. Unsigned.
NEW YORK II
Painted in New York, 1920. Exhibited at the Societé Anonyme,
1921. Oil on canvas. Height 28 inches; width 20 inches. Unsigned.
NEW YORK III
Painted in New York, 1920. Not hitherto exhibited. Oil on canvas.
Height 24 inches; width 16 inches. Unsigned.
NEW YORK IV
Painted in New York, 1920. Not hitherto exhibited. Oil on canvas.
Height 32 inches; width 24 inches. Unsigned.
NEW YORK V
Painted in New York, 1920. Not hitherto exhibited. Oil on canvas.
Height 30% inches; width 18 inches. Unsigned.
NEW YORK VI
Painted in New York, 1920. Not hitherto exhibited. Oil on canvas.
Height 30 inches; width 24 inches. Unsigned.
2 74]
18
19
20
21
22
SNOWBOUND |
Painted in Riverdale, New York, 1920. Exhibited at the Yonkers
Art Association, 1921. Oil on board. Height 3134 inches; width 33%
inches. Signed, lower left.
RIVERDALE—WINTER
Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil
on board. Height 3134 inches; width 3334 inches. Signed, lower right.
THE HUDSON—WINTER
Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil
on board. Height 32 inches; width 41 inches. Signed, lower left.
HUDSON RIVER—PANEL I
Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil
on board. Height 4734 inches; width 21% inches. Unsigned.
HUDSON RIVER—PANEL II
Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil
on board. Height 47% inches; width 26%. inches. Unsigned.
[ 28 ]
23
24
a>
26
rg)
WINTER SUNSET—HUDSON RIVER
Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil
on board. Height 32 inches; width 40% inches. Signed, lower right.
THE CROSS 3
Painted in Riverdale, New York, 1920. Exhibited at the Société
Anonyme, 1921. Oil on board. Height 32 inches; width 40 inches.
Unsigned.
SAILBOATS—LAKE GENEVA
Painted from the sketch, in Riverdale, New York, 1921. Exhibited
at the Society of Independent Artists, New York, 1921. Oil on board.
Height 36 inches; width 47 inches. Unsigned.
ON THE QUAY—GENEVA
Painted from the sketch, in Riverdale, New York, 1922. Exhibited
at the Society of Independent Artists, New York, 1922. Oil on board.
Height 403 inches; width 32 inches. Unsigned.
MOUNTAIN SCENE—SWITZERLAND
Painted from the sketch, in Riverdale, New York, 1922. Oil on
board. Height 31 inches; width 40 inches. Unsigned.
[ 29 ]
28 FLOWER MARKET—GENEVA I
Painted from the sketch, in Riverdale, New York, 1922. Not hitherto
exhibited. Oil on board. Height 32 inches; width 40% inches. Un-
signed.
29 FLOWER MARKET—GENEVA II
Painted from the sketch, in Riverdale, New York, 1922. Not hitherto
exhibited. Oil on board. Height 35% inches; width 47 4 inches. Un-
signed.
Lent by the Société Anonyme, Incorporated, Museum of Modern Art.
WATER-COLOURS
30 DUTCH WOMAN READING
Painted in Laren, Holland, 1907. Not hitherto exhibited. Water-
colour. Height 20 inches; width 15 inches. Signed, lower right.
31 LONE PINE I
Painted in Saranac, New York, 1915. Not exhibited. Water-colour.
Height 1334 inches; width 18% inches. Signed, lower right.
32 LONE PINE I
Painted in Saranac, New York, 1915. Not exhibited. Water-colour.
Height 13% inches; width 18% inches. Signed, lower right.
[ 30]
33 ADIRONDACK MOUNTAIN ROADWAY
Painted in Elizabethtown, New York, 1915. Not hitherto exhibited.
Water-colour. Height 13 % inches; width 19 inches. Signed, lower left.
Lent by the Brooklyn Museum.
34 MOUNT WASHINGTON
Painted in Sugar Hill, NewHampshire, 1917. Not hitherto exhibited.
Water-colour. Height 24 inches; width 32 inches. Signed, lower right.
Lent by the Brooklyn Museum.
35 WHITE MOUNTAIN RANGE
Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited.
Water-colour. Height 24 inches; width 32 inches. Signed, lower right.
36 WHITE MOUNTAIN RANGE—SUMMER
Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited.
Water-colour. Height 29 inches; width 4734 inches. Signed, lower
right.
37 WHITE MOUNTAIN RANGE—AUTUMN
Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited.
Water-colour. Height 3114 inches; width 49 inches. Signed, lower
right.
(517)
38
39
40
41
42
PASTELS
REVERIE
Painted in Brooklyn, 1905. Not hitherto exhibited. Pastel on board.
Height 26 inches; width 18 inches. Initials, lower right.
FLAMINGOES I
Painted in Saranac, New York, 1914. Exhibited at the Societe
Anonyme, 1921. Pastel on board. Height 10% inches; width 4%
inches. Unsigned.
FLAMINGOES II
Painted in Saranac, New York, 1914. Exhibited at the Societe
Anonyme, 1921. Pastel on board. Height 12 inches; width 9 inches.
Unsigned.
FLAMINGOES III
Painted in Saranac, New York, 1914. Exhibited at the Societe
Anonyme, 1921. Pastel on board. Height 10% inches, width 6%
inches. Signed, lower right.
FLAMINGOES IV
Painted in Saranac, New York, 1914. Exhibited at the Societe
Anonyme, 1921. Pastel on board. Height 10% inches; width 634
inches. Unsigned.
[32]
ILLUSTRATIONS
T
Mga af
Mey Ss
:
DUTCH KITCHEN
e354!
WEAVER—MALE—I
[ 37]
[39]
WEAVERS
NOORDWYK BINNEN
?
ROADWAY
ete
Pah eh Se
Pik eee
ee Pate ig
tee ae
MOUNT WASHINGTON
43
-FLAMINGOES I
EEoy
NEW YORK
(47)
NEW YORK
[ 49 J
NEW YORK
|
oe!
ve earth
cs)
eh aa Py sD
: ie
‘ M
MOUNTAIN SCENE—SWITZERLAND
537)
FLOWER MARKET— GENEVA
hebyi
-
ON THE QUAY—GENEVA
[S72]
Ed
j
;
2
4
!
‘
THE HUDSON— WINTER
[ 59 ]
THE CROSS
[ 61 ]
Bets carat
Maa tty Aas
ven
“Ss
>
1
48
r h:
‘hh: 2 iI
‘ *
(ve
"
j
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ae
INDEX TO ILLUSTRATIONS
Dorothea A. Dreier - - ape Frontispiece
From a photograph by Mary E. Robinson
Portrait of Dorothea A. Dreier ~ - Page 7
By Walter Shirlaw
Reverie— Pastel - - - - 8
Dutch Kitchen—O/7/ - ~ - - 35
Weaver—MaleI—Oi/ - - ~ - 37
Weavers I—Oz/ - - - - - 39
Roadway, Noordwyk Binnen—O7 - ~ mon AT
Mount Washington—Water-colour — - - - 43
Flamingoes I— Pastel — - - : - 45
New York I—Oi/ - “ _ - Sacre
New York II—Oz/ - - = - 49
New York IIJ—0Oz/ - - - fe vt) B
Mountain Scene— Switzerland — Oz/ = iy ~ 53
Flower Market— Geneva I— O7/ - - 55
On the Quay— Geneva— Oz/ - - - oy
The Hudson—Winter—Oz/ - - - “ihe
The Cross— Oz/ - - - - 61
[ 63 ]
DESIGNEDBY
a FREDERICK P. HUDSON _
| PRODUCED BY
CURRIER & HARFORD LIMITED _
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